114. The Poetry of the Oriental Church. (Chapter 8. Christian Art.) (History of the Christian Church) (Schaff, Philip)

Comp. the third volume of Daniel's Thesaurus hymnologicus (the Greek section prepared by B. Vormbaum); the works of J. M. Neale, quoted sub 113; an article on Greek Hymnology in the Christian Remembrancer, for April, 1859, London; also the liturgical works quoted 98.

We should expect that the Greek church, which was in advance in all branches of Christian doctrine and culture, and received from ancient Greece so rich a heritage of poetry, would give the key also in church song. This is true to a very limited extent. The Gloria in excelsis and the Te Deum are unquestionably the most valuable jewels of sacred poetry which have come down from the early church, and they are both, the first wholly, the second in part of Eastern origin, and going back perhaps to the third or second century. But, excepting these hymns in rhythmic prose, the Greek church of the first six centuries produced nothing in this field which has had permanent value or general use. It long adhered almost exclusively to the Psalms of David, who, as Chrysostom says, was first, middle, and last in the assemblies of the Christians, and it had, in opposition to heretical predilections, even a decided aversion to the public use of uninspired songs. Like the Gnostics before them, the Arians and the Apollinarians employed religious poetry and music as a popular means of commending and propagating their errors, and thereby, although the abuse never forbids the right use, brought discredit upon these arts. The council of Laodicea, about a.d. 360, prohibited even the ecclesiastical use of all uninspired or private hymns, and the council of Chalcedon, in 451, confirmed this decree.

Yet there were exceptions. Chrysostom thought that the perverting influence of the Arian hymnology in Constantinople could be most effectually counteracted by the positive antidote of solemn antiphonies and doxologies in processions. Gregory Nazianzen composed orthodox hymns in the ancient measure; but from their speculative theological character and their want of popular spirit, these hymns never passed into the use of the church. The same may be said of the productions of Sophronius of Jerusalem, who glorified the high festivals in Anacreontic stanzas; of Synesius of Ptolemais (about a.d. 410), who composed philosophical hymns; of Nonnus of Panopolis in Egypt, who wrote a paraphrase of the Gospel of John in hexameters; of Eudoxia, the wife of the emperor Theodosius II.; and of Paul Silentiarius, a statesman under Justinian I., from whom we have several epigrams and an interesting poetical description of the church of St. Sophia, written for its consecration. Anatolius, bishop of Constantinople ( 458), is properly the only poet of this period who realized to any extent the idea of the church hymn, and whose songs were adapted to popular use.

The Syrian church was the first of all the Oriental churches to produce and admit into public worship a popular orthodox poetry, in opposition to the heretical poetry of the Gnostic Bardesanes (about a.d. 170) and his son Harmonius. Ephraim Syrus ( 378) led the way with a large number of successful hymns in the Syrian language, and found in Isaac, presbyter of Antioch, in the middle of the fifth century, and especially in Jacob, bishop of Sarug in Mesopotamia ( 521), worthy successors.

After the fifth century the Greek church lost its prejudices against poetry, and produced a great but slightly known abundance of sacred songs for public worship.

In the history of the Greek church poetry, as well as the Latin, we may distinguish three epochs: (1) that of formation, while it was slowly throwing off classical metres, and inventing its peculiar style, down to about 650; (2) that of perfection, down to 820; (3) that of decline and decay, to 1400 or to the fall of Constantinople. The first period, beautiful as are some of the odes of Gregory of Nazianzen and Sophronius of Jerusalem, has impressed scarcely any traces on the Greek office books. The flourishing period of Greek poetry coincides with the period of the image controversies, and the most eminent poets were at the same time advocates of images; pre-eminent among them being John of Damascus, who has the double honor of being the greatest theologian and the greatest poet of the Greek church.

The flower of Greek poetry belongs, therefore, in a later division of our history. Yet, since we find at least the rise of it in the fifth century, we shall give here a brief description of its peculiar character.

The earliest poets of the Greek church, especially Gregory Nazianzen, in the fourth, and Sophronius of Jerusalem in the seventh century, employed the classical metres, which are entirely unsuitable to Christian ideas and church song, and therefore gradually fell out of use. Rhyme found no entrance into the Greek church. In its stead the metrical or harmonic prose was adopted from the Hebrew poetry and the earliest Christian hymns of Mary, Zacharias, Simeon, and the angelic host. Anatolius of Constantinople ( 458) was the first to renounce the tyranny of the classic metre and strike out a new path. The essential points in the peculiar system of the Greek versification are the following:1

The first stanza, which forms the model of the succeeding ones, is called in technical language Hirmos, because it draws the others after it. The succeeding stanzas are called Troparia (stanzas), and are divided, for chanting, by commas, without regard to the sense. A number of troparia, from three to twenty or more, forms an Ode, and this corresponds to the Latin Sequence, which was introduced about the same time by the monk Notker in St. Gall. Each ode is founded on a hirmos and ends with a troparion in praise of the Holy Virgin. The odes are commonly arranged (probably after the example of such Psalms as the 25th, 112th, and 119th) in acrostic, sometimes in alphabetic, order. Nine odes form a Canon. The older odes on the great events of the incarnation, the resurrection, and the ascension, are sometimes sublime; but the later long canons, in glorification of unknown martyrs are extremely prosaic and tedious and full of elements foreign to the gospel. Even the best hymnological productions of the East lack the healthful simplicity, naturalness, fervor, and depth of the Latin and of the Evangelical Protestant hymn.

The principal church poets of the East are Anatolius ( 458), Andrew of Crete (660-732), Germanus I. (634-734), John Of Damascus ( about 780), Cosmas of Jerusalem, called the Melodist (780), Theophanes (759-818), Theodore of the Studium (826), Methodius I. (846), Joseph of the Studium (830), Metrophanes of Smyrna ( 900), Leo VI. (886-917), and Euyourmius ( 920).

The Greek church poetry is contained in the liturgical books, especially in the twelve volumes of the Menaea, which correspond to the Latin Breviary, and consist, for the most part, of poetic or half-poetic odes in rhythmic prose. These treasures, on which nine centuries have wrought, have hitherto been almost exclusively confined to the Oriental church, and in fact yield but few grains of gold for general use. Neale has latterly made a happy effort to reproduce and make accessible in modern English metres, with very considerable abridgments, the most valuable hymns of the Greek church.

We give a few specimens of Neale's translations of hymns of St. Anatolius, patriarch of Constantinople, who attended the council of Chalcedon (451). The first is a Christmas hymn, commencing in Greek:

Mega kai paradocon qauma.

Another specimen of a Christmas hymn by the same, commencing ejn Bhqleevm:

One more on Christ calming the storm, zofera' trikumiva, as reproduced by Neale: