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THE OLDEST IADGARI The Jerusalem Tropologion 4th to 8th centuries

In 1980 there appeared a landmark in liturgical scholarship and documentation, a critical edition of the Oldest Iadgari1, that is, the Georgian Tropologion, with all the poetical texts for the Liturgical Year in Jerusalem, many of which can be shown to be earlier than the year 614, in a magnificent and luxurious critical edition which occupies pp. 7-556, followed by extensive indices of troparia in Georgian, those with known Greek parallels, biblical texts, etc. (pp. 557-656) and completed by a series of codicological and liturgiological articles by three eminent Georgian authors (pp. 657919). At the end of the book are found rsums in Russian (pp. 922-929) and French (pp. 930-939) and a table of contents (pp. 940-942). The impact of this publication in the following years has been limited, despite the work of a small number of specialists, largely because of the impenetrable linguistic barrier. Georgian scholars usually publish only in Georgian, and this proto-Caucasian language represents a formidable challenge even to quite capable linguists. The purpose of the present study is thus to give an extended account of this important publication in the hope that more scholars will be inspired to learn Old and Modern Georgian. The exceptional interest of the material now available will be seen from the table of contents, which offers a very precise account of the test edited and the articles which follow. The calendar presented is of great interest? The stational rubics in the texts and the absence of a feast of St. Saba make it clear that the rite is that of the city of Jerusalem and not that of the Georgian monks at the St. Saba monastery or on Sinai. Here now is a translation of the Index (p. 940): Foreword (by E. Metreveli) Text March 25th Annunciation2 December 25th Nativity December 26th David and Jacob December 27th St. Stephen December 28th SS. Peter and Paul3 December 29th SS. James the Apostle and John the Evangelist January 1st 4 January 6th Epiphany January 7th St. Abo
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5 7 11 22 24 27 29 30 37 37

Metreveli, E., Chankievi, Ts., Khevsuriani, L., AA. and Edd., Udzvelesi Iadgari (Dzveli Kartuli Mtserlobis Dzeglebi II), (Tbilisi: Metsniereba, 1980), in 4, 942 pp. 2 The position of the Annunciation, seemingly out of chronological order, immediately before Christmas, is evidence of the pre-Justinian level of the Georgian Jerusalem calendar. 3 The June feast of Peter and Paul was introduced, on the basis of practice in the Roman church, by Anastasios and Justin. The Oldest Iadgari has both dates. 4 Cf. Van Esbroeck, Les plus anciens homliaires gorgiens, p. 335 (full bibliographical details of works referred to in the notes will be found in the bibliography at the end of this work). This is the feast of the Bishops of Jerusalem.

Easter5 of the Epiphany January 17th St. Anthony January 28th The Fathers January 29th Apparition of the Cross6 February 2nd The Meeting7 Removal of Meat8 Removal of Cheese9 1st Saturday10 of St. Theodore 2nd Sunday 3rd Sunday 4th Sunday 4th Saturday: The 40 Martyrs11 5th Sunday 6th Sunday 6th Saturday of Lazarus Palm Sunday Easter New Sunday 2nd Saturday of Easter: of the Paralytic Thursday of the 3rd of Easter: of the Infant Children12 23rd April St. George13 7th May Apparition of the Cross14 6th Thursday Ascension 6th Saturday Healing of the Blind Man 7th Sunday Pentecost 25th June Nativity of John15 26th June St. Febronia16 Atenagenay of the Apostles17 6th August Transfiguration
5 6

60 75 79 85 86 99 100 107 115 123 130 137 145 153 160 165 216 220 227 229 233 235 237 243 245 251 255 255 260

i.e. Sunday (after). th th January 29 is the Feast of the Apparition of the Cross to Constantine; May 7 is the Feast of the th Apparition of the Cross to Constantius, and September 14 is the Feast of the Elevation of the Cross. 7 I.e. the Feast known as Candlemas in the Latin church. 8 I.e. Meatfare Sunday. 9 I.e. Cheesefare Sunday. 10 I.e. of Great Lent. 11 I.e. of Sebaste. 12 This Feast of the Holy Innocents is surely that celebrated by Egeria, who went to Bethlehem in May. See Paul Devos, La date du voyage dEgrie in Analecta Bollandiana 85 (Bruxelles, 1967) pp. 165-194, especially p. 180 where Bethlehem is mentioned, although only in passing, and the visit is regrettably not exploited for the authors chronological thesis to date the visit as having taken place in the year 384. 13 rd St. George occurs both on 23 April and on 3rd November. 14 See note 6 above. 15 John the Baptist. This is a post-Justinian feast (i.e., after 550). The title in the Iadgari adds berdzulad ( la grecque). 16 From Mesopotamia. 17 th In the text, the title reads: 7 Sunday of Pentecost. The Apostles; Atenagenay. Cf. Van Esbroeck, Les plus anciens homliaires, p. 332.

15th August Mariamobay 29th June Peter and Paul18 15th July St. Kyriak19 26th July St. Thekla20 29th July Beheading of St. John [the Baptist] 8th September Nativity of the Mother of God 13th September Egkania21 14th September Elevation of the Cross22 24th September St. Thekla23 27th September The Silence of Zachariah24 28th September St. Chariton25 3rd November St. George26 14th November The Archangels The Dead and graduals27 Dasadebelni (troparia) of the Resurrection Dasadebelni (troparia) of penance Dasadebelni of the Fallen Asleep Supplement I Supplement II FOR THE TEXT INDICES Troparia Heirmoi: Georgian-Greek Troparia: Georgian-Greek Psalms STUDIES Overview of the Literature (Lili Khevsuriani) The Jerusalem Lectionary and the Oldest Iadgari (Elene Metreveli) Manuscripts and Editions of the Jerusalem Lectionary (Elene Metreveli) The Khanmeti Lectionary (Elene Metreveli) An Account of the Khanmeti Lectionary and the Kanon (Elene Metreveli)
18 19

266 275 275 275 275 283 287 298 315 316 318 318 321 327 334366 367 513 525 529 540 557 563 643 644 651 657 662 663 664 672

This is a post-Justinian date. Cf. note 3 above. Only the reference is given, without hymnography. 20 th As in note 19 above. This date is given only in the MS A (see below); the other MSS have 24 September. 21 Enkeniay = Dedication (of the Church of the Anastasis by Constantine). 22 See note 6 above. 23 See note 20 above. 24 We find the first mention of the inauguration of this Feast in the Homily by St. John Chrysostom on Christmas in which he justifies the new Feast of Christmas, cf. PG 49, 351-362. 25 See note 19 above. 26 See note 13 above. 27 (Ibakoni da cardgomani). These are given for all the major feasts (Annunciation, Nativity etc.), including Lampronay, Sunday of the Lamps (= before Lazarus), and also for penitence, Litani (processions) and qrmatani (children), i.e. the three of Babylon in the burning fiery furnace.

Detailed Analysis of Each of the Oldest Iadgaris (Elene Metreveli) The Principal Copies of the Oldest Iadgari (Lili Khevsuriani) The Constituent Parts of the Oldest Iadgari (Lili Khevsuriani) The Calendar of the Oldest Iadgari (Lili Khevsuriani) The Principal Structures of the Parts of the Year in the Oldest Iadgari (idem) Certain Feasts in the Oldest Iadgari (Lili Khevsuriani) The Lenten Cycle in the Oldest Iadgari (Lili Khevsuriani) Passion Week in the Oldest Iadgari (Lili Khevsuriani) Easter in the Oldest Iadgari (Lili Khevsuriani) Minor Festal Periods in the Oldest Iadgari (Lili Khevsuriani) The Versatile Nature of the Oldest Iadgari (Elene Metreveli) The Poetic Stratum of the Lectionary in the Oldest Iadgari (Elene Metreveli) The Greek Models of the Poetic Lectionary Troparia in the Oldest Iadgari (idem) Concerning the Dating of the Lectionary Poetic Stratum of the Oldest Iadgari (id.) The Troparia of Midday and the Mesonyktikon of Friday of the Passion (idem) The Stichira of the Oldest Iadgari (Elene Metreveli) The Kanon of the Annual Cycle in the Oldest Iadgari (Elene Metreveli) Skhwani28 Hymns in the Oldest Iadgari (Elene Metreveli) The Akolouthia of the Heirmei in the Iadgari (Elene Metreveli) The 2nd Ode in the Kanon of the Oldest Iadgari (Elene Metreveli) The 9th Ode in the Oldest Iadgari (Elene Metreveli) The MS A Stratum Feasts in the Oldest Iadgari (Elene Metreveli) The Hymnography for Abo (Elene Metreveli) Hymnography for the Resurrection in the Old Redaction (Tsatsa Chankievi) MSS of Resurrection Hymnography (Tsatsa Chankievi) The Relation of the Resurrection Hymnography with the Hymnography of the Oldest Iadgari (Tsatsa Chankievi) The Resurrection Hymnography of the Parchment-Papyrus Iadgari (idem) The Composition of the Hymnography (Tsatsa Chankievi) Psalmic Hymnography (Tsatsa Chankievi) Material Dedicated to the Mother of God (Tsatsa Chankievi) Georgian Troparia Corresponding to Greek Heirmoi (Tsatsa Chankievi) Resurrection Hymnographical Material in the Liturgical Manuals (idem) Liturgical Indications in the Resurrection Hymnography (idem) Troparia of Penance (Lili Khevsuriani) Abbreviations Used for Bibliography Codes Rsum in Russian Rsum in French

684 691 706 721 741 747 757 771 779 785 789 793 798 808

818 820 828 844 851 856 858 862 866 869913 870 Other 873 881 885 888 892 905 908 911 913 920 921 922 930

28

Skhwani = others, , or alternative series of hymnography.

After this impressive list of contents, it is clear that a brief study such as this can do little more than describe certain sections of the Iadgari and summarise their content. We shall direct our attention principally to the text edited all 549 pages of it after a summary of the foreword. Our treatment of the indices and articles that follow, tempting as they may be after reading their titles, must regrettably be brief in the extreme. *** In the Foreword (pp. 5-6), Elene Metreveli points out the key role of the Georgian literary centres in Palestine from the 5th-8th centuries, during which period the Jerusalem rite was in use in Georgia. In Georgian we possess four liturgical books of the Jerusalem rite from this pre-Byzantine period: (1) the Jerusalem Lectionary; (2) the Liturgy of St. James; (3) the Mravaltavi or Collection of Homilies, and (4) the hymnographical material the Iadgari or Tropologion.29 From the 10th century onwards there was a gradual Constantinopolitisation, as a result of which these books fell out of use indeed, their Greek original were lost, and the survive only in Georgian. Only a small portion of this material survived in the later Greek books, and this fact highlights the importance of these Georgian texts. The Iadgari is the first ever collection of liturgical hymnography since it coincides with the first period of hymnographical development. It is based on the Lectionary or the Great Kanon, from which it developed parallel to the development of hymnography. It therefore has various strata (Georgian: pena), and shows us the history of Georgian, and therefore Greek, hymnography from the 5th-9th centuries. Formerly only one MS of the Oldest Iadgari was know the ParchmentPapyrus MS30. Subsequent, Sin. 18, Sin. 41 and Sin. 40, all 10th century MSS, have come to light31. Parts of the Iadgari are also contained in Sin. 34, 26, 20 and 54. These MSS in combination not only enable us to restore lost or illegible or misplaced parts of the Parchment-Papyrus Iadgari, but they also help us to understand its structure, formation and development. A particular problem was sorting out the chronology of the composition of the 10th century Iadgari. The criterion must be the development of poetic forms. However, the relation of pre-Byzantine hymnography with early Byzantine hymnography still requires detailed investigation. E. Metreveli states that the present study cannot claim to be exhaustive; it is intended to give a complete reconstruction of the Oldest Iadgari and to present it without falsification, explaining the various strata. Elene Metreveli and Lili Khevsuriani edited the annual cycle part of the Oldest Iadgari from 4 MSS with corresponding studies. Lili Khevsuriani compiled the index of troparia in this part and
29

As Stig Symeon Fryshovs still unpublished thesis on Geo. Sin. 35 has shown, we also possess the Book of Hours or Horologion (see Bibliography). 30 Ed. Akaki Shanidze (Tbilisi: 1977). This MS has the unusual feature of being composed of parchment and papyrus bound together. 31 Descriptions can be found in the remarkable, if imperfect, pioneering catalogue: E. Metreveli, Ts. Chankievi, L. Khevsuriani, L. Jghamai, Kartul Khelnatserta Aghtseriloba, Sinuri Kolektsia (Tbilisi, Metsniereba: 1978, vol. 1: 248 pp. and 1979, vol. 2: 332 pp.). This highly detailed work describes all the Georgian Sinai MSS, providing a most detailed analysis, folio by folio, with incipita and cross-references. In general, only 1-4 folia are dealt with per page; nevertheless, the authors have not always correctly identified the contents.

took the responsibility for organising the general technical details. The second part of the Iadgari (Resurrection troparia) was editedfrom 7 MSS by Tsatsa Chankievi, who also compiled an index of troparia for this part and wrote an accompanying study. *** We shall now examine the critical edition of the Iadgari itself. The text in this edition is remarkably clear: three different type-faces are used to make it quite clear from which MS the troparion or section thereof is taken; the folio numbers are given in the margin, and the presentation is pleasant and easy to read. At times the critical apparatus is very extensive (e.g., p. 118 and p. 191, each of which has fourteen lines of critical apparatus). As our first example we shall take the Iadgari material for the Feast of Christmas (pp. 11-22). 25 OF THE MONTH OF DECEMBER NATIVITY OF OUR LORD JESUS CHRIST One enters at the time of evening of the day before; they will perform the kwereksi32, and the prayer, and say: Ibakoy33 tone 4 plagal. (there follows the full text). Stichos.34 (Ps. 66:7). Ibakoy35 (full text). And they say the prokeimenon tone 2 (Ps. 22:1)36 Stichos (Ps. 22:2). Aleluay37 (Ps. 79:2). Verses38 to Lord I have cried39 tone 4 plagal.
32

The term kwereksi is absent from the dictionaries, and is not to be found in Helmut Leeb, Die Gesnge im Gemeindegottesdienst von Jerusalem, nor in Protoierey Korneliy Kekelidze, Liturgicheskie gruzinskie pamyatniki. The word suggests a Greek origin, no doubt , proclamation by a herald or preaching. It is probably a diaconal admonition or a litany, as a parallel development to the East Syrian krzth (litany or diaconal procalamation), cf. Juan Mateos, Lelya-Sapra p. 489; the word is connected semantically to the Christian Arabic liturgical verb karraza (to bless or consecrate). Good examples (in English translation) of the krzth in the Maronite rite may be found in The Maronite Liturgical Year, vol. I (Diocese of St. Maron, USA: 1982), pp. 231-239, and vol. II, pp. 273-278 ( = Appendix I). Such litanies would fit very well into the context of the kwereksi as the initial element for this prelude to the vigil vespers which really start after the Alleluia. 33 Leeb, Die Gesnge, pp. 197 ff., goes to great lengths to reach no conclusion about the difference between an ibakoy and an okhitay. Ibakoy is clearly from the Greek , see note 27 above. There is no difference in form between these and other troparia. 34 Dasadebeli. This word is also difficult to translate. A vague equivalent such as verse might be best. Sometimes it is a psalm-verse, which, in turn, is sometimes in relation with a psalmuni (see note 36), and sometimes not. In these cases I have translated it as , following current Greek usage. On other occasions, such as the dasadebelni of the Resurrection, we have yet another designation for a troparion, which is the translation I have preferred there. 35 Here the title is supplied from the Lectionary. 36 Prokeimenon is the translation I have chosen for psalmuni, which is always a psalm-verse, often in relation with a dasadebeli (note 34) but sometimes alone; Kekelidze regularly translates psalmuni as prokimen. 37 Alleluia, also aleluay, aleluay, aleluay at the end of the following first verse of the series. The Alleluia texts are always psalm-verses.

4 Verses. The first ends in the remarkable phrase: O Christ our God, and we say, Alleluia, alleluia, alleluia. The third contains phrases familiar in the Byzantine liturgy of today: Sun of justiceO life-giving Lord, glory to you!. Skhwani40 (3 Verses).41 Prokeimenon of the Sacrifice42; tone 1 plagal (Ps. 2:7). Stichos (Ps. 2:8). Perform the okhitay [given] above. For the Washing of Hands43 (one poetic text)44. E 45 tone 2 (one poetic text)46. From midnight onwards47 they begin to read the readings48 and they say these Verses49: Tone 2 (text of the first dasadebeli)50 Prokeimenon (Ps. 44:1) 2nd dasadebeli tone 451 Prokeimenon (Ps. 46:2). 3rd dasadebeli52 Prokeimenon (Ps. 49:1) 4th dasadebeli53
38

Dasadebelni, or troparia, intercalated between verses of Ps. 140 (at least this psalm and maybe others), as in present-day Byzantine practice. 39 Oupalo ghaghatqavsa = : the opening words of Ps. 140, the classic Vespers Psalm (on account of v. 2). We know from Egeria that this was the Vespers psalm at Jerusalem; here we see it could be sung in a series of eight tones, with poetic verses intercalated between the last verses of the psalm, or of those following it if others were added, as in present-day Byzantine usage. 40 See note 28 above. 41 The prelude to vespers lasted until the Alleluia. Vespers is represented by Ps. 140 and its poetic material, and certainly the Hymn of the Lucernarium . What follows is a series of texts for the vigil evening Eucharist. 42 Zhamistsirva the (eucharistic) sacrifice. 43 Qheltabanisay: a regular poetic component in the Jerusalem Eucharistic Liturgy. 44 rd This text is now found as the 3 apostichon of Christmas vespers (tone 3) as (the only one thus designated): To K I . MR II p. 660; however, see note 50 below. 45 The term sitsmidisay refers to a hymn sung during the transfer of the Gifts before the Anaphora. This is absolutely certain from a description found in Sin. Geo. 89, quoted in Robert F. Taft, The Great Entrance, p. 72. Taft, op. cit., gives a full account of this term in the Georgian Jerusalem rite in pp. 71-75, considerably clarifying the less convincing version given in Leeb, Die Gesnge, pp. 113-115. The Greek term for sitsmidisay is . Taft, op. cit., makes it clear that Jerusalem texts for the Eucharistic Liturgy having a qheltabanisay + sitsmidisay are earlier than the ninth century (p. 73). 46 th This text equals almost exactly the 4 verse (tone 2!) now sung at on vespers of (the th rd Eve) of 26 December, which is the Synaxis of the Mother of God. The text is the 3 : T , X; MR II p. 676. 47 This marks the end of the Vigil Evening Eucharist and the beginning of the Midnight Vigil. 48 Cf. the Lectionary: 12 readings, interspersed with troparia and prokeimena, which are selected from psalms in the order they are found in the psalter. 49 Dasadebelni. 50 nd This is practically identical with the 2 Verse (tone 2!) from the same series mentioned in note 46, the first ; MR II p. 676; it is, however, identical with the text referred to in note 44. 51 st The text is extremely close to the 1 text now at Lauds (tone 4!) on Christmas morning: E , MR II 671, where it is attributed: (but note Elene Metrevelis observations in her articles pp. 793ff. concerning attributions in modern liturgical books often indicating the name not of authors but of compilers of much earlier material). 52 The Iadgari assigns no tone to this text. 53 See note 52.

Prokeimenon (Ps. 66:2). 5th dasadebeli, tone 1 plagal Prokeimenon (Ps. 71:1). 6th dasadebeli, tone 4 plagal Prokeimenon (Ps. 84:2) 7th dasadebeli, tone 4 plagal Prokeimenon (Ps. 86:1) 8th dasadebeli, tone 3 plagal Prokeimenon (Ps. 88:2) 9th dasadebeli54 Prokeimenon (Ps. 109:1) 10th dasadebeli, tone 2 Prokeimenon (Ps. 117:1) 11th dasadebeli, also tone 255 Prokeimenon (Ps. 131:1) Prokeimenon (Ps. 131:8)56 Stichos57 (Ps. 131:1). And they will read the Gospel [ K A N O N ]58 Ode 1, tone 4 plagal (4 troparia + 1 theotokion) Ode 2 (3 troparia; no theotokion) Ode 3 (4 troparia + 1 theotokion) Ode 4 (4 troparia + 1 theotokion) Ode 5 (3 troparia + 1 theotokion) Ode 6 (4 troparia + 1 theotokion) Ode 7 (3 troparia + 1 theotokion) + skhwani59 (2 troparia; no theotokion) + skhwani (3 troparia; no theotokion) Ode 8 (3 troparia; no theotokion) + skhwani (3 troparia; no theotokion) + skhwani (3 troparia; no theotokion) Ode 9 (3 troparia + 1 theotokion) + skhwani (3 troparia + 1 theotokion)60
54 55

See note 52. This is the last of the troparia which were intercalated between the twelve reading, accompanied by prokeimena. It is interesting to note that the texts of the Vigil Eucharist and the first two troparia of the Midnight Vigil seem to have found their way into the present-day offices, whereas the following troparia (many of which are of outstanding beauty) have been unread for a thousand years. 56 This is the Prokeimenon of the Gospel, with its Verse (dasadebeli!). 57 See note 56. 58 This title is not found in the Iadgari, but the 9 Odes are found in series with their titles. Ode 2, omitted outside penitential seasons in todays books, is here found in full. The Kanon does not correspond at all to that at present in use, although the biblical themes of the 9 Odes do. The surprising occasional presence of skhwani cannot be attributed to the assimilation of an originally larger number of odes as their themes follow the ode in which they are placed. Many but by no means all the odes have a theotokion as their final troparion. The odes contain between 3 and 5 troparia, sometimes plus a theotokion. 59 See note 28.

Lauds61 (8 brief troparia) + skhwani (3 long troparia) + skhwani (4 long troparia) + skhwani (2 long troparia) Okhitay, tone 162 Prokeimenon, tone 2 (Ps. 2:7 (MS. B]; Ps. 22:1 [MS. C])63 Stichos (Ps. 22:2 [MS. C] Alleluia, tone 4 (Ps. 109:3 [MS. A]; Ps. 109:164 [MSS. BC]). For the Washing of Hands65 E 66. __________________________ Summary The Iadgari Christmas celebrations are thus the following: 1. Pre-Vespers a. Kwereksi b. Prayer c. I + Stichos d. II e. Prokeimenon + Stichos [f. Reading] g. Alleluia + psalm-verse [h. Gospel.] 2. Vespers a. Ps. 140 + troparia [b. ] 3. Vigil Eucharist a. Prokeimenon + Stichos [b. Reading] c. okhitay [d. Gospel?] e. Lavabo
60

As the 9 Ode is based on the Magnificat, all the troparia could fairly be considered to be theotokia in character. 61 Akebditsa = Ad Laudate. These are the , which are still today the last part of the psalmody of Mattins: Psalms 148, 149 and 150, with troparia intercalated between the last verses. In all, we have a grand total of 17 troparia in this oldest of poetic anthologies for the liturgy, which seems in contrast with the modern theory that shorter or fewer necessarily means older. However, the skhwani were probably from other anthologies, not necessarily intended to be sung in addition to all the others. In the presentday service there are only 6 troparia at this point. None of the troparia found in the Iadgari is a theotokion, but the okhitay that follows them and introduces the Eucharistic Liturgy is a particularly impressive theotokion. 62 This panegyric to the Mother of God begins the texts for the day Eucharist of the Feast. 63 The variant between the two MSS may be owing to the fact that both texts begin Owpalman m-. 64 The Lord said to my Lord: Sit. 65 The same text as in the Vigil Eucharist, see notes 43 and 44. 66 Sitsmidis shemoqvanebisay: literally, Ad introductionem sanctorum. This is a variant of the title sitsmidisay, see note 45. The text is the same as that at the Vigil Eucharist, see note 46.

th

f. Transfer of Gifts with sitsmidisay [g. Anaphora] [h. Communion] 4. Midnight Vigil a. 12 readings interspersed with troparia and prokeimena. b. Prokeimenon + stichos c. Gospel d. The Kanon: 9 Odes with troparia for each. e. Lauds with (many?) troparia. 5. Day Eucharist a. Okhitay b. Prokeimenon + stichos [c. Reading] d. Alleluia [e. Gospel] f. Lavabo g. Transfer of gifts with sitsmidisay [h. Anaphora] [i. Communion]. ________________________ After this brief account of Christmas, let us now examine what the Iadgari offers from Palm Sunday until Easter (pp. 165-219). ________________________ PALM SUNDAY [Vespers]67 , tone 1 (6 troparia) Skhwani, tone 4 (2 troparia) [Mattins] [Kanon]68 Ode 1 (4 troparia) + skhwani (2 troparia) Ode 2 (6 troparia) + skhwani (3 troparia) Ode 3 (3 troparia) + skhwani (2 troparia) Ode 4 (2 troparia + 1 theotokion) + skhwani (3 troparia) Ode 5 (3 troparia) + skhwani (2 troparia) Ode 6 (2 troparia) + skhwani (3 troparia) Ode 7 (4 troparia) + skhwani (3 troparia + 1 triadikon) Ode 8 (3 troparia) + skhwani (3 very long troparia beginning dghes = today) Ode 9 (2 troparia + 1 theotokion) + skhwani (3 troparia) Prokeimenon before the Gospel, tone 4 (very long: Ps. 85:8-9). Stichos (Ps. 95:12-13)
67 68

Texts in square brackets are not found in the text of the Iadgari. This is not the one in use nowadays. Note all 9 odes, including ode 2, the many skhwani and the very few theotokia.

Lauds (6 troparia) + skhwani (3 troparia) ____________________________ And for the Litani69 they go out and say the following ibakoni Tone 1 2nd, tone 2 Skhway (a long text) Tone 4 Skhway [sic] (3 troparia) [EUCHARIST]70 Okhitay, tone 171 Prokeimenon (Ps. 97:8) Stichos (Ps. 97:1) Alleluia, tone 1 plagal (Ps. 8:2-3) For the Washing of Hands, tone 1 E , tone 2 plagal _________________________________ VESPERS , tone 1 plagal (4 troparia) Okhitay tone 172 Prokeimenon, tone 3 plagal (Ps. 71:18-19) Stichos Summary PALM SUNDAY 1. Vespers a. Ps. 140 + troparia [b. ] 2. Mattins a. Kanon: 9 Odes, all with b. Prokeimenon with Stichos c. Gospel73 e. Lauds + troparia. 3. Procession with 7 ibakoni 4. Eucharist a. Okhitay T
69 70

i.e., procession. Cf. note 67. 71 Up to this point it has been remarkable that no text could be found to correspond with the rite at present in use. However, here we have the well-known troparion or Apolytikion (tone 1!) of Palm Sunday, attributed in the contemporary books to Saint Andrew of Jerusalem: T TR p. 605. 72 Not the same as in note 71. 73 This is certain, since the preceding Prokeimenon is called: the Prokeimenon before the Gospel.

b. Prokeimenon + stichos [c. Reading] d. Alleluia [e. Gospel] f. Lavabo g. Transfer of gifts with sitsmidisay [h. Anaphora] [i. Communion]. 5. Vespers a. Ps. 140 + troparia [b. ] c. Okhitay74 d. Prokeimenon + stichos ___________________________ [MATTINS] [KANON]75 Ode 1, tone 1 plagal (5 troparia) tone 1 (4 troparia) Ode 8, tone 1 (4 troparia) Ode 9 (3 troparia) Lauds, tone 3 plagal (4 troparia) [VESPERS] , tone 1 (5 troparia) Okhitay, tone 1 plagal Prokeimenon, tone 4 plagal (Ps. 64:6) Stichos (Ps. 64:2-4). ______________________________ 7th [GREAT] TUESDAY [MATTINS] [KANON] Ode 2, tone 2 plagal (5 troparia) skhwani (4 troparia) Ode 8, tone 2 (3 troparia) Ode 9 (4 troparia)
74 75

7th [GREAT] MONDAY

See note 72. Here we see a Tridion phenomenon of great interest: On Monday we find Odes 1,8,9. Tuesday Odes 2,8,9. Wednesday Odes 3,8,9. Thursday Odes 4,8,9. Friday Odes 5,8,9. Saturday Odes 6,7,8,9. Sunday Odes 1,2,3,4,5,6,7,8,9.

Lauds, tone 3 plagal (4 troparia) [VESPERS] , tone 3 plagal (3 troparia) Okhitay, tone 3 plagal Prokeimenon (Ps. 24:1-2) Stichos (Ps. 24:2-4). ______________________________ 7th [GREAT] WEDNESDAY [MATTINS] [KANON] Ode 3, tone 1 (5 troparia) Ode 8, (3 troparia) Ode 9 (4 troparia) Lauds, tone 3 (3 troparia, concerning betrayal and Judas) [VESPERS] , tone 3 (3 troparia) Okhitay, tone 1 (long text) Prokeimenon (Ps. 40:7-8) Stichos (Ps. 40:2-3). ______________________________ 7th [GREAT] THURSDAY [MATTINS] [KANON] Ode 4, tone 3 plagal (4 troparia) Ode 8, tone 3 (4 troparia) Ode 9 (4 troparia) Lauds, tone 3 plagal (3 long troparia, beginning dghes = today) [VESPERS] , tone 3 plagal (3 troparia)76 Skhwani, tone 2 plagal (5 troparia) Prokeimenon (Ps. 54:22) Stichos (Ps. 54:2-3). SACRIFICE77 Okhitay tone 4 plagal Prokeimenon (Ps. 22:5) Stichos (Ps. 22:1-3) They do not say the Alleluia and Peace to all78 At the Washing of Hands, tone 1 E , tone 179
76

The first of these begins poignantly: Him who arrays himself with light as with a garment, today. This figure is often used in the troparia to Ps. 140, showing its function as a lucernarium. 77 See note 42. 78 Both of which precede the Gospel.

Ganitsadeni80, tone 1 plagal Skhway, tone 2 Skhway, tone 3 plagal They say for the washing of feet: Gradual81, tone 2 plagal Stichos (Ps. 40:10) After the communion82 they say the same prokeimenon83 and they read the Gospel of the Washing of the Feet. Prokeimenon: (Ps. 22:5)84 Stichos (Ps. 22:1). And they read the Gospel. Ibakoy (very long text) While you wash your hands, say: (3 short Trinitarian formul). MESONYKTIK85 [1st dasadebeli]86 tone 1 plagal (Ps. 2:2) Prokeimenon (Ps. 2:1) Ibakoy
79

The Lamb of God, who takes away the sins of the world, today is sacrificed we say: You are holy, you are holy, you are holy, o Lord: glory to you!. 80 Hymns for the communion of the people (cf. Leeb, Die Gesnge, pp. 128-129). The word ganitsadey is derived from the classic Palestinian communion text, Ps. 37:9, Taste and see that the Lord is good. There are three texts given here, and this may be because of the large numbers of communicants this day, cf. Egeria, quoted in Leeb (supra). Few feasts have proper ganitsadeni, and it could appear that the communion was usually accompanied simply by Ps. 37, maybe sung responsorially with v. 9 as the refrain (cf. Leeb, loc. cit.). 81 Tsardgomay: gradual or station. This is another kind of troparion, but the name implies its accompanying a procession. It appears likely that the procession here is that of the Holy Gifts remaining after the Communion. The whole structure here is very problematic unless we see this text as replacing an ordinary element in the post-communion rites. See note 82. 82 This is the second mention of the Communion in the same Eucharist, according to our interpretation, i.e.: ganitsadey (communion song), and ziarebi, which appears here to mean the whole of the communion rite, including the post-communion rites, into which the Gradual was inserted. This view implies the following structure: 1. Ganitsadeni: at the communion. 2. Post-communion rites in which certain elements have been replaced by the special gradual and Stichos, and then: 3. The beginning of the Rite of the Washing of the Feet: a. Prokeimenon + Stichos as before the Gospel of the Eucharist. b. The Gospel of the Washing of the Feet c. The Rite of the Washing of the Feet accompanied by the ibakoy d. Hand-ablution rites (3 texts). 83 The same Prokeimenon, i.e., that at the Liturgy, see note 82. 84 See note 83. 85 Shwaghamisani. 86 We find the pattern dasadebeli-psalmuni here; this is the opposite of what we have seen before. At this point the same dasadebeli is supplied from the following occurrences. I have preferred to leave the Georgian term dasadebeli in transliteration rather than confuse the issue by using the work Stichos: only dasadebelni 1 and 2 are psalm-verses and the others are poetic troparia. The pattern is repeated 7 times: dasadebeli, psalmuni, [reading, see note 90], ibakoy I, ibakoy II. The texts refer especially to the washing of feet, the treachery of Judas, the trial, etc.

Another ibakoy87 [This unit 7 times, with variety of texts and tones]88 When you have finished all of the dawn office89, and when you have read the Gospel90, you will say, tone 2 [1 text] Prokeimenon (Ps. 21:2) It is recited in its entirety91 The Gradual92 is recited Prokeimenon (Ps. 40:10)93 Ibakoy, tone 2 And if you wish, say also As a lamb94 and By the might95. They will read the Gospel96 and say the ibakoy, tone 3. _______________________________ Summary of Great Thursday 1. MATTINS a. Odes 4,8,9 (4 troparia each) b. Lauds (3 troparia). 2. VESPERS a. Ps. 140 (3+5 troparia) [b. ] c. Prokeimenon + Stichos. 3. EVENING EUCHARIST a. okhitay b. Prokeimenon + stikhon c. [Reading;] no Alleluia
87 88

Skhway ibakoy. In units 2-5 the fourth text is simply called skhway; in the sixth unit we find dasadebeli, prokeimenon, ibakoy, ibakoy 2, skhway, and in the seventh the fourth text is called ibakoy. 89 Tsiskrisay, the dawn office. This is commonly used for Mattins, although here we are in a midnight vigil, and the office for the next day offers us Mattins with Odes, etc. 90 This indication suggests that here was the first Gospel reading at this Midnight Vigil, and the preceding 7 readings which we are presuming followed the prokeimenon would then have been other scriptural texts. We shall see below that there were 12 Gospel readings at Mattins on Great (Good) Friday, as in the present-day Byzantine rite. However, in the present-day Armenian rite, which is heavily influenced by the Jerusalem rite, especially in the conservative Great Week services, there are seven Gospel readings at nocturns in the night between Great Thursday and Great Friday. It is possible, but rather unlikely, that there was a midnight vigil with 7 Gospels of the Passion followed at dawn by mattins with 12 Gospels of the Passion. The Iadgari does not give sufficient information to settle this question. See note 99, which complicates rather than resolves the question. 91 I.e., the whole of Ps. 21with v. 2 as the response. This text shows that at the time this rubric was written other Prokeimenon-psalms were no longer being recited in their entirety, as in modern usage. 92 See note 81 above. The procession or entry may have been to another part of the church, to Golgotha, for example. 93 MSS BC give 93:21. 94 nd The 2 ibakoy of the 7th unit referred to in note 88. 95 st The 1 ibakoy of the 7th unit. 96 The second (or ninth) Gospel of the service, as a stational office, see note 92, for tsardgomay. The variable duration of the procession may explain the option for 1-3 ibakoni.

[d. Gospel] e. Lavabo f. Transfer of Gifts with sitsmidisay [g. Anaphora] h. Communion (3 ganicadeni) 3a. POST-COMMUNION WITH THE RITE OF WASHING OF FEET a. Post-communion with special Gradual + stichos. b. Prokeimenon [+ Stichos] = (b) at the Eucharist c. Gospel d. Washing of Feet with ibakoy e. Hand-ablutions (3 texts). 4. MIDNIGHT VIGIL a. { dasadebeli + prokeimenon [ + reading ] + 2 or 3 ibakoni } (this unit 7 times) b. Gospel 4a. STATIONAL OFFICE a. Hymn b. Prokeimenon (entire psalm) c. Gradual d. Prokeimenon e. Ibakoy (1,2 or 3) f. Gospel g. Ibakoy _________________________ GREAT FRIDAY MATTINS Ode 5, tone 2 (3 troparia) Ode 8, tone 1 plagal (4 troparia) Ode 9 (5 troparia; the first and last are theotokia). Exaposteilarion97tone 2 plagal Stichos (Ps. 93:21-22) Lauds, tone 1 plagal (9 troparia)98 AT MIDDAY ON FRIDAY they say: First dasadebeli, tone 2 plagal99
97 98

Gamoavliney. Leeb appears not to have discussed this term. th The 6 troparion is close to the first part of the first text of todays Great Friday Mattins at Antiphon 10 (tone 2 plagal): . TR p. 670. 99 st th This is the first half of the celebrated 1 text of the 15 Antiphon at Great Friday Mattins today, which is so solemnly sung by the Greeks and by the Antiochene Orthodox, who identify the entire office with it by antonomasia. The tone is the same. TR p. 673 . The phrase N is lacking, but the conclusion is the same: ( = at None, TR p. 699). The pattern (dasadebeli + prokeimenon) occurs 12 times. In the present-day Mattins service, 12 Gospels of the Passion are read, so it seems very likely that there was a Gospel reading after each prokeimenon (of which there is sometimes a second in each unit, having a Stichos called dasadebeli).

Prokeimenon (Ps. 1:1)100 2nd dasadebeli, tone 4 plagal101 Prokeimenon (Ps. 2:1) 3rd dasadebeli, tone 4 plagal102 Prokeimenon (Ps. 3:2) 4th dasadebeli, tone 4 plagal103 Prokeimenon (Ps. 4:2) 5th dasadebeli, tone 4 plagal104 Prokeimenon (Ps. 5:2) And they say the prokeimenon tone 4 plagal (Ps. 34:11) Stichos (Ps. 34:1-3) 6th dasadebeli tone 4 plagal105 Prokeimenon (Ps. 6:2) And they say the prokeimenon (Ps. 40:7) Stichos (Ps. 40:2-3) 7th dasadebeli tone 3 plagal106 Prokeimenon (Ps. 7:2) And they say the prokeimenon (Ps. 21:19) Stichos (Ps. 21:2-3) 8th dasadebeli tone 2107 Prokeimenon (Ps. 8:2) And they say the prokeimenon (Ps. 30:6) Stichos (Ps. 30:2) 9th dasadebeli, tone 4 plagal108 Prokeimenon (Ps. 9:2) And they say the prokeimenon (Ps. 37:18)
Agaist this is the current practice of the Armenian Church, mentioned above in note 90, and the fact that th after the prokeimenon and Stichos of the 9 unit in the Iadgari we find (in MSS BC) the indication and they will read the Gospel. This suggests that Gospels were not read after the other prokeimena, but other scriptural texts, although it would be more than a little strange for non-Gospel readings to follow a Gospel reading. th The coincidence that the 9 of the 12 prayers recited secretly by the priest at the beginning of Mattins nowadays is that of preparation for the Gospel would seem to be irrelevant to this context since this list of prayers derives from the Asmatikos rite of the Great Church of Constantinople and not from Jerusalem. 100 These prokeimena follow the psalter in continuous order. 101 This text, with the same tone, is now the second of the Stichera idiomela at Prime: TR p. 683. 102 This text is a variant of todays Great Friday matins Antiphon 12 (tone 4 plagal), T . TR p. 671 = the first of the idiomela of Sext, TR p. 692. 103 This is now the first of the idiomela (tone 4 plagal) at todays Great Friday Terce: o. TR p. 689. 104 This is now the (same tone) at Great Friday Prime: To . TR p. 683. 105 This is now the second of the idiomela (same tone) at Sext: TR p. 693 = th the third text of the 12 Antiphon at Mattins (same tone), TR p. 671. 106 Now the first of at Great Friday None (same tone) TR p. 699. 107 This is now the text following that given in note 105, TR p. 693. 108 This is very close to the second of the Idiomela now at Great Friday Terce (same tone), . TR p. 689.

Stichos (Ps. 37:2-3) And they will read the Gospel109 10th dasadebeli, tone 1 plagal110 Prokeimenon (Ps. 10:1) And they say the prokeimenon (Ps. 68:22) Stichos (Ps. 68:2-3) 11th dasadebeli, tone 4 plagal111 Prokeimenon (Ps. 11:2) And they say the prokeimenon (Ps. 87:5-6) Stichos (Ps. 87:2). 12th dasadebeli, tone 1 plagal112 Prokeimenon (Ps. 12:2) And they say the prokeimenon (Ps. 101:2) Stichos (Ps. 101:33). [VESPERS] , tone 1 (6 troparia) Skhwani, tone 4 (3 troparia) Skhwani, tone 3 plagal (4 troparia) Okhitay, tone 2 plagal (one text) They will read the reading and say Prokeimenon (Ps. 87:7) Stichos (Ps. 87:2-7) They will say at the Washing of the Cross: Ibakoy, tone 2 plagal113 Skhway114 Skhway (very long text) Skhway, tone 2 plagal Skhway Summary of Great Friday 1. MATTINS a. Odes 5,8,9 b. Exaposteilarion + Stichos
109 110

See note 99, para. 2. This is very close to todays Great Friday Idiomela, at Terce (same tone) , , TR p. 693. 111 This is now the first of the of Great Friday Prime, sung now on tone 2 plagal: TR p. 683. 112 This is now the if the Idiomela at Great Friday Terce (same tome), . TR p. 689. It will be noted that all the dasadebelni from this office have found their way into the Royal Hours of Great Friday. Three of them also occur in the present Mattins Vigil of the 12 Gospels of the Passion. 113 This is now the fourth of at Mattins at Lauds on Great Saturday (same tone) . TR p. 734, with slight textual differences. 114 We have only the first words, moitkhova, which is the first word of the preceding ibakoy. This may therefore be merely a repetition.

c. Lauds (9 troparia) 2. MIDDAY VIGIL a. {Dasadebeli + prokeimenon} This unit 12 times; units 5-12 have 2 prokeimena. b. Gospel (after the 9th unit [only?]). 3. VESPERS a. (6+3+4 troparia) [b. ] c. Okhitay d. Reading e. Prokeimenon + Stichos 3a. RITE OF THE WASHING OF THE CROSS with 3 ibakoni. ___________________________ [GREAT] SATURDAY At the Dawn Office At the Makarismoi (4 troparia) Skhwani (8 troparia) Skhwani of the Fathers (2 troparia) Ode 6, tone 1 (6 troparia) Ode 7 (9 troparia) Skhwani (5 troparia)115 Skhwani from above116 (5 troparia) Ode 8 (4 troparia) Skhwani (5 troparia) Ode 9 (6 troparia) Skhwani (5 troparia) Skhwani, tone 4 plagal (2 troparia, of which the first is a theotokion).117 Lauds (3 troparia) Skhwani (4 troparia) Skhwani, say first118 (3 troparia) Skhwani (5 troparia) Theotokion119 (very long text) When they complete the Dawn Office120, they will go up to the altar and say the following: tone 2 plagal (one text) They will read the reading and will say Prokeimenon, tone 2 (Ps. 15:10)
115

The last of these bears some similarity with the Idiomelon PeR p. 391 , at Pentecost Vespers, in that the structure is Holy God; Holy Mighty; Holy Immortal. The content, however, is firmly centres on the three children of Bablylon. 116 It is not clear to what this refers. 117 All the texts up to this point are concerned with death on the cross. The troparia at Lauds refer to the laying in the tomb by Joseph of Arimatha. 118 A strange observation! 119 Ghmrtismshobilisay. 120 Tsiskrisa zhami.

Stichos (Ps. 15:1-10) And the Gospel; afterwards: Ibakoy VESPERS They will bless the church121; they will say and will go back to the beginning Troparion122 of , tone 4 plagal123 Skhwani (4 incipits of troparia)124 Prokeimenon, [tone] 3 (Is. 33:10)125 Stichos126 Second Prokeimenon, [tone] 3 (Ps. 112:2) Stikhon (Ps. 112:1-2) Okhitay with the Easter tone127 Prokeimenon [tone] 1 (Ps. 81:8)128 Stichos (Ps. 81:1) , they will read the reading and begin the EUCHARIST Okhitay129 Prokeimenon (Ps. 64:2) Stichos (Ps. 64:3) Alleluia (Ps. 101:14) At the Washing of Hands, tone 1 plagal Skhway
121 122

Maybe an incensation of the Church of the Anastasis. Dasadebeli. 123 One text: Shine, shine, Jerusalem, for your light has come cf. Is 60:1. This text is halfway between th the Isaiah text and the first part of the present 9 Heirmos at Easter matins, PeR p. 11: , , . , . 124 th If the first incipit (moslvasa) is the troparion Moslvasa mas shensa jwarad, we have the 12 dasadebeli at the Great Friday Midday Vigil, cf. note 112. This is probably not the case, as this Vespers service already has a marked character of Resurrection, although the second incipit refers to the Cross: Jwartsumay tavs-idev. 125 The prokeimenon is called psalmuni, although the text, by way of an exception, is not from the Psalms, but from Isaiah, and obviously a classic resurrection text: Now I will arise, says the Lord, now I will lift myself up [Georgian: I shall be great], now I will be exalted. 126 This is also not from the Psalms; the text starts as Ps 149 :1 = Is 42:10, Sing to the Lord a new song, but does not continue like the biblical texts. After this special psalmuni-dasadebeli, we have a normal prokeimenon-Stichos from the Psalms, an okhitay with the Easter tone, another prokeimenon-Stichos, the classic Easter okhitay (cf. note 129), and the prokeimenon-stikhon of the Eucharistic Liturgy. 127 The incipit, which is all we have, = Ps. 147:12: Praise, Jerusalem, the Lord. 128 Another classic Resurrection text: Arise, o God, judge the earth. This is the refrain in the same service in todays rite, cf. TR p. 759 where it takes the place of the Alleluia, with verses equaling the Stichos here. 129 Here is the classic Byzantine troparion of Easter: X PeR p. 6. The Georgian version is slightly different in the last phrase, da mqopta maplavisata adgomay moanicha, suggesting a Greek original , . For the variant * (mqopta), cf. the current Slavonic version with sushhim. This is a case where the modern recension seems closer to the *archaic Greek text than the Old Believers version i grobnym zhivot darov.

Skhway E with Alleluia130 Communion131 (2 troparia) [tone] 2 (1 troparion) Post-communion troparia132, tone 1 plagal (2 troparia) Summary of Great Saturday 1. MATTINS (Dawn Office) a. Makarismoi (14 troparia) b. Odes 6,7,8,9 (many troparia) c. Lauds (15 troparia) d) Theotokion 1a. ENTRANCE TO ALTAR a. Processional text b. Prokeimenon-stichos c. Gospel d. Ibakoy. 2. VESPERS a. Blessing of church (incensation?) b. I c. II + 1 + 4 troparia d. Prokeimenon + Stichos [e. Reading] f. Prokeimenon II + Stichos g. Okhitay with the Easter tone h. Prokeimenon III + Stichos i. j. Reading 3. (immediately) EVENING RESURRECTION EUCHARIST a. Okhitay: X b. Prokeimenon + Stichos [c. Reading] d. Alleluia [e. Gospel]
130

This means the response to the psalmody was Alleluia. It appears that the Transfer of Gifts was originally accompanied by Ps. 23:7ff.; cf. Taft, The Great Entrance, pp. 99-100; Leeb, Die Gesnge, pp. 102ff., 115ff. MS C suggests X at this point. 131 Ganitsadeni, cf. notes 80 and 82. 132 Aghavseni = ; cf. Leeb, op. cit. pp. 127-133. Aghavse means fill, fulfil, be filled, as an imperative, and Leeb refers this to the present-day post-communion song Let our mouth be filled with your praise. On the basis of the Chronicon paschale (PG 92, 1001 BC), he shows this hymn was introduced as an obligatory post-communion periss by the Patriarch in Constantinople in May 624. The aghavseni are to be seen in connection with this text, and at the date given it is as least as likely that the text was adopted in Constantinople from Jerusalem rather than the other way round, in which case it would have been in use in Jerusalem before that date. Other hymns adopted from Jerusalem include the Easter troparion Christ is risen and the hymn O only-begotten Son.

f. Lavabo (3 texts) g. E : Alleluia or X [h. Anaphora] i. Communion songs (3 troparia) j. Post-Communion songs (2 troparia) ________________________________ EASTER MIDDAY133 Okhitay134 Prokeimenon (Ps. 117:24)135 Stichos (Ps. 117:25) Alleluia (Ps. 101:20-22) Skhway (Ps. 67:2)136 At the Washing of Hands (1 incipit) Skhway (1 incipit)137 Skhway138 [Skhway] tone 4 plagal E with Alleluia139 Communion (one text)140 At the ninth hour141they go up to the Holy [Church of the] Ascension and say I confess, tone 4 plagal, and they will say in alternation142: Dasadebeli (one troparion). They also go to Zion. Prokeimenon (Ps 64:2)143 And they say on the same tone in alternation144: Dasadebeli (one troparion) _____________________________ VESPERS
133 134

Metskhrad, literally: at the Ninth [Hour]. The hymn (= etc., Roma, 1950 p. 26), now the periss of the second Antiphon at the Divine Liturgy throughout the year. 135 As at Easter today (the fourth verse of the Easter stichera): This is the day the Lord has made, let us rejoice and be glad in it. 136 Let God arise and his enemies be scattered; the first of todays Easter verses. 137 , . 138 This text also occurs as the qheltabanisay in the Resurrection cycle of Tone 3 plagal (Udzvelesi Iadgari, th p. 493); = Sunday Mattins (same tone), 4 troparion at lauds, T ; PeR p. 549, with slight variants. 139 See note 130; this is the only indication in the MSS, and only in MS B. 140 Ganitsadey, see notes 80 and 82. 141 Or: at midday, cf. note 133. (Metskhresa zhamsa). Here starts a procession which first goes to the Eleona, or the church of the Analypsis, and then to the church of Zion. 142 Mimogdebit, literally: rolling to and fro. This could be either two choirs in alternation or else antiphonal psalmody with the troparion as a refrain. 143 Praise is due to you, o God, in Zion. 144 See note 142.

, tone 4 plagal (3 troparia) Okhitay, tone 1 plagal You will find it in New Sunday145at Vespers146. Prokeimenon (Ps. 149:1) Stichos (Ps. 149:2); _______________________________ Summary of Easter Day 1. MIDDAY LITURGY a. Okhitay: b. Prokeimenon + Stichos [c. Reading] d. Alleluia (+ skhway) [e. Gospel] f. Lavabo (4 texts) g. E with Alleluia [h. Anaphora] i. Communion-song 2. PROCESSION i. to the Church of the Ascension: a. Song: I confess, tone 4 plagal b. Alternation (?) of dasadebeli. ii. to the Church of Zion: a. Prokeimenon + Stichos b. Alternation (?) of dasadebeli. 3. VESPERS a. (3 troparia) b. Okhitay c. Prokeimenon + Stichos [d. ]. ______________________________ *** To conclude our description of selected sections of the Iadgari, two further, and briefer, surveys may be of interest. As an example of the Ibakoni and Graduals section (pp. 334-366, see note 27), let us examine the last of the categories, that of the Qrmatani, the Three Children of Babylon (pp. 365-366). We find: Tone 1
145 146

(2 troparia)

Akhalkwiraesa: the Sunday after Easter. It is the first troparion at , on the same tone, on New Sunday evening (Udzvelesi th Iadgari p. 219), and is also found as the 10 troparion of the same tone in the Resurrection common for (Udzvelesi Iadgari, p. 442). It now appears as the fourth of the (same tone) at Bright Friday Lauds, PeR p. 34, with slight variations.

Tone 1 plagal Tone 2 Tone 2 plagal Tone 3 Tone 3 plagal Tone 4 Tone 4 plagal

(1 troparion) (1 troparion) (1 troparion) (1 troparion) (1 troparion) (1 troparion) (1 troparion)

All the texts are based on the biblical account, and the recurrent phrases are: O God of our Fathers, blessed are you, and glorious, etc. Note the remarkable order of the tones. _______________________________ The Dasadebelni of the Resurrection (pp. 367-912) (pp. 367-512) are arranged under 8 tones, in the order 1, 2, 3, 4, 1 plagal, 2 plagal, 3 plagal, 4 plagal. A brief account of tome 1 will explain the structure of the other tones. What we are dealing with is a complete Little Oktoechos, i.e., the poetic material for one days office in full, on the theme of the Resurrection, in eight versions, one for each tone. This gives an eight-week cycle, as in todays Byzantine rite. Here is the schema for tone 1: (20 + 4 + 8 troparia)147 Prokeimenon (Ps. 140:2) Stichos (Ps. 140:10) Okhitay (one text) At Behold, bless148 (6 troparia). T 149 Ode 1150 (10 troparia + 1 theotokion) Ode 2 (7 troparia; no theotokion) Ode 3 (8 troparia + 2 theotokia) Ode 4 (6 troparia + 1 theotokion + 3 troparia) Ode 5 (8 troparia + 1 theotokion + 3 troparia) Ode 6 (10 troparia + 2 theotokia) Ode 7 (13 troparia; no theotokion)
147

The 1st troparion occurs elsewhere : In the same liturgical site, for the Holy Innocents and for the Resurrection common of tone 2 (!). It is in the same position (for Great Vespers on Sunday Eve, tone 1, first of the : ') today: T . PeR p.2. This identification was missed in the compilation of the Index, Udzvelesi Iadgari, p. 648. 148 Aka akurtkhevditsa: troparia for Ps. 133:1, the prokeimenon for Sunday evening vespers in todays rite. This psalms has but 3 verses, each divided in half, according to the canons of Hebrew poety. Here we have 6 troparia, all short and interspersed with alleluia, e.g., (1) Praise the Saviours resurrection, alleluia! or (4) Come, nations, hymn the Lord, alleluia, risen from the dead, alleluia, who has illumined the world, alleluia!. 149 Jwarisani: 5 incipits, all containing the word jwari (Cross). These hymns to the Cross situated at the end of the Vespers of the Resurrection suggest a procession from the main church of the Anastasis to Golgotha, within the same building. 150 The 9 Odes (all 9 are found in the Iadgari) are the same as those of todays rite. The Georgian titles are key words from these Odes, e.g. Ode 1 = Ugalobditsa = At Hymn!; Ode 2 = Moikhilesa = At See!.

Ode 8 (21 troparia; no theotokion as such)151 Ode 9 (16 troparia of which 1, 2, 6, 7, 9, 12, 13 and 14 are theotokia152) Graduals of the Dawn Office153 (4 psalm verses, each with its Stichos154) Gardamotkmani155 [sic] (one text) At lauds (21 troparia) Decorations156 and Praises157 of the All-Holy and Glorious Holy God-Bearer (14 texts)158 At the Liturgy159: Prokeimenon (Ps. 73:12) Stichos (Ps. 73:2 or 73:16) Prokeimenon with Alleluia (Ps. 17:2 or 23:1) Skhway (Ps. 45:11) At the Washing of Hands (one text) E 160 (3 texts)161. _______________________________ Summary of the Resurrection Common of the First Tone 1. VESPERS a. (20 + 4 + 8 troparia) b. Prokeimenon + Stichos c. Okhitay (1 troparion) 1b. Vespers Part 2 or Compline a. Ps. 133 (6 troparia) b. T (5 troparia) 2. MATTINS a. All 9 Odes (7 to 21 troparia each) b. Graduals (4 x [prokeimenon + Stichos]) c. Post-Gospel texts (1 troparion)
151

Troparia 6 and 18 are addressed to Christ incarnate of a virgin or born of a virgin. These can thus be indirectly classed as theotokia. Of these 21 troparia, 1-17 are from MS B, so the very high number is not achieved merely by collating different traditions (unless this preceded the redaction of MS B). 152 E.g., troparion 12: You, o glorified God-bearer, Virgin, with a voice of hymning all together we unceasingly glorify. 153 Tsardgomani siskrisani. 154 Dasadebeli. 155 Gardamotkmani are texts following the reading of the Gospel at Mattins, cf. Leeb, Die Gesnge, p. 274, who says it is for Ostersonntag. There is no such text in the Iadgari for the Easter office, but they are found for each Sunday for each of the 8 tones in the Resurrection common. 156 Shemkobani. 157 Sheskhmani. 158 Troparia 7-10 begin Gikharoden! = X, as at the Akathistos Hymnos. Troparion 7 has 3 phrases beginning in this way. Troparion 8: Hail, o Mother of Light! Hail, o most., cf. the diaconal exclamation now at Mattins: T M , , : E M, p. 11 (Athens: 1970, photo-reprint of Venice: 1862) [the Slavic recension does not have ]. 159 Samkhrad: at Midday. 160 See note 45. 161 Texts referring to Isaiahs vision in the Temple. In the first, the Archangels and Angels cry out You are hold, you are holy, you are holy, o Lord! The heavens and the earth are full of your glory, o our Saviour. In the second, the many-eyed cherubim and six-winged seraphim with unceasing voice cry out and say: Holy (is), holy (is), holy is the Lord, the King of glory. The third text is only an incipit.

d. Lauds (21 troparia) e. Theotokia (14 texts) 3. EUCHARISTIC LITURGY a. Prokeimenon + Stichos b. Prokeimenon with Alleluia + 1 skhway c. Lavabo (1 troparion) d. E (3 troparia) _______________________________ *** The limits of this study do not permit a proper analysis of the part of the book following the critical edition on pp. 557-942. The titles of the components may be seen from the table of contents, given in translation at the beginning of this study. I shall now give only a few brief indications concerning what is said about the manuscripts used (For the Text, pp. 557-562); the indices (pp. 563-656), and a sample essay selected from the series of articles which follow the indices. The Manuscripts from Which the Iadgari Was Edited 7 principal manuscripts were used for the edition of the Iadgari: A = H 2123: the Parchment-Papyrus Iadgari [chil-etrati] (ed. AkakI Shanidze, Tbilisi: 1977), a 10th century MS with the unusual feature that it is written on a combination of parchment and papyrus folia. B = Sin. Geo. 18162 C = Sin. Geo. 40 D = Sin. Geo. 41 E = Sin. Geo. 34163 + the Leipzig fragments, E1 being the Resurrection troparia. Sin. Geo. 34 also contains the Zhamni = the hours164 . F = Sin. Geo. 26 G = Sin. Geo. 20165 In this series, the major MSS are ABCD. EFG are of later date. However, E reflects early usage and gives a number of useful critical indications included by John Zosime himself, explaining whether material is ancient or new (before or after the 7th century reform).

162 163

For the description of the Georgian Sinai MSS, see note 31. This is the most famous autograph MS of John Zosime. 164 This part has recently been edited by Stig Symeon Fryshov in his important yet still unpublished thesis in Paris (see Bibliography). The Horologion gives a daily cursus of 24 offices with a kathisma at most of them, whereby the Psalter was read entirely during the day. This was the daily cycle of the th Anastasis before the 7 century reform, part of which was celebrated publicly (saerod) and the rest recited by the monastic community of the Spoudaioi, who relayed this acemetic task of prayer. Professor Fryshov has told me recently (June 2008) that he is preparing this enormous tome for publication. 165 F and G contain Resurrection troparia only.

The Indices (pp. 563-656) Four indices are given: 1. An index of the incipits of all the troparia in the Georgian Iadgari (pp. 563-643). This is doubly useful, as often the Iadgari itself quotes texts only by their incipits which are, however, found in full at other points. 2. A Georgian-Greek index of heirmoi, giving identifications for those heirmoi which have survived in the modern liturgical texts and hence correspond to a known Greek version (pp. 643-646). On p. 643, 5 Heiromologia are cited, 4 Greek and one Georgian (ed. Elene Metreveli). 3. A Georgian-Greek index giving identifications for the troparia in the Iadgari which have survived in the modern liturgical texts and hence correspond to a known Greek version (pp. 646-650). All the poetic books of the modern rite are cited in the Roman edition. Given the immensity of the task, it is not surprising that some identifications have escaped the authors.166 Close comparison of the texts identified in indices 2 and 3 is fascinating, and the subtle variations revealed are of considerable interest. Elen Metreveli shows that this is evidence that the Georgian corresponds to an earlier version of the Greek in some cases, prior to re-editing or redaction by John of Damascus and others. 4. A biblical index of Psalm texts (pp. 651-656). __________________________________ As a sample of the articles that follow the indices, here is an account of one of Elene Metrevelis articles: The Poetic Stratum of the Lectionary in the Oldest Iadgari (pp. 793-808) The article begins with an excursus on the development of the first poetic texts in the liturgy, with especial reference to Baumstarks Liturgie compare (Udzvelesi Iadgari, notes 384 and 386). Metreveli supports the thesis that the first troparia, of which the earliest anthology is indicated in the Lectionary, are the canonisation of texts that were originally improvised spontaneously by an individual. She mentions that 119 entries (about 5%) in the Parchment-Papyrus MS have been identified in the presentday Greek books by Bernard Outtier. These texts are now scattered throughout the Menaia, the Lenten triodion, the Horologion, the Oktoechos, the Pentecostarion and the Heirmologion. The Iadgari is, however, a rich selection with 3,000 entries. This bears out Baumstarks thesis of the ancient character of liturgical development, especially for Lent and Easter (see Udzvelesi Iadgari, note 401). In other words, as soon as the literary genre was invented, it was used for a very large number of compositions. This point is a further indication of the especial importance of the Iadgari as a repertory of early Byzantine texts. The author continues by stating that the oldest texts of this repertory are those of the Lectionary Stratum.167 The Lectionary indicates texts by incipit, which are found in full in the Iadgari. Many of the oldest troparia are quite brief.168 The modern Greek
166 167

See note 147. Metreveli does not explore the possibility that the Lectionary itself may contain various strata. 168 See the examples in notes 148 and 152.

books preserve old elements in a new disposition and, as the author proceeds to show, in new forms. Hence the Georgian Iadgari preserves many elements lost in the later Greek tradition. All the poetical forms of the Greek liturgy are to be found in the Iadgari. The author gives a series of very interesting examples. 1st example: Georgian 6th Monday Okhitay, tone 2 plagal Greek 2nd Sunday I T, . '

Here the rhythm (quantity of syllable) and phrase-division is exactly the same in the Georgian and the Greek. The tone indication is the same and we can deduce that the tune to which it was sung was precisely the same. The translation follows the literal style common in early texts, and thus here the Georgian is an exact parallel of the Greek. 2nd example: 1st Monday Okhitay, tone 1 plagal 2nd Monday '.

In this case the rhythm of the Georgian is not that of the Greek, and a different tone is indicated. This implies that the two versions were sung to different melodies. The Greek text is, however, the model for the translation found in the Iadgari. The rhythm is modified, but the phrase division169 according to sense corresponds. The difference is thus limited to the melody, but the text as such is an exact parallel of the Greek. 3rd example: 5th Thursday Okhitay, tone 1 plagal 170 . '

Here the translation is very literal, with the exception of the last line, where the Georgian has da shemitsqale me = * . However, the rhythm is quite different. The Greek is in no way a model for the rhythm of the Georgian. The Greek text shows the following rhythm (number of syllables per phrase): 10, 10, 7, 7, 8, 4. Metreveli states that this is a Damascene rule and that the present text is hence a clear example of the 8th-9th century reform of the Greek, whereas the Georgian corresponds to an earlier form. This demonstrates, she says, that this okhitay belongs to the oldest
169

In the Iadgari the texts are written out without punctuation like the early Greek MSS. However, the division we refer to here is that shown by asterisks in later liturgical editions. 170 Here the author gives a note (Udzvelesi Iadgari, note 407) which seems very confusing. Does she really mean to say that katismebi are equivalent to tsardgomebi (graduals)?

part of the Lectionary stratum in the Iadgari, showing the earlier form of the Greek.171 In the Greek, the following the text given in the example are all on the same model, whereas the Georgian gives one text in isolation. Metreveli thus sees this as an adaptation of the earlier Greek text, to which the Georgian bears witness, and the following as copies on the model of the revised ancient text. 4th example: Second Sunday of Lent At the Washing of Hands [tone 2] ' A (4th strophe)

Here the Greek text does not exhibit a regular rhythm, nor does the Georgian rhythm correspond to the Greek rhythm. The text corresponds perfectly, with one exception: in the first half, the Georgian has the first person plural and in the second half the singular, whereas the Greek is in the singular throughout. The translation is a little freer than the foregoing examples in that the phraseology is organized slightly differently. 5th example: 3rd Tuesday of Lent , tone 2 (2nd strophe) As in ex. 4; 1st strophe The

Here the rhythm differs, but the translation corresponds perfectly. Georgian has 39 syllable in 4 phrases and the Greek 33 in 4. 6th example: 4th Tuesday of Lent , tone 2 (1st strophe) As in exx. 4 and 5, 2nd strophe

Here there are considerable differences in the translation, although the rhythm is closer (Georgian: 34 syllables in 4 lines; Greek: 33 in 4 again). Metreveli concludes that the only text which is from the old stratum is the irregular composition corresponding to the Georgian qheltabanisay (ex. 4). Exx. 5 and 6 are more regular and are later compositions. The Greek shows all the signs of being a new redaction and a compilation. She points out that the content of the strophes corresponds to the themes of the Sundays as given in Egeria, confirming the original place of these texts as they are found in the Georgian Iadgari and reinforcing the view that the Greek is a later compilation. Moreover, todays Greek books show an excess of hagiographical material which has flooded out the original structure. She says the
171

This theory, which seems quite gratuitous at first, finds increasing support as the further examples are examined.

Georgian Iadgari perfectly preserves the primitive style of poetic prose in use before the poetisation of the modern Greek books which were complied in the 10th-14th centuries. The Iadgari is known as the T in Greek and it antedates the Greek Kanons, which contain none of the original Greek monostrophes. The Iadgari represents the Jerusalem rite before its constantinopolitisation. The archaic strophes offer the basis of the poetic rhythmic division which was regularised in the later reform. In other words, it appears that the earlier form, as found in the Iadgari, was that of poetic prose, and this was later formalised into rhythmic poetry, as we find in the later Greek service-books. *** So far the texts examined have been anonymous, i.e., they bear no attribution in todays service-books. Elene Metreveli proceeds to consider texts which the modern books attribute to 7th-8th century authors. 7th example: Epiphany At the Washing of Hands Tone 2. Epiphany () '. Mo172.

In this text nearly every line has one more syllable in the Georgian (in which, of course, it is anonymous). Apart from this, both the content and the phrase division correspond precisely. The last three lines are different in the Georgian, whereas the Slavonic version corresponds to the modern Greek. Elene Metreveli offers the following explanation for this phenomenon: John of Damascus revised the Greek text at a date later than that at which the Georgian version was already established. MS A gives the last words as shegwitsqalen chwen = * , unlike the Greek, which has . BC have didebay shenda = . Metreveli sees this as the later retroactive influence of the revised Greek version on the Georgian. The revised Greek text does not correspond to the Georgian in its syllabic structure, whereas the revised Greek later served as a model for the that followed it in its new liturgical location. The conclusion drawn by Metreveli is that the attributions found in todays Greek books are probably only the names of 7th-8th century compilers of texts which may be at least as old as the 5th century. This appears particularly clearly in certain texts attributed by the Greek books to Cosmas of Jerusalem. 8th example: At the Divine Liturgy for the feast of the transfiguration there are two texts (the okhitay = entrance hymn, and the qheltabanisy = lavabo) which are at Vespers in todays books. These texts are attributed to Cosmas of Jerusalem.
172

John the Monk is the regular nom-de-plume of John of Damascus.

Transfiguration At the Washing of Hands, tone 4

'. Ko Mo

Again we find that almost every Georgian phrase is one syllable longer than the corresponding Greek. The translation is very fine and the phrase division corresponds exactly to the Greek. 9th example: Transfiguration Okhitay, tone 4 (The third text of which ex. 8 is the first)

Here the phrase division but not the syllable count corresponds. The Greek books attribute 4 to Cosmas. The first 2 correspond to the pattern of ex. 8 and the last 2 to that of ex. 9. This is therefore a clear indication that Cosmas adapted ancient as a model for his compilation of . ____________________ In the following article, Metreveli amasses further evidence for her hypothesis, bringing telling examples of texts attributed to Cosmas of Jerusalem, Andrew of Jerusalem, John of Damascus and even Emperor Leo VII (886-912). This evidence, it should be emphasised, would not have been available without this edition of the Iadgari. It is to be hoped that liturgical scholars will now, like Professor Fryshov, apply themselves seriously to the study of the Georgian manuscripts, which are a veritable treasury of early texts long since lost in Greek. _____________________

BIBLIOGRAPHY I ( = Udzvelesi Iadgari, p. 920) GARITTE, G., Catalogue des manuscrits gorgiens littraires du Mont Sina. (CSCO, vol. 165, Subsidia, vol. 9) (Louvain, 1956). GARITTE, G., Le Calendrier palestino-gorgien du Sinaiticum 34 (X sicle). (Edition, translation and commentary). (Subsidia hagiologica, N 30), (Bruxelles, 1958). INGOROQVA, P., Tkhzulebata krebuli, vol. 3. (Tbilisi, 1965). JAVAKHASHVILI, I., Sinis mtis kartul khelnatserta aghtseriloba. (Tbilisi, 1947). , . C., Iei VII h. (Georgian edition), (, 1912). , . C., i i i. (, 1908). LEEB, Helmut, Die Gesnge im Gemeindesgottesdienst vom Jerusalem (vom 5. bis 8. Jahrhundert). (Wiener Beitrge zur Theologie, vol. XXXIII), (Wien, 1970). MAPP, H., O C . , 1940). (Moc-

METREVELI, El.; CHANKIEVI, Ts.; KHEVSURIANI, L.; JGHAMAIA, L.; AA. Edd., Kartul khelnatserta aghtseriloba. Sinuri kolektsia, Part I. (Tbilisi, 1978). CHANKIEVI, Ts.; JGHAMAIA, L.; AA. Edd., Kartul khelnatserta aghtseriloba. Sinuri kolektsia, Part II. (Tbilisi, 1979). METREVELI, El., A., Ed., Dzlispirni da gmrtismshoblisani. Ori dzveli redaktsia X-XI ss. Khelnatserebis mikhedvit. (Tbilisi, 1971). RENOUX, A., Le codex armnien Jrusalem 121. I. Introduction aux origines de la liturgie hirosolymitaine. Lumires nouvelles. (Turnhout, 1971). RENOUX, A., Le codex armnien Jrusalem 121. II. Edition compare du texte et de deux autres manuscrits. (Turnhout, 1971). SHANIDZE, A.; MARTINOSOVI, A.; JISHIASHVILI, A., AA. and Edd., SHANIDZE, A., General Editor, Chil-etratis iadgari. (Tbilisi, 1971). TARCHNISHVILI, M., Ed., Le Grand Lectionnaire de lEglise de Jrusalem (V-VIII sicle), voll. I and II. (Louvain, 1959, 1960) (=CSCO, col. 188, 189, 204, 205). VAN ESBROECK, M., Les plus anciens homliaires gorgiens. historique. (Louvain, 1975). Etude descriptive et

BIBLIOGRAPHY II ( = SUPPLEMENTARY SELECT BIBLIOGRAPHY) ARRANZ, Miguel, Le Typicon du Monastre du Saint-Sauveur Messine. (Roma: Pont. Institutum Studiorum Orientalium, 1969) ( = Orientalia Christiana Analecta 185). BAUMSTARK, A., Comparative Liturgy. (Westminster, Maryland, 1958). Chronicon Paschale in Patrologia Grca 92, col. 1001 BC. DEVOS, Paul, La Date du Voyage dEgrie in Analecta Bollandiana 85 (bruxelles, 1967), pp. 165-194. EGERIA = Itinerium theri, Ed. PTR, Hlne. (Paris: Editions du Cerf, 1948) ( = Sources Chrtiennes 21). . (, 1950). JANERAS, Sebasti, Le Vendredi-Saint dans la tradition liturgique byzantine. (Roma: Studia Anselmiana 99, Analecta Liturgica 12, 1988). JOHN CHRYSOSTOM, St., Homily on Christmas, in Patrologia Grca 49, coll. 351-362. The Maronite Liturgical Year, voll. I and II (Diocese of St. Maron, USA, 1982). MATEOS, Juan, Lelya-Sapra. Les Offices Chaldens de la Nuit et du Matin. (Roma: Pont. Institutum Studiorum Orientalium, 1972) ( = Orientalia Christiana Analecta 156). M , T B ( = November and December). (, 1889). M. (, 1885). . (, 1883). TAFT, Robert F., The Great Entrance. (Roma: Pont. Institutum Studiorum Orientalium, 1975) ( = Orientalia Christiana Analecta 200). T . (, 1879). WELLESZ, Egon, A History of Byzantine Music and Hymnography. (Oxford: Clarendon Press, Second Edition: 1961).

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