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Now begins the second and most important part of the vigil - Matins. Its beginning is marked by a ringing sound. “After reading the great Acts of St. the apostle (or epistles) comes from the paraecclesiarch and slanderes the Great and other campaigns.” It is not indicated that first in one great, and then in all, as before the beginning of the vigil, because this is not the good news (initial ringing), which requires a special duration, but only a “sign” about the beginning of Matins. Its duration is therefore completely undetermined. According to the ancient editions of the Jerusalem Rule, at the beginning of Matins at the vigil there was not only ringing, but also censing, and according to some. glory lists of the charter and an exclamation, but the ringing was only one large bell or beat. Georgian, Greek RKP. and Greek oven ed.: “The kandil burner, having prepared the censer, enters and marks the great; the priest censes.” Slav. RKP. XIV century (Moscow Synod. Bible No. 328/383 and 329/384): “Candilaptis creates worship of the abbot or his place and the shed rings. After the end of this, the priest worshiped the abbot and entered the altar, picked up the censer and put in the censer and said a prayer to the censer, also crossed the meal with the censer and exclaimed: Blessed is Christ (No. 329 without “Christ”) our God always...” Slav. RKP. XV and XVI centuries (for example, No. 678/386 and Kiev. Academician of Music) they do not talk about censing or exclamation, but about ringing they add: “into the great tree and other things, if that is the essence”; so is the old style. charter; about ringing, see also Service. Moscow ed. 1602 and 1647 (above, p. 610), where it is indicated in three stages. The Matins of the Vigil begins with the angelic song at the birth of the Savior, “Glory to God in the highest” (Luke 2:14), just as it ends with it in its more common form; this, of course, is due to the fact that it is natural to begin a series of daytime services with the event that marked the beginning of our salvation, and what happened at night, and with its glorification. Due to the special importance of this short song, which represents a non-human work, it is repeated three times in honor of the Holy Trinity. Having introduced such a lofty song, the worshipers decide to begin their own praise and, feeling their inability to do it, ask for Divine assistance, again not in their own words, but in God-inspired words, although already coming from human lips, in the verse Ps. 50, 17: “O Lord, my mouth (Heb. sephathaj, χείλη, lips) will open, and my mouth (Heb. pi, στόμα, mouth) will proclaim Your praise.” The prayer here is expressed in terms of future certainty. The verse was especially suitable for those times when the service was improvised. It is repeated twice, as if for each face. Constituting the beginning of the service, both verses, however, must stand in close connection with the first section of it, which in services always consists of psalms. In this case, too, the psalms begin the service; the indicated verses are considered only as their initial chorus. This is expressed by the fact that the verses in execution are not separated from the six psalms that follow them, but are pronounced in the same way as it, and by the same person (see below). “Glory to God in the highest” has been part of the liturgy since ancient times. The Liturgy of the Apostolic Constitutions has this verse just before communion; ours and the Nestorian liturgy attributed to St. Thaddeus, have it at the very beginning; Roman - also in the initial part and in the form of the 1st section of our great doxology. The verse moved to Matins, perhaps under the influence of moving the liturgy to the morning and connecting it with Matins. On it he is mentioned in the most ancient copies of the Jerusalem Rule, but at weekday matins, and not at Sunday, where the Six Psalms 2391 are directly indicated. – The verse “O Lord, open my lips,” pronounced three times, instructs St. to begin Matins. Benedict; as Benedict's commentators noted, this verse permitted obligatory night silence, which is why it was customary to sign the sign of the cross on one's mouth with it 2392. And the current Roman Matins begins with him. The Armenian Midnight Office (Matins) also begins with it, also pronounced three times (Introductory chapter, 299). The Lyon Liturgy has it before the Gospel 2393. At Jerusalem Matins he appears in the RKP. simultaneously with the first verse, and both at once in the current method of performance, i.e., with the first being pronounced three times, and the second twice, and in direct connection with the Six Psalms, from which they, therefore, were never separated in the manner of execution, i.e., they were sung the same way as the Six Psalms (see below). Our Matins, like the Roman Catholic one, is noticeably divided into four parts, corresponding to the 4 “guards” of the night, since the prototype of Matins was the ancient vigil (vigilia), which occupied the whole night on holidays. These parts: 1) the Six Psalms with the Great Litany and God the Lord; 2) kathismas with the Immaculates or polyeleos and the Gospel; 4) praise with doxology and litanies. The first part of Matins, like the second, gradually raises those praying from the sad, repentant mood, fundamental for a Christian, to the joy of God. This ascent in the first part of Matins has three stages: the Six Psalms, the Litany and God the Lord. From some sorrow with which the first breathes, the second - the litany - transfers us into a prayer of a pleading nature, the hope aroused by which is already close to the triumph breathing into God the Lord. This part, and with it, therefore, the entire Matins, opens with a system of psalms known as the Six Psalms (εξάψαλμος). Thus, the opening psalms at this service, in accordance with its length and first place among the daily services, are twice the normally accepted number for each service - 3. The six psalms include: - ps. 3 “Lord, why have I multiplied all this?” – 37 “Lord, let me not be angry,” – 62 “O God, my God, I come to You in the morning,” – 87 “O Lord God of my salvation,” – 102 “Bless the Lord my soul” – 142 “Lord, hear my prayer.” The psalms were chosen, probably not without intention, from different places in the Psalter evenly; with this they represent it in its entirety, they want to say that, in fact, they should have fulfilled it all, as the ascetics did at night. The psalms were chosen to be of the same content and tone that prevails in the Psalter; namely, they all depict the persecution of the righteous by enemies and his firm hope in God, only growing (cf. Ps. 3:8; 62:6) from the increase in persecution (cf. Ps. 3:2, 3; 37:7, 8, etc.; 87:4:5) and in the end achieving jubilant peace in God (Ps. 103). All these psalms are inscribed with the name of David (and in the Hebrew Bible), with the exception of 87, which is “the sons of Korah,” and were sung by him, of course, during persecution by Saul (maybe Ps. 62) or Absalom (Ps. 3; 142), reflecting the spiritual growth of the singer in these disasters. Of the many psalms of similar content, these are chosen here because in some places they refer to night and morning (Ps. 3:6: “I fell asleep and fainted and arose”; Ps. 37:7: “I walked lamenting all day,” v. 14: “I taught the flattering all day long”; Ps. 62:1: “To You in the morning,” Art. 7: “I commemorated Thee on my bed, and learned from Thee in the morning”; Ps. 87, 2: “I cried before You in the days and in the night,” v. 10: “All day long I have lifted up my hands to You,” v. 13, 14: “In the darkness Thy wonders will be known—and I have cried to Thee, O Lord, and my morning prayer will precede Thee”; Ps. 102, 15: “his days are like the color of the field”; Ps. 142, 8: “I hear that in the morning show me Thy mercy”). Sad psalms alternate with joyful ones, and even-numbered places are naturally chosen for the former. The psalmic material of the Six Psalms is somewhat multiplied; This was done 1) by the fact that at the end of each psalm the most characteristic or appropriate place for the morning service is repeated in the amount of 1/2 - 2 1/2 verses, namely Ps. 3, 6; 37:22, 23 (last verses), 62:7b-9; 87:2, 3 (first verses); 102, 22b; 142: lb-2a, 10b. At the end of the last psalm, the first of two repeated passages is even pronounced twice (“Hear me, O Lord, in Thy righteousness...”). 2) The psalmic material of the Six Psalms is supplemented with the usual mixed Christian-Old Testament doxology in such cases (see above, p. 468–469): “Glory even now; Alleluia 3, Glory to Thee God, 3; Lord have mercy 3; Glory even now,” which serves as the conclusion to each trinity of psalms, and in the second trinity it is not said, Lord have mercy and the second Glory and now, in view of the immediately following litany, where these appeals are given in an increased size. Before the advent of monastic rules, Matins in relation to the number of psalms did not differ from Vespers: both in the Apostolic Constitutions have one psalm each, and Matins the 62nd (Introductory chapter, p. 135:137); the same psalm is indicated for her in Op. “On Virginity” pseudo-Athanasius (IV-V centuries) 2394. Under the influence of the ascetics, who sang the entire Psalter during the night, the monasteries introduced singing at matins of 75, 60, 50, 30, 20 and 18 psalms; Benedict's charter and other Western ones reduced this number to 12, probably based on the very widespread custom in ancient times of singing 12 psalms at a time, and Benedict's charter divided them into two sixes, prefacing them with psalms. 3 and 94; other statutes (Western) further reduced this number - to six psalms, five and four psalms (Introductory chapter, 189–190, 216:301–313). The latter was also used at the Armenian Matins, and all the psalms of its 4-psalm coincide with ours: 3, 62, 102, 142 (ibid., 299). And the song matins under Simeon of Thessalonica have a psalm at the beginning. 3, 62 and 133 (ibid., 345). The oldest mentions of our six psalms are in the famous description of the Sinai Matins of the 7th century, in Hypotiposis and Diatiposis (ibid., 295:359). The Six Psalms with the preceding verses: “Glory in the highest” and “Lord in the mouth”, as the most important part of the service, is prescribed by the Typikon to be read by the primate. “When I stood up (from reading), the primate and all the brethren began: Amen (response to the final doxology of the reading?), Glory to God in the highest... 3, also saying: Lord of the mouth... 2. And he says the six psalms in a quiet and meek voice.” Some ambiguity of expression here regarding who “begins” and “says” the six psalms (perhaps intentional, impersonal) is resolved in chapters 7 and 9. Typikon and in the charter of the 1st Monday of Great Lent, where it is directly said: “the primate says Glory in the highest,” etc.; and in the note to ch. 7. (“Zri”) the sixth psalm is named in the list of things read by the abbot. So, after a whole stream of triumphal songs, the vigil now turns into a quiet prayerful tone, thus leading to the beginning of a new service. This is the most minor part of the vigil. But it is remarkable that there are no comments here about the repentant mood when reading the Six Psalms, which are given in the rule of weekday matins (chap. 9) and even more so in the rite of Lenten matins (Monday of the 1st week of Pentecost). Thanks to the Six Psalms, as later to the Kathismas, the beginning of our Matins, in its tone, fully corresponds to the character of all ancient singing, which, like the Jewish synagogue, was predominantly recitative (Introductory Chapter, 20:155). In general, “in the first centuries, when the Blood of Christ, shed for them, was still boiling in the veins of the faithful, the psalms were sung with such a moderate inflection of the voice that the singing was more like reading than singing. The remnant of such singing in the Western Church is singing in directum, which at times replaces antiphonal singing with voice modulations.” Singing at the night service held this character especially for a long time: according to the rules of Isidore of Seville, nocturnes were read, and matins (Laudes) were sung, “so that the delight of variety would drive away fatigue” 2395. Thus, the execution of the Six Psalms is most faithful to antiquity. However, such singing for the Six Psalms is suggested, as we will see, only by the most ancient Studite statutes; The Jerusalem statutes initially, apparently, wanted more solemn singing for him. This is evidenced by the hitherto preserved repetition at the end of each psalm of the most important passage from it; this repetition is completely analogous to the antiphon in a Roman Catholic service, with the difference, however, that the antiphon there not only concludes the psalm, but is also preceded by it (in a truncated form). Since the sixth psalm arose when almost everywhere the repetition of the antiphon was left behind each verse of the psalm, this place repeated at the end of the psalm was hardly intended for singing after each verse of the psalm, but played only the same role as the current Roman antiphon. In the life of St. Savva is told that one night he heard one St. the elder sang (which turned out to be miraculous) psalms as if in a large gathering and with a sweet-voiced performance (μετά μέλους ηδυφωνου) of one verse from the psalm (41:5) and thought that Matins (κανών) was being performed 2396. Studio charter on six psalms: to the exclamation “Glory to the Holy Ones” “the people rekshe amen abiye begin to sing Psalm 6; sing with tenderness of heart with fear with all kindness, not shouting, but loudly saying, elma small that you can hear (barely audible), not destroying each other the psalm, but these verses are giving, and in many ways creating providence, as if until the end of the 6th psalm stretching (stretching, yawning) and hold back the cough, but always pay attention, as if in agreement there will be paranomari on the side, standing in the middle of the church” 2397 (in singing, everyone should conform to the paranomari, who for this purpose stands in the middle of the church). The general singing of the six psalms is also suggested by the Greek. RKP. and oven ed. Jerus. statute, judging by the expression: “we begin the Six Psalms,” which is famous. RKP. they are already replacing “the primate begins” (RKP. XIV century, but RKP. XV and XVI centuries: † “or ecclesiarch”); (if the Greek rkp. about reading prayers say that the priest reads them when “the primate begins 102 ps,” then here, of course, is chanting). "Rank" Patr. Filothea: “the primate or the appointed monk says the Six Psalms.” Old-fashioned oral: “the abbot or ecclesiarch begins in a meek and quiet voice and speaks in a series of exapsalms” 2398. When Arseny Sukhanov was in the East, Patriarch 2399 read the Six Psalms. – Repetition of verses is celebrated in glory. RKP. statutes of the 14th century in accordance with the current Book of Hours, but according to Psalms 2 and 5, the verse is twice 2400. This, like the current repetition at the end of the last psalm “Hear me, O Lord, in Thy righteousness” twice, must be a trace of the previous singing of the Six Psalms in two choirs. A trace of his singing is the current custom of singing “Glory to God in the highest” and “Lord my lips,” as well as the last “Alleluia.” Greek oven Orology after 3 psalms: “Sl. and n., alleluia 3" 2401. First oven glory Books of Hours, for example Mosk. 1658 and old style: † “Lord have mercy 3, Sl. and n.”; and at the end of Ps. 6: “Hear me in Thy righteousness, O Lord, hear...” and this verse once. Old-fashioned mouth at the end of "Sl. and n. Alleluia 2, and the clergy the 3rd Alleluia with singing.” Not content with their own prayer in the words of the Six Psalms, believers send to prayer a blessed intercessor for themselves, reminiscent of the heavenly Intercessor for us before God, in the person of a priest, who during the Six Psalms, standing before the royal doors, brings our prayers in a mysterious silent conversation with God. These secret prayers of the priest at Matins, in accordance with the greater length and significance of this service in comparison with Vespers, are more than at the latter, but their number is determined, as at that one, by a symbolic number - 12, rivaling the sacred significance of 7. Most immediately, this number inspires the idea that we would like to spend all hours of the night, a time especially conducive to prayer and convenient for it, reminding us that Matins arose from the original all-night service (vigil) on holidays. Embracing all the needs of a Christian entering a new day, morning prayers, or more precisely, Matins prayers (εύχοά τοΰ όρθρου), are at the same time adapted to different parts of Matins, being originally, like evening prayers, and intended to be read at different places. The first prayer, as an introductory one, thanks God for the awakening and the present service, asks for God’s help in general and for the worthy performance of divine services; ends with the exclamation of the great litany. 2nd and 3rd, starting with the words of the prophet's song. Isaiah, correspond in content to this song, with the verses of which alleluia is sung at Lenten Matins (instead of God the Lord). More specifically, the 2nd prayer asks for learning to perform truth and holiness in the fear of God, so that God would remember and hear all those praying with the priest by name, save them, bless and sanctify them, give peace to the world, the Church, the priest, the emperor and all people (cf. the great litany and the prayer behind the pulpit); doxology (exclamation) glorifies the name of God. The 3rd prayer is about teaching us the truth of God, internal enlightenment (after the external one - the previous prayer) through preserving the seal of the Holy Spirit in us, which will entail righteous activity, as well as a joyful coming day; exclamation of the 1st small litany. The 4th prayer asks to accept our thanksgiving (brought hitherto) for sleep and awakening and to be honored with eternal blessings, and the prayer extends beyond those present and embraces all the brethren on earth, sea and everywhere; The exclamation (at the morning litany of petition) glorifies the mercy of God. The 5th asks for the acceptance of morning prayers (like the previous one - morning thanksgiving), like a censer, and not to bypass the help of any of those watching and singing; the exclamation (litany of 3 songs of the canon) concludes the general glorification of God and begins a new series of exclamations. The 6th prayer thanks already for the blessings of his whole life and, more often, again for the past night and asks that God would vouchsafe to sing and pray to Him unceasingly and remember “those who cry out to him in the night” (hence, especially those in need of help), crushing their invisible enemies; The exclamation (according to 6 songs of the canon) concludes the general glorification of the Kingdom and salvation of God. 7th prayer, repeating previous requests for acceptance of thanksgiving and teaching justifications, asks for teaching us worthy prayer and forgiveness of all sins; The exclamation “Be the power of Your Kingdom” develops the first thought of the previous exclamation and prepares the next one. The 8th prayer develops the previous request for the acceptance of our prayer, counting its types: prayers, confessions (perhaps an indication of the polyeleos psalms), night services - and asks for the granting of faith, hope and love (the positive side of the negative benefit asked for in the previous prayer - forgiveness of sins), for the blessing of all our enterprises in the approaching day and the achievement of it; exclamation - with the glorification of the name and Kingdom of God, in polyeleos. 9th prayer for worthy hearing of the Gospel with the glorification of God as our enlightenment (meaning the near dawn); identical with liturgical. The 10th prayer - the 50th Psalm - adapts his petitions to Christian needs (for example: “be pleased to offer Thee the sacrifice of righteousness and offerings of offerings at Thy holy altars”) with the glorification of God’s mercy (exclamation before the canon, development of the second thought in exclamation 5 of the prayer). The 11th prayer - psalms of praise - asks the Creator of Angels, with special tenderness (“we have mercy”), achieved by all prayers, to accept our doxology (preliminary of the next prayer), offered with all God’s creatures; the exclamation (according to 9 songs of the canon) joins our prayer to the angelic praise. The 12th prayer - the great doxology - repeating his thoughts, unites all the previous petitions: for the forgiveness of sins, acceptance of prayer, enlightenment, purification, fulfillment of the commandments (“as one who walks gracefully in the days” - the coming dawn) and eternal life; exclamation - general glorification of God (return to the starting point). Morning prayers, like evening prayers, were once spread over an entire service. But the oldest surviving Euchologies, such as, for example, Barberinovsky of the 8th-9th centuries, Imp. Publ. bib. No. 226 (from the collection of Bishop Porfiry) VIII-X centuries, Cryptoferratsky Vissarionov (Bessanonis) ca. IX century, which coincides with the prayers of Evkh. Paris. national bib. No. 213 Coalenev (Coislin) 1027, simply number the morning prayers, indicating the place in the rite of Matins only for the last 3–4. The important thing is that these Euchologies give all the current prayers, excluding, however, the 9th, and in their current order, which allows us to judge the degree of their antiquity. The 7th prayer of Cryptoferratsky inscribes “the prayer of the Gospel”, the 10th (there is the 9th) “the prayer of the 50th” (i.e. the psalm), the 11th (there is 10) “mol. on praising”, 12 (there is no count) “prayer or release”, and then they say. adoration, but before the last two Crypts. and Koal. they have a prayer of the catechumens and 2 prayers of the faithful with the remark that they are read only sometimes (about these prayers and this remark, see Intro. Ch., 348). This last circumstance, as well as the fact that in some Euchologies, for example Sinaisk. bib. No. 962 XI-XII centuries, the first 5 prayers are inscribed “prayer of the first antiphon”, “mol. antiphon 2”, etc. (Evkh. of the same Bible No. 973 - 1153 and Patmozhet No. 105 of the 13th century only the first 3 prayers are inscribed this way, Evkh. Sin. b. No. 958 of the 10th century inscribes only the 4th prayer, and Sinaisk. No. 982 of the 13th century only about the current 10th prayer, there 9th, notes “the prayer of the antiphon, i.e. 50 ps.”), - these circumstances show that the morning prayers were originally adapted to the morning song. When they were transferred to the Matins of the Studite-Jerusalem type, which did not have antiphons at the beginning, it was necessary to distribute them among the component parts of this Matins, and the different Euchologies do this each in their own way, so that there are not, one might say, two that coincide here in everything. Yes, Georgian. Euchologius Imp. Publ. b. No. 208 and Tiflissk. church music No. 450, both of the 16th century, but with traces of a very ancient practice, indicate after the sixth psalm or on its last psalm (second Evch.) the current 1st prayer (the prayers are not numbered): on the “kathisma” according to the first “psalm” (perhaps the whole kathisma is called a psalm) they say. 2, according to the second ps. they say 3, according to the third ps. they say 4, and the ends of the prayers are pronounced as exclamations after the litanies immediately following them (in kathisma - small ones), before the Gospel they say. 9th, at 50 ps. – 10, according to the third song of the canon – they say. 5, according to the sixth hymn - 6, according to the seventh hymn - 7, according to the eighth hymn - 8, the prayer of diligent supplication, and according to the litany of petition, the “prayer of exit”, i.e. the current 12th. To Sinaisk. Evkh. No. 973 - 1153 on the great litany 1 prayer, after it 2 and 3, prayers 4–7 are given with the remark: “other prayers for (διά) polyeleos of the Week in St. Lent, when there is poetry,” 50 ps. - they say 10 (there is the 9th), according to the ninth song - they say. 11, “prayer of diligent supplication” at the special litany, after it they say. 12 and in the present place the prayer of adoration. In Euchologia Patmossk. bib. No. 105 XIII century. 1st pier on God the Lord, after him 2 and 3, before Gospel 9, at 50 ps. 10, according to (άπό) the third canon of canon 4, according to the sixth - 5, according to the ninth - 11 (the ends of the prayers serve as exclamations of litanies), on “Glory in the highest” - 12, according to the petitionary litany, a prayer of adoration, after the verse stichera “prayer of release”: “Creative (Δημιουργέ) Lord of all..." (with a request for hearing, non-imputation of sins, pacification of life and honoring the Kingdom of Heaven). In the Sofia Service Book (at St. Petersburg. Dukh. Ak.) bib. No. 523 XIV century. on the six psalms 1 mol., on kathismas 2 and 3, on the third song of the canon 4, 5 and 6, on the sixth song 7 and 8, “when they sing, “Have mercy on me, God” - 10, on the praises 11, after them and the small litany - 12 (before the Gospel and the special litany). Other monuments, although they do not give a distribution of prayers by service, are characterized by deviations from the current and at the same time the most ancient order of prayers, indicating the same attempts to adapt the prayers of song matins to the usual one: for example, RKP. Moscow Synod. bib. No. 310 XVI century. gives the following order: 1–5, 8, 10, 6, 7, 11; Service the same Bible No. 952/347 XIV century: 1–4, 10, 5, 6, 11; Taktikon imp. John Kantakouzenos XIV century. (Greek RKP. Moscow Synod, b. No. 279), Evkh. the same Bible No. 280 and 281 XV century. and Rumyants. music No. 486 XVI century: 1–6, 10, 7, 8, 11, 12; Sinaisk. No. 958 X century. puts 10 before 8. Other Euchologies achieve such an adaptation in a simpler way - by omitting some prayers, mainly those whose content and place made it difficult to time them to a certain moment of Matins (which the above-mentioned Euchologies also do); most often, in the vast majority of the RKP, the 9th prayer is omitted, or placed out of count, or last (an echo of the practice when the Gospel was read after the great doxology); Evkh. Paris. No. 213 notes about her that she “doesn’t happen in the Great Church, but in the others, in which 6 hymns tell the Gospel for the great holidays”; sometimes prayers 7 are also omitted (see above and Sinai. Eukh. No. 956 and 958 of the 10th century, 962 of the 11th-12th centuries, Ilitary of the Athos-Xenophian basil. No. 161 of the 14th century), 8 (the same, excluding No. 958), 12 (see above and a number of Sophia. Servants of the 15th century No. 530, 533 and etc.), 11 (see above, one Ilitarius of the 9th century, description by Bishop Porphyry 2402, Athos-Esphygm. No. 208 of the 16th century) and 6 (Evkh. Sinaisk. 962 of the 11th-12th centuries). In some, these omissions thus reach 4 (the last Evkh.) and 5 prayers: for example, in Sofiysk. Service No. 518 XIII century. and 522 XIV century. there are no prayers 4, 6, 7, 9 and 10. Euchology is Sinaisk. No. 984 XV century. and Athensk. Univ. No. 94 - 1542 have only the first three prayers, indicating they should be read on the Six Psalms. Gradually and in different places, the reading of the remaining prayers was timed to coincide with the sixth psalm, and the number of such prayers read at the same time increased from 8, since from the 9th prayer the above inscriptions are worn, timed to coincide with other places of service (“on the Gospel”, “on the 50th”, “on Praise”, “on Glory in the highest” - so in Evch. Roman. mus. No. 474 of the 16th century, in Syn. No. 961 of the 11th-12th centuries and also the 8th “before 50 ps”), up to 10 (so in a number of Sofia Service Books of the 15th century No. 538, 539, 540, 542 and Moscow Typogr. b. No. 130, where only the 11th and 12th prayers bear similar inscriptions: “on Praise”, “on Glory in the highest”) and up to 11 (M. Cyprian: “at Matins there are 11 prayers and the 12th prayer after “Praise the Lord from heaven” on adoration” 2403). From here it was already one step to the current practice with its 12 prayers on the Six Psalms (the 9th prayer was probably missing), presented by the RKP. from the 11th century: Eukh. Moscow Room. music North No. 474 XI century, Athos-Vatoped. No. 133/174 XIV century, Sinaisk. No. 988 XV century, Moscow. Synod, b. No. 616/360 XVI century. etc. 2404 et cf. below). As for the printed Service Books, the Greek. all have the current composition, from the glory. Moscow 1602 and 1647 do not have a 9th, therefore, only 11 on the Six Psalms, Service. Peter of the Mogila in 1629 notes about it that it was laid down by the Greeks, and leaves its reading to desire, from Moscow. In 1658 it was introduced, and the composition received its current form. Morning prayers are read by the priest in the same setting as evening prayers, that is, in front of the royal doors, with his head uncovered, wearing stole; “Indezh and in phelonion,” the Typikon adds here, meaning, of course, the custom, legalized by the Council of the Hundred Heads, for lay priests to perform all Matins, as well as Vespers, in phelonion. This reading environment, inspiring the thought of repentance and our unworthiness, also reminds us of the previous practice of beginning Matins in the vestibule. The reading of prayers begins with Psalm 4 of the Six Psalm, “Lord God of my salvation,” obviously to give the priest the opportunity to listen to at least half of the Six Psalm. Ancient regulations on morning prayers Cargo. RKP. does not mention the reading of prayers during the Six Psalms in the rite of vigil, but speaks about this in the rules of weekday matins (see there). Greek RKP. and printed Greek. Typikon (Hierus.): “When the primate begins Psalm 103: Bless the Lord, my soul,” says the priest himself in the Matins prayer, standing uncovered before the saint. doors"; so are the most ancient glories; but late Greek and glory (Moscow Synod. Biblical Greek No. 381 and Slav. No. 332/385 of the end of the 14th century) indicate starting prayers with the psalm “Lord God of salvation,” as now. "Rank" Patr. Philothea is the same, but does not mention vestments. Old-fashioned mouth: “let us accept the epitrachelion.” According to 'Ιερατικον᾿ y, the priest begins reading prayers from the 1st psalm, until the 4th he reads before St. meal, and then before the icon of the Savior, which in conclusion he kisses 2405. Great Litany at Matins The Six Psalms is not so much a prayer as an outpouring of the believer’s feelings; the great litany that follows it, which generally stands at the beginning of all the most important services, is an already defined, precise prayer that embraces the most important needs of a Christian. The Six Psalms at Matins, like the opening psalm at Vespers, attune the soul to such prayer, awakening in it vague, but all the more profound religious feelings; they prepare for the prayers of the Great Litany; at the liturgy there is no such preparation, since the believers approach it, sufficiently prepared by the whole range of daily services, and especially by the clock, and since in general they approach it with a great uplift of spirit, which comes naturally from the awareness of the importance of the upcoming sacrament. The Great Litany at Matins, as well as at Vespers, is indicated by the Typikon to be pronounced by the priest, since the deacon speaks only from the polyeleos. The priest pronounces it before St. doors, from the place where he read the morning prayers, and after her exclamation the priest “having departed stands in his place,” i.e. together with the brethren, outside the altar, as at vespers (see above, p. 533). Cargo. RKP. does not mention the litany. Greek RKP. and oven ed.: “then the priest performs the litany and proclaims.” So is the ancient one. glory RKP.; late and old school oral: “a priest or deacon creates a great diaconate” 2406. According to 'Ιερατικον᾿ y, “Lord have mercy” on this litany (said, like everyone else there, by a deacon) the choirs sing alternately 2407. Being a more joyful service than Vespers, performed at the hours of the birth and resurrection of Christ, Matins, instead of the 140th and specially following evening psalms, in their place there is a general holiday psalm in a much more solemn performance than those psalms, namely excerpts from Ps. 117 under the title "God the Lord" (Θεός Κύριος). This psalm was intended for the Jews to sing on some major holiday (“make a holiday,” v. 27), on the occasion of the revelation of great mercy to the people from God, for which all Israel had to thank God, as for salvation from death and destruction (“I will not die, but I will live,” v. 17). The famous Easter verse “This day...” is found in this psalm. Of the psalms, this is perhaps the most joyful, second in this respect only to the 67th. From such and such a psalm the song “God is the Lord” was composed. Moreover, the most powerful and characteristic verses were taken from it for her, briefly representing the content of the entire psalm. The main of these “selected” 5 verses, “God is the Lord, and he hath appeared unto us, blessed is he that cometh in the name of the Lord,” is composed of two passages of the psalm, arranged in reverse order (vv. 27a and 26), of which the first directly has the meaning that the Lord (Jehovah) is the true God and that He has now revealed himself to us with special perceptibility (“appeared,” from the Hebrew “enlightened,” “shone”). This is connected with the fact that he who now comes, under such circumstances, in the name of the Lord is blessed (“in the name of the Lord” can also be referred to as “blessed”). The fact that these last words were applied to the Savior at His solemn entry into Jerusalem and that, according to His words, they will meet Him at the Second Coming 2408, all this points to Him precisely as the “Coming One,” whose coming is tantamount to the appearance of God Himself and shows God to everyone. The coming to us of the Son of God, the appearance of God in His flesh, according to the teaching of the apostles, had, as it were, three degrees: incarnation, resurrection and future Coming 2409. Each of them is evoked by the night, each of them is remembered in the night service, as dedicated to the night (“Glory in the highest,” “Behold the Bridegroom”). But at Sunday morning it is most natural to think about the second, central “appearance” - in the resurrection. Simeon of Thessaloniki refers to the verse as the first and last: “it is well said in this song: “God is the Lord and appeared to us” - the Word of God incarnate; “blessed is he who comes” - Himself as God in the flesh; “in the name of the Lord” - in the name of the Father and His own - And it is very fitting that the birth is depicted at night - the appearance of the Savior in the flesh, as it was at night, and for us, sitting in darkness and the canopy of ignorance, “a great light has arisen,” according to Isaiah. That is why in this life, as if in the night, we await at midnight the coming of our beloved and loving Bridegroom of souls” 2410. The verses of the psalm that accompany “God is the Lord” are also most suitable for the resurrection, excluding Art. “Confess the Lord,” taken as the opening verse of the psalm: they all represent the persecuted life of the Savior (v. 11: “having happened…”), accompanied by the consciousness that the death threatening from enemies would be powerless over Him (v. 17: “I will not die, but I will live…”) and will entail the foundation of the Church (vv. 22 and 23: “His stone is careless...”; cf. verses for the evening prokeme). Ancient use of ps. 117 and "God is Lord" Ps. 117 – hallelujah (in LXX) and was part of the so-called “hallel” among the Jews (Ps. 112–117, Heb. 113–118. Introductory chapter, 12), sung on Easter, Pentecost, Tabernacles and the feast of renewal, but originally intended for Easter; occupying the last place in the hallel, ps. 117 entered it later than other psalms 2411 and, apparently, was more intended for Tabernacles 2412 than for Passover (it is not in the Hebrew Bible and is not hallelujah). As it must have been sung by the Savior and the Apostles at the establishment of the Eucharist, the psalm was suitable for the liturgy, and the liturgy of the Apostolic Constitutions takes from it the now sung verse (26, 27a), as a preparatory for communion (together with “Glory in the highest” and hosanna) 2413, as does the liturgy Vasily-Zlatoustovskaya (both without rearranging the psalm words); liturgy of the ap. James puts the verse “Blessed is he who is coming” after “Holy, Holy,” inserting “He who came and” before “He who is coming” 2414. At Matins he is mentioned by the well-known description of the Sinai Matins of the 7th century, Hypotiposis and Diatiposis (Introductory chapter, 295:359). But even under Simeon of Thessalonica, God the Lord did not have a singing matins. Judging by the fact that ps. 117 in LXX alleluia - that alleluia in the Western Church is considered so specially an Easter and holiday song that it is not sung during Lent - that alleluia for us is part of the Lenten service, which most remained faithful to the old days, one can think that God the Lord was ever sung with alleluia or replaced by it (cf. the contents of 2 and 3 morning prayers). In accordance with the greater significance of Matins compared to Vespers and the nature of the song God the Lord, it is sung in the richest melody - the melody of the troparion, which serves as its last chorus. More specifically about the singing of “God is the Lord” the Typikon in this place says: “The canonarch who performed the prokeimena at Vespers, having made a bow to the primate, proclaims: God is the Lord from his verses into a real voice, and we sing the Sunday troparion.” This incomplete indication is filled in elsewhere. Chapter 9 The Typikon about the singing of Alleluia, replacing God the Lord and performed according to the same charter, says: “canonarch - becoming straight St. doors says Alleluia in the voice of Octoechos, saying these verses - and we sing the Trinity, if God is the Lord, we sing God the Lord in the voice of the Holy Troparion with its verses and the verb Holy Troparion.” In the rite of Matins on the 1st Monday of Pentecost: “the ordained monk or priest says Alleluia in the voice of the received Octoechos from their verses. And according to each verse the clergy sing Alleluia 3.” The service book: “they begin to sing to God the Lord - according to the voice of the day of the troparion; verse - God the Lord is sung four times; the troparion is also said - Therefore, God the Lord departs as a canonarch and stands in the middle of the church openly and speaks quietly (slowly?) the verses described above; standing there, the Dondezh will begin the Theotokos; He also bows in the same place (towards the holy doors) and, turning (to the west), bows with his face and leaves. Sitsa creates and there is always alleluia.” All these instructions apparently presuppose that the canonarch first sings God the Lord to the voice, and then sings its verses, and for each verse the choirs (alternately, which is why 4 verses) respond by singing God the Lord. That is why there is no need to proclaim the voice before God the Lord: the canonarch shows how to sing it. In practice, for the most part, verses with the initial God the Lord are read by the priest or deacon who pronounced the litany while singing four times God the Lord 2415. “God is the Lord” according to ancient statutes According to the well-known description of the Sinai Matins of the 7th century, God the Lord was sung by skilled singers, and the presbyter began it (Introductory chapter, 295–296). Stud.-Al. the charter, contrasting God the Lord, as a joyful song, with the Six Psalms with its repentant content, requires a corresponding difference in the singing of both: while the Six Psalms is sung “vly” (see above), “Abiy on bright and idle days (when only the Student mouth was sung. God the Lord) God the Lord cried out brightly and clearly, as if this truly divine light had been revealed, in vain it shone upon us, and drove away all clouds of lamentation and decrepitness far away, but wonderfully and brightly the joy that gave us bucketfuls of joy, rejoicing in this, and unable to endure the majesty of unspeakable joy within yourself”; Stud demands a similar type of singing. mouth and for Alleluia 2416. One of the Western Studio statutes (Nikolo-Kasulyansky, chapter 1) requires that the brethren stand when singing God the Lord, as under the Apostle and the Gospel 2417. Cargo. RKP. Jerus. mouth God the Lord does not indicate the method of fulfilling the rite of vigil, but makes a remark about this in the statute of weekday matins (see there). “The monk who has completed vespers for the prokeme, having made the usual bow to the abbot, sings to God the Lord and sings the troparion...” “Ordained by Mnih, who sings the prokeimenon at Vespers... (make a bow to the abbot or his place) God the Lord sings in a real voice, Hedgehog... invites the verses Confess (etc.) and every verse the canonarch (or: Mnikh) sings - Blessed is he who comes in the name of the Lord. The faces, according to each verse, sing, God the Lord has appeared, with the same voice. Also, God, the Lord, has appeared to me. And the singer of the troparion says: “He is risen.” “The appointed monk, who sings the prokeimenon at vespers, having bowed to the abbot, God the Lord sings from his verses and sings the troparion.” So is the old way. oral, only instead of “sings” - “says”. "Rank" Patr. Philotheus and modern Greek. Euchologium: “God the Lord is sung” 2418. Moscow service books. 1602 and 1647: “We sing to God the Lord, verse: Confess (etc.). If there is fasting, we sing alleluia, saying these verses.” “and they began to sing to God the Lord according to custom; The priest stood there, after whom the chanting of the choir spoke the usual verses and departed.” Service Moscow 1658, as the present one. Ί ερατικόν: “the choirs alternately sing four times God the Lord to the voice that has happened” 2419. According to the Proscinitary, in the East (XVII century) God the Lord was first sung by the patriarch or the lyke, and then by the lyres in turn, but did not say verses 2420. Having moved from a sad-repentant mood to a festive-joyful one and from Old Testament feelings to that living premonition of salvation, which is given by the selection of passages from 117 ps., the Matins songs now move into direct Christian language. This is done by adding a troparion to the psalm. At this moment, the troparion receives the most solemn performance: even at weekday matins it is sung twice, which is not done at any other service, not even the liturgy; even if there are 2 troparions for memories of equal meaning, here the first troparion is sung twice; this is primarily due to the distribution of singing between two choirs. Since the troparion here is actually the chorus to the psalm (as it was according to its original purpose), and for a psalm or a section of psalms a small doxology is considered a necessary conclusion, then another troparion, if there is one, is connected with the troparion through the latter, and the Theotokos or one Theotokos, which always agrees in tone (for symmetry) with the previous troparion. Thus, if on Sunday, as almost always happens, there is some kind of memory with a troparion, the Theotokos is not sung in the weekly voice, but the Sunday Theotokos (the so-called “first”) is sung in the voice of the saint’s troparion. Thanks to this, the Sunday Theotokos of the current voice, which remained unsung, is transferred to the sedalny by 1 kathisma, replacing the local Theotokos, which, however, the Typikon notes already in Chapter 52. The same transfer, of course, must be done if a troparion is placed instead of the Theotokos, as happens when the feasts of the Theotokos, before and after feasts, and some other commemorations coincide with Sunday. In chapter 52 It has been noted that if there are two saints on Sunday, each with a special troparion, then the Sunday troparion is sung once, then to the 1st saint, Glory to the other, and now the Theotokos according to the voice of the last troparion. And according to the Studian (Alexievsky) Rule, the Sunday troparion was sung twice and after it the Theotokos; but if a troparion was added to a saint (which was done only for great saints), then once 2421. According to the Evergetian Type. The troparion of St., apparently, was sung instead of the Theotokos. It’s great that it’s in Nikolo-Kasulyansk. Type. The troparion in this place is also called “dismissal” 2422. From Jer. mouth cargo. RKP. - nothing, Greek. “Let us sing the troparion, doubling it; and on the Glory of the holy day, if it is celebrated; if not, the 1st voice of the Theotokos”; so is the print. Greek Type. and Evkh.; glory RKP. and old school mouth like the current one, but the most ancient glory. RKP. they add a remark about transferring the Mother of God to kathisma. In the East in the 17th century. the troparia at matins were sung, if they were not known by heart, with the help of the canonarch; They didn’t sing Slava even now, but they quickly spoke, as in Russia 2423. Replacing all other songs at some services, the troparion in a compressed form depicts the very essence of the celebrated event. This is also done on Sunday troparia, sung at God the Lord, hours and liturgy. But while some of them paint more of a picture, the outer side of the resurrection (chap. 1, 4:6), others dwell on its inner side; at the same time, each subsequent one pays attention to all the other and other features of the event, drawing from the lofty subject sufficient material for this, so that none of the troparions repeats the thoughts of the other. The Theotokos to the troparia are devoted primarily to revealing the mystery of the incarnation of the Son of God, which became clear from the time of His resurrection, sometimes only stopping at death and resurrection (chap. 3, 6, 7:8). Judging by the fact that the troparia are the oldest part of the holiday sequences, familiar to that primary formation of worship, which is represented by the Typicons of the Great Church of Constantinople of the 9th century, one would expect that the Sunday troparia are older than the stichera and canons and that they appeared before John of Damascus; Their anonymity speaks for this. But in the surviving monuments they appear simultaneously with the works of Sts. Cosmas and John of Damascus. So, along with some of the latest creations, they are indicated by the RKP. Jerusalem Patriarchal Bible. (No. 43 of the Cross mon.) with “The Consequence of Holy and Easter Week”; here they are placed as “sedals” at the end of Vespers, according to Now Dismissed, starting from the Vespers of Great Saturday until Bright Friday, voices 1–7 2424. The troparion ends the first, short, part of Matins, just as it ends Vespers and all Matins (and the first part of the service of the hour). The second part of Matins, like any service, begins with psalms and consists mainly of psalms and readings, reminiscent of the night service of ascetics and ancient monasteries. This part of Matins is filled with kathismas (κάθισμα), or the so-called versification (στιχολογίοα) of the psalms. Kathismas are a special kind of psalmody, different from psalmody in other places of the church service, for example, from the opening psalms. Namely, the psalms are pronounced here, now mostly read, with the least solemnity and in a calmer body position, sitting. Kathismas are of this nature especially at Matins, where due to this they serve as a rest for the body and soul of those praying from fervent prayers - litanies and from many solemn chants. We must pray through the opening psalms, for example, the sixth psalm, and all others, except the kathisma psalms, and behave during them “as if conversing with the invisible God,” which is why it is forbidden to sit during them. Through the permission to sit on the kathismas, the psalms are allowed to be listened to not so much as a prayer, but as an edification, as a work of art, to enjoy their poetry to the fullest. At kathismas, therefore, the psalms capture the attention of those praying on the other side in comparison with the psalms of other places of service. Therefore, psalms that have already been sung at the same services in another place are not excluded from the kathismas: all the psalms of the sixth psalm, vespers, and hours are sometimes repeated in the kathismas of these services. While few psalms, 1 or 3, were sung during church services, which took place before the transformation of worship under the influence of monasticism (I-IV centuries), the custom of sitting for psalmody could not arise. It appeared when during services they began to try to chant the entire Psalter in a day or more. This custom was first mentioned by Cassian in the 5th century. (Intro. ch., 218), and the tone of justification in which he describes this custom of the Egyptian monks testifies to its novelty. News from the VI-VIII centuries. both for the East and for the West, they talk about sitting only at readings (edifying), and for the East, standing while singing the entire Psalter at the night service is emphasized: its sections in the well-known description of the Sinai Matins are called statiyas, στάσις - standing, and it is said that they stood up to sing them; and these sections (50 psalms each), in terms of their position at Matins, fully correspond to our kathismas. Standing behind the kathismas is also required by Diatyposis (see below “The Order of Kathisma”; Introductory Chapter, 295:310). But transferred to the West, perhaps by Cassian, the custom of sitting at the psalms there soon became widespread and transferred to other parts of the service. In the East in the 9th century. there is already the term κάθισμα, which, however, is more applied, as now among the Greeks, to the songs preceding the reading than to the sections of the Psalter, which for the most part are called αί στιχολογίοα, and the glory of kathisma - articles 2425, but already in Hypotiposis they are called κάθισμα ψαλμούς, and in Diatyposis and directly κάθισμα 2426. A trace of this practice - sitting only for readings and standing for psalms of kathismas - is also in the current charter: sedals are placed only after those kathismas followed by readings; Thus, sedals are not placed after the kathismas of Vespers, after which there are no readings; on the contrary, sedals are placed without kathismas before the readings, such as, for example, 3 songs of the canon. The performance of kathismas at Matins differs significantly from Vespers, both Great and Everyday. “The face says: Lord have mercy 3. Glory to the Father and the Son and the Holy Spirit. Reader: And now he also stichologizes the kathisma of the Psalter.” At Vespers, as we have seen, kathisma is not preceded by Lord have mercy, Glory even now - this is because there kathisma follows directly after the great litany, where Lord have mercy is repeated much more than 3 times, and where there is its own doxology in the exclamation, more extensive than the present small one. The Typikon does not speak anywhere in detail about the division of kathisma into parts, mentioning it in passing only in the rite of Matins on the 1st Monday of Great Lent. In the following Psalter, kathisma is divided into three parts, designated by the word “Glory”; This designation, which is not explained in the liturgical books, is in practice considered equivalent to the doxology with which the psalms of the sixth psalm are divided, which ends the psalms of the hours and which consists of Glory and now; Alleluia 3, glory to You God, - 3; Lord have mercy 3; Glory to this day. It is customary in practice at kathismas for the reader to pronounce the beginning of this doxology: Glory to the Father and the Son and the Holy Spirit, the middle singers, and the end to the reader: And now (in the second small doxology) 2427. This division is made in order to more closely connect kathisma with the prayer appeal and to instill the idea that the reader and the choir are vying with each other to glorify God (they cannot wait for the end of the doxology). At the end of the kathisma, if it is followed by a litany, at Sunday matins and other holidays and semi-holidays, the doxology, already all pronounced by the reader, ends (as is customary in practice) with alleluia, glory to Thee God, since it is followed by a small litany, where there is both Lord have mercy, and a lengthy doxology. – Of the kathismas at Sunday matins, the following alternate ones are placed after the 1st, sung at Vespers: 2nd and 3rd, just as alternate kathismas are not left for any holidays (except Easter), which inspires the idea that the singing established by the ascetics at certain periods of the entire Psalter should not be interrupted for holidays. Both the Studite and ancient Jerusalem statutes required singing, and not reading kathismas, a trace of which remains in the current Typikon, in its vague expressions regarding the performance of kathismas: “the face speaks,” “the reader” (it is not said: “reads”) “schologizes” - speaks in verse, therefore, alternately with someone else. According to the Studian-Alexievsky Rule, kathismas were not only always sung in voice, but within the voice, apparently, there were different melodies for them, “alleluiars”, 9 for each voice; for some kathismas - except for the 1st, also for the 7th, 19th and 20th - these melodies were especially complex and solemn (Introductory chapter, 365). The oldest manuscript of the Aleksiev-Studio Charter has a section: “Aleluouiarya caf. from osmi voice. Voice 1 (and further all under the notes): Let us confess to You, Lord (the beginning of the 1st glory of the 2nd kathisma) allelugia. God save me (beginning of the 2nd glory) alleluia. Lord who dwells (beginning of the 3rd glory), alleluia 3, glory to Thee God.” Further, in the same way, the initial words of each glory of the 3rd and 4th kathismas with the same choruses are given under the notes; but on the same sheet of the charter the power notes begin with notes 2428; Consequently, the kathismas are deliberately not finished: out of 8 voices, notes are given only for 1 chapter, and within it only for 2–4 kathismas. Psalter of Sofiysk. bib. at St. Petersburg Spirit. Ak. No. 62/ Soph. XIII century gives only half of each verse in the psalm, therefore, it was assigned to one of the two faces and assumes its double, where the second halves of the verses are given (for example, Ps. 58: Deliver me from my enemies, O God: Deliver me from those who do iniquity: For behold, I have caught my soul. When the singing of kathismas was abandoned here and in the East, it is difficult to say: the transition to reading them, perhaps, was their singing by one singer. The Hundred-Glavy Cathedral already allows them “not to be sung, but to be sung.” According to Arseny Sukhanov, in the East “the psalmist says And now the Psalter is two kathismas in a row under the wall on the lectern, and not in the middle of the church (as, therefore, in Russia), and sometimes (facing) to the west and at noon and midnight (depending on which choir stood), the Greeks do not respect that order; and in the Volosh monasteries, where little children are, they speak among the church to the east, and that happens rarely; and at the Archbishop of Sinai, young blacklings speak among the church” 2429. Nowadays in Greek churches they read kathismas also turning their faces to the people 2430. In this case, the order of readings (edifying) between them must have been transferred to the kathismas. As for the insertions between the psalms, then, according to John Cassian (5th century), in the West, each psalm was sung by one person, and at the end of it, everyone standing loudly sang a small doxology, while in the East they ended the antiphon, that is, to the psalm (Introductory chapter, 217); The same custom is mentioned by Pope Vigilius († 546) and the Council of Narbonne in 598 (according to Baronius). On 12 Toledsk Ave. Council of 633 “at the end of all the psalms we say: Glory and honor to the Father and the Son and the Holy Spirit forever and ever, Amen” 2431. Alleluia was usually used as a refrain to psalms by ascetics, inserted, for example, as often now on kathismas, after every three psalms 2432, or between well-known sections of the psalm; but, according to Cassian, in Egyptian monasteries alleluia was chanted only for the alleluia psalms (Introductory chapter, 190, 393:218). In the Abyssinian night service, alleluia also serves as a refrain for biblical songs, inserted after every 7 words or after every verse 2433. It is possible that at our kathismas before, as now at Blessed is the Man, alleluia was sung after each verse; such a conclusion is warranted by the preserved musical excerpts of kathisma 2434; the current multiplicity of alleluia at the end of each glory is, as it were, compensation for the omission of alleluia after each verse of the psalm. – The refrain “Glory to Thee, God” is common for psalms in the song sequence (Introductory chapter, 341:345), where it was the chorus for the most solemn, initial psalms; in the same sequence, perhaps for everyday and ordinary psalms (if the latter took place there), there were other refrains indicated in the so-called. “Canon of antiphons of the psalms of the Great Church of God” by the pseudo-patriarch of Constantinople (Monophysite) Anthimus c. 556 2435 and some. Greek Psalms ca. 9th century Moscow Synod. bib. Here and there the following “antiphons” are given to the psalms besides “alleluia”: “Correct”, “Lord save us”, “Lord preserve me”, “Hear me Lord”, “Have mercy on me Lord”, “Help me Lord”, “Protect me (or “us”) Lord”, “Have mercy on me Lord”, “Have mercy on me Lord”, “Remember me Lord." To connect “alleluia” with “Glory” there is a parallel in the Abyssinian service: “Alleluia to the Father, alleluia to the Son, alleluia and the Holy Spirit” 2436. - “Lord have mercy” in the interpolated chorus on kathismas has its prototype as a prayer, with which every psalm has ended since ancient times (Introductory chapters, 189, 207, 217:393); to Vatik. bib. there is a Syrian “priestly book with prayers at Vespers, night services and matins before and after each psalm” 2437. Gradually these prayers became shorter and began to be said not after every psalm, but several times; as such a prayer at the end of the psalmody Diatiposis (in some rkp.) indicates: “Lord have mercy, Christ have mercy” (according to other rkp. Lord have mercy 20 times); judging by the use of this appeal in the West, where one Kyrie eleyson without Christe eleyson is not used, one can think that this was the original form of a short psalter prayer; transition to the current one - Abyssinian: “Lord have mercy, Christ” (cf. Jesus Prayer). According to Diatyposis, “at the end of the reading (between kathismas), standing up (hence, we sat only during the reading), we say 12 times, Lord have mercy, and so the psalmody begins again” 2438; this must have replaced our “Lord have mercy” during the intervals of the kathisma, before it and after it, also 12 times in total. Small litanies on kathismas After the kathisma at Sunday matins, as well as at every holiday and semi-holiday (on doxological days, before and after the feast), there is a small litany, which gives the kathisma a special solemnity, less so, however, than in the kathisma of Great Vespers, at which there are small litanies after each glory. At the end of the kathisma (after the triple “Alleluia 3, Glory to Thee God”), “the priest departed (from his place in the middle of the church) before St. doors says the small litany,” as he also pronounces the great litany. The exclamations of small litanies after the morning kathismas are indicated in the Service Book; they are the same as at Vespers: “For Your power is Yours,” “For You are Good and Lover of Mankind” (see above, p. 536). Cargo. RKP. indicates the litany to be pronounced by the deacon, Greek. - to the priest, making this remark after pointing to the Immaculate: “at each kathisma (καθ᾿ εν κάθισμα) he creates an ect. small"; glory RKP. and old school mouth like ours, but do not “go before St. doors." The exclamations are indicated by the “Chin” of Philotheus and all the Missals 2439. As we will see below, readings (patristic) are inextricably linked with kathismas. The preparation for these readings, the transition to them from kathisma and litany, are songs on which, like during the readings, you can sit, therefore called sedals (κάθισμα), and which, with their artistic melodies, bring revival to this very monotonous part of Matins. They introduced a new type of chant into the vigil, used only at Matins (and at Compline, at which the canon is laid), a service characterized by a special duration and requiring the worshipers to rest and sit repeatedly. In their melody, content and structure, the sedalnya are close to the troparia (which is why earlier, as we will see, these names were used indifferently). Sometimes they are sung (as we will see) quite according to the melody of the troparions. Often the same song serves as both a sedal and a troparion. Thus, with God the Lord, throughout a significant part of Matins, precisely before the canon, and partly during it, one melody dominates - the troparary one, just as at Vespers the stichera is dominant, and from the canon - the canonical one. But the usual melody of the sedals differs somewhat from the melody of the troparions. It is, first of all, longer than the troparal chant; this is because the sedals are mostly sung once, most often twice, while the troparion is performed up to 7, 12 and even 16 times during the daily services. In addition, the sedalene is easier to listen to, since it is heard while sitting, and its drawn-out singing is not as tiring for those praying as the same singing of the troparion. In addition to length, the melody of Sunday sedals differs from the troparion in its greater evenness and calmness; Moreover, they emanate a certain sadness about the burial of the Savior; although they glorify the resurrection of the Savior, like the troparia, this glorification takes place in them through the remembrance of the burial and death of the Savior (“The life is reclining in the tomb and the seal is lying on the stone; like a sleeping king, soldiers guarding Christ” - section 6, chapter 2; cf. “The Noble Joseph” – section 2 chapter); Therefore, the melodies of the sedals are close in character to the melodies of Holy Week. Such a semi-sad melody of Sunday sedals goes to their place at the vigil - after the kathismas and before the readings, which constitute the most unceremonial and monotonous part of the vigil. The dignity of the Sunday sedalnyi based on their tune is also indicated by the fact that these melodies are independent and have no similar ones, with the exception of the sedalnya according to the 2nd kathisma: 1 ch. similar to “The Sealed Stone”, 3 ch. similar to “The Beauty of Virginity” (Theotokos to the sedaln), 4 ch. similar to “Soon ahead” (Theotokos 6 hours on Lenten Wednesday and Friday, taken as sad in contrast to the joyful troparary chant of Chapter 4). As for the comparative merit of the sedals in their content with other chants, in this respect they stand on a par with the troparia and surpass the stichera and canons in poetic height. In some places they amaze with the power of expressions (“death is fiercely captivated”, “I open the coffin, I cry in hell”, “no one has death” - 3 chapters of 1 chapter), the picturesqueness of the description (hell says: “I tremble in the flesh of the incorruptible hypostasis, I see the Invisible, secretly fighting me, and the same is called: “Glory, O Christ, to Thy rising” - chapter 3, chapter 2), the depth of the psychological analysis of the persons involved in the event of the resurrection (the myrrh-bearers at the tomb mentally say: “Is it true that He who preached the resurrection even before the passion”; after the resurrection, “Peter cried out to thee: the woman received boldness, but I was afraid; the thief theologized, but I rejected; for will you call me to be a disciple again? - Chapter 5, chapter 2; Mary Magdalene says to the Jews: “Either give me my Lord, or cry with me - Lord, glory to you” - chapter 6, chapter 1). The high dignity of Sunday sedals is also evidenced by the fact that some of them serve as troparions or sedals of the greatest holidays: Great Saturday - “Blessed Joseph”, “To the Myrrh-Bearing Women” (with additions), Sunday of St. Thomas - “Sealed to the Tomb”. In view of such advantages of Sunday sedals in tunes and content, they are never canceled at Sunday services, even if they coincide with the Sunday of Presentation and the twelve feasts of the Theotokos; they are then all sung even with their own Theotokos, while at least the latter would naturally be replaced by the sedals of the holiday. There are two Sunday sedals after each kathisma, just as on major holidays after each kathisma there are two sedals, or if there is one, then it is sung twice, obviously with the goal of giving singing to each of the two faces. At the same time, they are connected by a chorus, so that the first is sung “simply”, and the second with a chorus. The verse Ps. serves as such a refrain for sedals in 1st kathisma. 9, 33, as if inviting or calling the Savior to the resurrection: “Rise up, O Lord my God, that Thy hand may be exalted, do not forget Thy poor ones to the end,” and according to the second - the opening verse of the same psalm - the vow of believers for the fulfillment of this sublime prayer of theirs: “Let us confess to You, O Lord, with all my heart, we will tell of all Your wonders” (these same verses - prokeimenon and its verse, chapter 7). From a number of psalmical verses that can be appended to the resurrection of the Savior, these are the ones chosen for this place, since the direct glorification of the resurrection has not yet begun at Matins (it is only from the Gospel and “Having seen the Resurrection of Christ”) and since a somewhat mournful and repentant tone is needed here (“forget not your poor”). After each kathisma, the two sedalnas are joined, through Slava and now, by the Theotokos, which usually concludes each series of Sunday hymns, as well as hymns in honor of the saints. The Theotokos sedalnov, like the Theotokos troparions, are dedicated to the mystery of the incarnation and, just as rarely as those, dwell on the resurrection of the Savior, on the attitude of the Mother of God to this event; the latter takes place in Chapter 2 of Theotokos. 1 and 2 departments each, 6 chapters. 2 parts each, 7 chapters. 1 and 2 parts each, partly 1 chapter. 2 parts each, 5 chapters. 1 book each. Some of the real Mother of God amaze with the power of expression, depth and originality of thoughts; These are, for example, Theotokos 3 and 4 chapters. 1 kathisma each. 1st “The Beauty of Virginity”, conveying the idea that the spiritual beauty of St. Gabriel himself was surprised at the Virgin and was at a loss what to tell Her, what to call Her. 2nd “Joseph was surprised” depicts the feelings and thoughts of Joseph at the birth of Christ, how he had to remember the prototypes of a seedless Nativity (fleece and bush) and, convinced, began to prove to the Jerusalem priests (implied, who brought charges against him for failure to fulfill his obligation) that a seedless birth is possible. By a significant coincidence, the melodies of these two Mother of God are the most beautiful and beloved by the church charter: they are often assigned as similar to the sedalna, even on the greatest holidays: for example, the sedalna for the Nativity of Christ for 2 kaf., Baptism for 1, Annunciation for 3 are similar to the “Beauty of Virginity”; for Epiphany, 2 kaf., then for the Nativity of Christ and the Annunciation in polyeleos - “Joseph was surprised.” The high dignity of the saddle Mother of God is also evidenced by the fact that some of them are taken into other services, even on the greatest holidays; So, Theotokos 3 ch. 2 kaf. each. “Incomprehensible and Indescribable” serves as the seat of the Matins of the Nativity of Christ, 2 kaf. each; saddle Bogorodichen 2 ch. 2 parts each. “Blessed are you” is constantly used by the Theotokos for the stichera of praise at Sunday Matins. And the Theotokos 8 chapters. according to the 2nd kathisma, the final kathisma for all, “He rejoices in You,” serves as the worthy of the liturgy of Basil the Great, for the sake of which “we sing it not sitting down, but standing and with fear and reverence.” Because of the high dignity of the Mother of God, they are almost never canceled at Sunday services, even when they coincide with the twelfth feast of the Theotokos, although, as we have seen, they almost do not talk about the resurrection, but of general content. The sedalny Theotokos are replaced only by the troparous Theotokos - exactly as it is said about this in Chapter 52. Typikon, if the troparia for God the Lord are sung with the Theotokos in a different voice, then this Theotokos is sung in 1 kaf., and the ordinary one is left (since the Theotokos are 1 kaf. higher (“Joseph was surprised”, “The beauty of virginity”, “Gideon writes”), then it is better to transfer them to 2 kaf., and leave those there, excluding, of course, the Theotokos “Rejoices in You”) 2440. Sunday sedals according to ancient charters Sedalny also points out the already well-known description of the Sinai Matins (Introductory Chapter, 295) under the name καθίσματα άναπαύσιμα, which in glory. “Sunday kathisma” is inaccurately translated; it should be translated: “sedalny sedatives” (for relaxation, see below about readings). In Hypotiposis they are called τροπάρια τοΰ καθίσματυς 2441. In the Holy Sepulcher “Consequence” of Holy and Easter Week, the name sedalna (kathisma), in addition to the current use, is attached to all troparia: according to Now you let go, to God the Lord 2442. The Evergetid charter after the 1st kathisma had “sedalen Sunday”, and according to the second - “ipakoi”, because it did not have the Immaculates. Studio people talk about sedals in a low voice. From the RKP. Jerusalem Charter cargo. RKP. speaks of one seat with the Mother of God after each kathisma; ancient Greek: “we say the first voice of the resurrection, and if there are more sedalens, we say the verse: “Rise up, Lord, help us...”, and we also sing another; if not, Glory is still the Mother of God”; late RKP. and oven Greek they add: “and again the verse: “I will love you, Lord,” and again he sat down. Sunday and Bogor."; glory RKP. as now, but late. do not indicate verses. Old-fashioned mouth 1st verse - as in Greek. In Western worship, the sedals are analogous to responsories, although they follow the readings (Introductory chapter, 307); they mostly correspond to the content of the reading, but sometimes they are common to different readings; Sunday ones do not differ in character from weekday ones. The sedal is followed by a reading prepared by him. The readings of Matins are of a completely different kind than the readings at Great Vespers: some are taken, on Sunday at least, from Holy Scripture, these are taken from the patristic writings. The charter of these readings is set out in Chapter 10. Typicon. According to it, readings are interpretations of St. John Chrysostom or Blessed. Theophylact on the New Testament (interpretations are read on the evangelist from whom the Gospel comes at the liturgy), from Simeon Metaphrast and Margarita. The volume of reading is not determined, but if you divide all the books named there between the readings of the whole year, you will have about 10 pages of the 8th for one reading. Neither in the present place of the Typikon, nor in Chapter 10. It is also not indicated at which place in Matins the reading is from which book; It is noted only about reading from 1 kathisma, that it happens “in the Explanatory Gospel” and about reading from 6 songs of the canon, that then the Prologue is read. The order of reading is also not indicated here; it is given in chapter 35. for the meal: the reader pronounces the “preface,” i.e., the name of the author and the title of the book, and the rector or alternate priest: “Reading it with prayers” (i.e. “Through the prayers of the Holy One, Lord Jesus Christ our God, have mercy on us”). In ancient manuscripts of liturgical readings, after the title of each reading there is an addition: “bless the father,” to which the exclamation of the priest serves as a response. Already the Laodicean Council, pr. 17, prescribes: “at services the psalms should not be combined in one row, but in the interval there should be a reading for each psalm.” Balsamon says that this is prescribed for rest. Readings at Matins in the famous description of the Sinai vigil of the 7th century. – from conciliar messages, alternating. The Hypotiposis, Diatiposis and Studite Rules, while mentioning the readings at the same places at Matins as now, do not indicate the content of the Sunday readings. Among heterodox readings, they are especially developed in Armenian worship, where they are called “exhortation”; There are even 2 such “exhortations” at the clock, and at the Midnight Office (1st part of Matins) – 5, at Matins in the proper sense up to 3 (Introductory chapter, 299–301). In the ancient Western charters, readings were also very developed, especially in Venediktov (ibid., 310, etc.), where it is noted about them: “on the vigils the books of both the Old and New Testaments are read, and interpretations on them, compiled by the most famous Orthodox teachers and ecumenical fathers.” At the current Roman Catholic Sunday morning there are 9 readings: the first three from the Old or New Testament (epistles), the second three from the Fathers, the 7th Gospel, 8 and 9 its interpretation; Reading volume is less than 1/2 page 12; before reading, a blessing is asked: “Command, Lord, to bless (lube Domine benedicere)”; the blessing before each reading is different, with the answer amen 2443. The second part of Matins is drawing to a close, and with this, following the general rule of our services, solemnity should increase. Now comes the most sublime part of this part and, according to the usual view, the most solemn moment of the entire matins and the entire vigil - the singing of the polyeleos or the Immaculates, with the sedate ones, concluded by the reading of the Gospel. But the Typikon does not mention the polyeleos, which at an ordinary Sunday vigil is supposed to be sung relatively rarely, for more than 3 months during the year. According to the 2nd kathisma and its reading, he says here, “we sing the Immaculate Ones.” Thus taking the place of the festive polyeleos at the usual Sunday vigil, the Immaculate (' Αμωμος) are quite suitable for such a replacement. This is the name of the 118th ps. “Blessedness of the Immaculate” according to its second word, which expresses the theme of the entire psalm and therefore in ancient times was preceded by it when sung as an antiphon or a model for a melody (and now in the rite of burial). Representing an enthusiastic hymn to the law of God, the psalm depicts the ardent love of the righteous for this law or, more precisely, for God for His such a perfect and beneficial gift to humanity. This largest psalm, with 176 verses, in the Hebrew text consists of 22 stanzas, beginning in order with all the letters of the alphabet; in almost every stanza, consisting of 8 verses, the name Jehovah is used once (at least 22 times in total) and the law is called by different names: “law”, “commandment”, “justifications” (collectively “statutes”), “testimonies” (i.e. revelations), “fates” (i.e. courts), “commandments” (in Slavic also “commandments”), “ways”, “words”, of course, all this with the epithet “Yours”, i.e. “God’s”; this denotes different aspects of God's law. The righteous man does not find words to describe his attachment to this law and zeal for it: for him it is more valuable than all treasures and blessings, above all earthly wisdom, he studies it day and night, prays for heavenly illumination to comprehend it, is ready to suffer for it and almost paid for it with his life. With this content, let us apply the psalm, first of all, to the Savior, to the whole work of His life, for which the most touching image imaginable is given here; and then, let us apply the psalm to every Christian, as depicting a complete ideal for him. The psalm breathes with remarkable warmth, acting with an irresistible charm on the heart, somewhat capable of religious feelings, and surpassing other psalms in this respect. All this prompted the charter to make Psalm 118, which constitutes the 17th kathisma, a funeral hymn over the Savior, introducing it into Great Saturday Matins, which it fills more than half, just as it is sung over every Christian in the rite of burial. Adjoining the kathismas as the last of them, moreover, adapted, in contrast to the first two kathismas, to the memories of the day, the psalm at this place of Matins well prepares the subsequent joy of the resurrection. And in general, the attitude of the rule to this psalm is exceptional, fully consistent with its high merits: the kathisma, which it alone constitutes, is not considered ordinary; when the Psalter is sung twice a week, as in Lent, then the 17th kathisma is excluded from the usual rotation, from which the 1st kathisma is not excluded; Of all the kathismas, it is the only one that is not abandoned at the end of Holy Week, when there are no kathismas at all; in addition, it serves as the opening psalm of the Midnight Office (every day) - a service performed at the most touching hour of the day. When performed at church services, ps. 118 is divided, like other kathismas, into three parts, or glories (at funeral services sometimes into two), called by their first words: “Blessed without blemish,” “Thy hands have created me,” and “Look upon me,” gradually decreasing in length: 1st Glory, Art. 1–72, depicts mainly the steadfastness of the righteous in the law, 2nd, v. 73–131, asks for consolation in persecution, 3rd, art. 132–177, asks for victory in the confrontation. The singing of the Immaculate Ones is set to the 5th voice, of course, in the same melody of this voice with which the “Sunday troparia” immediately adjacent to the psalm are sung - “The Council of Angels”. The melody of the 5th voice represents a combination of soft thoughtfulness, sometimes reaching the point of quiet sadness, with joy, but a joy that is not so much jubilant as deep and serene, and therefore most conducive to the event of resurrection, which cost the Savior so much sorrow and the shadow of death. Therefore, in this voice (only in a different, special melody) the troparion and the most important stichera of Easter (“Holy Easter”) are sung. The Typikon does not specifically indicate how to sing this psalm, perhaps because it goes without saying that it needs to be sung, like other psalms, alternately by two choirs, verse by verse, and, of course, with interpolated glories, excluding the final glory, which is found after the troparions “Cathedral of Angels.” This method of singing significantly shortens the performance (with skillful singing, when not only there are no pauses between the singing of both choirs, but one begins without waiting for the other to finish singing). Due to the significant volume of the psalm and the length of the Sunday vigil, the psalm does not have any choruses, which it has behind each verse, for example, at a funeral service. Instead of such refrains, a number of troparions are added to the psalm at the end with the addition of the most characteristic verse in the psalm, expressing its main idea - “Blessed art thou, O Lord, teach me by thy justification.” This addition suggests the idea that, in fact, the entire psalm should be sung with the addition of a Sunday troparion to each verse (as on Holy Saturday), and if this is not done, it is only due to lack of time. Ps. 118 under the name “Immaculate” (' Αμωμος) occupied a very prominent place at Sunday matins according to the charter of the Great Church of Constantinople, as in its oldest form, in the 10th-11th centuries. (see Enter. Ch., 339), and in the so-called. song sequence: he formed the central and major part of this matins; it was sung here in three articles with the chorus on 1 and 3 alleluia, and on 2 - “Understand me, Lord,” with censing and a solemn entrance into the church at the end of the psalm (ibid., 345–346). The studio regulations did not have this kathisma on Sunday matins, limiting it to kathismas 2 and 3 2444. They had it on Saturday, and it was mostly sung without alleluia (see below “On the Saturday service”), therefore, like we do on Sunday 2445. Jerusalem. mouth about the Sunday Immaculates: cargo. rkp.: “after the 2nd kathisma and its reading “Confess the Lord” with 3 alleluias (ps. 135, i.e. polyeleos, see below), Sunday sedalene, reading and Immaculate, during which the priest censes”; Greek RKP. the most ancient: “we sing Immaculate on ch. 5, on which the priest burns incense” 2446; late Greek: “then Immaculate”; glory RKP. (XIV-XV centuries): “let us verse the Blessedness of the Immaculate and (c) refrains in three sections; according to the third article, Slava did not decide and now says tr. Ch. 5 Council of Angels"; late RKP. “we sing Immaculate on ch. 5"; old-fashioned mouth: “we sing Immaculate in ch. 5" 2447. According to chapter 17 Typikon, on Sundays from the celebration of the Exaltation, i.e., from September 22, until the forefeast of the Nativity of Christ on December 20, and from the celebration of the Epiphany on January 14 to the Week of Cheese, polyeleos are sung instead of the Immaculates, i.e. 134 ps. “Praise the name of the Lord” and 135 ps. “Confess the Lord.” Reasons for such deadlines: 1) polyeleos, taking up more time than the Immaculates, are sung mainly on autumn and winter Sundays, when the nights are longer and, therefore, the vigil has to start earlier and end later; 2) the polyeleos is canceled from December 20 to January 14 due to the confluence of great holidays during this period, which have a more solemn polyeleos than Sunday, which would weaken the impression of the latter; 3) in Lent, polyeleos are canceled due to the mournfulness of this period. Psalms 134 and 135 are similar in content. They invite Israel to glorify God the Creator (134, 6; 135:5–9) and Provider (134, 7; 135:25) for the election of Israel to the people of God and for all the mercies shown to it throughout its history, especially for its liberation from the Egyptian yoke (134, 8–10; 135:10–16) and establishment in the Promised Land (134, 10–12; 135:17–20); these mercies oblige Israel to be faithful to God and avoid paganism (134:15–18). The homogeneity of the psalms reaches in places to literal similarity in expressions (134, 10–11 and 135:17–20). Both psalms breathe the most rapturous joy, pouring out in an irresistible stream of gratitude; but the second psalm, developing the thoughts of the first, is more enthusiastic and stronger than it (“praise” and “confess”; 134, 5: “Our Lord is above all gods” and 135, 2–3: “To the God of gods,” “Lord of lords”; 134, 3: “for the Lord is good,” 135: “for His mercy endures forever”); The second psalm is given a special solemnity by the accompaniment of each verse with its chorus “For His mercy endures forever,” which is repeated, therefore, 26 times and sounds especially strongly in verses 17–20, where it divides one grammatical sentence into 4 parts (“He who smote great kings, for His mercy endures forever; and he who killed mighty kings, for His mercy endures forever; Zion, the king of the Amorites, for His mercy endures forever; Him; and Og, king of Bashan, for His mercy endures forever." – According to Simeon of Thessaloniki, the polyeleos psalms are “a song of victory and proclaiming the wondrous deeds of God, especially the transition of our souls from the Egypt of sin and error to faith in Christ, our liberation from Pharaoh and the Egyptians, i.e. the devil and demons, the liberation of the Church from Diocletian, Maximin and the apostate and other most wicked rulers, as if from Amalek, Zion, Og and the like - and after temptations and labors, entry into the promised land and heavenly inheritance through Jesus" 2448. The order of singing the polyeleos psalms is not indicated in the Typikon and other liturgical books. Musical tradition dictates that they should be sung with an alleluia refrain after each verse: in some tunes this alleluia is sung three times, in others after the first psalm once, and after the second three times, and after the first half of the verse once, and twice after the second, or vice versa. The melody for the polyeleos psalms is not vocal, even if it is self-vocal (as, for example, for the opening psalm or Blessed is the man), but completely independent, distinguished by special solemnity, jubilation, and majestic slowness (the polyeleos psalms are more than twice as short as the Immaculate ones). Polyeleos, but it is unknown in what sense, is indicated by the 7th century Jerusalem canon. in Georgian versions at the Easter vigil “on ch. 8 with Alleluia,” as well as later editions of the Constantinople-Sophia Rule, for example, on the Exaltation (Introductory chapter, 340). In a monument with a clearly expressed character of this charter - in the Kondakar of the Annunciation Monastery (where there is the so-called "azmatic" - a type of chant of unknown purpose, but applicable only to the song sequence) - 135 ps. set to notes in different voices: 1st ch. from 1 tbsp. to 4th, 2nd – from 5, 3 – from 9, 4 – from 13, 5 – from 17, 6 – from 21, 7 – from 23, 8 – from 25 2449 . In the Studiysko-Alexievsky Charter ps. 134–136, although they were sung only along with the other psalms of the 19th kathisma, in which they are included, therefore, always on Friday at matins, they had a particularly solemn performance, a special melody of chapters 4 or 6, an alleluia chorus, varying in number for each of these psalms, and were called polyeleos (Introductory chapter, 365). Thus, according to this rule, polyeleos was held every Friday and never again. It must have been the most ancient type of Matins, when on Sunday it did not have kathismas, it did not have polyeleos; therefore, it belonged only to the Sunday matins of Pentecost; and now full of polyeleos - from 136 ps. - only before Lent. Western Studio statutes appoint ps. 135 or both as celebratory ones at matins next to others, sometimes with special refrains, like our magnifications (Introductory chapter, 366). Jerusalem statutes in ancient times. Greek RKP. from these psalms they make a use similar to the Studian-Alexievsky (ibid., 376), but they talk about polyeleos only on holidays (like the Evergetid Charter) and during the period of 3 kathismas (from September 20 to Lent) 2450. According to Arseniy Sukhanov, in the East, “whoever speaks the Psalter, the same one on the psalm on the wing, Lord have mercy three times, Glory and now, the same two psalms like those on the polyeleos, at the end Glory and now, and they do not sing those psalms” 2451. In the Kiev-Pechersk Lavra, polyeleos psalms are sung in the following composition: Praise the name of the Lord, alleluia, praise the servants of the Lord, alleluia 3. For the great Lord and our Lord is above all gods, alleluia 3 (etc.) Lord, your name is forever and your memory forever and ever. Blessed is the Lord from Zion... Confess the Lord that He is good, Alleluia 2. For His mercy endures forever, Alleluia (and so on “Alleluia”). With a strong hand and a high muscle. And he delivered us from our enemies. Confess to the God of Heaven. Censure on the Immaculates and Polyeleos Both the Immaculates and the polyeleos, which replaces them, are accompanied by incense, which marks the most solemn and sacred moments in the service. Symbolizing, as always, the power and piety of prayer, which really reaches the highest degree of tension when singing these psalms; symbolizing the grace of the Holy Spirit attracted by such prayer; Contributing to the uplifting of the spiritual mood with the pleasant smell of incense, incense in this case is also related to the memory associated with this part of Matins: it recalls that fragrant world that was dissolved “with merciful tears” at this hour of the night of the resurrection of the myrrh-bearer. Regarding the censing of the Immaculates in the Typikon, it is only noted that “the priest burns censing on them.” This brief indication in the note to the chapter in question in the Typikon (2nd “zri”) is supplemented: “The priest and the deacon will immediately (not in cathedral, as during veneration, see below) put on sacred clothes (from the previous speech in this note it is clear that the priest puts on a phelonion) and the deacon will take up a lamp with a burning candle (usually instead one candle, but a large one), the priest will censer and cense around the St. the entire meal and altar proceed from the northern gates, and the royal doors burn incense throughout the countries of St. icons and analogies, including abbots and faces, and standing people, like custom, and packs enter the gates of the southern country.” Consequently, the royal doors do not open during this censing, according to Chapter 23. Typikon, according to which St. the doors in the first half of Matins are opened only for the reading of the Gospel, which is still far away (ipakoi and reading) and preparation for which (ringing) begins only with the sedate. Incense is also performed, according to the aforementioned note of the Typikon, “and on other days, (when) to whom a magnification is sung besides the vigil,” that is, on the polyeleos to the saint without the vigil. But on a polyeleos holiday or holy vigil, this incense is performed more solemnly: “an analogy (a reading table with a sloping top, thanks to which the icon placed on it is visible to everyone) is placed in the middle of the church and a festive icon of the Lord’s Day or the Mother of God or the Saint or saint is placed on it; and the rector (the only place at the vigil where he directly participates in the priestly service) vests in the sanctuary (altar) and all the clergy in the phelonion according to custom and, having left the altar through the open royal doors, will stand in two countries near the analogue.” The saint, whose icon is surrounded by clergy, stands as if visible in the church among the worshipers, thereby responding to their desire (expressed in one song to John the Baptist: “Come and stand with us”) 2452. If an icon depicts an event, then it seems to take place for the second time among believers, and the clergy, as the most worthy, are present at the very commission of it. Thus, the glorification of a saint or an event in this place of vigil reaches the highest degree of immediacy, when all the believers, led by the clergy, surround the hero of the occasion and talk with him face to face, “as if someone were talking to his friend.” “And the abbot distributes candles to the concelebrants and to the holy people standing in the church.” A candle in the hand of the person praying marks the spiritual burning of the entire being in a feeling of love for the hero of the occasion, and also befits the memory of the saint, as the annual day of his death. In the current practice, the holding of candles by the people during the vigil has been preserved only for two days of Holy Week and the associated Palm Sunday and Easter Matins; at the polyeleos of vigils it was preserved for the priests; however, it is replaced by the burning of the chandelier, the burning of which the Typikon nowhere says anything about. After distributing the candles, the rector, “the deacon comes up to him with a burning candle, first censes the icon around the analogy,” as the central shrine at that moment, “and goes to the altar, and there St. the entire meal and the altar are incense, and in the church there are all the holy local icons, including the clergy in both countries, and the right face of the singers and the left; therefore the whole standing people and the holy pack cense incense. doors, and two icons - of Christ and the Mother of God, and by analogy. At the same time (during this censing) they sing magnification, with selected verses from the psalms of David (on Sunday then - troparia of the Angelic Council, see Chapter 3 and September 8, even a week). According to this usual singing, the small litany from the deacon is spoken, and the sedals are sung (previously they were the hypakoi of the Sunday), and all the clergy enter (with the beginning of the reading) into the holy altar, and put on their sacred clothes, while holding the line, the priest remains in his vestments for the reading of the Gospel. Usually the censing begins after the clergy sing the magnification for the first time. After the Immaculates or polyeleos, the troparion “Angelic Council”, which is in close connection with the Immaculates, is sung. They are sung with the most characteristic verse of Psalm 119, expressing its main idea, namely the 12th verse: “Blessed are you, O Lord, teach me through your justification.” This replaces the addition of the troparion to each verse of the psalm. Thus forming one with this kathisma, the real troparions end with the usual conclusion of the kathisma: “Glory even now,” which is added to the last two troparions, “Alleluia 3, glory to Thee God, - 3.” The troparia are sung in the same 5th tone in which this (17th) kathisma is supposed to be sung. (The troparia are placed in the appendices to the Octoechos, the Book of Hours and in Irmologia). They, or rather 4 of all 6, the main ones, depict the feelings experienced by the “council” (δήμος) of Angels and the myrrh-bearers during the death and resurrection of the Savior; The 5th glorifies the Holy Trinity, and the 6th glorifies the Mother of God. History of the troparions “Angelic Council” Troparion “Cathedral of Angels” is of Jerusalem origin. In the famous Jerusalem “Consequence” of Holy and Easter Weeks. 9th century according to RKP. 1122 in the Vai service there are 2–6 of them, and the initial one is close to the 1st (“The Council of Angels was surprised, in vain you ascended to the lot”); the corresponding 3 troparions of Holy Saturday begin here every “Cathedral of Angels”, and the 3rd is very close to the current first (“... imputed; Adam, rejoicing with Eve, cried out: I am the lost sheep, call me, O Savior, and save me”) 2453. But Studian and Evergetid. These troparia are apparently unfamiliar to the statutes. Cargo. RKP. Jer. mouth in the rank of resurrection vigils about them: “on the Immaculate 3 Sundays. stichera 5"; Greek RKP. and seal: “according to (άπό) the Immaculate (No. 381: it says: Blessed art thou, Lord, and the troparions are sung from the resurrection. Ch. 5 Council of Angels and others"; glory RKP: “According to the third article (of the Immaculate), Glory was not recited even now. chatter Ch. 5 Council of Angels." Greek the text is the following options from the glory: 2 – “with the merciful” – συμπαθώς, “speaking to the myrrh-bearers”; 4 – “Savior, I hear (ένηχοΰντο) the Angel (Jerus. last † clearly) speaking” 2454. Small Litany on Polyeleos After the flow of praise and joy that the Immaculates represent with their troparions, and especially the polyeleos, there is a need for petitionary prayer, refreshing the attention so long occupied by songs of praise. The Small Litany for the Polyeleos or Immaculate Ones meets this goal. One or the other must have it after itself as kathisma. The exclamation of this litany: “For Thy name is blessed and Thy kingdom, the Father, is glorified...” (almost identical with the final doxology of the 8th morning prayer) indicates with its first words the content of 118 ps. and turns the minds of those praying to the joyful thought of the Kingdom of glory in accordance (with the tone) of real rejoicing. This exclamation exudes joy, and it is so adapted to this occasion that it is not used anywhere else in services, with the exception of Easter Matins, at which it is placed according to 8 cantos of the canon, and in its widespread form - at Great Saturday Matins according to 1 article of the Immaculates. Only the Service Book speaks about this litany. Exclamation of the Polyelean Litany in Antiquity In old Greek Evkh. exclamation: “For Your most honorable and magnificent name has been blessed and glorified”; in the RKP. glory Type. until the 15th century: “As the God of mercy...”; in glory Service., Venice, 1544: “according to the 3rd kathisma the exclamation “For you are blessed and glorified”, according to the 4th kathisma: “For you are to be holy and glorified””, in the Service. Peter's Mogila 1st according to the Immaculates and according to the 3rd kathisma, “whenever it is venerated”, 2nd “if it happens in the week of the polyeleos” (hence, there were polyeleos also at the Immaculates with a litany for both); in Service Moscow 1602 (old style) and 1647: “according to Nepor.: For you are blessed and glorified, if there is polyeleos for the saint, according to your abundance of mercy: For you are our sanctification.” From Moscow 1658 and later Greek, as now 2455. Now, according to the general rite, the kathismas, one of which is the polyeleos or Immaculate, should be sung sedalna. But at Sunday matins, sedalen, according to such a great kathisma, is replaced by a more solemn song - ipakoi (υπακοή). Coming from the verb υπακούω, to listen, sometimes to answer, to respond, this word (besides the liturgical language, it is used only in the New Testament in the meaning of “obedience”) as a liturgical term has the meaning of “chorus.” According to the idea, the ipakoi, therefore, should be the refrain (of the people) to the verses of the Immaculates, and, taking the place of the sedalna after them (or after the polyeleos), differs from it in that, like the “kathisma” to which it joins, it does not have permission to listen to it while sitting. For all this, he is shorter than the sedalna. In addition to Sunday Matins, it is used only on the greatest of the twelve holidays and similar days (Nativity of Christ, Epiphany, Holy Week, Easter, Dormition, June 29, Sunday of Fomin, Week of the Forefathers and Father), but only 3 songs of the canon. The melody is close to the sedals. In the 4th century. singing along to each verse of the psalm a verse was called ΰπηχεΐν, ΰπακούειν, and this verse being sung along was called υπακοή. Athanasius the Great speaks of psalms having υπακοή alleluia; St. John Chrysostom indicates their verses as ύπακοαί for some psalms, for example to Ps. Verse 117 “This day.” Blzh. Augustine calls this kind of singing respondere 2456. Consequently, ipakoi originally corresponded to lat. responsory, the verse of the psalm that accompanied the reading (of Holy Scripture or the Fathers); and the present ipakoi always precedes the reading and is quite short. The name ipakoi was not applied to non-biblical hymns as early as the 7th century: it is not mentioned in the well-known description of the Sinai Matins. In jerus. "Following" IX-X centuries. there are current ipakoi of the Week of Vai and Easter with this name 2457. According to the Studian-Alexievsky Rule, ipakoi (“upakoi”) in exceptional cases, however, (but here there must be a trace of ancient general practice) was sung like this: first by the singer, then by the people, the singer - a psalmic verse to it, the people again ipakoi, the singer - the end of it 2458. Most of the Sunday hypakoi, namely chapters 1–5 and 8, glorify the visit of the life-giving tomb by the myrrh-bearers, - according to the Immaculate Troparions, to which they are so directly adjacent, and the hour of the night when they are sung (therefore, in addition to Matins, they are also sung at the Midnight Office). The rest draw the fruits of the resurrection. Each next continues the description of the previous one. The power of expression is combined with brevity here (for example, the beginning of the 1st: “Robber repentance stole paradise”). The author of the Sunday ipakoi is unknown. The oldest mention of them is in the Studian-Alexievsky and Evergetidsky charters: in both they were sung according to kathismas; in the first, then 1, then 2nd kathisma; in the latter - on the 2nd 2459. Cargo. and Greek RKP. Jerus. oral: “and ipakoi”, ancient slav.: “and ipakoi is sung”; late (RKP. Mosk. Sin. b. No. 678 XV century) omit “sung”. Reading at the Kiev Pechersk Lavra. The ipakoi, like the sedalene, is, in fact, a song introduction to the patristic reading that follows it, which on Sunday, as in the kathismas, should have as its subject an explanation of the liturgical Gospel or the Apostle. On Sundays, which are associated with special memories, there is a “holiday reading” instead. The local reading, being a necessary break for the singers and listeners to rest in the stream of songs that, starting with the polyeleos, extends to the Gospel, constitutes the usual conclusion for psalter singing. Psalm singing is now replaced by imitative Christian singing, and the reading that ends such singing is here the greatest. We mean power and the Gospel. Degrees (αναβαθμοί), colloquially called for the way they are sung by antiphons, as the name indicates, constitute an imitation of Psalms 119–133, inscribed "songs of degrees". This inscription of the psalms (from the Hebrew "ascents", Vulgate: graduum) is now explained in such a way that these psalms were sung by festive pilgrims in Jerusalem when ascending to its heights, or by parties returning from captivity (previously the name was explained in such a way that these psalms were sung on the steps of the stairs from the church courtyard of women to the courtyard of the Israelites - on the basis that the rabbis compared these psalms with 15 steps of that ladder). Impressed by the recent disasters of the chosen people, these psalms often speak of the value of the last Jerusalem and the church and inspire a feeling of strong hope in God, capable of sweetening the sorrow of all disasters. These psalms formed the basis of the sedate antiphons. For each voice –3 degrees, 3 antiphons in each, only for 8 chapters. 4 powers. Each antiphon is sung twice, once by the right and left choirs. Degree 5–8 chapters. parallel (like the voices) to the sedate chapters 1–4. and imitate in chapters 1 and 5. ps. 119–121, 2 and 6 chapters. – 122–124, 3 and 7 chapters. – 125–127, 4 and 8 chapters. – 128–132. They contain a prayer for correction and cleansing of the soul and express hope for this correction; since it is achieved by the grace of the Holy Spirit, every 3rd verse (antiphon) is dedicated to His glorification. More often, the sedate ones either conclude a prayer to God so that he will enlighten “me” with virtue, save me from passions, sinful fire, from the devil, then they try to impart steadfastness and strength to the hope in God and love for Him, describe the grace of the Church, the sweetness of desert life and prayer in the church (which on Sunday replaced the cell prayer for the ancient monk - “for those who spoke to me in the courtyards”). let us attend to the Lord"). Thus, the serenas have a general edifying (not specifically Sunday), ascetic content, just as in general a lot of general edifying element is introduced into the Sunday service, due to the fact that the Church looks at Sunday not only as a day for glorifying this event, but also as a day on which a Christian, busy with everyday concerns for a whole week, can think about the soul. But even with this content, the sedate ones are associated with the remembrance of the resurrection, recalling the burial of Christ for his co-resurrection with Him (cf. the Apostle of Great Saturday). The melody of the antiphons is more complex than the tropary and sedal ones; it sounds like the triumph of victory over passions. The special beauty of their singing is given by the repetition of each verse by both faces without choruses, with the exception of the last verse (in honor of the Holy Spirit), which, as the final one, has the refrain Glory even now, thanks to which the glorification of the Holy Spirit is preceded by the glorification of the Holy Trinity. The number 9 for the antiphons of each voice could have been chosen based on the vision of St. Ignatius, that 9 ranks of Angels alternately sang the Holy Trinity. The syllables of the degrees are so different from the Damascene chants of Octoechos that already Nicephorus Callistus, and after him Nicodemus the Holy Mountain, considered St. to be their author. Theodore the Studite 2460, and are marked with his name, apparently, in the RKP. Bodleian Bible. And in content they correspond to the entire direction of the literary activity of St. Theodore (however, the newest Byzantologists do not place them among his creations). They are mentioned by Hypotiposis at the present site of Sunday Matins 2461. According to Al. - According to the Studite Rule, at the festive matins, which had neither the Immaculates nor the polyeleos, this was the most solemn part. According to this charter, sedate chantings were sung with verses of sedate psalms: in each degree there is 1 ant. without verses in front, then 4 verses of the psalm, the 1st with alleluia and nenenay, ant. 2nd, 4 other verses of the psalm with the same additions to the 1st art. and ant. 3rd (to the Holy Spirit) 2462. The degrees with their ascetic content purify, “elevate” the soul and thereby prepare those praying for hearing the Gospel. The upcoming reading of the latter is announced during the singing of the degree by ringing “in the campans,” i.e., by ringing a trezvon. This ringing indicates that “the message of the Gospel has gone out into all the earth.” The gospel of only Sunday and holiday matins has ringing in front of it, but the liturgical one does not, because the latter often has no relation to the remembered event and because at the liturgy a more sacred moment is marked with ringing. The practice moves the ringing of the morning Gospel to the beginning of polyeleos 2463. “The priest and the deacon, having entered the sanctuary, will put on their vestments according to custom,” if there was no polyeleos to put on, or if the vestments were removed for reading. Cargo. RKP: “the kandilovzhigatel rings the iron; the priest and deacon are vested"; Greek: “candylaptis departs and marks (in) iron”; ancient glory: “candilaptis shed signifies in iron, but the priest will put on the altars (in sacred vestments)”; late (from the 15th century): “the paraecclesiarch shed strikes one campan...”; old style: “† or with an iron beat” (no about vestments) 2464. A more immediate preparation for the morning Gospel than the staid ones is the prokeimenon. The Matins prokeimenon always contains glorification of the event being celebrated, while the vespers prokeimenon has nothing to do with it (with a few exceptions). This is therefore always a festive prokeimenon. It does not have the same melody as the vespers and liturgical ones (which is why it is usually sung as a recitative), but being not an independent song like the vespers one, but serving only as a preparation for the Gospel, it is never sung with such solemnity as some vespers prokemeny, i.e., it is always sung only 2 1/2 (and not 4 1/2) times. And the exclamations before him are less complex. “And the deacon says: Let us hear, wisdom. The canonarch says: Prokeimenon, Psalm of David, voice,” that is, the canonarch says: “Prokeimenon, Psalm of David, voice Ν.” Thus, here before the prokeme there is no teaching of peace and a second one, because both will be before the Gospel. It is not clear why at Matins it is only indicated to name where the prokeimenon (“Psalm of David”) was taken from; however, the same, apparently, is indicated to be done for the prokeimns of Lenten vespers, and for liturgical ones, if they are not taken from the Psalter; Thus, before the prokeme “My soul magnifies” the “song of the Mother of God” is added, before the prokeme “Blessed art thou, O Lord God of our fathers” - “the song of the fathers”. The Kiev Pechersk Lavra does not recite the “psalm of David.” In Greek Type. about the prokimna is deaf (Georgian and does not mention); glory XIV century: “diac: let us listen, priest: peace to all, we: and spirit. tv., diac.: wise, singer to speak the psalm of David, diac.: let us hear; singer prok sings. present voices and we sing the same, the same singer sings the verse and we sing the same, and again the singer sings the same, we sing near the end of the poem, the same singer sings the end.” In the late deaf. In Service Moscow 1602 and 1647, old style. Service book and charter † peace to all and let us hear the 2nd; in the rest of the glory. and Greek – dull 2465 . Since the prokeimenon is a remnant of the Old Testament reading, which in ancient times always preceded the New Testament, since it was, as it were, a sung reading of the Psalter (Introductory chapter, 162), and before the reading it was always announced where it came from, then the same must have always been done before the prokeimenon. Under Arseny Sukhanov in the East morning. The prokeimenon was sung in choirs three times (as a whole) without any exclamations or verses 2466. Sunday Prokeme Matins And the prokeimenon of Sunday Vespers is dedicated to the event of the resurrection of Christ, but it does not directly relate to this event and does not speak about it with such clarity as the morning prokeimenon, which for the most part contains the very concept of “resurrection.” This is because he is preparing for the Gospel of the Resurrection. In addition, the morning one differs from the evening prokeimna in that it is not the same for every Sunday, but changes according to the voices. Thus, there are 8 Sunday morning prokeimns. For them, predominantly those verses were selected from the psalms that speak of that special, direct action of Providence, which the ancient Jew figuratively called uplifting, “uprising”, Heb. cum, the Lord, as if from the bed of His usual rest, is a word conveyed in LXX through άνίστημι, which means, in addition to rising from the bed, also resurrection. Namely, the Sunday morning prokemenas and their verses are taken from the following psalms: 1. Ch. “Today I will rise, says the Lord” - from Ps. 11:6, 7. 2. Ch. “Arise, O Lord my God, by command” - Ps. 7:8, 2. 3. Ch. “Cry among the nations, for the Lord reigns” - Ps. 95:10, 1. 4. Ch. “Rise up, Lord, help us” - Ps. 43:27, 2. 5. Ch. “Rise up, O Lord my God... for You reign” - Ps. 9:33, 2 . 6. Ch. “Lord, raise up Your power (i.e. Christ)” - Ps. 79:3, 2. 7. Ch. “Rise up, O Lord my God... do not forget”? – Ps. 9:33, 2 . 8. Ch. “The Lord will reign forever” - Ps. 145:10, 1. Theme of Prokimnov 3 and 8 chapters. coincides with the evening prokinna. In chapter 8, as the final one, it is most appropriate “for ever”, as in general a series of prokeimnons gives some development of thought (chapter 1 - only the promise of resurrection and salvation in general, about which the Lord speaks openly, “I won’t be offended”, παρρησιάσομαι). The verses for the prokeimnas, as is generally done, are taken from the initial verses of those psalms from which the prokeimnas are taken (a remnant of the practice when a whole psalm was sung along with the prokeimna); the exception is the prokeimenon of Chapter 1, where the verse chosen is more suitable to the prokeimenon: “The word of the Lord is pure words” - in accordance with “the Lord speaks.” In the Holy Sepulcher “Consequence” of the 9th-12th centuries. are given from real prokeimnons called έπακουστόν (and the evening and liturgical prokeimnas called “prokeimenon”) 3 and 5 (or 7) ch. at Easter Matins, ch. 8. at the morning of Holy Tuesday, ch. 4. – Wednesdays, 7 ch. – Thursday 2467 . In the oldest list of the Studian-Alexievsky Ustave of the 11th-12th centuries there is a section: “The prokeimnas at Matins are resurrected before every breath,” where the current prokeimnas are given, ending Chapter 5. (the department is not finished, like the others on this list 2468). Kekelidze K., prot. Liturgist cargo. memory, 318, cf. 321; RKP. Moscow Room. music North No. 491/35, l. 6 rev., Wed. l. 11. Benedict. Right 9 // Migne. Patrol. s. lat. 66, 423. Seredinsky T., Priest. Oh god. west. churches. IV, 103. Pseudo-Athanasius. About virginity, 20 // Migne Patrol. s. gr. t. 28. Martin Deant. eccles ritib IV, 28 Kirill Skifopolsky. Life of Sava, § 43 // Cotelerius Ecclesiae graecae monumenta. Par., 1686, III, 287. RKP. Moscow Syn. b. No. 330/380, l. 218 and vol. RKP. Moscow Room. music North 491/35, l. 6 rev. Τυπικόν Venets., 1643, l. 3 rev; RKP. Moscow Syn. b. No.?328/383, l. 6; Kievsk. Academician Music Aa 194, p. 29. Goar. Εύχολόγιον, 6. Old-fashioned. mouth, l. 8 (15). Proscinitary, ch. 46, p. 223. RKP. Moscow Syn. b. No. 328/383, l. 6. Ώ ρολογιον το μέγα Βενετ ., 1845, 39. Ep. Porfiry. From the notes of Sin. God. // T.K.D.A. 1873, I, 417. Russian Histor. bib. 6th century, 265. Goar. Εύχολόγιον, 44. Dmitrievsky Α. Ευχολόγια, 18, 21, 65, 77, 88, 163, 234, 578, 594, 787, 835, 1058. Divine service. in Russian c. for the first 5 centuries // Orthodox. Social security 1882, no. 7–8, 363. Theologian. in Russian c. in the 16th century, 19. Odintsov N. Order. total and private theologian in other Russia until the 16th century, 190. Kekelidze K., prot. Lit. cargo. memory, 145, 165. For quotes, see notes. 3 on p. 620 Acts 13, 33; Rome. 1, 14; Col. 1, 18; Heb 1, 6; Apoc. 12, 5. Simeon of Thessalonica. Oh god. Mol., 309 (274). Cheyne T. Encyklopaedia biblica. Lond., 1901, II, 1943. At the station 25a and 29 of this psalm in Tabernacles they shook the bouquets with which they came to the church (Talmud: Sukka, III, 9). Apostolic Constitutions. VIII, 13. Swainson. The Gr. Lit., 268. In the editions of the Missal of the Kiev-Pechersk Lavra, in the charter of Matins, the verses to God the Lord are ordered to be pronounced by the deacon (which is done there), but in the very sequence of Matins - as in the Synodal Missal. RKP Mosk. Synod, b. No. 330/380, l. 252. Dmitrievsky Α Τυπικά, 796. Quotes see p.?620, approx. 3. Service Moscow 1602 and 1647, l. 37, Petra M., 53, Moscow. 1658, l. 124–125. Ί ερατικόν, 28. Proscinitary, ch. 46, p. 224. RKP. Moscow Synod, b. No. 330/380, l. 108 rev., 64 rev. Typogr. b. No. 285/342/1206, l. 19 rev. Dmitrievsky A. Τυπικά, 608. Toscani Ad. typ., 52. Proscinitary, ch. 46, p. 225. Παπαδόπουλους – Κεραμευς Α . ' Ανάλεκτα ίεροσολυμιτικής σταχυολογίας . St. Petersburg, 1894, 186 etc. This is true even in the RKP. charter of the 14th century Moscow Synod, b. No. 328/383 about the glories of 2 and 3 kathismas. Dmitrievsky A. Τυπικά, 229, 247, 248. From liturgical books, this practice found expression in the recently published complete sequences for each day of the 1st week of Great Lent and Passion. RKP Mosk. Type b No. 285/342/1206, l. 98. Fomenko Kl., prot. Features of theology Greek ts., 16. Pseudo-Athanasius On Virginity, 62. Turaev B. Night worship Ethiopian. church Kiev, 1901, 28, 30. RKP. Moscow Typogr. bib. No. 285/142/1206, l. 98 etc. Pitral Juris ecclesiastici graecorum historia et monumenta. R., 1868, II, 207–209 Turaev B. Night theologian Ethiopian. ts., 22. Mage A. Nova bibl. vet. patr. V, 18. Dmitrievsky A. Τυπικά, 280. For quotes, see notes. 3, p. 605. In the Kiev-Pechersk Lavra, according to tradition, probably due to the dominance of the Studio Charter and other editions of the Octoechos, different Sunday Theotokos are sung in comparison with those placed in the current Octoechos. Here they are. Chapter 1 according to 2 kaf: “Who conceived the Divine fire without burning and who gave birth without seed to the source of the life of the Lord, blessed Mother of God, save the magnifying One.” Chapter 2, chapter 2: “Having hidden the laws of nature, you have united virginity to the Divine Nativity; You alone gave birth to You who was born childless, so we magnify You, Mother of God” 3 ch. according to 1 department: similar, like the gray one, “Virgin today”: “The heavenly one rejoices in love and the earthly one is terrified with trembling, when the most pure voice is found on Thee, the Mother of God; there is one triumph for both, when you have delivered the primordial from death.” Chapter 4 from 1 department: “We magnify You, Mother of God, crying out: You are the mountain, from the unspeakable stone you cut off and crush the gates of hell”; 5 ch. from 1 department: “Wonderful is the miracle of conception and the indescribable image of the Nativity in You, O Pure Virgin, amazes my mind and terrifies my thought; Thy glory, Mother of God, spreads out to all, to the salvation of our souls.” In chapters 4 and 5 Bogorodichny 1 cafe. moved to 2nd. In chapters 6 and 7 The usual Theotokos have been rearranged. Chapter 8 from 1 department: “Rejoice, you who received the joy of the world as an angel, rejoice, you who gave birth to your Creator and Lord, rejoice, you who were considered worthy to be the Mother of God.” “He rejoices in You” is like 1 sedalna. For each kathisma, one sedalna, sung once, for chapters 1–6. current 1st and 2nd departments of 1 each, for 7 chapters. the first in departments 1 and 2, but rearranged for 8 chapters. the same without rearrangement (Notebook of Kiev-Pechersk. Assumption Lavra. Part 1. All-night vigil. Score. Kiev, 1910, 104 etc.). Dmitrievsky A. Τυπικά, 231. Παπαδόπουλος – Κεραμεύς Α . ' Ανάλεκτα ίεροσολυμιτικής σταχυολογίας . II, 3. 1.?May the Eternal Father bless us with continuous blessing. 2. May the Only Begotten Son of God grant us blessings and help. 3. May the grace of the Holy Spirit enlighten our feelings and hearts. 4. May God the Father Almighty be favorable and merciful to us. 5. "May Christ give us the joy of eternal life 6. May God light the fire of His love in our hearts. 7. May the Gospel reading be our salvation and protection. 8. May Divine help always be with us. 9. May the King of Angels lead us to the communion of citizens of the highest. In addition to the 9 readings of the nocturne, at Laudes there is a small reading (capitulum), usually Apoc. 7, 12. RKP. Moscow Typogr. b. No. 285/342/1206, l. 3 vol. Moscow Synod, b. No. 330/380, l. 45 rev., 4. Toscam. Ad typ., 52. In Roman Catholic worship there are 118 ps. compose hourly psalms. Pech. Greek adds: “on the same glory (καθ᾿ έν δέ δόξα) he creates the small litany”; This must be an erroneous reading of the above remark of the manuscripts about the litany at each kathisma. Kekelidze K., prot. Jerusalem Canoner of the 7th century. Tifl., 1912, 94. Rkp. Imp. publ. No. 32, l. 107–114. Lisitsyn A, prot. Original glory – Russian Type. St. Petersburg, 1911, 78. RKP. Moscow Room. Music North No. 491/35, l. 9, 25; Moscow Syn. b. No. 381, l. 8, 44 rev. Proscinitary, ch. 46, p. 226. Royal Hours of Epiphany, 9th hour. Παπαδόπουλος – Κεραμεύς Α . ' Ανάλεκτα ίεροσολυμιτικής σταχυολογίας ., 6, 163. Εύχολόγιον. Ven., 1622, 4 vol. Service P. Mog, 84–85. Moscow 1602, 38–39; 1647, 39; 1658, 127; RKP. M. Synod, b. No. 328/383, l. 7. Athanasius the Great Evangelist to Marz. Zlatoust. Conversation on Ps. 117, 111, 144. Augustine. Conversations, on ps. 41. Παπαδόπουλος – Κεραμευς Α . ' Ανάλεκτα ιεροσολυμιτικής σταχυολογίας, 8, 192. RKP. Moscow Syn. b. No. 330/380, l. 107 rev. There is also L. 4. Dmitrievsky A. Τυπικά, 608. Nikephoros Callistus. Explained degrees. Nicodemus Svyatogorets. Νέα κλ᾿ιμαξ, 1844, 13 after architect. Modestus (On the Church Octoechos. Vilna, 1865, 22, etc.), who proves that the “shepherd leader” mentioned in the antiphons is the brother of St. Theodora, St. Joseph, arch. Thessalonica (why antiphons with such a mention are now sung in the East by the bishop). Dmitrievsky A. Τυπικά, 229. RKP. Moscow Type. b. No. 285/342/1206, l. 90 rev. – 99 vol., where power 1 ch. put to notes. If any justification can still be found for this, then for the fact that this ringing in places is done with one bell - there is no Kekelidze K., prot. Lit. cargo. memory, 318. Rkp. Moscow Room. m. North 491/35, l. 5; Syn. b. Greek 381, l. 5 rev; glory mouth No. 328/383, l. 7, No. 329/384, l. 18; No. 678/386, l. 8 rev; Kyiv. Ak. m. Aa 194, p. 30; Staroobr., (8) 15 rev. Quotes on p. 652, approx. 2, p. 648, approx. 2. Proscinitary, ch. 46, p. 239. Παπαδόπουλος – Κεραμεύς Α . ' Ανάλεκτα ίεροσολυμιτικής σταχυολογίας, 799, 220, 227, 235. RKP. Moscow Type. 6. 1285/342/1206, l. 99 rev. – 110. You might be interested in: