Guiding Grief: Liturgical Poetry and Ritual Lamentation in Early Byzantium

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):  
Nurit Yaari

This chapter reviews the state of Israeli theatre today, seventy-two years since the production of Racine’s Phaedra at Habima Theatre, and sums up its notable achievements, and the myriad forms, styles, artists, and institutions that together provide fertile ground for Israeli theatre’s encounters with classical drama. An overview of the seventy-two years of reception of Greek tragedy in Israeli theatre (1945–2017) demonstrates clearly that the most important development appears to be that local theatre makers have relinquished previous preconceived ideas about classical Greek drama and performance and of Aristotle’s theatrical doctrine, in favour of personal reading, study, research, and decoding of the classical works. It also presents the young and talented artists that are bringing the results of their studies and experimentations to the translation, writing, directing, and acting of classical drama to the Israeli stage, and using that drama to deliver innovative and challenging productions for today’s audiences.


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.


Author(s):  
Monique M. Ingalls

Chapter 3 provides a detailed ethnographic portrait of music in a local church congregation in which contemporary worship music serves an important—and often strategic—means of positioning. Examining the choices of congregational music repertory, style, and performance practice at St. Bartholomew’s Church, an “evangelical Episcopal” church in Nashville, Tennessee, reveals how church leaders and congregation members use music to navigate the church’s relationship with other area churches, denominational traditions, and church networks. The church’s choice of worship songs and styles constitutes what one church leader referred to as the church’s unique “voice,” in other words, its identity and position relative to other congregations and within networks. Though the church’s voice is constructed in part from broadly circulating discourses and practices within contemporary worship music, the case study of St. Bartholomew’s shows that this song repertory is also subject to imaginative reinterpretation within local church contexts.


2006 ◽  
Vol 53 (1) ◽  
pp. 1-28 ◽  
Author(s):  
ELTON BARKER

In his early Byzantine Chronicle, Johannes Malalas fills out the figure of Cyrus, Croesus' silent antagonist in Herodotus. While Croesus is consulting the Delphic oracle, Cyrus enjoys a quite different divine audience:And the prophet Daniel came to the King of the Persians, Cyrus. And Cyrus says to him: ‘Tell me, am I going to conquer Croesus King of the Lydians?’When the Christian prophet hesitates, Cyrus throws him to the lions – only swiftly to repent. Daniel returns the favour by confirming that Cyrus will defeat Croesus because God breaks the ‘might of kings’. Malalas' version of divine counselling clearly draws on Christian moralizing traditions; but it also flags up the confrontation between the powerful king and the word of god in Herodotus' narrativisation of Croesus' downfall. At the same time, however, it offers a radically different interpretative model. Here we don't just have a Croesus consulting the oracle and failing to comprehend it; Cyrus is told what will happen – and why – by the prophet Daniel! From Croesus (mis)reading the oracle to Cyrus receiving instruction from God, narrative dynamics have undergone a fundamental shift. It's now the gospel…Scholarship on Croesus testing Delphi, and on oracles more generally, has tended to focus on reconstructing the ‘original’ oracular texts and assessing Herodotus' role as a historian (in the modern sense of the word) in the light of how accurate his record is deemed to be. Notwithstanding the fact that such positivist approaches to historical writing have been challenged and that recent studies have been far more nuanced, the oracles themselves remain the focus of investigation. In tracing their ‘changing representations’ I want to look exclusively at how they function within Herodotus' narrative.


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