The Liturgical Background of the Early Byzantine Church

Author(s):  
R. F. Hoddinott
Author(s):  
Susan Ashbrook Harvey

Early Byzantine church leaders regularly admonished against grief as a Christian response to death. Yet, mourning practices continued unabated, and church leaders also participated in the lavish mourning that attended the funerals of beloved church figures, whether bishops or holy men or women. Amidst such contradictory discourses, liturgical piety appears to have provided a constructive manner of engaging grief and negotiating such tensions. Early Byzantine liturgies in both Greek and Syriac abound in hymns and homilies that retold biblical stories in dramatic fashion. Often, these included searing depictions of anguish, grief, and lamentation over loss or death for biblical characters. The accounts show strong similarities with traditions from classical drama, with imagined speeches as well as dramatic narrative that linger closely on postures, gestures, and lyrical expressions of sorrow. This chapter argues that these presentations took on particular social significance in the context of liturgical setting and performance. Embedded within liturgy itself as an overarching narrative, such stories took on resolution within a higher process of grief turned to restoration. Biblical tragedy, articulated in homilies and hymns, offered congregations typological expressions of their own sorrows, even as people were ritually guided from bereavement to consolation.


2002 ◽  
Vol 11 (2) ◽  
pp. 99-112 ◽  
Author(s):  
Neil Moran

The employment of castrati in the Byzantine Church can be traced back to the choirmaster Brison in the fourth century. Brison was called upon by John Chrysostom to organize the antiphonal hymn-singing in the patriarchal church. Since eunuchs were generally considered to be remnants of a pagan past, castrati are seldom mentioned in early Byzantine sources, but beginning in the tenth century references to eunuchs or castrati became more and more frequent. By the twelfth century all the professional singers in the Hagia Sophia were castrati. The repertory of the castrati is discussed and the question is raised whether the introduction of castrati to the Sistine Chapel was influenced by the employment of castrati in Italo-Greek cloisters.


Author(s):  
Bronwen Neil

Mary’s intercessory role appeared in the early Byzantine church in the sixth century, if not earlier, and popular belief in her power to aid sinners, even after death, only increased in the Middle Byzantine centuries, following broader trends in the literature and art of that period. These texts and images from the Eastern churches of Constantinople, Asia Minor, Egypt, Georgia, and Syria reveal a growth in affective piety, which highlighted Mary’s motherhood and compassion, making her a natural object for personal devotion. Mary, the human mother of God, was an accessible figure whose very accessibility made her uniquely placed to intercede between sinful believers and God and his son, Jesus Christ. The evidence presented here for the development of affective piety in the Byzantine cult of Mary as intercessor reveals that Byzantine beliefs and practices prefigured the same trend in the medieval West by several centuries.


1995 ◽  
Vol 46 (1) ◽  
pp. 3-18 ◽  
Author(s):  
L. R. Wickham

On Monday 23 May 550 a directive was issued by the Emperor Justinian to John, metropolitan bishop of Anazarbus in Cilicia Secunda. Another directive, cast in corresponding terms, was sent to Cosmas, bishop of Mopsuestia (the present day Misis, seventeen miles east of Adana in southern Turkey) in the same province. ‘We indicate to your holiness”, he writes to John, ‘that you are to convene all the most-religious bishops of your synod; you are to repair to the town of Mopsuestia and make a detailed examination, with the senior men (whether clerics or laity), there established, foregathering, and learn from them whether they know the date when Theodore's name was removed from the diptychs.” If the senior persons in question do not know the answer, the fact is to be expressly recorded and the diptychs themselves are to be duly checked. Into the events leading up to this directive I will not now enter. It must suffice to recall that the setting was the so-called Three Chapters Controversy: what to do about Nestorius' precursors Theodore and Diodore, about Theodoret's writings against Cyril of Alexandria's twelve Anathematisms and the Letter of Ibas to Maris. On these matters the Council of Chalcedon had been indecisive. A hundred years after that council, it looked to many people, the emperor included, as if a few modest addenda to the council's decisions, amounting, perhaps, to nothing more than explications of its mind on Nestorius and his school, would put an end to the painful disunity of eastern Christendom.


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