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• W4285245060 abstract "Syrian Hymnography Irénée-Henri Dalmais O.P. (†) (bio) and Giles Conacher O.S.B.* (bio) ABSTRACT Syrian hymnography covers vast tracts both of time and geography. In the Syrian liturgical traditions, in contradistinction to those of the Latin West, poetic compositions play a central role. Of particular importance is the work of St. Ephrem, preacher-poet. Popular musical culture was not without ambiguities, bearing, fostering and disseminating teachings viewed as heterodox by some; hence it was sometimes more didactic and apologetic than lyrical. Alongside hymns, antiphons and responses form part of the corpus. A brief summary of the current place of hymnography in the churches of the West and East Syrian traditions is given. KEY WORDS Syrian, hymns, antiphons, responsories, Eastern churches Syria could be considered Christian hymnography's chosen land. It is in that region that its most ancient witnesses are found; and it is an undoubted fact that nowhere else did it reach an equal degree of development, to the extent that today it represents by far the most important body of liturgical texts in use in the churches of the Syrian tradition: Syro-Jacobite, Syro-Chaldean, Maronite, and in those churches related to them: the Byzantine, Armenian and even Coptic rites. These designations, insofar as they have a geographical significance, show how wide a [End Page 75] meaning must be allowed to the word Syrian. It covers the vast regions which, from the time of Diocletian, made up the Diocese of the Orient and, subsequently, the Christian patriarchates of Antioch and Jerusalem. Besides the territories which currently make up Syria, Lebanon and Palestine, the whole of southern Turkey, including the coastal regions, Asia Minor well to the west of Antioch, as well as the north of Iraq fell under this heading. In this very complex whole, ancient cultures had flourished, expressing very diverse traditions, sensitivities and religious attitudes. The use of Aramaic as the language of transmission was only partially supplanted by Greek in the regions close to the Mediterranean coast and in some cities of the interior. It was in these regions that Christianity first expanded its territory and developed centres, which like Antioch for the Hellenic regions and Edessa (from which Nisibis, further east, cannot be separated) remained faithful to the Aramaic language and the Semitic culture of which it was an expression, radiating their influence throughout the whole of Christianity. In this spreading influence, Syrian hymnography played a significant part. FROM GOSPEL CANTICLES TO DIDACTICAL HYMNS Undoubtedly the oldest witnesses to Christian hymnography have been preserved for us in the New Testament, particularly the canticles inserted into Luke's Gospel. In other words, from its earliest beginnings, this most ancient Christian hymnography is in direct continuity with that of the Bible. Apart from the canonical writings, the so-called Psalms of Solomon and those which have been discovered at Qumran are followed in uninterrupted succession by the Odes of Solomon—about which, while it is still argued whether the originals were written in Greek or in Aramaic, there is unanimity in attributing their origin to northern Syria or southern Anatolia. This tradition of a psalmic literature intended to be sung, but based on quite free rhythmical structures, is attested by the very ancient morning and evening hymns transcribed in the fourth-century Apostolic Constitutions. The morning [End Page 76] doxology would be taken up with several variations by all the liturgies: it is our Glory to God in the in the highest. The evening hymn has been preserved by the Byzantine rite even to our own days: Joyful light of the holy glory of the Father [Phos hilaron]. But the later development of Syrian hymnography would be greatly influenced by the work of Bardesanes of Edessa (died 222). Only a few verses of his abundant production have been preserved for us by St. Ephrem, who informs us: He created hymns and set them to musical tunes.He composed canticles, and introduced metre to them.He divided the words by measure and by weight.He offered healthy people bitter poison disguised by sweetness. The sick had no choice of a salutary remedy.He sought to imitate David and adorn himself with his beauty..." @default.
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• W4285245060 date "2022-01-01" @default.
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• W4285245060 title "Syrian Hymnography" @default.
• W4285245060 doi "https://doi.org/10.1353/atp.2022.0004" @default.
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