1-я часть великой вечерни в историческом развитии

Both in its entire structure and the solemnity of its execution, the beginning of Great Vespers is very reminiscent of song vespers, especially in its most ancient form, traces of which, however, very few remain in its monuments of the 14th-16th centuries. Judging by these monuments, Vespers began with three antiphons (see Introductory chapter, p. 377), each consisting of one psalm, sung entirely antiphonally with the refrain “Alleluia” or “Glory to Thee God”; these psalms must have been the 85th, now the third psalm of the 9th hour, then ps. The 92nd “The Lord reigns,” now giving the prokeimenon for vespers, and finally the 67th “Let God rise again” (see Introductory chapter, p. 341), now dedicated only to Easter vespers and matins. Each antiphon had a priestly prayer and a small litany; a long litany, great or deep, must have been the first time after the entrance (see Introductory chapter, p. 377). This is probably the legacy that the Holy Sepulcher and Studite Rules received as the beginning of Vespers (see Introductory chapter, p. 357) and which they had to rework in order to adapt to monastic worship with its obligatory singing at one time or another throughout the Psalter (see Introductory chapter, pp. 189–190:295). The result of this adaptation was the production of the first section of the Psalter instead of the constant psalms for the initial antiphons of Sunday Vespers, preserving both the previous structure for the beginning of Vespers and the method of singing the psalms. Instead of the permanent “Sunday” psalms, which were removed from the beginning of Vespers, the permanent “evening” psalm 103 was introduced. After the kathisma, the Old Testament songs of vespers are replaced by proper Christian ones: psalms - stichera, and at the same time the constant tunes of vespers - for the opening psalm and Blessed is the man - are replaced by alternating tunes, the voice of Octoechos or Menaion (in the proper sense, this happens when from 1 kathisma only its 1st antiphon is sung; if the entire kathisma is sung, then already on the 2nd and 3rd antiphon it begins with the voice of Octoechos). In view of this, at the end of the kathisma with its litanies, the canonarch, whose duty it is to begin the most important songs, loudly announces this voice, namely the voice of the first stichera on the Lord, who cried out, therefore, on Sunday, the successive voice of the Octoechos, and on holidays the voice of the first menaine stichera, announces in the form: “The voice of such and such.” Georgian manuscript of the Jerusalem Typikon of the 13th century. and glory RKP. they do not mention such a proclamation of the voice by the canonarch, but in Greek. RKP. “a monk appointed to serve as canonarch, at the end of the poetry, speaks a voice” 2160. There are 8 voices, the application of which to the service begins from this moment of the vigil, and each of them has its own musical flavor, difficult to define in words, just as it is generally difficult to define (interpret) one or another character of music. And this is all the more so since the very melodies for the voice are not something firmly established, but they have endured and are undergoing various modifications. In addition, the melodies of the same voice are not the same for stichera, troparions, canons and prokeemnons. Nevertheless, the musical basis in these different variations of the voice is still the same, and has been preserved more or less firmly for centuries. Therefore, some characterization of the voices is possible. This description was compiled by medieval Western theorists of church music for Roman Catholic voices, and due to the homogeneity of the musical structure of our osmoglasia in the Western Church, based on the properties of the ancient Greek tetrachord, it is also applicable to our voices. – The first voice is simpler, more important and majestic than others; the Dorian tune underlying it is preferred by Plato and (pseudo) Aristotle to others; it was used for solemn, loud hymns aimed at mitigating the wrath of the deity, especially for hymns to Apollo (ποαάν) and during sacrificial libations (σπονδή); this musical mode was considered the leader to a good life; this was the favorite tune of the Arcadians and Lacedaemonians (according to Polyvius); according to Athenaeus, he practiced in raising young men; Cassiodorus calls him the giver of chastity and the producer of purity; The Pythagoreans inspired themselves with it in the deep morning for work; Ptolemy, who associates 8 chants with the 8 celestial spheres, compares the Doric chant with the sun: just as the sun dries up moisture and drives away darkness, so this chant destroys phlegm, laziness, lethargy, sleep, sadness and confusion; it suits glorious, richly gifted men; he is sublime, devoid of bliss and debauchery. – The basis of the second voice is the Lydian tune, which corresponds to the sanguine temperament; it generates meekness, benevolence, pleasantness; it is sweet, breathes pleasure and was used in dancing; according to Cassiodorus, it drives away unnecessary worries and despair, comforts the sad; it is juxtaposed with Jupiter. – The Phrygian mode underlying the third voice is compared to the sea; it is stormy, exciting, causing indignation, they were inspired by it for battle; strong and sharp, deeply touching the soul; the anapaest from the verses corresponds to it; it contains great leaps in its movement and meets the taste of impetuous, impetuous, angry, choleric people; he is looking for harsh, warlike words; Plato and Aristotle preferred it, along with the Doric melody, to others, but forbade its use to young men due to its passion. – The fourth voice is based on the Mixolydian tune, so named because it has something in common with the Lydian tune (chap. 2), others call it Locrian (Julius Pollux); it has a dual effect - it first excites one to joy, then suddenly it instills sadness; it was used by the ancients in tragedy because it inspired sadness and at the same time had a certain amount of excitement and pleasantness; among the Pythagoreans it denoted the harmony of the 7th and last celestial sphere; with its integrity and coherence it imparts special peace to the soul; it is higher than other tunes - with its quiet and pleasant transitions; burdened by worldly worries, it inspires a desire for the heavenly, awakens a dull mind and, more than other melodies, expresses the effect of the grace of the Holy Spirit on us - The other four voices are called “indirect” (πλάγιοι) of the first four, representing a certain opposite to them (negative pole). Thus, the fifth voice is based on a Hypodorian melody, which, in contrast to the Dorian, seemed to evoke a dream, which is why the Pythagoreans used it in the evening to tame worries; it suits the taste of the lethargic, sad and unhappy; it calms mental unrest; Aristotle calls it majestic, constant and important, and compares its effect with the effect on the Earth of the Moon, the lowest planet, influencing humidity; it is a pleading, somewhat weeping tune, full of pleas for deliverance from disaster, shame and slavery; it contains something analogous to pallor. – The sixth voice is based on a Hypolydian melody, expressing feelings of piety, devotion, humanity, love, sadness and crying; but the sorrow here is not pleading, as in the previous chant, but stems from love, devotion, affection (used in prayers to Venus); it excited and served as a language of feelings; was distinguished by a smooth and coherent flow of sounds. – The seventh voice is based on a Hypophrygian melody, soft, touching, taming, suppressing bile, caressing; even some flattery and deceitfulness were attributed to him, and he went to Mercury; they were recalled by the Cretans and Lacedaemonians from the battle; he approaches words expressing exhortation, affection, and conviction. – The Ipomixolydian mode, corresponding to the eighth voice, artificially added so as not to deprive the Mixolydian melody of its indirect melody, is likened to the vault of heaven with its variety of stars; he does not express any one feeling, but is indifferent to them; what is not expressed by other tunes can be conveyed to this, in which it is close to the 1st voice; it is slowly pleasant and represents the steadfastness of future glory; it suits modest people with the ability of deep contemplation; approaches words about lofty things, about heavenly things, to prayers for bliss 2161; but overall it is a tune worthy of its (last) place. In church voices, the inconvenient features of Greek melodies found softening and transformation, cleansed of everything sinful; only the general coloring remained the same. – As for the number of voices, 8 could have been chosen for it because of the symbolism of this number. It, according to Gregory the Theologian and the writer who calls himself Dionysius the Areopagite, is considered a symbol of eternity 2162. John of Damascus, in the number seven, saw the entire present time, and in eight, the future state after the resurrection of the dead. “The worship of the Church, divided or subsumed under the number 8, expresses the idea that Christian life in time and eternity consists in the constant glorification of the Lord, in eternal service to Him” 2163. There is news about the adoption of Greek melodies by the Church for worship as early as the 3rd century. (see Introductory chapter, pp. 107–108); in the IV-V centuries. there were no more than 4 tunes (ibid., pp. 160–161); Pope Gregory the Great († 604) in the West and St. In the East, John of Damascus (8th century) is credited with introducing osmoglasiya 2164 (ibid., pp. 334–335). The name “I called to the Lord” (Κύριε έξέκραξα) refers to four psalms - headed by 140 “I called to the Lord,” 141 “I called to the Lord with my voice,” 129 “Out of the depths I called to You, O Lord,” and 116 “Praise the Lord, all nations.” Of these psalms, the one most suitable for the evening and its service is Ps. 140, since the singer in it asks God to accept his prayer as an evening sacrifice; This petition, like the entire content of the psalm, shows that the psalm was sung by David, to whom it is also attributed in the Hebrew Bible, far from the church during one of the persecutions, which is why the psalm generally contains a prayer for deliverance from enemies for the sake of the righteousness of the persecuted. Homogeneous with it in content and circumstances of origin of the ps. 141 (“David’s teaching, his prayer when he was in the cave”) develops and strengthens this prayer (there “Lord, I have cried to You” - here: “I have cried to the Lord with my voice”, “I will pour out my prayer before Him”). The prayer of 141 ps, in turn, is intensified in 129 ps. (there: “with my voice... I cried,” here: “from the depths I cried,” not just “hear me,” as in Ps. 140, or “heed my prayer,” as in Ps. 141, a: “Let your ears be attentive”). To 129 ps. adds a short one, in 2 verses, ps. 116, developing the last thought of 129 ps. “For the Lord has mercy...”: “For His mercy is established upon us...”. All these psalms, not to mention the fact that they contain the idea of ​​replacing the Old Testament sacrifice with a spiritual one, are applicable to the Savior who suffered and triumphed over His enemies, especially some expressions such as: “Bring my soul out of prison (the grave and hell)” - the verse with which the singing of Sunday stichera so appropriately begins, “The righteous are waiting for me, reward me until the end” (the righteous in hell they waited to see how the work of Christ would end), “Looking at the right hand and looking and not knowing me” (the waste of the apostles during the suffering of the Savior), “Like the thickness of the earth sagged on the earth” (a breakthrough in the earth’s crust during an earthquake). On the use of vespers 140 ps. says St. John Chrysostom (Introductory chapter, p. 145). This psalm must be understood by the Apostolic Constitutions (IV-V centuries) under the name of the “lamplight” (έπιλύχνιος) psalm, which begins Vespers and exhausts its Old Testament material (ibid., 147). In the “Canon of Antiphons of Psalms,” attributed to the Patriarch Anthimus of Constantinople (VI century), this psalm and the 85th have an antiphon: κατά λύχνης (“from the candlestick”) and from 12 ps. called λυχνακοί, as in the Alexandrian Codex of the Bible in the fifth century. 2165 It is mentioned at Vespers by the most ancient Typicons of the Great Church of Constantinople and they have at Vespers both all the Eastern rites and all the heterodox rites of worship, excluding the Western ones, of which the Roman rite has at Vespers all these psalms once a week, the Ambrosian rite too, and on holidays there are always 129 psalms. (see Introductory chapter, p. 300, 301:303). When there were no 103 ps. at Vespers. and song antiphons, 140 ps. was on it at the beginning; hence, perhaps, the censing that usually began the service was associated with it. In view of the exceptional position that the psalms “I have cried to the Lord” occupy at Vespers, they are assigned a particularly solemn performance. They are sung like 103 ps. and some others, with special refrains, namely, first with the refrain “Hear me, Lord,” expressing the general idea of ​​the psalm and composed of its words. This chorus is added to the verses of the psalm in the peculiar way that choruses are added to the so-called “antiphons” in the liturgy. Namely, the chorus is added to the first verse of the psalm twice; the first time to an incomplete verse, the second time to the whole, due to which the first words of the psalm are sung twice. To the second verse, the chorus is added once at the end of the verse. It seems that the singer, from the fullness of his feelings, cannot pronounce the entire verse at once, and another choir does this, starting again the same verse from the beginning. For example, in the antiphons for Easter from Ps. 65, instead of singing verse 1 of this psalm with the chorus “Through the Prayers of the Mother of God…” as follows: “Shout to the Lord, all the earth, sing to His name, give glory to His praise. Through the prayers of the Mother of God, O Savior, save us,” it is sung like this: “Shout to the Lord, all the earth. Through the prayers of the Mother of God, O Savior, save us. And again (second verse): Shout to the Lord, all the earth, (but with the addition of the remaining words of the verse, sing to His name, give glory to His praise. Through the prayers of the Theotokos, O Savior, save us.” In the same way, the chorus “Hear me, Lord,” is added to Ps. 140. It is sung: “Lord, I have cried to You, hear me,” and the chorus: “Hear me, Lord”; then the entire 1st verse with the first words already sung: “Lord, hear me,” etc. and the chorus: “Hear me, Lord”; then the 2nd verse, “Let my prayer be corrected...”, etc. and the chorus, “Hear me, Lord.” Studiysko-Alexievsky Charter, some lists of the Jerusalem Charter, for example Mosk. Synod. bib. No. 336/388 of the 16th century, and the Old Believer charter indicates the following refrains to the psalms “I have cried to the Lord”: to 140 ps. “Hear us, Lord” (according to the RKP. Moscow Synod. Bible: “me”); to 141: “I called to You, hear me” (Student according to the Typogr. ep.), or (Synod. RKP.) “I called to You, hear me,” or “I called to You, Lord, save me” (Jerus.), or the same without “Lord” (Old Orthodox); to 129 ps: “God Savior have mercy” (Student Typogr.) or “Christ our Savior have mercy on us” (rest) 2166. Second chorus from ps. 140, 1 and represents the gain of the first. The third chorus is a transition to the stichera and, perhaps, their germ (this is how stichera often end). On the psalms “The Lord has cried,” the Old Testament song material of Vespers gradually turns into Christian material: church songs are added to the last verses of these psalms, and this alternating singing means that the Old Testament agrees with the New, according to the word of Christ: “I did not come to destroy the law, but to fulfill it” 2167. Church songs attached in this way to the verses of the psalms received the name stichera - a type of church. a song, which by statute is placed lower than other types of church songs, for example, troparion, kontakion, luminary, ipakoi, sedalna, as well as the stichera chanting is simpler than the chanting of all the latter. Stichera (τά στιχηρά, meaning βιβλία) in St. fathers are often called the teaching books of the Old Testament for their poetic size 2168. In the Greek Books of Hours, this is sometimes the name given to Old Testament songs - Moses, Anna, etc. The name "stichera" verse was most suitable for choruses taken from the biblical psalms and song 2169, and initially, perhaps, was attached only to them: in the Holy Sepulchre Charter of the 9th-11th centuries. this is the name of the psalmical refrains to the antiphons in the service of the Passion, for example, “Princes of Humanity” 2170. The refrains of crying out to the Lord are mentioned already in the 6th-7th centuries. in the famous story about the visit of Sophronius and John Moschus to the Nile of Sinai (Introductory chapter, p. 295), but they are called here troparia. In Hypotiposis and Diatiposis (IX century), the name “stichera” is attached to the songs on the Lord I cried, on the poems and on the praises, but not to the first and last ones in all RKPs. Hypotiposis 2171. And during St. Simeon of Thessalonica (XV century) is not an exclusive and not firmly established name for songs attached to the verses of the psalms, at least for the stichera on the Lord I cried; their St. Simeon of Thessaloniki calls “songs in the troparions of self-voices (ΰμνων έν τροπαρίοις Ιδιομέλονς), pronounced along with verses” 2172 (maybe the troparion here means melody, voice); the name of stichera is attached only to verse 2173. The word receives a completely current application for the first time in the complete lists of the Studite and Jerusalem statutes. – In their original form, the stichera were shorter than the current ones and in volume must have been equal to the verses of the psalms. By load RKP. with the practice of the VI-VIII centuries. Stichera of St. Stephen: “Thou hast clothed yourself with holiness, Stephen, archdeacon and first martyr, partaker of the Angels” 2174. The stichera have this form even at the song vespers according to Simeon of Thessalonica (Introductory chapter, p. 342). When I cried to the Lord, stichera often began with “Evening Sacrifice” 2175: cf. 1 Sunday stichera 1 and 8 chapters. I cried to the Lord. I cried out to the Lord Both the content of the psalms “I cried to the Lord” and the special solemnity of their performance require accompaniment with incense. Crying out to the Lord is performed by a “priest or deacon”; the first, of course, is when Vespers is served without a deacon. At Vespers outside the vigil, this is the first and only burning of incense during this service. Of the other psalms, only the 118th is accompanied by censing. The Georgian hands cried out to the Lord. Jerus. mouth XIII century instructs the priest to perform (although the litanies are pronounced by the deacon), but all Greek. and glory RKP., - like the current Typikon 2176. "Rank" Patr. Philotheus (XIV century) - only to the deacon, who takes the blessing from the priest with the words: “Bless, lord, the censer”; priest: “Blessed is our God always, now and ever and unto ages of ages” 2177 (an echo of the ancient beginning of Vespers with “I cried to the Lord”?). On Sunday, the stichera on the Lord I cried out to is 10 “for the sake of the perfection of this number,” according to St. Simeon of Thessalonica 2178. In addition to Sunday, the same number of stichera occur on Ascension and on Vespers on the Sundays of Great Lent (except Palm); in other cases, 10 stichera on the Lord I cried out for the sake of a confluence of memories and an abundance of material - so on September 1 and at the Presanctified Liturgies. On the twelve feasts, excluding those always associated with Sunday - Vaiy and Pentecost, stichera on the Lord I cried on the 8th, and including on Easter; so it is for the great saints; for the smaller ones 6, and for the small ones 3. Thus, in the number of stichera on the Lord I cried out, Sunday surpasses the greatest holidays, despite the fact that the charter in the number of these stichera is clearly commensurate with the importance of the holiday. If there is no simple inconsistency here, then perhaps this suggests the idea that Sunday is still higher than all other holidays according to the remembered event (on Easter Vespers is still half-lenten); Moreover, a large number of stichera on Sundays was required by the almost constant connection with them of the memory of a saint or another; with the normal number of stichera for the last type of memory being 3, Sunday stichera remain only 7, one less than for the great holidays. The Western Studite Typicons and the Evergetian Rule had 8 stichera on the Lord I cried on Sunday: 4 Sundays and 4 saints 2179; Studios-Alexievsky Charter 9 2180, since it tripled 3 Sunday stichera (if there was no memory of the great saint); the same according to Hypotiposis, § 18, but the place is not read in all the texts; Jerusalem Charter - from time immemorial 10 2181. Composition of stichera on Sunday The usual composition of stichera on the Lord I cried: 3 Sunday ones, 4 other Sunday ones, called “eastern” ones, and 3 from the Menaion. The first 3 Sunday stichera, thus constituting a special section of stichera, are of an unknown author. Attribute them to St. John of Damascus (VIII century), as is usually done, is hardly possible due to the fact that there is no Western Studite Typicons (Nikolo-Kasulyansky and others of the same edition), inscribing with the name of St. John of Damascus alphabetic stichera on stichera, real stichera are called “ancient” (αρχαία) 2182. They are simpler in content than the Damascene stichera and do not contain his favorite thoughts. – About the 4 “eastern” stichera in every Sunday service I cried to the Lord, it is impossible to say with confidence what their name means and to whom they belong. Greek the word ανατολικά can hardly be translated, as is done in the Slavic books in the margins: “Anatoly’s” 2183 (this in Greek would be A νατολιακά); Moreover, the name of the author in the inscription of the stichera is always expressed as birth. case, not adjective; therefore, although there was a hymn writer Anatoly, who owns a number of stichera for some holidays and saints, it must be the abbot of Studium (IX century), but neither he 2184, nor even more so the patriarch. Anatoly of Constantinople (5th century) 2185, under whom there was no church of this kind. songs cannot be attributed to “eastern” stichera; these are, obviously, anonymous stichera, so called, probably, because they first entered the service in the eastern Jerusalem charters and were not known to the most ancient Studian ones: they are mentioned, and immediately in the current number, for the first time by the Jerusalem Typicons, starting with the most ancient copies of its 2186. Of the Western Typicons, only the Typicons of the Italo-Sicilian edition have them, but neither the Studian-Alexievsky nor the Evergetidsky Charter 2187 has them. In comparison with the first, “ancient” Sunday stichera, the “eastern” ones are somewhat longer and more detailed in content. – After the 7 Sunday stichera on the Lord I cried, 3 stichera of the Menaion are relied upon. This is, so to speak, the normal composition of the stichera for the Lord I cried at Sunday Vespers, but at the same time perhaps the rarest. On most Sundays of the year, in addition to the memory of one saint, there is also some other memory: another saint, a holiday, a forefeast, an after-feast or a giving; in the memory of even one saint, this charter is not applicable if this memory is more solemn than usual, that is, if the saint is great, polyeleonic, doxological or sixfold; finally, on Triodion Sundays there is no Menaion stichera at all. All these cases are provided for in the Typikon in subsequent chapters, and instructions are given for them. The only thing that is not provided for, either here or subsequently, is perhaps the most frequent case - namely, the coincidence with the Sunday of remembrance of two saints ("lesser"), each of whom has a special service. In this case, you have to follow the instructions or Chapter 2. Typikon “On a holy vigil in a week” 2188, since a saint with a vigil has a double number of stichera and troparions on the canon in comparison with the usual, or you can be guided by the charter for September 1, if it happens in week 2189, in which there are also 2 commemorations, although not of two minor saints, and both commemorations are more solemn, or by the charter for September 7, - if it is in a week, when there are also 2 commemorations, but not both are saints. According to all these instructions equally, I cried out to the Lord, you need to sing 3 Sunday stichera, 1 to the East, 3 to one saint and 3 to another. This case is directly foreseen and such a charter is given for it in the preface (“Statement in Brief”) to the General Menaion, a book unknown in the Greek Church, of very late origin (XVI century), with an even later specified preface. The statutes of the Studian type, which had 8 stichera for the Lord called on Sunday Vespers, among which there were no “Eastern” ones, assigned Sunday stichera for 4 and for the saint 4, doubling the first; those who had eastern ones: 3 Sunday, 2 eastern and 3 holy. The Studian-Alexiyevsky Rule, which had 9 stichera on the Lord I cried, did not allocate space for the stichera of the Menaion, excluding the great saints, and tripled the 3 Sunday stichera 2190. The Jerusalem statutes, starting with the most ancient copies, remain unchanged on this point. The fact that they do not include two saints on Sunday in any lists indicates either that this clause of the charter has been kept unchanged since the time when there was no more than one service to a saint on each day of the month, or that with two saints on Sunday, in the past, the service of one was omitted. It is remarkable that Mark’s chapters of all editions, which provide for all kinds of coincidences with Sunday, do not talk about such a coincidence, while they speak, for example, about coincidence with the Sunday before or after the feast of two saints, indicating then to leave the service of the second saint; they also say how to sing troparia if on Sunday there are two saints with separate troparia 2191; but the stichera and the canon do not contain any instructions for this same case. In case there is no Menaion in the church, in the Octoechos, after the eastern stichera, 3 stichera of the Most Holy are printed for each Sunday Vespers. Theotokos, creation of Paul of the Amorites, founder and abbot of the Evergetian monastery. († 1054), who perhaps borrowed them from St. Ephraim the Syrian (Introductory chapter, p. 174). These are stichera of repentant mood. Their voice only for services of 1st and 5th voices coincides with the voice of the week; for the rest of the services it is replaced by another, mostly parallel, voice: in the service there are 2 voices of Paul’s stichera, 6 voices, in Chapter 3. – 7, at 4 – 8, at 6 – 3, at 7 – 2, at 8 – 4; this must be for variety and for complete compliance with the menain stichera, the voice of which for the most part does not coincide with the Sunday stichera. In view of the same diversity and correspondence with the menaine, Paul’s stichera must also be “similar,” that is, they are sung in a more beautiful and complex melody than the usual vocal melody. Similar to their 1st chapter. "Heavenly ranks", 6 chapters. (hence, for the service of 2 chapters; so on) “Desperate”, 7 chapters. “Today Judas is Watching,” Chapter 8. “About the Glorious Miracle”, 5 chapters. "Rejoice", 2 ch. “Ever from the Tree”, 4 chapters. "Like a treasure." For the first time, the stichera of Paul the Amorite appear, apparently, in glory. Octoechos, published in Kyiv, 1699. In the current Octoechos in chapter 1. a remark about them: “Be aware that in the Greek translations these stichera are not present.” The Evergetian Charter does not mention them either. The most solemn stichera on the Lord I cried out are sung with the refrain “Glory to the Father...”, and the stichera to the saint is added to the first half of the chorus if he is entitled to a stichera with such a refrain (“glory”); For the most part, such stichera does not rely on the usual melody of the voice, but on a special one, and is called a samoglashen. To the second half of this chorus, to “And now...”, or to the entire chorus, if there is no stichera for the Glory of the Saint, a hymn in honor of the Holy One is added. The Mother of God, whose glorification usually ends in the Orthodox Church with a song. The Theotokos, which concludes the stichera on the Lord with the call of Sunday Vespers, is always sung in the weekly voice, despite the possible and usually avoided by the statute discrepancy between such a voice and the last stichera and in contrast to the verse stichera, which always have the Theotokos according to the tone of the last stichera, and also in contrast to the laudatory stichera, which always have the same Theotokos on Sunday, therefore in the same voice (2nd). This is due to the special sublimity of these Mother of God, belonging to St. John of Damascus, giving with their entirety the complete teaching on the most important of the dogmas - the dogma of the incarnation and therefore called “dogmas” or “dogmatists”. You can see the connection between all 8 dogmatists by their content. “In Dogmatics, Chapter 1. the revelation of the dogma of the incarnation begins with the indication of the universal glory of the Most Holy One. Virgo; this, as it were, recalls the promise of the seed of the woman, given to the first parents in paradise and fulfilled on the Most Holy. Virgo. In dogmatics 2 chapters. the relationship of Old Testament prototypes to New Testament events is shown. In dogmatics 3 chapters. the very birth according to the flesh of our Lord Jesus Christ, the image of this birth, is shown. since it is necessary to know the purpose of the incarnation of the Son of God, this is revealed in the dogma of Chapter 4. Further, it is incomprehensible to us how the Mother of God, being a Virgin, gave birth to Christ and how at Christmas she remained a Virgin: this comes somewhat closer to our understanding through the content of the dogmatic chapter 5. (through some Old Testament types). since we do not yet know how in the person of Jesus Christ two natures, Divine and human, are united, this is stated in the dogma of Chapter 6, i.e., that the two natures are unfused and inseparably united in one person of the God-man. However, with all the explanations, the incarnation of God the Word is a mystery, understood more by faith than by the testing mind; Therefore, in dogmatics, chapter 7. it is said that it was accomplished supernaturally. In dogmatics 8 chapters. the dogma of the incarnation of God the Word is presented in a positive and concise manner" 2192. Distribution of stichera between choirs The Typikon says nothing about the very manner of singing the stichera on the Lord, but it goes without saying that they are sung according to the faces and that before each stichera the same face sings and its chorus 2193. If the singing is with the canonarch, then it goes without saying that before the menaion stichera the canonarch announces their voice and similar; if the voice of the Sunday stichera coincides with the menaion, then he proclaims: “the voice is the same, similar to such and such” 2194. The last verse of the psalms “For mercy is established” with the last stichera The Typikon directs both faces to sing together - this is in view of the advance connection for the corporate singing of the Theotokos, at which there is an entrance and which therefore should be sung more solemnly than other stichera. “In the final verse the faces come together, signifying their agreement with each other, and the unification of the whole world through the Savior” 2195. On the same verse, the priest is instructed to bow to the abbot, go (implied from his stasidia) to the altar and vest for entry (the deacon vests earlier - for the last small litany and for the incense). The above mentioned cargo. RKP. XIII century indicates, “As if established,” the priest and deacon should enter the altar and vest themselves, and the choirs should unite to the “glory and now” and the Mother of God. Same Greek. RKP., but about the connection of choirs they generally say that at the entrance they are already connected. Slav. RKP. they talk about the vestments of one priest and about the joining of faces on the 10th verse, “For His mercy is established,” and the entrance begins with a samoglasn, if there is one. "Rank" Patr. Philothea directs the priest to vest himself when Glory and Now 2196 are sung. The most important and sacred rite of Vespers is the entrance (είσοδος). The very name of this ritual fully indicates its essence. The clergy now enter the altar and approach the throne, obviously so that their intercession for the faithful will be stronger. Until now, they entered the altar for a short time, through the side doors, for the necessary sacred rites; now they enter it solemnly to remain there for prayer. The entrance has the same significance, first of all, in the liturgy, on the basis of which Vespers arose, sometimes replacing it: just as there the priest enters the altar to offer a bloodless sacrifice, so here he enters to offer a verbal sacrifice. From the entrance, the service receives a more prayerful than laudatory character; the blessings of the priest begin with it, the service becomes more gracious and bold before God. “The entrance is completed,” says St. Simeon of Thessalonica, - for the message from the altar of the grace of God and for the offering of our prayer" 2198. The entrance also has another, more mysterious sign, connected, however, with the one indicated. It means “that the Only Begotten Son of God, having descended to us from the heavenly circles, ascended again and took us to heaven” 2199. Since this happened mainly through the incarnation of the Son of God, the entrance marks His incarnation, and St. doors, like the impenetrable gates of the prophet. Ezekiel, Rev. Virgin (which is why they are equipped with the icon of the Annunciation) 2200. Thus, the entrance to Vespers expresses in action what the Theotokos is sung before - in words. Action is stronger than words, and the prophets, when their predictions rose to special tension, replaced words with actions (the so-called “symbolic”). Therefore, the mystery of the incarnation is not content to express itself in the divine service with the words of a song and seeks a more effective expression, to some extent as if being accomplished again through this action (as happens with the Savior’s death on the cross at the Eucharist). The entrance to Vespers is so important. This is truly her most sacred moment. From this meaning and significance of the entrance all the particulars in its setting are explained, which the Typikon in Chapter 2. indicates briefly, obviously referring him to the Service Book for a detailed order. According to the Typikon, the priest, while singing the verse “For His mercy is established upon us,” i.e., the last one cried out to the Lord, having bowed to the primate, enters the altar and puts on a phelonion. Upon pronouncing “Glory” the St. doors, and the entrance is made in the following order: two candlesticks with candles are carried in front - as a sign, of course, of the light of the teachings of Christ (two - or for greater solemnity compared to the initial censing, when the priest is preceded by one candle, or, perhaps, an indication of the two natures in Christ, as in the bishop's dikiria); behind them comes a deacon with a censer, the incense of which, according to St. Simeon of Thessalonica, “the fragrant soul and life of the Savior is depicted” 2201, and then the priest walks “simple”, that is, with his hands lowered - as a sign of reverence (which is then required from everyone with the exclamation “Wisdom, forgive”), with a lowered phelonion (of course, an ancient phelonion with the front part reaching to the feet) - of course, as a sign of reverence in imitation Seraphim who covered their legs with their wings 2202. The missal supplements these instructions with the remark that at the entrance “they come from the right hand of the country behind the throne” and exit by the northern door; the latter as a sign of the humiliation of the Son of God at the incarnation. Coming out of the altar, the priest (hereinafter according to the Typikon) stands opposite the saint. doors, the deacon to the right of him a little obliquely; The deacon, bending slightly, holding the orarion with the three fingers of his right hand, says quietly, but so that the priest can hear: “Let us pray to the Lord.” The priest quietly says the prayer “Evening and morning and noon,” called in the Missal the “prayer of entry.” This prayer, in which there is an expression from the most important liturgical song “We sing to You”: “we praise, bless, thank and pray to You” (significant!) 2203, repeats the prayers of the psalms on the Lord, I cried (as if bringing these prayers from the priest), it asks God that our prayer should be directed to Him, like a censer, so that our heart does not deviate into evil words and thoughts; further asks for deliverance from all those who catch our souls; the prayer ends with a doxology (called “exclamation”) of the great litany “As befits You,” which expresses that a new independent part of Vespers begins, or that the latter actually begins from here, and until now there has been preparation. The Typikon describes further rites of entry as follows. The deacon, standing upright (“bending up”), says to the priest, pointing to the east (a country so fertile for Christians) with an orarion, which he holds with three fingers of his right hand: “Bless the Lord St. entrance". The priest blesses to the east, saying: “Blessed is the entrance of Thy saints, O Lord, (conclusion in the Missal at the Liturgy always, now and ever and unto ages of ages, Amen.” This expresses the confidence that both the Holy Angels participate in the entrance, for which the priest directly prays at the prayer of the liturgical entrance, and the spirits of the righteous, since he, as it were, repeats the Savior’s entry into heaven. Then the deacon steps aside to the primate, censes the icon in his place and himself (asking him for a blessing to enter) and returns to his previous place, waiting for the end of the stichera (“verse”); at the end of it, he “enters in the middle,” that is, he approaches the middle of the holy. doors and, having drawn a cross with a censer 2204, as a sign that the doors of heaven have been opened to us by the Cross, he proclaims: “Wisdom, forgive,” thereby inviting us to stand reverently in view of the sacred importance of the present moment, i.e., the entrance, as is done before the most important moments of the liturgy - at the beginning of the Liturgy of the faithful, before the “canon” of the liturgy, as well as before the dismissal of vespers and Matins. (Unfairly, this exclamation is considered preparatory to the song of Sveta, quiet or prokeimnu: neither one nor the other takes place after the entrance to the liturgy, when the same exclamation; at weekday Vespers, when there is no entrance, the exclamation is not indicated either in the Typikon or in the Service Book). After the exclamation, continues the Typikon, while singing the Quiet Light, the readers, carrying candles at the entrance, approach with them to St. doors, the deacon enters the altar and censes St. meal (it is not said “around”), the priest, bowing before St. doors and, having kissed them, enters them, after which St. the doors close. Upon entering the altar, the priest, according to the Missal, turns to the west, stands with folded hands, waiting for the end of the prokemena, then bows and goes to his place - it should be assumed, as is done in practice, that the priest stands at the high place when singing the prokemena. It is accepted practice that the priest at the entrance kisses not the very saints. doors that are open, and their jambs, or rather, small icons placed on the latter (kissing the doors themselves is reserved for the bishop's service). In the same way, the practice adopted by St. do not close the doors immediately after entering, but after singing the prokeimna 2205. Ancient statutes and Greek about entry In the ancient copies of the Jerusalem Rule, the evening entrance is described more briefly than in the current Typikon, which borrows the order it gives with some changes and additions from the “Rite” of Patras. Filothea (XIV century). By load RKP. Jerus. Charter of the 13th century with the words “For His mercy may be established upon us” “the priest and the deacon bow to the abbot, enter the diaconate and put on vestments, and then come out with a lighted candle, everyone bares their head, both choirs unite and sing - Glory and now, the Theotokos of the Resurrection in the same voice in which they sang, Lord I cried; at the entrance the deacon proclaims the Wisdom of Forgive.” According to Greek RKP. XIII-XIV centuries, “at the verse “For I am established,” the priest and deacon depart and bow to the primate or his place, as stated above, and, upon entering, put on the priest. clothes in the deacon, and entering the church (έν τώ ναώ), they make an entrance (είσοδεύουσι) with a censer in front of the lamps (λαμπάδων), the brethren all bare their heads, uniting (later rkp. “at the union two choirs"), then the deacon, drawing a cross with a censer, says: “Forgive Wisdom.” According to glory. RKP. XIV-XVI centuries: “on the 10th verse, two faces copulate and sing the verse Like being established; The priest and deacon perform the usual worship of the abbot or his place, as stated, and going to the altar they put on the priestly rites (later RKP: “clothes”) and go out with a censer, the candles of the previous ones (late RKP: “preceding the priest with a lamp”). Let us all open their chapter every time, but we sing the glory of the self-vocal voice of the Holy One, even now, of the voice of the Mother of God; If there is no self-accord with the saint, Glory is now the Theotokos in the voice that has risen (late RKP: “singing both faces, at the end of the stichera the Theotokos”); the deacon, having drawn a cross with a censer (late RKP: “marks with a censer towards the royal doors in a cross shape”), will exclaim: Quiet Light, Wisdom” (late RKP: “Forgive Wisdom”). According to later manuscripts, he sets out the rite of entry and the Old Believer charter, with the following difference: “at the end of the stichera and the Mother of God, the deacon marks the cross with a censer in front of the royal doors in the shape of a cross and, turning to the rector, censes the abbot; if there is no abbot, then his place is incense; and again he comes to the royal doors, marking the censer with a cross, saying Forgive Wisdom, Quiet Light, and we sing: Holy Glory of the Immortal" 2206. According to "Chin" Patr. Filothea, after censing on “Lord I cried” “The deacon, having returned, puts aside the censer and remains there; when Glory is sung even now, the priest enters and puts on the stole and phelonion and there is an entrance: the deacon, taking the censer, putting incense and asking for a blessing, as we said (i.e., as before the censing I cried out to the Lord), enters together with the priest through the northern doors, with the holy doors open. doors, preceded by two readers with lamps (λαμπάδων); behind them is a deacon with a censer, the priest also comes out, having a lowered (κεχαλασμένον) phelonion, and they retreat to their usual place; here the readers place candlesticks (μανουάλια) in the middle of the church on both sides; the priest stands directly opposite (καταντικρύ) the saint. doors; The deacon also stands to the right of the priest, slightly obliquely (έκπλαγίου) and bending (κύψας) a little, holding his orarion with three fingers of his right hand, and says secretly, just so that the priest can hear: Let us pray to the Lord. The priest secretly says this prayer: Evening and morning and noon. And after prayer they stand upright (άνίστανται) and the deacon speaks to the priest, pointing together to the east with the orarium, holding it with three fingers of his right hand: Bless, master, St. entrance. And the priest blesses to the east, saying: Blessed is the entrance of Thy saints, O Lord. Then the deacon leaves and censes to St. the icon on the stasidia of the primate and the primate himself and again stands in the place where he stood earlier, waiting for the end of the verse; at the end of it, the deacon enters the middle and, having drawn a cross with a censer, proclaims: Forgive Wisdom... The readers, taking the lamps again, go forward to St. doors; The deacon, having entered the interior of St. altar, censing St. meal: the priest, bowing before St. doors and kissing them, he enters, and the doors are closed" 2207. In Ί ερατικόν᾿ e, now in force in the Greek Church, the entrance is indicated to do this: “there is a small entrance preceded by priests, followed by a deacon with a censer and a priest; when they come to the middle of the church opposite the altar, they bow their heads, and when the deacon says: Let us pray to the Lord, if the bishop is standing in the choir, he secretly says the prayer of entry; if he is not there, says the priest. Deacon: Bless, Master, St. entrance. The bishop or, in his absence, the priest, blessing, says: Blessed is the entrance... Then the deacon, showing where he stands, the bishop and the priest and the saint. icons, proclaims: Wisdom, forgive. And the incense enters the sanctuary, and the priest also burns incense as he enters; in the same way, the priest, bowing his head to the bishop or before the throne, enters the sanctuary himself through the royal (ωραίας) doors. The bishop or the priest standing in the choir reads the evening thanksgiving: Quiet light. If several priests make the entrance, then they take a blessing (καιρόν) from the bishop in front of the saint and, entering the altar and kissing the priest. Gospel and St. meal, put on stoles and phelonies; when singing the Mother of God, they come out one after another and stand in a semicircle in the middle of the church; when the deacon says “Forgive Wisdom,” he moves away and stands opposite the throne in the row of priests behind the last of them; the face of the priests slowly and reverently sings the evening thanksgiving, and with the words “Having come to the west of the sun,” the deacon, censing the bishop and the Master’s icons, enters the sanctuary; in the words: “Father, Son and Holy Spirit,” the priests, in twos, bowing their heads before the throne, enter, singing together, into the sanctuary and standing on both sides of the holy. meal, finish singing" 2208. Already at the Jerusalem services of the 4th century. in the Church of the Resurrection there was something corresponding to the entrance, namely, the entry of the bishop behind bars (iconostasis) into the cave of the Holy Sepulcher, which replaced our altar, to pray and bring blessings from there. But it is remarkable that such an introduction took place at all services there, even during the hours, with the exception of only vespers, at which the bishop prays not behind bars, but in front of it (Introductory chapter, 140-142). This is the latter, perhaps because the entrance in the evening was for the liturgy, which in some places was still celebrated in the evening. When the liturgy was everywhere transferred to the morning, it had to transfer all the rites of its entrance to Vespers. All the features of the evening entrance are explained historically from the liturgical entrances and their furnishings, especially in the Constantinople Church of St. Sofia, whose charter influenced all other charters. According to the description of op. “On the Rites of the Byzantine Court” (De cerimoniis aulae Byzantinae) X-XI centuries, small and great entrance to the liturgy of major holidays in St. Sofia happened as follows. The Patriarch, like the Tsar, appeared at the liturgy at the small entrance. The Patriarch had arrived earlier and was waiting for the Tsar in the inner narthex (narthex) with all the clergy; the patriarch held the cross, the archdeacon held the Gospel, the deacons held censers and lamps; before entering the narfik, the king, in a special room in the outer vestibule, took off his crown (as a sign of reverence) in order to enter the church without it; entering the inner narfik, the king venerated the Gospel and the cross, the patriarch bowed to the king and burned incense on him, they kissed, and the king, taking the patriarch by the right hand, walked with him through the narfik to its main doors, called “royal”; in front of them the patriarch quietly read the entrance prayer; the tsar with a candle in his hand bowed three times before the doors and, upon the blessing of the entrance by the patriarch in the present words, while singing “Come, let us worship,” the tsar, giving the candle, venerating the cross and the Gospel again and taking the patriarch by the hand, entered the church with him and walked to the solea preceded by the clergy, the archdeacon with the Gospel, the deacons with censers and lamps, and banners; the king's retinue entered the church through the side doors before the king and, when he passed the church, told him many years; banners were placed on the salt. Venerating to St. gates, the patriarch with the words “I will go into your house...” entered the altar; the king, again taking the candle, performed threefold worship before the saint. the gate and, having given the candle, St. entered. the gates to the altar, and the patriarch or bishop moved the saint for him to kiss. gate; approaching the throne, the king kissed the cover raised by the patriarch for this purpose, took from one of the officials who entered the altar through the side doors, covers or a cup, which he brought as a gift at each such entrance to the church, and placed them on the throne, kissing the priest. objects located on the latter; then the king burned the throne, walking around it in a circle with the patriarch; incense and other sacred objects of the altar, to which he first bowed with a candle in his hand. After censing, having bowed to the patriarch and kissed him, the king retired to a special section of the church - the mutatorium, where he listened to the liturgy until the great entrance. Before the great entrance, in which, in addition to the king in the proper sense, or “great,” he also took part, having the title of Caesar, or “little king” (i.e. heir, crowned during the life of the king, or another relative of the king), the king was informed about the arrival of the time of entry; he put on a chlamys (which he took off after the small entrance) and, preceded by the banners, walked from the right side of the church to the middle of it, where the clergy were already standing with the Holy Gifts; To the kings great and small, officials presented candlesticks with lighted candles that stood right there, usually carried by readers at the entrances, and the kings, now fulfilling the duties of “depotates” (the lowest clerics, priests 2209), carried candlesticks in front of the Holy Gifts from the ambo (in the middle of the church) to the holy. doors preceded by banners; at St. the doors of the kings handed over the candlesticks to the court officials, who placed them on the salt; the kings stood on both sides of St. the doors in which the patriarch stood and accepted the paten and cup from the archdeacon and first priest who carried them; the latter, carrying the Holy Gifts past the kings, said: “May the Lord remember your kingdom in His Kingdom always...”; and handing over to the Patriarch St. vessel, they said: “Your bishop…”; Patriarch, receiving St. vessel, prayed for kings and ranks; The kings said goodbye to the patriarch and retired to the mutatorium before kissing on the Creed 2210. The difference between the evening entrance and the liturgical entrance Although the evening entrance was developed on the basis of the liturgical ones, it differs significantly from them in that it is performed without the Gospel (with the Gospel only when it is read at Vespers) and without the Gifts; thanks to this, the focus of the entrance is the priest himself. It is he, who represents Christ, while in the liturgy Christ is represented by the Gospel or the Gifts, who is honored by the presentation of a censer and a candle. Features of the evening entrance in historical development Smoking incense was one of the accessories of royal exits in the East and Byzantium in 2211. The presentation of lamps is the same. The latter in Byzantium originated from the carrying of torches before the Roman Augusti in processions. Before the Byzantine emperor, during some ceremonies, a special official, the lampadarium, carried a “divamvul,” a precious candlestick with a gilded lamp, the edges of which were painted with cinnabar. A similar candlestick, called “monamvul” (these words include the numbers 1, 2 with some other unknown word), was worn in Byzantium before the patriarch 2212. Before the Patriarch of Jerusalem in the 8th-9th centuries. on special occasions, 12 monks walked with candles 2213. In ancient Russia, a newly elected bishop was escorted to the tsar, patriarch and to the cathedral with 12, 8, 6 or 4 candles, which were carried before him by special clergy - “flammen”, or “firemen” 2214. According to the Typicon of the Great Church of Constantinople, the evening entrance was preceded by three lamps 2215. The entrance was timed to coincide with Psalm 140, since Vespers began with this psalm in ancient times. At song vespers, entry took place at the 8th st. Ps. 140: “As to You, O Lord, Lord” (Introductory chapter, 342). But the Studio statutes already indicate the entrance after the Theotokos on the Lord I cried out 2216. Therefore, the current prayer of entry relates mainly to this psalm. In most ancient Euchologies this prayer is labeled “entrance.” But Euchologius is in hand. Athos-Pantocrator Bible. No. 149 XV century. has this entry prayer: “At our entrance, O Christ God, to Thy altar, all filthiness has been changed; You are accepted with favor; Having washed our hearts from the evil conscience, make it worthy for our prayer to rise up like incense before You through the prayers of Your All-Pure Mother and all Your saints, as befits You..." 2217. According to some Euchologies, as a prayer for the evening entrance (obviously, in contrast to the liturgical one), a short verse is given, like the current blessing of entry. So, in the Georgian manuscript. Imp. Publ. bib. No. 208 XIII century. "entrance prayer": “Blessed is the coming of St. Thy glory, O Christ our God always...” In the Service Book of Novgorod Sofiysk. bib. (at St. Petersburg. Dukh. Acad.) No. 524 XIII century. The entrance prayer is today, but the blessing verse is: “Blessed is the entry of Christ our true God” (reinforcing the thought of the current verse). In the most important Russian cathedrals of the 15th-16th centuries, as the manuscripts of their “Officials” show, it must have been under the influence of later Byzantine practice, the evening entrance, as well as the morning entrance to the Great Doxology, which was practiced even then as a remainder of the song sequence, was performed every Sunday with the participation of not only the entire cathedral clergy, for the most part very numerous, but also the parish priests of the city, even visitors; but already from the 16th century. in Novgorod, Pskov and even in Moscow, the clergy began to be burdened by the obligation to appear for “exits” to the cathedral every Sunday; I had to demand this from him under threat of a fine, as Metropolitan did, for example. Macarius in a letter to Archbishop of Novgorod. Serapion 1551; with Patr. Filaret and in the Moscow Assumption Cathedral it happened that “one week-old priest went out of need” 2218. Among other reasons, this reduction in solemnity could have been influenced by the increasing dominance of the Jerusalem Rite, which had supplanted in Russia the last remnants of the practice of the Great Church of Constantinople, with which practice the Studite Rite, which grew up next to it, easily coexisted 2219. After the stichera on the Lord I cried out, as if as a final stichera, there follows the song “Quiet Light,” called in Greek. The Book of Hours “Lamp Thanksgiving (έπιλύχνως)” and combines ancient Christian depth and strength of feeling with simplicity. The song contains the glorification through Christ of the Holy Trinity and Himself, evoked by the appearance of the evening light and gratitude for surviving until it. It breaks down into three parts that are so independent that they can be considered as three separate songs. 1. Quiet light (Φως ίλαρόν in Greek can also be a nominative predicate: You, Christ, are light; “quiet” in view of the evening) of holy glory (unbearable for us sinners) of the Immortal (as opposed to the sunset of the sun and the exhaustion of Christ in death on the cross) of the Heavenly Father (from where the visible light comes) of the Holy, Blessed (two main interconnected properties of the life of God), Jesus Christ (Christ as the Son of man). 2. Having come to the west of the sun (having lived until sunset), having seen the evening light, we sing, ύμνοΰμεν (in gratitude for this) the Father, the Son and the Holy Spirit of God 2220. (Trinity hymn, after which we sing “the hymn to Christ as God” 2221 3. You are worthy at all times (not only in the evening) to be the voices of the reverend (more suitable than ours; Greek αισίοας, blessed), the Son of God, give life; Likewise, the (grateful) world glorifies Thee 2222 (in some RKP. εορτάζει - celebrates Thee). Thus, the song continues the thoughts of the Mother of God (dogmatics) and in words depicts the silent actions of the entrance. The Quiet Light, along with the great doxology and O Lord, is the most ancient Christian song. It is given in the Alexandrian Codex of the Bible of the 5th century. This is a typical Christology of the 2nd-3rd centuries. Its antiquity is also evidenced by the fact that it has lost the name of its author. It is significant that in this respect it shares the fate of several other, also very sublime, songs, such as, for example, in addition to the two indicated, also troparions. Were these songs composed in a manner similar to works of folk poetry, that is, were they not collective creations of the Church? 2223 An assumption that receives even greater probability from the multi-composition of some of these songs, as we saw in the Quiet Light (the same is the great doxology and Lord Vouchsafe). For the Quiet Light, two authors are named: the current Greek Book of Hours inscribes this song: “an ancient creation (a hint of ancient anonymity) or, as some say, Athenogenes the martyr” (Bishop of Sebaste in Armenia - 311 or another), and a reference is made (in the note): “Basily Vel. Chapter 29 about the Holy Spirit." In the Slavic Book of Hours the song is attributed to Sophronius, Patr. Jerusalem (634–644), about which some Greek Books of Hours make the remark: “St. Athenogenes the martyr, and not Sophronius, Patriarch of Jerusalem, as some unfairly think, is the witness of Basil the Great.” Under Sophronius, indeed, the hymn already had church use, as shown by the Alexandrian Codex and Sophronius’s own story about his visit to the Nile of Sinai (see Introductory chapter, p. 295). But the charter of the Great Church of Constantinople and the song following do not know this song (Enter. Ch., 342). A hymn is attributed to St. Athenogenes, probably based on the following words of Basil the Great: “our fathers did not want to accept the grace of the evening light in silence, but immediately as it came, they brought thanksgiving. Although we cannot positively say who was the creator of those praises that we read during the prayers of the lamp, however, the people repeat the ancient voice and no one has yet imagined that blasphemy is being uttered when they say: we praise (αίνοΰμεν) the Father, the Son and the Holy Spirit of God. If anyone knew the hymn of Athenogenes, which he, instead of a preventative medicine, left for his disciples when he himself was hastening to the burnt offering, he would also know the thought of the martyrs about the Spirit” 2224. In this testimony, apparently, the song with the words “we praise the Father, the Son...”, i.e., perhaps, the Quiet Light, differs from the song of the martyr. Athenogenes with a mention of the Holy Spirit 2225. Regarding the manner of performance of “Quiet Light,” the Typikon says: “and we sing,” which fully corresponds to the poetic and musical character of this “evening thanksgiving.” But at weekday vespers this song is read (“verb”), however, not by a simple reader, but by the primate himself (chapter 9 of the Typikon), like other important prayer books (the prayers read by the primate are counted in chapter 7 of the Typikon, note “see”). Ancient statutes about the Quiet Light The studio charter required singing the quiet “voly” to the Light (slowly and quietly?), as well as the sixth psalm (about which it is noted elsewhere that it is sung or “said in a thin voice of tenderness”), as the end of matins, as the opening psalm at vespers, O Lord, vouchsafe now to let go, the Trisagion and the troparion, - in contrast to God the Lord and alleluia matins, which, according to the Studio Rules, were performed “with crying and singing” in a “bright voice”, “clear” 2226. This must be, among other things, due to the invariable repetition of the first type of song at every service. This kind of singing, although it was performed by all the brethren, was similar to reading. Hence the hesitation in further regulations and disputes in the Russian Church about whether these prayers should be sung or read, and in particular “Quiet Light.” The ancient copies of the Jerusalem Rule speak more vaguely about the method of fulfilling the latter at the vigil than the current Typikon. Cargo. RKP. XIII century: “people: Quiet Light”; Greek RKP. XIII-XVI centuries and printing. XVI-XVII centuries: “and we: Quiet Light” 2227; Slavic manuscripts: according to the Service. XIII century Soph. bib. at St. Petersburg Spirit. Ak. No. 518 and 524 – deacon: “Quiet light of holy glory”; clergy: “Immortal Heavenly Father” 2228. According to ancient glory. RKP. statutes: “The deacon, having drawn a cross with a censer, will exclaim: Quiet Light. Wisdom, laid before me by the entering priest, says:... Holy glory" 2229; according to other RKP: “the deacon - to proclaim Wisdom, forgive, the one who has been instructed speaks to the Quiet Light” 2230; according to later ones, the same, only “and we say: Quiet Light” 2231. Old Believer Charter: “Deacon – Forgive Wisdom. The light is quiet, and we sing: Holy glory of the immortal" 2232. The custom of saying to the deacon, in addition to “Forgive Wisdom” (or one “Wisdom”) before or after this, is also the beginning of the song “Quiet Light”, thus apparently of Russian origin; but the fact that in the VI-VIII centuries. it was required that the most important songs be started by a subdeacon, deacon, or even priest (see Introductory chapter, pp. 295–296: 307), a remnant of which is the singing of Easter Irmos by the clergy today, which makes us see in this custom a relic of deep antiquity, preserved in the practice of the Russian Church, perhaps from the dominance of the statute of the Great Church of Constantinople. The same relic, but only from the Studio Charter, was the custom of reading Sveta quiet. This custom also caused controversy in the Russian Church. At the Council of the Stoglavy, Tsar Ivan the Terrible posed, among other things, the following question: “for the sake of guilt in our kingdom in Moscow and throughout the Moscow borders, in cathedral and parish churches, except monasteries, on Sunday vespers and on holidays and on great saints, when there is a coming out, the Saints of glory (i.e. Quiet Light) do not sing, but speak in speech, and at matins in for a week and on holidays they do not sing praises, just as they speak in speech on other simple days.” The Council did not give a separate answer to this question, but generally decided: “church singing should be regulated in full and according to order in everything” 2233. The song “Quiet Light” is followed at Vespers by not only the festive, but also the everyday (excluding Lenten and sometimes funeral) prokeimenon. With the prokemne, a new type of church song is introduced into Vespers, differing from others primarily in its brevity. While church singing usually consists of singing more or less long songs, sometimes entire psalms, but more often songs of 5-6 lines (stichera, troparia), the prokeimenon is a song of several words, consisting of only one verse of the psalm, set to a melody especially rich in sounds and marked by repeated singing: each of these repetitions is preceded by a “verse” in a less solemn performance. Bursting into a series of long hymns of Vespers and Matins, the prokeimenon attracts attention with its unique form. Moreover, the prokeme is always a verse of Holy Scripture that is especially strong, expressive and suitable for the occasion; which is why prokemenums are borrowed almost exclusively from the most poetic book of St. Scriptures - Psalms (among the prokeimns there are only a few not from the psalms: for example, from the Old Testament songs - “Blessed art thou, O Lord God, our father”; the Gospels - “My soul magnifies”, and from the epistles - “Grace appears...”, and a special composition: “The Body of Christ...”, “Blessed is the way...”). As an example of a particularly expressive prokeimenon, the prokeimenon of Epiphany Matins can be indicated: “You saw the sea and ran, Jordan returned back”; verse: “As the sea is, it has fled.” The prokeimenon (προκείμενος) received its name because it usually precedes, and previously always preceded, the reading from Holy Scripture. The prokeimenon consists of a verse, properly called a “prokeimenon,” and one or three “verses” that precede the repetition of the prokeimenon; Thus, the prokeimenon is sung the first time without a verse, the second time and further times (if there are several verses) with a verse, and the last time again without a verse, which is replaced by its first half. The prokeimenon is the rest of the singing of an entire psalm with a refrain for each verse of it from some verse that is most suitable or familiar to the people. Back in the IV-V centuries. Whole psalms were sung in this way, and such singing was known under the name hypophonic, or responsoral, in contrast to antiphonal (Introductory chapter, pp. 155–158). Since the first type of singing was easier and more convenient for performance by a whole people, it apparently became more widespread. The Council of Laodicea (c. 360) demands “that in prayer meetings the psalms should not be sung continuously one after another, but that after each psalm in the interval (διά μέσου καθ᾿ έκαστον ψαλμόν) there should be a reading” 2234. Prokeemnes and alleluiaries are the remnants of these intermediate psalms between the readings. At the Syrian liturgy, St. James, before the apostolic reading, there is also a whole psalm with a preliminary prayer for the purification of the heart for its singing (cf. “Wisdom”, etc.) 2235. In the fourth century, from the psalms sung in the church, one verse began to stand out as a refrain, as if overshadowing the entire psalm: “The fathers established,” says St. John Chrysostom, - so that the people would sing along from the psalm a strong verse containing high teaching" 2236. In the VI century. in the story of John Moschus and Sophronius about the visit to the Nile of Sinai, the term prokeimenon (“presenting”) apparently already has a meaning close to the current one (Introduction. Ch., p. 295). But also in monuments of the 8th-15th centuries. Prokeme, in addition to what is now denoted by this word, are called troparia on the clock, sometimes antiphons (see above, p. 341:470). On the other hand, in the list of the 11th century. (Rossansky) Liturgy of St. Jacob's prokeimenon is called πρόψαλμα 2237. The psallendo (for singing) of the Mozarabic liturgy has the literal form of our prokemna: it consists of a verse of a psalm called psallendo, of another called versus (verse), and a repetition of the end of the first (also psallendo) 2238. In other rites of Latin worship, the prokeemne corresponds to the responsory, which until the 9th century. it was sung exactly like our prokeimenon, with verse and division into 2 parts (see Introductory chapter, pp. 307–308). Nowadays, sometimes at Roman Catholic services the antiphon takes the position of our prokeimn (see Introductory chapter, p. 156, note 8; 157, note 7). Since the prokeimenon in ancient times always preceded the reading, and now for the most part precedes it, the same exclamations are made before it that from ancient times preceded the reading of Holy Scripture. At an ordinary Sunday Vespers, at which there are no readings (paremias), such exclamations before the prokemene are also not inappropriate: they distinguish it from other Vespers songs, focusing the special attention of the worshipers on it. With these exclamations, the deacon first of all invites special attention: “Let us attend” (πρόσχωμεν); the priest, as if as a condition for such attention, first teaches peace from the altar into which he has solemnly entered. “Peace to all,” is a greeting that goes so well to the militant Church, to which Christ has left a peace that surpasses all understanding. The deacon excites attention by pointing out the special wisdom contained in the upcoming song or reading: “Wisdom. Let's remember." The oldest of these exclamations is “Peace to all.” "Peace be with you" was originally in the ancient warlike East not so much a greeting as a statement that the visitor did not come with the usual hostile purposes 2239. But by the time of the Savior, “Peace” had become a common greeting and was a favorite of Himself 2240. Along with it, and probably more commonly used than it, the Jews had the greeting “The Lord is with you” or “with you” 2241. In the troubled first centuries of Christianity, during liturgical meetings that threatened participants with arrest, the first greeting received a particularly pleasant flavor, which, combined with the fact that it was sanctified by the Lord’s use, made it more common than the second in the same way in the Eastern and Western Churches of the 4th-5th centuries (see Introductory chapter, pp. 169–170). But later in the West, the second greeting (Dominus vobiscum) almost everywhere replaced the first (it was preserved only in the Gallican liturgy), perhaps because the first, as especially sacred, loved by Christ, was avoided to be used with catechumens 2242 (which Tertullian also warned against, denouncing heretics for the fact that they greeted everyone without distinction with peace) 2243. “Peace be with you” has been preserved in some places in the West only as a bishop’s greeting. The Council of Braga in 561 against the Priscillianists (who generally gravitated towards the East) decrees: “it is desirable that the bishops should not greet the people differently than the presbyters, but equally, saying: “The Lord is with you,” as it is said in the book of Ruth, and the people should answer: “And with your spirit,” as this tradition of the apostles themselves holds the whole East (in relation to Spain), and not as it changed Priscillian fallacy" 2244. At the liturgy St. Peter (Alexandria), generally close to the Western ones, in the RKP. XI century The greeting is always “The Lord is with you,” in the RKP. XVII century sometimes “Peace to all,” and the first is pronounced, as in the Roman Church, sometimes by a deacon 2245. From Eastern liturgies, liturgy of St. Jacob is filled, especially in his later copies, with the greeting “Peace to all,” sometimes “Peace be with you”; in particular, he has this greeting before the prokeme; Moreover, in its oldest list, in this last place there is only this exclamation 2246. And the exclamation “Let us hear” is already in the 4th century. finds in liturgical use (see Introductory chapter, p. 170). It corresponds to it in the Mozarabic liturgy “Keep Silence” (Silentium facite) before the Apostle 2247. But before the prokemenum, it appears only in later copies of the liturgy of St. Jacob; but in the liturgy of Basil the Great and John Chrysostom, starting with the most ancient (VIII-X centuries) copies, in double form, although not in all RKP. there is, and not in all of them in double form 2248. As for the exclamation “Wisdom”, the Alexandrian liturgy, which has Peace to All and to All, does not have it, nor does the most ancient list of the liturgy of St. James (however, before the Creed: “In the wisdom of God we will rejoice”), and before his prokemenum there is only the later list of the liturgy of the apostle. Jacob 2249, have all the lists, starting from the 8th-10th centuries, of the liturgy of Basil the Great. It is remarkable that the manuscripts of the Typikon and the current Service Book, as well as the Old Believer Rule, do not mention these exclamations at all before the prokeme at Vespers. They are indicated only in the “Rank” of the Patr. Philotheus in the same form as in the current Typikon - therefore, borrowed from there; Simeon of Thessalonica does not mention these exclamations at the song vespers, but points out at the ordinary one: “The deacon says: Wisdom, and the bishop, having sat down, teaches peace” 2250. From this it is clear that the prokeimenon was supposed to be listened to while sitting, as well as the reading that followed it, but not for everyone, but only for the priests in the high place. Greek Euchologius Imp. Publ. bib. collection Ep. Porphyria No. 226 VIII-X centuries. in the rite of the Liturgy of Basil the Great, he speaks of the singing of the prokemna: “And turning (the priest) says: Let us attend. Peace to all; and immediately sits down and says: Wisdom; and singer: Psalm of David. Let us remember and the prokeimenon"; a slightly later list (by Goar) instead of “immediately sits down” has: “And the bishop sits down with the priests, while the deacons and ministers, and the clergy and the people stand” 2251. This sitting of the priests at the prokemne and the reading (of the Apostle) is called in the ancient regulations “mountain sitting,” ή καθέδρα άνω, or large sitting, in contrast to the sitting of the whole people, which is called dol sitting, καθέδρα κάτω, or small, and which was allowed for everyone readings, except for proverbs and the Apostle (of course, and the Gospel) 2252. Although there was no reading at the prokeme at Sunday Vespers in ancient times, as now, but, as we have just seen, under Simeon of Thessalonica (15th century) the clergy sat in a high place for the duration of it; hence the current (not written down) custom of them standing at this time in a mountainous place. In addition to the preliminary exclamations, the prokeimenon is distinguished from other chants by the external setting of the singing. The canonarch takes the most noticeable part in the performance of the prokeemna, performing this way in the service at especially solemn moments: on God the Lord or alleluia (see Chapter 27 Typ.). After exclamations before the prokeimenon, “the canonarch, perform worship to the abbot, says the prokeimenon and verses, and the clergy sing the prokeimenon - The reader (canonarch), having a bent arm with his chest, standing in the middle of the church, awaits the end of the prokeimenon; and having performed the worship, he departs to his place.” The canonarch's performance on the prokeme is a remnant of the previous singing of him and his poems by one singer before the singing of the people (hence the name - canonarch); therefore, in the above place Euchologia VIII-X centuries. instead of a canonarch there is a singer; see Enter. ch., p. 295; Wed now on Preosv. lit. “May it be corrected.” About the canonarch at the prokimna of the RKP. Jerus. mouth as follows: cargo. RKP. XIII century - instead of “canonarch” - “the one who must say the prokeimenon”; Greek rkp.: “an accomplished (ταχθείς) monk”; ancient glory RKP. “in (i.e., in comparison with the one who read “Quiet Light”) mnich.” Instead of “says” the ancient. Greek RKP. Nothing; later (from the 14th century) and printed. Greek: “sings” (ψάλλει), and glory. RKP. Instead of “the clerics sing” the Georgian: “the people are the same”; ancient Greek: “when we sing”; late Greek, print. Greek and glory RKP. - nothing, i.e. they talk about the singing of the prokeimne and its poems only by the canonarch. Greek and glory RKP. before “bent hand” - “turning to the west.” Old Believer - everything is like ours, only before the “bent hand” - “turn to the west” 2253. Prokeimenon of Sunday Vespers The Prokeimenon of Saturday-Sunday Vespers is sung more solemnly than at weekday Vespers. It is sung according to the rite of the great prokemen, although it is not called great; namely, it is sung with 3 verses, and therefore 4 1/2 times. In addition to the present Vespers, the prokeimenon is performed in this way at Vespers on the twelve feasts of the Lord, on Bright Week, and on Vespers on the most Sunday days of Pentecost. In this regard, Saturday-Sunday Vespers is placed above Vespers and the twelve feasts of the Theotokos, which do not have a great prokemena, and is equalized with the Lord's feasts. The only difference with the latter is that the great prokeimenon is sung there at vespers not on the eve of the holiday, but on the holiday itself (except for the case when the holiday occurs on Saturday); this is because Vespers is considered to relate to the next day only from the Lord's grace (see. Type., Cheese week); at Sunday Vespers it is different, because part of it, before the Lord Vouchers, falls on such a semi-holiday or pre-holiday day as Saturday; the festive celebration of Sunday itself, which has no after-feast, must end earlier than on the twelve feasts. The great prokeimnas are assigned to Vespers, not Matins, due to its ancient connection with liturgy and agape. Already the Studite Rule had great, that is, with 3 verses, prokeimnas - but only for Easter, the Nativity of Christ, Epiphany, and even on the matins of Holy Saturday - the first before the paremia; the second one this morning with 2 verses 2254. However, other prokeimnas according to this charter with only one verse, including the Lord reigning at Sunday Vespers 2255. So is the load. RKP. Jerusalem Charter of the 13th century; Greek and glory. RKP. Jerus. oral, as well as print. Greek, prokeimenon The Lord reigns indicate to sing with 2 verses - the first of the current ones, and in Greek. this prokeimenon is called δίστνχον (couplet), obviously in contrast to the great and ordinary 2256. Latest glory. RKP. are silent about verses 2257. Old Believer - like ours. Greek and glory RKP. they say nothing about the final “The Lord reigns”; cargo. same RKP. XIII century, after his one verse to the prokeme: “singer: The Lord reigns, the people are the same.” But the half-hearted singing of the prokemna for the final time, without a doubt, goes back to ancient times, as shown by the musical tradition and analogy of the Roman Catholic Church (see Introductory chapter, p. 308). The prokeimenon of Sunday Vespers is sung in tone 6, the saddest of the voices, no doubt for the same reason why the first stichera of the Easter service (“Thy Resurrection, O Christ the Savior”) is sung in this tone: the joy of the resurrection breaks through for the first time through the sadness of Christ’s death. In the RKP. voice not specified. According to the content of the prokeimenon of Sunday Vespers, “The Lord reigns,” with its verses: “The Lord has clothed himself...”, “For establish the world...”, “To Thy house holiness is fitting,” borrowed from Ps. 92, does not speak so directly about the resurrection as the morning prokeimenas, but speaks about it from the inside, indicating its deep essence in the royal glorification and, as it were, the strengthening of the Lord, in the strengthening the world being destroyed by sin and in the creation of the Church. The closest meaning of the words of the psalm, taken for the prokemenon and constituting, must be, the glorification of God for some victory (in LXX the psalm is inscribed: “David’s song of praise”) - that God, as the Creator of the world, is also its King, and the creation itself serves as His royal robe, revealing both His glory (blindness) and power (clothed with power); as such, God is able to provide dignity, that is, holiness, to His special dwelling on earth - the church, and protect it from desecration. The psalm was used by the Jews on Friday, as a joyful day of the end of creation and the pre-festivity of the Sabbath (see Introductory chapter, p. 11), hence the inscription in LXX: “on the day before the Sabbath, when the earth was inhabited.” At the Syrian liturgy, St. James, it is pronounced after the removal of the “listeners” (catechumens) before the Creed (cf. in our proskomedia) according to a rite similar to the singing of our prokemena - the priest: “The Lord reigns, clothed with power, alleluia” and a brief glorification of the Son of God as the bread of life; deacon: “The Lord has clothed himself with strength and girded himself, for he has established the world that cannot move, alleluia,” and glorification of the same content; priest: “To Thy house befits holiness, Lord, throughout the length of days, Glory to the Father and the Son and the Holy Spirit,” deacon: “The Lord reigns” 2258. In the Roman rite of worship, this psalm is used on Sunday Laudes (Introductory chapter, 315). At the song vespers, he must have composed the 2nd antiphon, from which by the 15th century. only the chorus “The Universe” remained (ibid., 341), but then the song vespers already had the current Sunday prokeimenon (ibid., 342). The Studio and Jerusalem Sunday Vespers had such a prokeimenon from time immemorial. (Karabinov I. Eucharistic Mol., 15). RKP. Moscow Room. Music North 491/35, l. 2 rev.; Moscow Synod, b. No. 381, l. 1 rev. Bona I, card. De divina psalmodia. Col. Agrip., 1667, 614–620. Gregory the Theologian. Sl. for a week New one. Dionysius the Areopagite. On the names of deities, ch. 1. John of Damascus. An accurate presentation of the Orthodox. faith. IV, 23. Archim. (archbishop) Modest. About the Church Octoechos. Vilna, 1865, 28. Pitra. Juris ecclesiast. hist. et monum. Romae, 1868, II, 209. RKP. Moscow Typogr. bib. No. 285/142/1206, l. 21 rev; Moscow Synod. bib. No. 330/380, l. 260; No. 336/388, l. 350. Old-fashioned mouth, l. 5 rev. (10 vol.). In the RKP. bib. Moscow Spirit. Academician No. 137 schismatic dept. these choruses are set to notes. Matt. 5, 17. Veniamin (Krasnopevkov-Rumovsky), archbishop. New tablet: in 4 hours. St. Petersburg, 1858. Part I, 14. Gregory the Theologian. Poems 33. Polychronium. On Job, preface. Epiphanius. About scales and measure. Amphilochius. Iambic to Seleucus. John of Damascus. Accur. izl. right faith. IV, 18. Karabinov I. Lenten Triodion. St. Petersburg, 1910, 71. Παπαδόπουλος – Κεραμεΰς Α . ' Ανάλεκτα ίεροσολυμιτικής σταχυολογίας . St. Petersburg, 1894, 11, 119. . Hypotiposis, § 5, 17. Diatiposis, § 4. Dmitrievsky A. Τυπικά, 231, 232. Simeon of Thessalonica. Oh god. mol., ch. 332 (296). Simeon of Thessalonica. Oh god. Mol., 341 (305); Wed 314 (278), where the praise stichera are called ΰμνωι. Kekelidze K., prot. Lit. cargo. memory, 352. Kekelidze K., prot. Lit. cargo. memory, 355. Quotes - see p. 105, approx. Simeon of Thessalonica. Oh god. mol., 332 (296). Toscani. Ad typ. gr., 52. Dmitrievsky A. Τυπικά, 800, 607. RKP. Moscow Synod. bib. No. 330/380, l. 3 revs, 7 revs, 12. Kekelidze K., prot. Lit. cargo. memorial, 316; RKP. Moscow Room. Music North 491/35, l. 3. Nikolo-Kasul. Type, ch. 12. The biography of John of Damascus says about him that he laid the foundation for the first book with his words “Your victorious right hand” (Cheti Menaion, December 4). One glory. RKP. attributes to John of Damascus not Octoechos, but only Irmologius (Filaret (Gumilevsky), Archbishop. Historical review of hymns and hymns of the Greek Church. Chernigov, 1864:261). Only Octoechos in Chapter 4. in the text he calls them “Anatoly’s creation.” V. P-sky. About the author of Sunday and other stichera, called in glory. theologian books “oriental” or Anatoliev // Hand. for villages paste 1894, 1, 222. Filaret (Gumilevsky), archbishop. Historical overview of the hymns and hymns of the Greek Church. Chernigov, 1864, 193. Dmitrievsky A. Τυπικά, 800, 607. Rkp. Moscow Synod. bib. No. 330/380, l. 3 revs, 9 revs, 12. This is what Rozanov proposes in the Liturgical Charter of the Orthodox Church. M., 1902, 59. Nikolsky K., prot. Pos. to from. mouth., 204. RKP. Moscow Synod, b. No. 328/383, l. 191, 192; the same in other RKP. Archim (Archbishop) Modest About the Church Octoechos. Vilna, 1865, 122–126 In some monasteries, the first half of the chorus is proclaimed by the canonarch, and the choir sings only the second half. Before the dogmatist, since it is sung without a canonarch, in the Kiev-Pechersk Lavra the canonarch proclaims: “And now (or: Glory and now), voice Ν, Theotokos dogma: World glory vegetated from man,” etc. Simeon of Thessalonica. Oh god. prayer, ch. 347 (311). Simeon of Thessalonica. Oh god. prayer, ch. 333 (297). According to the Evergetian Rule, at the litany before the liturgy on the day of the Annunciation, when the procession reached the entrance doors of the church, the troparion of the Most Holy One was sung. Theotokos: “Rejoice at the Door of God” (Dmitrievsky A. Τυπικά, 431), showing that the Church has always looked at the church doors as an image of the Mother of God, and at the solemn entrance into them as an image of the incarnation. Simeon of Thessalonica. Oh god. prayer, 333 (297). The connection between vespers and agape; Wed also Entry. ch., p. 85–86. The Typikon says: “drawing a cross with a censer”; This is too literal a translation of the Greek. μετά τοΰ θυμιάματος: μετά designates only the instrument of action (Mansvegpov I. Church Establishment, 344). The rite of entry is set out in more detail, with additions to the Typikon and the Missal, created by general and local practice, in the “Sequence of Matins, Vespers and Midnight Office”, published by the Kiev Pechersk Lavra of 1861, 1884. According to this “Sequence”, the deacon before the entrance censes the throne around, and the priest kisses the throne; upon exiting the northern doors, they follow the pulpit; when they stop, the deacon censes the icons and the priest, takes the censer in his left hand and the orarion in his right, and asks to bless the entrance; to the blessing of the entrance by the priest, the deacon responds “Amen”, censes again the priest and the faces and, standing at the royal doors, awaits the end of the Theotokos; upon entering the altar, the deacon censes the throne and the high place, and the priest kisses the throne and stands on the high place to the right of the throne, facing west; the deacon again leaves through the royal doors, censes those present and, upon returning to the altar, censes the front side of the throne and the priest, after which he stands in a high place to the left of the throne; here he stands with the priest until the end of the prokeimna, making exclamations to him. Kekelidze K., prot. Liturgist cargo. memory, 316. Rkp. Moscow Room. music North No. 491/35, l. 3; Moscow Synod of the Bible No. 381 Greek, l. 1 rev; No. 329/384 slav., l. 14; Museum Kievsk. Spirits. Academician Aa 194, p. 22. Old Believer. charter, l. 6 (11). Ί ερατικόν. Constantinople, 1895, 8. Belyaev. Byzantina. II, 149 etc. Belyaev. Byzantina. II, 35. Codini. De officiis. VI, 45. Balsamon // Σύνταγμα. Ed. Ράλλης Α καί Πότλης Μ ., Αθ ., 1852–1859, IV, 544. Tobler T. Itiner. et descript. I, 2, 301. Cf. Dmitrievsky A Divine service of passion and Easter. weeks in St. Jerusalem IX-X centuries. Kiev, 1894, 98. Jerome. Ambrose. History of the Russian hierarchy. M., 1807, 316, 830. Golubtsov A. Cathedral officials // Readings in the Imp. total ist. and ancient Ross. M., 1907. IV (223), 251–8. RKP. Dresd. King bib. No. 140, l. 132 rev., 21 rev. Lisitsyn M., prot. The original Slavic Russian. Typikon. St. Petersburg, 1911, 233. RKP. Moscow Synod. bib. No. 330/380, l. 1, 3 vol. Dmitrievsky A. Ευχολόγια, 486. Stoglav. St. Petersburg, ed. Kozhanchikova, 1863. p. 142. Golubtsov. Cathedral Officials, 127–144. In the Roman Catholic Church even now there is something similar to our entrances, and in some ancient rites of the Latin liturgy there was an entrance completely according to our rite. Thus, in the Gallican liturgy, at the very beginning after the “entrance”, to the songs of Zechariah, “the priest, representing Christ coming into the world, appears before the congregation, preceded by a deacon bearing the Gospel, and ministers carrying lamps, as a sign of the gospel light brought by Jesus Christ into the world.” In the same way, at this liturgy, the paten (patena) with bread is transferred from the side altar to the main altar by the deacon, and the cup of wine by the priest before the consecration of the Gifts (Collected Ancient Liturgies. IV, 102). In the current Roman rite of the liturgy, our small entrance corresponds at the beginning to the so-called. introitus (“entrance”), consisting of an antiphon and a psalm, special for each holiday, during which the priest, after censing the throne, approaches from its right side to the middle with his hands folded on his chest, having previously bowed his head to the cross. The Great Entrance at the Roman Catholic liturgy corresponds to the transfer of the chalice before the liturgy, etc. accessories of the Eucharist from the sacristy to the altar, preceded by the cleric with the Missal when the bell is struck. "God" refers to the entire Holy Trinity. In the charter of the RKP. Moscow Synod. bib. No. 329/384, l. 29: "God." In the words of Pliny's letter. See Enter. ch., p. 49. In the same RKP: “Give life to the whole world, for whose sake the whole world glorifies.” Apparently, the germ of the song “Quiet Light” is given in one prayer of the “Egyptian Church Canons” (see Introductory Chapter, p. 72) of their Ethiopian edition; they have the following section: “The rule about bringing a lamp to Vespers in the congregation. When evening comes, the deacon brings in a lamp (cf. entrance). The bishop greets the congregation: The Lord is with you all. The people answer: And with your spirit (cf. now “Peace to all” after the entrance). Bishop: Let us thank the Lord. People: Worthy (cf.: “thou art worthy”) and righteous, greatness and glory be to Him (cf. Enter. Ch., p. 125). But he should not say: Woe is your heart; this is said only at the time of offering. Bishop: We thank You, God, through Your Son, our Lord Jesus Christ, for having enlightened us with the revelation of the immaterial Light. Having finished the length of the day and reached the beginning of the night, having been filled with the daylight that You created for our contentment, we now have no shortage of evening light by Your mercy. We sanctify and glorify You through Your only Son, our Lord Jesus Christ, through Whom and with Whom be glory and power and honor to You now..." Basil the Great. To Amphilochius on the Holy Spirit, 29, 73. Filaret (Gumilevsky), archbishop. Historical overview of the hymns and hymns of the Greek Church. Chernigov, 1864, p. 73. Sergius (Spassky), archbishop. Complete months of the East: in 2 volumes. Vladimir, 1901–1902. T. II, 273. RKP. Moscow Synod. bib. No. 330/380, l. 251–253. Kekelidze K., prot. Liturgist cargo. memorial, 316; RKP. Moscow Room. music North 491/35, l. 3; Moscow Synod. bib. No. 381, l. 2; Τυπικόν. Venets., 1643, l. 2 vol. No. 518, 2 vol.; No. 524, l. 62 rev. Odintsov N. Society and private theologian in other Russia until the 16th century, 91. RKP. Moscow Synod, b. No. 328/383 XIV century, l. 3. Ibid. No. 678/386, XV century, l. 5 rev. Music Kyiv. Spirit. Ak. Aa 194 XVI century, p. 22. Old-fashioned mouth, l. 6 (11). Stoglav, ch. 5, question 33; Ch. 6. Collection ancient lit. II, 19. Zlatoust. Conversations, on ps. 41. Swainson. The Gr. Lit., 226. Migne. Patrol. s. lat. 85, 165, etc. Deut. 23, 6; 2 Kings 9:22, 31. Matt. 10, 12; In. 20:19, 21 . Court. 6, 12; Ruth. 2, 4; 2 Par. 15, 2; OK. 1, 28; Wed Matt. 28, 20; 1 Cor. 16, 23; 2 Cor. 3, 11, etc. Tertullian. De praescr., p. 41. Swainson. The Gr. Lit., 193. Syrku. To the source corr. books in Bolg. II, 223. Swainson. The Gr. Lit., 226, etc. Migne. Patrol. s. 1. 85, 165, etc. Prot Orlov. Liturgy of Basil the Great, 78. Swainson. The Gr. Lit., 16, 226, 244. Simeon of Thessalonica. Oh god. Mol., 339 (300). Prot Orlov Lit. St. Basil the Great, 78. Goar Εύχολόγιον, 154. Mansvetov Church is a little different. lips, 154 and Dmitrievsky Bogosl. With. and Easter. sed. in St. gr. Jerusalem. ΙΧ – Χ century, 319. See quotes above, p. 560, approx. 4–6; With. 561, approx. 1–2. Old-fashioned mouth, l. 6 rev (11 rev). RKP. Moscow Synod. bib. No. 330/380, l. 115 rev., 129, 34 rev. RKP. Moscow Typogr. bib. No. 285/1206/142, l. 13. See quotes above, p. 135, approx. 1–5. RKP. Moscow Synod. bib. No. 678/386 XV century, l. 5 rev. Music Kyiv. Spirit. Ak. Aa 94 XVI century, p. 22. You might be interested in: