Канон

The canon begins with the canon, or rather, the canon constitutes the third of the four parts of Matins, completely different in character from the other parts, especially from the preceding, second part. Just as that one consisted mainly of psalms, so this one does not have a single psalm, but consists of the so-called. “biblical songs”, the verses of which are interspersed with songs of later Christian composition; whereas the latter kind of songs in other parts of Matins occupy very little space in comparison with the biblical material (psalms), here they are given a more prominent position, so that the biblical songs are rather something appendage to them. Nevertheless, biblical songs regulate both the number of their verses and the number of songs of later composition, and to a certain extent determine their very content, and are therefore a rule, a model, a norm for them, hence the name of this part of Matins - “canon”, κανών. The canon's melody is average in complexity between sticherny and troparion. The word "canon" and its present use Κανών (maybe related to κάννα, cane) - actually a straight stick, which was included, for example, in the construction of shields, looms (this is the use of the word in Homer), scales (Pollux), which served for measurement (Sophocles), hence the measure (Euripides), the rule (Lycurgus), the prescription (Demosthenes), among the church writers: rule in general (Clement of Rome), rule of faith (Clement of Alexandria), rule of the Church (Council of Ancyra), rule of the Council (Basily the Great), fathers (Socrates, Sozomen), collection of inspired books (Athanasius the Great), - finally: church service, succession (Basily the Great, Evagrius, Palladius), more precisely - the total number of psalms that the monk needed to sing per day (hence the name Typikonov - Canonaries) 2513, in particular - Matins (John Moschus), Vigil (Dorotheus). The word firmly appears with its current liturgical meaning only from the 9th century, for the first time, apparently, in Theodore the Studite 2514. It could have acquired such a narrow meaning both because the canon constituted a significant, central part of Matins, and because it is a type of church song with the most strictly adhered to a specific literary form. The basis of the canon, the main part of it (with the exception of a few canons) are biblical songs, ώδαί. These are songs sung by the Old Testament prophets and righteous people about the greatest events in their lives and the life of all Israel. Being therefore outpourings of the highest religious animation, they constitute the best part, the flower of biblical poetry and can be placed above the psalms. There are 11 such songs recorded in the Bible. Two of Moses, Deborah, Anna, Habakkuk, Isaiah, Hezekiah, Jonah, three youths, Zechariah and the Mother of God. But of these, the song of Deborah (Judges 5) and the purely personal prayer of Hezekiah (Isaiah 38:11–20) were not included in the canon because of its belligerence and specialized content. The 9 songs taken as the basis of the canon gave 9 songs of the canon, according to the number of 9 ranks of Angels, but from the song of the 3 youths two were made, and two New Testament songs were combined into one 9th song of the canon. The content of each biblical song determines the theme and its disclosure in the entire and non-biblical composition of the song of the canon, not to mention the fact that its verses are always chanted to the troparions of the morning canon (excluding the matins of Holy and Easter weeks). Therefore, this content is of essential importance in the canon. Here it is in a nutshell. In the 1st song of Moses (Ex. 15:1–19) “I sing (Heb. “I sing”) to the Lord,” the Lord’s victory (in comparison with Israel’s military weakness) against Pharaoh, the enemy’s stubbornness and his overthrow are glorified, from which it is concluded that the God of Israel is above all gods and His present great work should make a stunning impression on all nations. In the 2nd “accusatory” song of Moses (Deut. 32:1–43) “Look up, O heavens, and I will speak,” after glorifying the Lord for His righteousness, His benefits to Israel are depicted - in the election, exodus from Egypt and installation in the Promised Land, the infidelity of the people and the terrible punishments coming for it, which will end, however, not with the destruction of the people, but with pardon, vengeance on all enemies of God and him, by the cleansing of the earth and the people of God, that everything will show the unity of the true and almighty God. Anna's song (1 Samuel 2:1-11) “My heart be established in the Lord,” all breathing with joy from the gift of a son to her, depicts the sweetness of unshakable hope in the One Holy God, with whom, as much as it is useless to fight, it is so useful to trust in Him, since He does everything in the world according to His will, is omnipotent, does not tolerate any self-exaltation of man, judges the earth righteously and will strengthen the (future) anointed kings of Israel. Song of the prophet Habakkuk (Habakkuk 3:1-19) “Lord, I have heard Your word” depicts the upcoming (“do Your works in the middle of the summer”, LXX: “in the midst of the two living creatures you will be known”, according to some fathers: among the 2 testaments) the appearance of the Lord to judge the oppressors of the chosen people (Chaldeans), similar to the Sinai Epiphany and the miracles of the exodus (“God is from the South”, Heb. Temana - southern Idumea, according to the fathers - from Bethlehem, “the Holy One will come from the mountain of the shadowed thicket”, Heb. “from Mount Paran”, according to the fathers - Zion), which will be accompanied by terrible natural shocks and disasters that will serve as punishment for the wicked and therefore should not confuse those who firmly trust in God. Song of the prophet Isaiah (Is. 26), from which the largest part was taken for the canon, vv. 9–19, with the words “My spirit becomes dull through the night,” sings of the future desired land of the righteous, from which all the wicked will be eliminated and on which the impossible according to natural laws will be accomplished: the dead who do not come to life at all, after some spiritual efforts of the righteous people, similar to the pangs of birth, will come to life from the dew of God (in Hebrew only “your dead”) to the joy of all earthly beings. Song of the prophet Jonah (Jon. 2:3–10) “I cried out to the Lord in my sorrow,” sung as if from a tomb buried alive, gradually depicts all the horrors of the prophet’s position, first from the outside - the abyss of water, then from the inside - the proximity of death, and along with the thickening of colors in this description, the prophet’s hope for deliverance grows more and more, which in the 3rd part of the song pushes aside all other thoughts. Song of the Three Children (Dan. 3:26–88), “Blessed art thou, O Lord God of our fathers,” not found in Hebrews. The Bible, in its first and largest part, used as the 7th canon of the canon (vv. 26–56), glorifies the God of the fathers for the righteous punishment of his people by captivity and asks for mercy and deliverance for the sake of the covenant with the forefathers, then (after the insertion of a narrative nature that the furnace was heated more and more and that an Angel descended into it, an insertion also not omitted in the 7th canon of the canon) glorifies the Lord as God fathers, glorified in His church and in heaven. The second, smaller part of the song (vv. 67–88) “Bless all the works of the Lord,” which serves as the 8th song of the canon, invites all His “works” to glorify the Lord, starting from the Angels and descending, as if on a ladder, through the different spheres of creation, to people and Israel in its various classes. Song of the Most Holy Mother of God (Luke 1:46–55) “My soul magnifies” joyfully glorifies the Lord from the bottom of her heart for the fact that in Her low position He gave Her world greatness, like a Saint who always had mercy on those who feared Him, who cast down the arrogant (maybe Herod is meant) even from their thrones and raised up (to them) the humble, who enriched the hungry and deprived the rich of everything, and this mercy is not only for Her personally, and to all Israel - according to the promise to the patriarchs; It’s remarkable how the whole song moves in the circle of Old Testament ideas (close to the song of Anna) and speaks in the language of the priest. books with the highest poetic inspiration. The song of Zechariah (Luke 1:68–79) “Blessed is the Lord God of Israel” glorifies God for granting salvation to His people in the house of David, according to the prediction of the prophets and the covenant with the fathers, which salvation will consist in deliverance from enemies and righteous service of the people to God - as a result of the activity of the Forerunner and the “East from above.” The songs are arranged in approximately chronological order on the canon; only the song of Habakkuk is rearranged with the song of Jonah, perhaps in order to take a more touching biblical song for the 6th song of the canon, as the final one in the section. At the same time, one cannot help but notice that joyful songs took odd places, and mournful ones - even ones (cf. Six Psalms), excluding songs 7 and 8, where for this principle the end of the song would have to be placed before the beginning. In the Old Testament church, at the additional (festive) sacrifice on Saturday, the accusatory song of Moses was sung, apparently 1/6 of it in turn, and at the evening sacrifice Ex. 15 in turn 1–10 and 11–19 verses 2515. The monument must be from the 3rd century. “The Testament of our Lord Jesus Christ” (Testamentum) indicates the Matins song of Moses and any of the prophets, with a total of Psalm 4 songs (Introductory chapter, 86). Hilary of Pictavia (IV century) mentions biblical songs 2516. According to Verecundus (IV century), in the African Church they were sung in the same voice and melody (sono cantuque) as the psalms, and the following were used from them: 2 songs of Moses, Deborah, Jeremiah: “Remember the Lord,” Azariah, Ezekiel: “I said in the height of my days,” Habakkuk, Manasseh, Jonah 2517. But the song of the 3 youths was especially popular: it is indicated for Matins op. IV century pseudo-Athanasius “On Virginity” 2518; she alone is part of the ancient song matins (Introductory chapter, 346). In the famous description of the Sinai Matins of the 7th century. the “songs of Moses” are indicated on it (i.e., biblical ones, like the psalms all called Davidic) and, undoubtedly, all 9 current ones (ibid., 295). In Greek Psalter Imp. publ. bib. from collection Ep. Porphyry of 862 after the kathismas are placed next to the most important songs and prayers and biblical songs; 1–7 are named ώδάι, 8th - ΰμνος, 9, 10 and 11 (of the Virgin Mary, Zechariah and Simeon the God-Receiver) - εύχαί. Of the heterodox, the Coptic Matins does not have biblical songs, the Nestorian has only 2 songs of Moses, the Abyssinian has the songs of Moses, 3 youths and Simeon the God-Receiver 2519. The Armenian Matins (actually the Midnight Office) has songs of 3 youths, the Virgin Mary and Zechariah; The Armenians have one song each and hour 3, Vespers and “service before bedtime” (after Compline); the last one is part of the songs of Habakkuk, 3 youths and Simeon the God-Receiver. Among the Maronites, Matins has 7 songs, Vespers 4, hours of 3 or 2, Compline 2. From the West, the Roman rite is already under St. Venedikte had at the last, most important part of Matins (Laudes) alternately (from Sunday) songs of 3 youths, Isaiah (but 12 chapters), Hezekiah, Anna, Moses 1, Habakkuk, Moses 2 (Theotokos - at Vespers); Ambrosian rite - Zechariah or Moses 2nd, Moses 1st, three youths (only on Sundays and holidays); Mozarabic rite - one song in turn, but differently than the Roman one (Introductory chapter, 299-303: 315-318). Biblical songs on the canon are used in three volumes: in their entire form during Lent (but not all on a daily basis), in an abbreviated form on weekdays, and in an even more abbreviated form on Sundays, holidays, pre- and post-holidays, and on Saturdays. In the first and second cases, the biblical song is first sung verse by verse alternately by two faces without choruses until a sufficient number of verses remain from it, to which the irmos and troparia of the canons are chanted (mostly 12 such verses are needed, from Slava and now 14, sometimes in Lent only 2); in the latter case, the entire song is sung with the refrain of the troparions of the canon. To judge the degree of reduction of songs for everyday and holiday use, you need to compare the number of verses of each of them in its entire form, in which the song is used during Lent, with the number of verses in its abbreviated forms. It should be noted that the division of songs into verses for liturgical use for the most part does not correspond to their division into verses in the Bible: long biblical verses are divided into two or more parts. 1st song in the Bible 19th century, in fasting 19, on weekdays 12, holidays. 10. 2nd song in the Bible, verse 43, in Lent 65. 3rd song in the Bible, art. 11, Lent 16, weekdays 12, holidays. 10. 4th song in the Bible 19th century, on Lent 30, on weekdays 12, holidays. 10. 5th song in the Bible 11th century, in fasting 15, on weekdays 12, holidays. 10. 6th song in the Bible, art. 8, Lent 11, weekdays 10, holidays. 10. 7th song in the Bible 31st century, in fasting 34, on weekdays 12, holidays. 10. 8th song in the Bible, art. 22, Lent 20, weekdays 12, holidays. 10. 9th hymn of the Mother of God in the Bible, art. 10, in liturgy 8. Song of Zechariah in the Bible, v. 12, Lent 12, weekdays 10, holidays. 10. The reduction is done in such a way that the song produces verses that are less poetic and the absence of which does not disrupt the flow of speech and does not affect the main idea; for example, from 1 song verses were released - for everyday use: “The chosen horsemen drown the tristats in the Black Sea” - the thought contained in the previous verse: “Cast his strength into the sea”; or v.: “Thy right hand, O Lord, is glorified in strength...” – a general thought; The following verses were published for festive use: “I am thickened like a wall of water... the enemy is speaking, I will comprehend the persecution...” - for a detailed description of the event. From the 5th song, only 1 1/2 verses are omitted, from the 6th - 1. The first verse is never omitted, as well as the last, which is why the song retains its appearance. The everyday performance of biblical songs is called “We will sing to the Lord,” and the festive performance “We will sing to the Lord” (see Chapter 18 Typ.). Songs in the specified threefold volume are placed in Irmologiya; in the Psalter followed only in Lenten. The analyzed chapter of Type also refers to Irmology: “and according to the amine (to the exclamation: By mercy and bounty) we begin the irmos of the canon of the resurrection - To the 1st troparion the chorus: Glory, Lord, St. Your resurrection. The same choruses of Sunday songs (written in Irmologiya).” Method of execution in ancient times And in the ancient Western Church, biblical songs were sung in a more solemn melody than the psalms of 2520. One might think that initially biblical songs were sung with a short chorus to each verse, and this way of singing them was not abandoned even when the canons appeared: before the irmos or troparia, the entire song was sung with this chorus, and the troparia were sung either without choruses, or with special choruses not from the song, or, finally, with the repetition of the last verses of the song as choruses. The trace of such performance now is the 2nd canticle and the hymn of the Theotokos, as well as the way of singing the canon during Holy and Easter weeks (the services of which have preserved the most traces of ancient practice) 2521. The oldest and simplest form of these choruses, the one that they must have had in the practice of the Great Church of Constantinople, is given by those Greek. Psalms of the 9th century. (Moscow Synod. Bibl.), which also indicate the “antiphons” to the psalms, the same as in the “Canon of antiphons of the psalms of the Great Church of God” by the pseudo-patriarch (monophysite) Anthimus of Constantinople in the 6th century. These choruses: for the 1st song not specified, for the 2nd: Glory to Thee, God, 3: Have mercy on me, Lord, 4: Hear me, Lord, 5 and 6: Have mercy on me, Lord, 7 and 8: Have mercy on me, Lord, 9 and 10: Blessed are you, Lord 2522. Later, in the Studio Charter, choruses (“burials”) were compiled for the songs, special for each one in accordance with their content. They are indicated, for example, Hours. Soph. bib. at St. Petersburg Ak. XIII century No. 1052; some of them, namely - for some reason only the choruses of songs 2, 4 and 7, are indicated by the most important RKP. Studio mouth Moscow Syn. bib. No. 330/380 (with the remark that the 2nd song is sung on Tuesday, unless God the Lord happens, the 4th on Thursday and the 7th on Saturday); these choruses coincide with the verses placed in the current Psalter as epigraphs to the songs (with the exception of song 2). 1. Let us sing to the Lord, so that we may be glorified. 2, 1–14: Glory to Thee, God, 15–22a: Save me, Lord, 22b-39: Thou art righteous, Lord, 39b-43: Glory to Thee, God. 3. Holy art thou, O Lord, (and) my spirit singeth unto thee (thee singeth). 4. Glory to Your power, O Lord. 5. Lord God (Your) peace give us. 6. Like the prophet Jonah, save me (us, Lord). 7. Our Father (father and us) God, blessed are you. 8. Sing praises to the Lord (deeds) and exalt them forever. 9. Praise of the Holy Mother of God; even in order, chapter 1: Rodi and all bless Thee (and further choruses for 8 voices) (We magnify the Mother of God in songs) 2523. In the Studio Rules, apparently, the verses of the songs were chanted for each irmos and troparion of the canon (on August 14: “the verses are set according to the number of canon verses”), so even on great holidays, therefore, there was no difference between singing the Lord and singing the Lord 2524, for which all the songs, excluding the long ones - the 2nd, 4th and 7th - were probably divided into 14 verses, and these last songs must have been shortened for holidays, as shown by the above remark about 2, 4 and 7 songs of the Studios-Alexievsky Charter, and were sung in their entirety on weekdays (2nd on Tuesday, etc.). According to the Evergetian Type. on great holidays “We do not speak to the Lord, but Iirmos twice”; but if they happen on Sunday, “We speak to the Lord and put 16 (verses from?): Thy right hand, O Lord, is glorified,” about ordinary Sunday: “we always put 14: Thickened like a wall” 2525. “Let us give to the Lord,” thus, is an innovation of the Jerusalem Rule, and, moreover, from its most ancient editions; yes, cargo. RKP. notes about the Sunday canon: “instead of Let us sing to the Lord (?) we say irmos” 2526; Greek RKP. and oven ed. Typikon: “We do not sing to the Lord, but irmos”; glory RKP. XIV century: “we set verses 14 and with the irmos from the Ambassador, His Spirit and I covered the sea - but we did not speak a song”; late RKP. (XV century): “we do not sing songs (even later, XVI century: songs; old-fashioned oral: songs) we do not sing to the Lord, but abiye irmos” 2527. In the RKP. XIV century, but late. ed. The current chapter about the Lord, 2528, already appears. Under Arseny Sukhanov, Greece already had the current abbreviation of songs, but the same for holidays and everyday life (the same as now for holidays) 2529 and from there it must have been included in our Irmologium. An almost universal practice, at least Russian, replaces verses with songs, excluding Lent, with special refrains to the canon; Thus, for the Sunday canon the refrain is used: “Glory, Lord, to Thy holy resurrection”, to the Resurrection of the Cross: “Glory, Lord, to Thy Honest Cross and Resurrection”, to the Theotokos canon and the Theotokos troparia in the first two canons “Most Holy Theotokos, save us”, to the canons of saints from the Menaion: “Holy face and name - pray to God for us.” Despite the widespread use of this practice, it is difficult to find any justification for it. Is it possible to have a better chorus than, for example, the verses of biblical songs: “They will rise from the dead and rise in their graves and rejoice on the earth” (Is. 26:19) or: “And let my life ascend from incorruption to You, O Lord my God” (Jonah 2:7), or, finally, all the verses of the 8th song with the ending in each “Sing to the Lord and exalt Him in eyelids" (Dan. 3:57 etc.)? Moreover, non-biblical choruses divide the canon into very uneven parts, due to the fact that in one canon there are 2 or 3 identical choruses (and the third is the Mother of God). Finally, it is not always possible to create a rhythmic chorus; in general, since liturgical books almost do not indicate choruses (sometimes they indicate only for the canons of Compline), then a wide field opens up for the arbitrariness of each reader and for uncalled creativity. But in view of the fact that the practice of choruses is too old and widespread and there is little hope for a quick triumph in this area of ​​​​the requirements of the Typikon, we will indicate here the choruses consecrated by the most liturgical books and make some instructions regarding their compilation. (Where verses of biblical songs are added to the canons, these instructions will be suitable for prayer services). In addition to the given refrains of the Sunday canon and the Theotokos (the second is indicated by Octoechos for Compline, see Chapter 1, week), the liturgical books also give the following refrains: “Christ is risen from the dead,” “Glory to Thee, our God, glory to Thee” (Passion Week, see Triodion and Typ., Compline of the Week), “To the Most Holy Trinity, our God, glory You" (Sunday Midnight Office, see Octoechos Chapter 1, week), "Have mercy on me, O God, have mercy on me" (see Triodion and Typikon, Compline on Monday 1st week of Lent), "Reverend Fathers, pray to God for us" (see Triodion and Typicon, Cheese Saturday), "Reverend Father Andrew, pray to God for us," “Reverend Mother Mary, pray to God for us” (Triodion, Compline for Wednesday of the 1st week of Lent), “Holy Martyr Euthymius, pray to God for us” (December 26). These patterns show that the chorus should consist of 2 stanzas of approximately equal length, such as: Reverend Father Andrew, Pray to God for us. This rule should be followed when composing choruses. Consequently, when there are two or more saints, there is no longer any need to name them. Likewise, there is no need to burden the first stanza with adding his nicknames to the name of the saint, not only such indifferent to his glory as “Tyrone” (recruit), “warrior”, “gradar”, but also honorary ones: “Great”, “Theologian”, “Chrysostom”, “Miracle Worker”. There is also no need for several designations of the saint’s holiness, i.e., next to “venerable” there is also “saint,” which is why it is not said “holy martyr N,” but simply “hieromartyr.” On this basis, the following refrains for different faces of saints may be acceptable: “Holy Archangels and Angels, pray to God for us,” “Holy Apostle N, pray to God for us,” “Holy Apostle M...”, “St. prophecy N m...", "St. prophets m...", "Holy Martyr N m...", "Holy Martyr N m...", "Holy Martyr N m...", "Holy Martyr N m...", "Reverend Martyr N m...", "Holy Father N m...", "Holy Fathers m..." (to several saints), "Reverend Father N m...", "Reverend Mother N m...", "Reverend Fathers m...", "St. righteous N m...", "St. righteous N m...” Composing choruses for some saints is very difficult (more than two stanzas are required). For example, to John the Baptist (“Holy Prophet and Forerunner of the Lord John m...”), Equal-to-the-Apostles (“Holy Equal-to-the-Apostles N and N m...”), princes (“Holy Blessed Prince N. m...”). The list of these choruses can be supplemented with the following: for the feasts of the Lord, their pre- and post-feast days: “Glory to Thee, our God, glory to Thee,” Theotokos: “Most Holy Theotokos, save us,” for the triode canons: “Have mercy on me, O God, have mercy on me” (excluding the 1st and 3rd Sunday of Lent, where “Glory to Thee, our God, glory to Thee”). When the custom arose of replacing the verses of biblical songs on the canon with other choruses, one can judge by the fact that in the monuments of the 16th century. These choruses are already indicated. So, for example, in some statutes of the 16th century for the Christmas canon the refrain “Glory, Lord, to Thy Nativity” is indicated, for the Epiphany canon – “...to Thy baptism” 2530. In one charter of the 17th century. there is §§ “On chants in the ohtai of the week, how to speak in the canon” and “Decree on chants in the canons of saints” 2531. It is not surprising that the Old Believers also accepted them. In the “Brief Practical Charter” of the old school. Ep. Arseny indicates choruses with the following differences from those recommended above: “Glory, Lord, to Thy Resurrection,” “Glory, Lord, to Thy Cross and Resurrection,” “Most. Lady Theotokos, save us”, “Glory to the Lord to Thy Honest Cross” (Revelation and 3 Weeks of Lent), “Glory to the Lord to the Ascension, Transfiguration, Nativity, Epiphany, Thy Meeting” (on this after-feast or “Glory to Thee, our God, glory to Thee”), Guardian Angel: “To the Angel of Christ (or † my Guardian) Holy One, save me, Thy sinful servant,” “St. led Pray to John the Baptist..." (January 7, August 29 and for the acquisition: † "To the Baptist"); in the choruses of St. the name two and three is allowed; with two, duals are also used. number, but multiply is recommended. number; “St. glory to the supreme apostles Peter and Paul m...”, “St. glorious apostle and evangelist John the Theologian ... "; can the prophet “† glorious”; "St. Great Martyr", "Reverend Father", "St. faithful" or "passion-bearing prince" 2532. Under Arseny Sukhanov in the East, the Sunday chorus was: “Glory to St. resurrection, Lord" or "Glory, Lord, to your resurrection" 2533. More than the biblical songs, a significant part of the canon consists of songs of later composition added to their verses, in which two types are distinguished: irmos and troparia of the canon. Irmos (ειρμός - connection, series), as its very name shows, its position at the head of the troparions and the usual content, serves as a connection between biblical songs that are not related to the celebrated event, and troparions dedicated exclusively to the latter. Irmos achieves this by discovering an analogy between the event sung in the biblical song and the one being celebrated, paraphrasing the song in accordance with this, that is, it sings of a known memory adapting to the content of the biblical song, if possible in its words. At the same time, it serves as a model both in melody and rhythmic structure for troparions: a troparion should have the same number of stanzas and the same length and the same number of musical lines as in the irmos. As for the number of irmos and troparia, then according to the very idea of ​​irmos there should be one for each song of one canon; the number of troparions is determined by the number of verses in a biblical song that can be choruses to the troparion; since these songs are of different lengths, the smallest songs are taken as the norm for the number of troparions - Jonah and Zechariah, each giving 13 verses; Due to the oddness of this number, which is inconvenient for antiphonal singing, the normative number for troparions, including the irmos, is taken to be 14, since the number of verses in each song is supplemented by the obligatory two parts of the small doxology at the end of each song, as at the end of each psalm (see above, p. 661): Glory and now. This is the normal number of troparions with Irmos and is observed on most days of the year - on all simple weekdays, on Sundays and most holidays. Only on the greatest holidays does this number increase to 16 and, under special circumstances, decrease to 12, 10, and even 6 and 4 (the last two cases are not at Matins). But very rarely this entire series of troparions is one canon: due to the confluence of several memories on almost every day of the year, this number is divided between several canons, and then each has 8, 6, 4, 3 or 2 troparions (sometimes with an irmos). Thus, the entire canon at Matins can be on 16, 14, 12 and 10 (only on Maundy Thursday), and the individual canons included in it can be on 8, 6, 4, 3 and 2. A peculiarity in the structure of the canon is that the 2nd hymn is usually omitted in it, excluding Tuesday of Great Lent and some Saturdays associated with Great Lent; This is done due to the deep sorrow and anger of this song, and also, perhaps, because of humanity’s always unfavorable view of the number 2. The earliest writer of the canons, therefore, the founder of this type of church song, could be considered St. Sophronia, Patr. Jerusalem (VII century), and the original form of the canon could be considered the three-canticle (Introductory chapter, 331), if now a rather solid view had not been expressed that those attributed to St. Sophronius the three-songs belong to St. Joseph the Songwriter (IX century) 2534. However, choruses in the form of troparions to biblical songs are indicated by the already well-known description of the Sinai Matins of the 6th-7th centuries. (Introductory chapter, 295); It is remarkable that in this description the choruses to canto 8 stand out from the others, although they bear the same name “troparia”; it is possible that the choruses to the remaining songs had the form of the above short and monotonous verses for each song (for the 1st “We will sing to the Lord, gloriously we will be glorified”, for the 2nd - “Glory to Thee, God”, for the 3rd - “Holy art thou, Lord, and my spirit sings of Thee,” etc.), and only for the 8th song they were in honor of the celebrated event (cf. the meaning of the song of the 3 youths on Song Matins, - Intro. Ch., 346); if so, then the original form of the canon was the same song. One song gradually increased to two songs through the addition of the 8th song to the 9th: one Georgian Menaion of the 9th century. for most days of the year it has two canticles from the 8th and 9th songs, giving complete canons only for the greatest holidays and three canticles for the triode period of 2535. In addition to 8 and 9 songs, they gradually began to add troparia to the ordinary song of the day, on Monday to the 1st song, etc.; This is how the three-song arose, which, like the two-song, must have been for some time the exclusive form of the canon; A trace of this practice is the current trisong at Compline on the pre-celebration of the Nativity of Christ, Epiphany, and especially the Transfiguration. A feature of this period in the development of the canon was the small number of troparia in each song of the canon (the mentioned Georgian RKP has 2-3 of them) and the absence of irmos. For the first time large and complete canons began to be written, it must have been St. Andrey Kritsky. As his Great Canon shows, he apparently tried to ensure that the number of troparia for a biblical song corresponded to its length. He must have introduced irmos; It is remarkable that his irmos are very close to biblical songs, often paraphrasing them. The 2nd canticle at that time was not yet excluded from the canon: the canons of all holidays had it; so not only in Andrew of Crete (still preserved in the canon of Lazarus Saturday), but also in John of Damascus 2536. Its later exclusion from the canons is sometimes exposed by an acrostic poem (for example, from the acrostic poem Κλημεντος the meaningless Κημεντος was obtained) 2537. The acrostic poem shows that Cosmas no longer wrote troparions for the 2nd song; Perhaps it was the latter who took the initiative to exclude her from the canon. Due to the fact that songs have been used since ancient times, like psalms, with the addition of Glory at the end even now, for a long time the Trinity and the Theotokos were considered obligatory in the canon; so in all the canons of Andrei of Crete; under John of Damascus, only the Theotokos were already considered obligatory, and his canons even for the great feasts of the Lord initially had them; they were omitted by later editors. Cosmas made an innovation here too, often beginning to write canons without the Mother of God. A big difference is observed between Andrew of Crete, on the one hand, and John of Damascus and Cosmas, on the other, and in relation to the volume of the canons: for the latter they are many times shorter, and for great memories they are limited to two or three troparia. This must be to give space to the works of other creators or for the purpose of antiphonal repetition. In the 9th century, when the Triodion with the activity of St. Theodore the Studite and his brother Joseph, and St. Octoechos and Menaea. Theophan and Joseph the Songwriter brought it to its current form - through the compilation of canons for the vast majority of simple days - and the current usual type of canon with 4-6 troparions was completely developed, which volume was established due to the ever-present need to combine several canons on one day. Significant importance was not attached to the number of troparions on the canon back in the 9th century, as shown by the indifference of Hypotiposis to this. But already Diatyposis, and especially the complete lists of the statutes - Studian, Evergetid and Jerusalem, therefore, from the 10th-11th centuries, perhaps due to the extraordinary increase in this type of liturgical writing and the need for some kind of regulation here, began to measure the importance of the holiday by the number of troparia in the canon, doubling the irmos and troparia, and almost immediately in this regard the current norms for the number of troparia in the canon were established (see. Enter. Ch., 367). The canon of Sunday Matins, in relation to its irmos and troparions, consists of 4 parts and is usually composed of 4 canons: the Sunday canon, the Resurrection of the Cross, the Theotokos and the ordinary menaion, of which only the first with the irmos. Thus, only half of the canon is dedicated to the celebrated event, since the Theotokos canon glorifies the Mother of God without regard to the resurrection (as opposed, for example, to some of the Theotokos on God the Lord). The reason for such duality in the composition of the canon of Sunday Matins is that on a simple Sunday day, which is so often repeated, the soul of the person praying cannot be as full of the celebrated event as on the annual holiday in honor of the event (this view on the nature of the celebration of Sunday was expressed already in the 3rd century by Origen - see Intro. Chapter, 112). In these types, the second canon in honor of the resurrection is dedicated not to this event exclusively, but also to the crucifixion of the Savior, which tempers the joy of the resurrection. In the next - Theotokos - canon, the distraction of thought from the celebrated event, necessary for its refreshment, goes even further: the content of this canon has with the celebrated event, the resurrection, only the connection that its most important participant is glorified (just as a separate canon for the Theotokos is placed at Wednesday morning and the heel). Finally, the 4th canon completely abandons the resurrection and deals with another memory of that day. Sung directly by only the first of the 4 canons, the event of the resurrection does not completely occupy this canon: of its four stanzas (3 troparions and irmos), only the middle two speak about the resurrection; and from 3 stanzas of the Cross-Sunday Canon. The most prominent part of the canon is its irmos, which opens the canon. The Irmos of the Sunday canon also has nothing to do with the event being celebrated. But it should be noted that the irmos of other holidays rarely have this attitude, for example, of the irmos of the Nativity of Christ, only half (of the first canon) directly glorify the event, of the 8 irmos of the Presentation only 2 do this, of the 16 irmos of the Transfiguration - 1; As for the canons of saints, only the irmos to Gregory the Theologian on January 25 glorify him directly. Therefore, in this respect, Sunday is second only to the greatest holidays. But without setting themselves the goal of glorifying one event, even such a great one, the irmos of the Sunday canon receive richer and more varied content, trying to cover all spiritual needs and touch all the heartstrings of the worshiper. Irmos of a laudatory nature at the Sunday canon almost alternate in each voice with irmos of a prayerful and mournful nature. At the same time, the first try to embrace the entire system of Christian doctrine, speaking first about the creation of the world (mostly Irmos 3rd, because the 1st develops the theme of its biblical song), about the incarnation of the Son of God (mostly 4th, sometimes 4 and 5, sometimes 3rd), about the Church (Irmos 3rd or 4th); using the motifs of the songs of Isaiah and Jonah, they depict the soul’s longing for the light of Christ (5 Ir.) and a prayer for deliverance from the abyss of sin and suffering (6 Ir.). Speaking about all this, the Irmos of the Sunday canon do not lose sight of their biblical song, with which they must connect the troparia that follow them, and they express their attitude towards it, if not by direct references (in the 4th Irmos the prophet Habakkuk is often mentioned, in the 6th by Jonah), then by the way of expression: in the 3rd Irmos the expressions “be established” are frequent, in the 5th - “enlightenment”, “light”, in the 6th - “abyss”, “sea”, "excitement" Irmos 1, 7 and 8 are not limited to such a distant connection with biblical songs, but are entirely concerned with the theme of these songs due to the high educational significance of the events sung there. The 9th Irmos, not only on Sunday, but in almost all canons, is dedicated exclusively to the glorification of the Mother of God. As for the troparions, in the first canon - the Sunday canon (αναστάσιμος) - they are engaged not so much in a pictorial description of the event, but in clarifying its meaning, revealing its inner essence; The Theotokos of this canon of general content glorify the Mother of God regardless of the event of the resurrection (as opposed to the Theotokos of the Easter canon). The Resurrection of the Cross (σταυροαναστάσιμος) canon, glorifying the resurrection of the Savior, so to speak, through the prism of His suffering, compensates for the impossibility for many of listening to Wednesday and Friday services specifically dedicated to the last remembrance, an impossibility that was valid not only for the laity, but also for hermits; The Theotokos of this canon are also of general content. The Theotokos canon for Sunday Matins, although, like the Theotokos troparia of the two previous canons, glorifies Her completely irrespective of the event of the resurrection, it differs significantly from the same canons at Matins Wednesday and Friday and at all small complines in that it does not have a mournfully repentant character, but a joyful one of praise, and is aimed at as detailed an elucidation of the meaning for us of the sacrament of the incarnation of Christ as the two preceding ones - the resurrection and death, thereby achieving the comprehensiveness of Christian edification from the canon. The first Sunday canons undoubtedly belong to John of Damascus. Judging by the fact that the oldest list of the Alexiev-Studio Charter does not mention the Canon of the Cross and, apparently, assumes only one Sunday canon 2538, one can think that the Canons of the Cross are of later origin than the first. However, they are mentioned under the name of the second Sunday, or at least assumed, by the later (from the 13th century) RKP. Al. - Studio Charter. Not everyone in the RKP knows the Theotokos canon. Studio mouth and Evergetian; Only the RKP mentions him. Jerus. mouth., starting from the most ancient 2539. - RKP. The Octoechos, at least the Slavic ones, represent significant differences between themselves and with the current Octoechos (corrected in the 17th century according to Greek script) in the composition of the troparions of all three canons of Sunday Matins; most often there are other troparia or not as many of them (compared to the current Octoechos) in the canon of the Theotokos, of which there is no one. Octoechos (paraclitics) XIV-XV centuries. and have none at all; there is less difference in the canon of the Cross and Sunday, least of all in the Sunday one, but even here the Theotokos are often different, and sometimes the troparia of the current Canon of the Cross and Sunday end up in the Sunday one, and vice versa. Often there are other irmos in Holy Cross and Theotokos 2540. According to the degree of proximity of the different canons of Sunday Matins to the celebrated event, the volume in which they are sung, or the number of troparions in them, in technical expression - by (εις) how many (verses) they are sung, is determined. The first canon, Sunday, at ordinary Sunday matins, not complicated by any coincidences, is sung on 4, including the irmos, which is sung once; The Resurrection of the Cross is sung at 3, the Theotokos at 3 and the Menaion at 4; the last three canons without irmos. In this case, it goes without saying that if there are not enough troparions in the Octoechos for such a quantity, which sometimes happens with the canons of the Cross and the Theotokos, then the first troparion 2541 (the first, as the most important) must be doubled. This is the normal order of combining the canons at Sunday matins. But it is applicable in rare cases, since for the most part the Menaion, which, however, is not always sung on Sunday, has more than one canon, most often two, or has a canon of more than 4. Cases of the latter kind are provided for in further chapters of the Typikon - 3, 4 and 5 2542. Nowhere in the Typikon is it provided for the most common case when there are two canons in the Menaion; since two canons have 8 troparions, it is most natural to be guided in this case by the charter for the great (vigil) saint, who falls on Sunday and has a canon for 8; according to this charter, given in Chapter 3. Typikon, the Sunday canon is sung at 4, the Sunday of the Cross is omitted, the Theotokos at 2 and the Menaion at 8. Such a charter is given for this case and in a “statement in brief”, printed at the beginning of the General Menaion. The studio regulations do not indicate in what quantity the one or two Sunday canons that were then in use and the canon of the Menaion, which, according to these regulations, was also sung during the Sunday canons 2543, were sung. “1st Sunday at 6, 2nd at 4 and Saint at 4; if a great saint, both Sundays on 4 and St. at 6" 2544. Jerus. set: load. RKP. does not define quantity, Greek. RKP. and oven – too, but adds: “if the Holy Menaion is celebrated, the Canon of the Cross of the Octoechos is left; on the canon of the saint we put verses 6 from “Thy people will pass to the Dondezh.” “Sunday with Irmos at 4 and Resurrection of the Cross without Irmos at 4 and the Mother of God at 2 and to the saint in Menaion at 4”, later - XV and XVI centuries: “Resurrection canons 2 and the Mother of God and St.,” without defining the number, as in the Greek; “if the statute indicates to the saint at 6, then we sing the canon of the resurrection with the irmos at 4 and the resurrection of the Cross at 2 and the Mother of God at 2 (late, XV century: resurrection at 4 and the Virgin at 4) and St. on 6 (still in the late, century XVI - there is no word on the six-fold saint); Whenever it is in the Menaion for the saint at 8, the Resurrection of the Cross is left for the Mother of God at 2 and St. on 8 (later: if a saint like that is celebrated in Menaion, we leave the canon of the Resurrection of the Cross in Octoechos and sing the resurrection canon on 4 and the Mother of God on 4 and St. on 6 - and we say verses from the Dondezhe to the people); so are there two saints, if there are two canons; it also exists during pre-festivities or between festivities” (i.e. in the Menaion on 8; later - no) 2545. Old-time: Sunday 4, Krestov. 2, B-tse 4, Min. 4; if St. on 6, B-tse on 2; on 8, as we have, with the addition that so are 2 Saints, on pre- and post-celebrations 2546. Constantinople Type: “the canon has been resurrected and the Holy One has been received”; Hieraticon: “Sunday canons at 4 and Menaion at 4” 2547. Greek Octoechos: “if St. celebrated on 6 or 8, leaving the Sunday of the Cross" 2548, against which the Old Belief. oral: “even if a saint like the one in Menaion is celebrated along with 6, we do not abandon the canon of the Resurrection of the Cross” 2549. In practice, the Old Believers sing at the Little Saint, just like we do - Resurrection of the Cross at 3 and Theotokos at 3 2550. The troparia of the canon, in their content, are too distant from the biblical songs with which they are connected by the irmos, and so in order to restore their connection with these songs, a long series of them is concluded, as it was revealed, by the irmos. Such a return of the song of the canon to the irmos is called katavasia (καταβασία κατάβασις) - descent, return (troops from a campaign). On the greatest holidays, katavasia consists of repeating the initial irmos; on smaller holidays, including Sundays, the katavasia is the irmos of another, related or close, holiday; on weekdays, the katavasia is the irmos of the last canon, and it occurs only after the most important songs - 3, 6, 8 and 9; finally, in Lent, katavasia sometimes replaces the irmos, i.e. Irmos is sung only as a catavasia. Studio regulations only on great holidays require at the end of each song the singing of an irmos of the same or a similar holiday, sometimes even two irmos, but they do not call this katavasia, but are simply expressed: “and at the end of the irmos,” or: “and again the irmos” 2551, once: “in the peris place” 2552; chaos of Stud.-Al. the statute calls ipakoi 2553. The Evergetid charter knows the current term katavasiya, but also requires it only on great holidays 2554. So are the ancient RKP. Jerus. Charter 2555. In Greece, the katavasia of songs 1–8 is apparently sung in all 8 songs. Sunday Matins, naturally, has a festive type of chaos, that is, after each song of the canon. But holiday chaos, as noted above, has different degrees. The most solemn one is the repetition of the irmos of the holiday itself, and both, if the holiday has two canons. Only the greatest of the Lord's twelve feasts and the Dormition have such confusion. All other holidays have the chaos of the irmos of another holiday, mostly the closest of the great ones, with the aim of such chaos to increase their solemnity. Sunday belongs, by type of chaos, to the last kind of holiday. The Irmos of the own canon of Sunday Matins have no relation to the event being celebrated and therefore are no longer suitable for katavasia (that is why they are not doubled at the beginning of the canon). For the Sunday chaos, irmos were chosen in honor of the Mother of God - the same reason why She is assigned a separate canon at this matins, and since each row of church songs usually concludes with a song in Her honor. More specifically, for the Sunday chaos, the irmos “I will open my mouth” were selected from the irmos of the Theotokos feasts, which are used on all the feasts of the Theotokos, but not in the form in which these irmos are used on any of the twelfth feasts of the Theotokos, when their text is adapted to the event being celebrated, but in the form in which they serve as the irmos of most of the minor feasts of the Theotokos, the main image in honor of the icons of the Mother of God, therefore, with the general glorification of Her as the Mother of God. In this form, their content fully corresponds to the purpose for which this glorification is introduced into the Sunday service. In these irmos, after a general invitation to the faithful to sing the miracles of the Mother of God, that is, cases of Her constant miraculous help to us (cases that serve as the reason for Her such frequent and zealous honoring, and in particular honoring on every Sunday) (1 irmos), and after a request for Her to accept this glorification (3 irmos), the teaching is revealed based on the prophecy of Isaiah 19, 1 (4 Irm.) and the representative salvation of the 3 youths (7 and 8 Irm.) about the mystery of the incarnation from Her of the Son of God (5 Irm.), whom believers are called to greet directly with applause on this holiday as much as Her as Her Son (6 Irm.), on a holiday celebrated in heaven (9 Irm.). – Such chaos, however, only happens on Sundays, not complicated by any special coincidences. The katavasia “I will open” for the canon of Sunday Matins is not mentioned not only by not a single edition of the Studite Charter (Student-Al. appoints it, together with the irmos of the Week of Vai, as katavasia for its church - March 12) 2556 and the Evergetid Charter, according to which, apparently, there was no katavasia on Sundays, as well as on weekdays, but they do not mention it either ancient RKP. Jerus. charter – Georgian, Greek, Greek oven and glory XIV-XV centuries; We find an indication of this chaos only in glory. RKP. XVI century 2557 Under Arseny Sukhanov 2558 it was used in the East; but the current Greek does not mention it. liturgical books - Octoechos, the Charter of the Great Church and the Hieraticon, as well as the Old Belief. mouth In practice, however, the Old Believers use it at the same time (with minor exceptions) as we do 2559. The order of singing and the melody of the canon The canon, like each series of chants, is sung alternately by both faces so that all the verses of the biblical songs and all the troparia with irmos in each song are distributed equally between the faces, which is why the number of these verses and troparions is always even. If part of the Bible is placed before the Irmos. songs without choruses, then one person (beginner) sings the 1st verse of the song, the other the second, etc.; then the first person sings a biblical verse. song, set as a refrain to the irmos, and after this the irmos, the second face of the next verse of the song and the 1st troparion, etc., at the end of Glory - the penultimate troparion, And now - the Theotokos. If there is no Bible before the Irmos. songs, as happens on Sundays, holidays, etc. other days (when it is necessary to drink to the Lord), then the first choir sings the irmos, the 2nd choir - not on Sunday - the second time the irmos, on Sunday the chorus “Glory, Lord, St. Thy resurrection" and the troparion, again the first face - 1st verse of the Bible. songs and second troparion, etc. 2560 Due to the fact that the singing of the troparion begins with the singing of the chorus, the chorus and the troparion are one; The troparion represents, as it were, the development of the thought of the chorus, its application to the celebrated event. And the chorus is sung in such a way that it preserves the most characteristic sounds of the troparal (and irmos) melody, namely, its last musical stanza. Since this stanza requires only the last words of the chorus, the first, larger part of it is sung in recitative and equally for all voices (a familiar example of such a chorus performance is “We praise, we bless, we worship the Lord...” before the chaos of the 8th song). As for the troparia themselves, they must be sung exactly like irmos, for which reason the irmos is indicated before each canon, even if the canon is sung without irmos. Since the melody of the canon is different from the sticheron and troparion (for the troparions of dismissal and on God the Lord) and since the entire canon is usually a series of 112 songs (14x8), then it introduces into Matins an endlessly long stream of this unique complex melody, interrupted only twice by the troparion melody (sedalny and kontakia of 3 and 6 songs each). When and why did they stop singing the troparia of the canon? Already during the Council of the Hundred Heads (1551) there was, apparently, a significant difference in the method of performing, on the one hand, church songs, on the other, the opening psalms, kathismas with associated sedals and troparions, and canons, as can be concluded from the following expressions of the Council about both methods of performance: “And about other church singing, do everything according to the rules, sing the doxology and katavasia at the gathering, and at Vespers and Matins the psalms and the Psalter should be said quietly and slowly, with all attention, also the troparia and sedals would be said in order and not hastily, and then they would chant, and suddenly the psalms and Psalters would not be spoken and canons two at a time they didn’t gallop together” 2561. But until the half of the 17th century. and a little further on, in one way or another, both kathismas and troparia of the canons were sung, as can be seen from the increasingly widespread custom of the so-called. polyphonic singing: since singing all the time during the service greatly lengthened the service, they began to sing at one time - one six psalms, another God the Lord and troparia, the third kathisma, the fourth canon one, the fifth another canon, the deacon at this time said litanies, etc. “Wonmi, St. “Vladyka,” wrote a certain Agafonik to Archbishop of Suzdal. Sophronius in the 17th century, - the apostle to the voice, as if he were possessed, he suddenly reveals the existence of all who speak; Do we not, when we speak at two, and at three, and at four, and at five, sometimes at six and at seven, not just unfaithful, but also faithful, loving piety and church decorum, will he call us - we are mad? 2562 This must have caused a legislative prohibition on the part of one of the Moscow Councils of the 17th century. sing the whole canon. Arseny Sukhanov notes that in the East they sing the entire troparion in the canon, and not just the end 2563; Consequently, in Russia, with him, a transition took place from the singing of troparions to their reading: only the ends of them were sung. Nowadays in the East they sing the entire canon with troparia, and not just the irmos, which is why the singing of the canon takes up most of Matins there, although sometimes one person sings in each choir 2564. Chant of the canons at Sunday morning No matter how different the canonical melody is in each voice from the stichera and troparion, nevertheless, the general character of the voice is maintained in it (indicated above, p. 539), and since the canon at the entire vigil represents the longest series of songs (provided, of course, the singing of troparions), then with its voice it most imparts the musical flavor to the vigil. For the character of the latter, it is far from indifferent whether these 80 troparions of the canons of Octoechos ((4†3†3) 8) will be sung at Sunday morning in the most joyful voice (1st), less joyful (4th) or as sad as the 6th and 2nd. It should be noted, however, that the Canons of the Cross and the Mother of God are no longer sung in exactly the same tune as the Sunday canon, but for variety and to better suit the content, they are sung differently. Especially the first of these canons, as immediately following the Sunday one, always differs significantly from it in melody, although this melody is of the same voice. Namely, the tunes for the Resurrection of the Cross canons are more artistic and touching than for the Sunday canons, and for the Mother of God canons, they are either the same as for the Resurrection of the Cross, or again new ones. This chant is indicated in the Octoechos in such a way that before the troparia of the Resurrection of the Cross and the Theotokos canons, the irmos or its initial words are inscribed: since these canons are sung without irmos, such an inscription is intended to show that the troparia of the canon should be sung according to the model of the inscribed irmos, therefore, this is the same as the inscription in the stichera and sedalna: “similar.” Namely, the Canons of the Cross and Sunday are sung according to the tune of the following irmos: 1 ch. according to the chant “Christ is born”, chapter 2. “Untrained, unusual”, 3 chapters. “People will sing a new song,” chapter 4. “I will open my mouth,” 5 ch. "To God the Savior", 6 chapters. “By the Wave of the Sea”, Chapter 7. “Pontom covered”, 8 chapters. “I passed through the water.” Thus, on a simple Sunday, with strict adherence to the rules, the church could be resounding with the trembling and sweet melodies of Holy Saturday, the Nativity of Christ, the Ascension, and Pentecost. The effect is enhanced by the fact that the troparia of the Canon of the Cross, performed by these touching melodies, and in verbal expression in places are close to the Irmos, whose music they imitate. For example, 1 and 2 troparia of the Cross and Sunday Canon, Chapter 1. constructed similarly to the irmos “Christ is born”: “Christ adores me by incarnating, Christ exalts me by humbling, Christ makes me dispassionate.” But most often the troparia of the Cross-Sunday Canon borrow from their originals the final words that make up the last and richest musical stanza; so, in chapter 1. 3 p. ending: “You have raised up our horn, You are Holy, O Lord,” 7 p.: “God is praised and glorified by the fathers,” 6 ch. 3 p.: “It is not Holy that they cry unto Thee, O Lord,” 7 p.: “O God the Redeemer, blessed art thou,” 8 p.: “Bless the youths, sing to the priests, exalt the people to all ages,” 9 p.: “Magnifying Thee by faith and love.” It is significant that not all Cross Sunday canons imitate the Irmos of such great holidays. For example, for canon 2 ch. one could choose as a sample the irmos of the Epiphany, for the 3rd - the Presentation, for the 4th - Vaiy or Transfiguration, for the 8th - the Exaltation. But this has not been done. As for the Theotokos canon, it seems to be hesitant to imitate such lofty models, and when the Canon of the Cross and Sunday has a melody of too solemn irmos, the Theotokos is sung with the melodies of the Sunday canon; so, in chapter 1. it has the chant “Your Victorious”, in chapter 5. “Horse and Rider”, in chapter 6. “Like on dry land,” in chapter 7. “Thy mania” (excluding canto 9, where, according to the model of the Sunday of the Cross: “Mother of God and Virgin”). Where the Resurrection of the Cross has a more modest example, the Mother of God continues its melody, therefore in Chapter 2. and the Theotokos canon is modeled on the irmos “Netrenu, unusual”, in chapter 3. “A New Song,” in chapter 4. “I will open it” (there could not have been a more suitable example here - due to the chaos). Only in chapter 8 All three canons have, although not for all songs (namely, excluding 4 and 7), different patterns. The usual chaos of Sunday Matins “I will open” has a voice that also fully corresponds to Sunday joy: the 4th Irmos tone, with which this confusion is sung, is the voice for the canons on holidays, so to speak, of average solemnity: the canons of more than half of the twelve holidays are sung with it. Deprived of such boundlessness in its joy as the 1st voice, especially in its Easter and Christmas melodies, this voice for the Irmos still shimmers and shines with light jubilant joy; Its somewhat rapid melody sometimes resembles the sounds of applause, to which one of the irmos of Sunday's chaos invites. In the RKP. glory Octoechos, especially in the so-called “Paraclitics” (Octoechos containing only canons) of the 14th century. and XV century Often the irmos for the Resurrection of the Cross and the Theotokos canons are not the same as in the current printed glory. Octoeche, who in this regard is in complete agreement with the Greek. printed, but the difference is less than in troparia 2565. Ceremony at the beginning of the canon according to the old regulations As constituting an independent part of Matins, as if a special service, the canon, like other services, had, according to the old regulations, censing at the beginning. "Rank" Patr. Filothea gives a detailed rite of this censing: “at the beginning of the canon, the priest comes out and stands in the right choir in his usual place; the deacon, having first taken the blessing on the censer, first censes the entire sanctuary, then goes out on the north side and draws a cross in front of the saint. doors, and first censes all the icons on the right side, and goes to the icon (σΐγνον) of the monastery, and having drawn a cross towards it, turns to the west, and standing in the middle of the church, draws a cross, and goes back and censes first the icon placed on the stasidia of the primate, then the primate and, in order, the brethren of the right choir; after censing all the choirs (in the choir?), he stands in the middle of the choir and, looking to the south, makes a cross; while censing and receiving worship from those whom he censes, he bows to them a little; Having created the cross, he goes to the right (left?) choir and, having worshiped St. icons, incense and brethren, starting from above from the icons and moving away, as it were, to the red gates, receiving worship, and also worshiping a little. Having finished this choir, he again stands in the middle, looking to the north and making a cross, goes out into the vestibule and, having bowed to everyone there, enters through the red gates and, having drawn a cross to the east, censes the primate and again draws a cross in the middle, and having bowed to St. icon, enters and puts aside the censer, comes out, bows a little to the primate from afar and stands in his usual place” 2566. Slavs indicate similar incense. RKP. Jerus. mouth XIV century: “After kissing the Gospel, the priest or deacon censes Evan. and both faces - and says: God save..." 2567. “According to Psalm 50, the deacon censes, and before him the sexton walks with a candle” 2568. No matter how varied the melodies of the canons at Sunday morning are, such a large flow of songs (15 x 8,120) would be beyond the strength of the most tireless attention if this flow were continuous. In view of this, two large breaks are made in it, with which the canon is divided into 3 (sacred number) parts. Since the canon should, in theory, have 9 songs, the place “by” (άπό τής) was chosen for these “inter-songs”; – from, with, after) the 3rd and 6th songs. Intersongs (μεσώδιον), in order to provide a break from the singing of the canon and revive the attention of the listeners, must give something completely opposite in nature to the canon. The canon is a song of praise with a particularly complex melody. Between songs he gives a prayer instead of praise, a reading instead of a song, a simpler one instead of a complex chant. Thus, the inter-song on the canon consists of 3 parts: prayer, reading and singing. Since the parts into which the canon is divided by inter-songs are similar to kathismas, then - more specifically - this composition of inter-songs is given the same form as the breaks between kathismas, i.e. they consist of a small litany, sedals or kontakia with ikoses replacing them, and readings. The inter-songs for songs 3 and 6 of the canon are mentioned in the already known description of the Sinai Matins of the 6th-7th centuries, and regarding them it is made clear here that they consisted of some kind of artistic songs, begun by the priest (Introductory chapter, 295:296). Hypotyposis and Diatyposis mention only 2 readings on canon 2569, Studios-Alex. The charter, in addition to the readings for cantos 3 and 6, speaks of the sedalna for 3 cantos and kontakion for 6 2570. The small litanies for songs 3 and 6 of the canon can only mark the exceptional place they occupy at Matins with their exclamations. The latter, of course, are new to them compared to the previous ones. But at the same time, the exclamations here do not continue, as one might expect, the development of the previous thoughts, but, due to the fact that the canon is considered as a completely independent part of Matins, or as a service within a service, they begin a new series of thoughts. Namely, the exclamation of the litany in 3 songs glorifies God simply as God: “For You are our God...”, and the exclamation in 6 songs gives a comprehensive concept of Him as King and Savior: “For You are the King of the world (ειρήνης) and Savior...”. The exclamations end the 5th and 6th morning prayers, the 1st and 6th evening prayers. Of these two litanies, the Typicon directs the first to be pronounced by the deacon, and the second by the priest. This is because until the 3rd song the deacon still participates in the service, beginning this participation with the polyeleos or with the Immaculates; from the 3rd song to the 9th, as a less solemn part of the canon and filled with readings, one priest serves. The deacon’s recitation of the litany of 3 songs and his removal from the litany of 6 songs is, therefore, similar to the provision of only the last one out of 3 litanies at the evening kathisma. Litanies for songs 3 and 6 of the canon are read before St. doors, the first because it is pronounced by the deacon, the second - because after the litany of 3 cantos (for the seat and reading), the priest and deacon “are clothed with sacred robes, and having come out (from the altar) they stand in their usual places.” That is why only about the 1st litany it is noted in the Typikon that its exclamation is “inside the altar.” Variants of exclamations and old statutes about litanies The current exclamations to the present litanies are given by all RCPs. Service books, but Greek. for the 2nd ect.: “For You are the King of the world and to You be the glory...”; so is the print. Euhol., but the Hieraticon is like ours; to Moscow Service 1658 inclusive: “... Tsar of the world (or: peace) and Savior of souls...”; only in Service Petra M.: “peace.” - Cargo. and Greek RKP. they don’t talk about litanies; glory RKP. XIV century exclamations also indicate, but from the 15th century, like the Greek; about the actions of the priest. and diak. only “Chin Patr. Philotheus,” with the addition of the priest’s pronouncing the litany: “unveiled” 2571. Sedalen and reading 3 songs each Since the canon, the basis of which is the Old Testament songs, is considered as something similar to kathismas, then in its inter-canticles the small litany is followed by the 3rd canto of the sedalion and reading, and by the 6th canon a kontakion with ikos, and also reading. A deviation is made from this normal order at Sunday Matins due to the fact that in addition to the Sunday kontakion and ikos, the kontakion and ikos of the Menaion must also be sung on the canon. Since, according to the 6th song of the canon, the statute does not allow the singing of more than one kontakion and ikos, then the menain kontakion, which is implied - and the ikos (which the General Menaion directly speaks of), is transferred to the 3rd canto, and after them the sedalen of the Menaion, Glory and now the Theotokos are sung, which is always supplied with the sedalen in the Menaion. Neither the Typikon, nor even the General Menaion, which gives rules for connecting with the Sunday service of two saints, indicate that the 3rd canto should be sung with the two saints that happen on Sunday, perhaps because it goes without saying that both kontakia, ikos and sedalna should be sung according to the 3rd canto. This is indicated in the Typikon on September 8 (if the after-feast is on Sunday). – As for the reading from the 3rd canto, its content is not more clearly defined in the Typikon, but judging by the fact that in Chapter 10. The Typikon requires reading at Matins, in addition to the interpretation of the day's Apostle and Gospel, also from Margarita Chrysostom and Simeon Metaphrast; for interpretations, three previous readings are sufficient; for the 3rd canto there should be reading from these last books (on Sunday - from Margarita, as the most important book). According to old and other statutes RKP. Jerus. of the statute, everyone speaks only about the sedalna according to the 3rd canto, but this is because the kontakion of the Menaion according to them was sung after the 6th canto (see below). According to the Hieraticon, if the memory of the saint being celebrated, the reader reads (according to the 3rd hymn) the Sunday kontakion and ikos, then the 2nd choir sings the sedalene of the saint, and the 1st choir sings the Theotokos; if the saint is not celebrated, the Sunday kontakion and ikos are read from the 6th canto, (from the 3rd canto) the choir sings the sedalen of St. and Theotokos; if the kontakion and ikos of the saint are read 6 songs each, the choirs sing their ends 2572. Like the canon, the inter-songs are increasingly solemn. In view of this, according to the 6th song, it is not the sedalen, but the kontakion and ikos - songs that are similar in tune to the sedalny, namely, a troparal chanting, more solemn than the sedalny. This introduces into Matins a new type of church song, hitherto not used at the vigil, which occupies second place in the series of hymns - after the troparion; like the latter, depicting the very essence of the celebrated event, but usually from the other side than the troparion; if the troparion gives a picture of the external side of the event, then the kontakion gives a picture of the internal, or vice versa (cf. the troparion and kontakion of Baptism, or the Ascension, or the Transfiguration). In addition, the kontakion usually more fully depicts the very essence of the celebrated event than the troparion (cf. the troparion and kontakion of Easter, the Nativity of Christ), which is why in those cases when only one song of the holiday can be given a place at a church service, it is given to the kontakion; This always happens at pictorial events, at Little Compline on holidays, and during the hours of fasting during Holy Week. Κοντάκιον from κοντός – a stick on which a scroll of parchment was wound; κονδάκιον – scroll, book in the form of a scroll 2573, otherwise called ίλητάριον 2574 (κονδωαον – spoiled pronunciation); Many such scrolls have been preserved in the libraries of the East, from the 10th-11th centuries, a time when books already had their current form; Perhaps the most important books were written on such scrolls, or they were more convenient for singing. Ikos, οΐκος, house; but the Syriac beth, house, can also mean a stanza (like the Italian stanza - room and stanza), and ikoses are of Syriac origin, and for each holiday there was a whole series of them - up to 24, so that they actually represented a series of stanzas. About Roman the Sweet Singer (VI century), the founder of this type of church song, and about other creators of ikos, as well as about their original form, see Introduction. Ch., 329–331. According to the Studio Charter, these were the most solemn songs of the festive service; in the ancient RKP. this charter of the 11th-12th centuries. they alone are placed in the monthly part of the charter, exhausting it; on the most important days of the year in this RKP. one kontakion and one ikos are given with an obligatory similar one for each, and on great holidays the kontakion is placed on sheet music; before the end of the ikos, which is always common with the end of the kontakion, there is a cinnabar note: “people” (that is, the end of it is sung by the whole people) 2575. Sunday kontakia and ikos Sunday kontakia depict mainly the fruits of the resurrection of Christ and its inner side, while ikos sometimes give a picture of the event (chapter 5, 7:8). Both serve as a complement to the troparions, illuminating the event from those sides from which it is not affected by the corresponding troparion. For some kontakia they are indicated in the Octoechos and are similar: for kontakion 1 ch. – “When You Come” (kontakion of the Meat Empty Week), Ch. 3. “Virgin today”, 4 ch. “Thou hast appeared” (Epiphany), ch. 5. “Co-originating Word”; Chapter 8 “Like the first fruits” (kontakion to all saints). Sunday kontakia and ikos are the latest Sunday songs in terms of origin: mentions of them begin only in the RKP. XI century, and they do not have their current place at Matins and the hours. RKP. XVI century The Evergetid charter does not yet know them: according to the 6 songs of the canon at Sunday matins, according to this charter, the kontakion of the saint, and if the saint does not have a kontakion, then the Sunday sedalen, “best in voice,” “singer and people,” Glory and now the Mother of God 2576. The Studite Rules do not mention the Sunday kontakion in the rank of services, but the ancient. RKP. Stud.-Al. The charter has a section: “Kondatsi voskresny i ikosi” (see below). Cargo. rkp.: “6 hymns of kontakion of the Menaion, and if it is not there, the Sunday sedalen” 2577; ancient Greek and seal: “kontakion of the saint, if he has it; if not, the Mother of God: Intercession of Christians, or another if you want” (instead of the italics of the later “and ikos: Stretch out your hand - you need to know that the Sunday kontakion is not said”); glory RKP. ancient: “cond. St., if not, then resurrected.”; late from the 15th-16th centuries "cond. St. or Intercessor (Intercession) by a Christian" 2578. In the mentioned RKP. Stud.-Al. of the statute, Sunday kontakia and ikos represent many variants with the current ones, in addition, the following others: ikos ch. 3 “Christ from the grave”, ch. 5 “Three Days of Burial”, kontakion and ikos 7 ch. “From the gates of hell”, “Thou hast exhausted the coffins as the Deliverer”; similar ones are indicated for all kontakia and ikos; for kontakia common with the current ones, where the latter have similar ones, for 2 ch. “Seeking the Highest” (kontakion to Simeon the Stylite), 5 chapters. “Similar to Panteleimon,” Chapter 7. “Transformed on the mountain”; are similar to ikos from the same holidays as for kontakia, but for chapters 4 and 6. there is only the word “similar” 2579. Like the hymn of the 6th song of the canon, the reading at this place is exclusive, not a continuation of the previous readings, but a new one, namely, the biography of the saint celebrated on that day, borrowed from a special collection called the Prologue (πρόλογος, actually the preface, since the title of the preface must have been mistaken for the title of the book) or the Synaxarion 2580 (συναξάριον, collection). Dedicated to the memory of the saint, replacing the entire service to him, if for some reason it is canceled on Sunday, this reading is considered by the charter as especially important, not being canceled on Sundays with deliberate memories 2581. Reading acts of martyrdom on the day of remembrance of martyrs back in the 2nd-3rd centuries. was customary, and in the 4th century. became widespread (Introductory Chapter, 68:174), constituting, of course, a prominent and significant part of the then poor service for such days. The Studian-Alexiev Charter also limits the service to some saints to the reading of their lives, directing on some days to sing only the Octoechos. By indicating only such a reading, the entire charter for some days is exhausted here (neither stichera, nor canon, nor troparion are mentioned), for example, on October 13: “St. martyr Carp and Papila. Their torment is honored"; October 20: “St. Vmch. Artemia. His torment is honored" 2582. It is not surprising, therefore, if already in the 4th century. collections of such “martyrdoms” appear, and then lives (Introductory chapter, 174), martyrologies (275 etc.). As the number of saints increased, it became increasingly difficult to compile complete collections of their lives or even to have all their lives at hand; therefore, further complete monthly books (VI-VIII centuries) are limited to indicating the names of the saints, the place and time of their death for commemorating them at the liturgy (ibid., 320, etc.), obviously suggesting the reading of their lives as available. But from the 9th century. Attempts to collect short lives of saints in a few lines begin; Such biographical information is given, among other things, 2583 in the Typikon of the Great Church of Constantinople in the 9th century. under each day of the month; this information may have formed the basis of the “Monthly Dictionary (Μηνολόγιον) of Emperor Basil” (11th century), where the legends are already more extensive; Since the 11th century, similar collections have appeared under the name Prologues, the oldest of which is the verse Prologue of Christopher of Mytilene (Introductory chapter, 400–401). Slav. The prologue is close to later editions of the Greek; therefore, it is also based on the mentioned month book of the Great Church, and especially Vasiliev; it is more extensive than the last one (or uses a more extensive edition of it), but is much shorter than the Lives of Symeon Metaphrastus and the Chetya-Meneas of St. Demetrius, omitting many data from the lives, but also giving abundant details, in places important for characterizing the saint and entertaining and edifying. Preserved in the RKP. XII-XIV centuries the Slavic Prologue had several printed editions, joining Vasiliev's prologue and stishnaya, 1st ed. 1641–1643, last 1792 Greek. Synaxari (also verse and non-verse) were and are printed in the Menaions of the monthly (6 songs of the canon), the most complete in the Menaions of 1843 of the Venetian edition (not only for the saints whose services are served, but also for others whose memory is on the same day); separate edition in modern Greek. language Synaxarion appeared for the first time in 1691, last. ed. Nicodemus of the Svyatogorets 1819, and its repetition in 1842 and 1868 with minor changes 2584. The studio charter attached special importance to the reading of the lives of saints: at weekday matins this was the only reading material; long lives were read in a row at several matins, for example, the life of Anthony the Great on January 13–17, Theodore the Studite on November 8–11, 2585. The Evergetian charter is the same, but does not have a reading for 6 cantos 2586. Jerus. mouth – cargo. RKP: “there are readings of 3 songs, and also a 6th, if only time allows.” Greek RKP. and print: “and reading in the synaxar”; glory RKP: “and we honor in the synaxari”, late. (from the 15th century): “... in the prolose” 2587. Among the other songs, the charter singles out, first of all, naturally, the 8th canto, as the final one between the Old Testament ones, closest to the New Testament ones both in time of composition and in spirit. Its isolation from the others is achieved by the fact that the small doxology that ends each hymn (like each psalm) is formulated differently here, precisely so that it is close in expression to the text of the song, so that it pours out, as it were, from the lips of the youth-confessors themselves. Since each verse of the song begins with the word “bless,” instead of “Glory to the Father,” the song ends with “Let us bless the Father...”. In addition, the doxology in such an exceptional form, not used anywhere else in worship, is placed not at the very end of the song, but before its last verse, by which it is organically woven into the song. Thanks to this, the last verse of the song “We praise, bless, worship the Lord...” receives a new meaning or, more precisely, reveals its innermost meaning, the one that its three main verbs can be related to the three Persons of the Holy One. Trinity. This verse serves as a chorus to the chaos of the 8th canto, thanks to which this chaos stands out from the others. Since the verse also invites to worship, “always at the end of the 8th canto, when we want to begin the 9th canto (hence, the same because of the upcoming 9th canto, which is even more important than the 8th), we do all the throwing (bow, on Sunday, of course, small, which are then definitely required for the songs of the Mother of God) equally (all at the same time) with the verb: We praise, Let us bless and worship the Lord" 2588. About the importance that has always been given to the 8th song among others - see above, p. 669. About bows to songs 8 and 9. RKP. Jer. mouth Nothing; ancient Greek and printing: “you should know that on (είς) 9 songs we bow (s?) to (άπο? εως είς) the earth, two choirs together”; "i.e. (ήτοι?) at the end of the 8th canto, as well as at the end of the 9th canto"; “at the end of that poetry (i.e., the Most Honest), both faces bow to the ground, even if there is a week”; “It is appropriate for Vedati, as at the 9th song, singing the Most Honest, we bow with both faces (even later: – s) to the ground” 2589. 9th Canto. Dressing for her No matter how much the 8th canto, the final word in the canon from the Old Testament, stands out from the others, but how much higher the New Testament is than the latter, so much does the charter elevate the 9th canto above other songs. This is expressed primarily by the fact that for this song “the priest and deacon usually put on their vestments,” as they put on during the vigil only 2 more times: to the entrance and to the polyeleos or Gospel. They now remain in their vestments until the end of the service. RKP. Jerus. mouth They don’t talk about this vestment, probably assuming it in connection with incense. Says "Chin" Patr. Filothea: “on (είς) the 8th canto the priest and the deacon bow to the primate, and enter the altar and vest (the deacon?) usually, after the performance of the 8th canto the deacon sings in a loud voice: Theotokos and Mother of Light - So proceeding (the priest from the altar) stands in his usual place, the deacon censes everyone as usual and, returning, stands on appointed place" 2590. The biblical songs in the canon, arranged approximately in chronological order, increasingly lead our thoughts to New Testament times, where the last, 9th, song finally introduces us. Compiled from the songs of St. Mother of God and Prophet Zechariah, in its first part, it thus represents the greatest and holiest work of the author, with the highest and most animated content (about the content, see above, p. 668). It is not surprising that the charter assigns this song an exclusive performance and surrounds it with special reverence: while other biblical songs serve as choruses to the irmos and troparia of the canon, the song of the Virgin Mary occupies a completely independent position in relation to the latter, and in the canon in general, and has its own chorus, the same for all 6 verses into which it is divided for singing. Such a refrain is the song “The Most Honest”, in which, with special expressiveness, the Most Rev. The Virgin is confessed to be the real, actual (τήν όντως) Mother of God and with great boldness of faith is placed above the highest ranks of Angels. According to legend (Nicephorus Callistus, 14th century), the Mother of God, appearing to the composer of the song (St. Cosmas), said with a cheerful face: “Your songs are pleasant to Me, but this one is more pleasant than all the others; I am pleased with those who sing spiritual songs, but I am never so close to them as when they sing this new song of yours”; and those capable of secret vision repeatedly saw the Mother of God blessing those who sang this song 2591. The Studite and Evergetid charters do not indicate the manner of performance for the song of the Mother of God, giving reason to think that there was no difference here with other biblical songs, i.e., that the song was sung like the others. They say nothing about the way the song is performed and the ancients. RKP. Jerus. mouth – cargo. and Greek in the rite of Sunday Matins; only late Greek on September 8 they note: “We will not verse the most honest” 2592. At Sunday morning the “Most Honest” poem is first mentioned by Patr. Filofeya and all glory. RKP. Jerus. mouth., starting with the ancients. “Rite”: “and the Most Honest One will verse”; RKP. XIV century: “the right country begins the verse: Magnifies the soul... The most honest... Another country creates packs... In 9 songs both faces copulate, they sing It is worthy to eat” (nowadays only at weekday matins) 2593; RKP. XV-XVI centuries: “for 9 songs we sing the Most Honest.” The hymn “Most Honest” – the irmos of the 9th hymn of the three-canticle of Good Friday “To Thee in the morning”, therefore, belongs to St. Cosmas Mayumsky, who used the expression of St. Ephraim the Syrian about the Mother of God: “More honorable than the Cherubim and without comparison of all the heavenly armies” 2594. According to legend (Nikephora Callista), the song was composed on Good Friday 2595. As for the fate in the West “Magnificat” (“Magnificat”, free translation of the Greek Μεγαλύνει, subjunctive instead of expressive), then first of all it should be noted that some. lat. RKP. Gospels and others. writers before the 4th century read in Luke. 1, 46 “speech (ait) Elizabeth”, and not “Mariam”, therefore, the song is attributed to Elizabeth, for which there is no. The newest researchers (for example, Harnack) find reasons both in the text of the song, and even in our exclamation before the song: “We will exalt the Mother of God ... in songs” 2596. The introduction of song into liturgical use in the West is attributed to Caesar of Arles († 542) 2597. From Gregory the Great, or rather Benedict, this song began to be used here at Vespers, which “as the evening sacrifice of praise and thanksgiving culminated in it as a spiritual aroma of fragrance par excellence” 2598, which is expressed by the incense of the altar performed at this song; This use is a parallel to the song of Zechariah at Matins (there is the coming salvation, here the accomplished) and the song “Glory in the highest” at the liturgy and corresponds to the evening mood of the believer, grateful for all the good received during the day. The Magnificat is always accompanied and concluded, in the Ambrosian rite, and preceded by an antiphon dedicated to the remembrance of the day (proprium) 2599, which in ancient times was sung after each verse of the song (Introductory chapter, 307:317). (In the Mozarabic rite, “Great” is sung only on some holidays at Laudes with an antiphon before and after 2600 – ibid., 318). Lutherans also sing “Greatness” at Vespers, but in translation. language with singing along to each verse of a short song compiled in relation to the Bible. text, and sometimes one choir sings a biblical verse. songs, and the other is this chorus. About the chant for Velichit in the present place of the Typikon it is only said: “singing in a great voice.” But in the charter for September 1, which is generally distinguished by its detail, since it is the 1st day of the year, the voice for this song is indicated - the 6th (that the indication has a general meaning for all days is clear from the voices of the canon for September 1: 1, 4 and 8) and, of course, in its canonical melody. This is natural, because the chorus to the song is the irmos from the canon of Chapter 6. (“To You in the morning”) Musical tradition shows, however, that this is not the usual canonical tune of Chapter 6, but a special, “self-concordant” one. Greek RKP. (late) Jer. mouth and "Chin" Patr. Philotheus about the Most Honest is only expressed in “poetry” (στιχολογεΐται, – οΰμεν), glory. RKP. "sung"; voice is not indicated in the charter on September 1. Old-fashioned mouth the voice also indicates here (see below, p. 697). Among Catholics and Lutherans, “Velichit” is sung in the 9th tone and is a favorite theme for artistic compositions 2601. The 9th hymn of the canon, more specifically the opening hymn of the Theotokos, stands out from a number of others by the special exclamation of the deacon before it, inviting the glorified Mother of God: “Let us exalt the Theotokos and the Mother of Light with hymns 2602,” which notes the need for special attentiveness to the song (cf. “Let us attend”). In the exclamation of the Most Rev. The Mother of God is called the Mother of Light in accordance with the upcoming glorification of God for the appearance of the morning light. The exclamation is pronounced “at the censing of St. meal" (chapter 9 - during censing), usually upon leaving the altar in front of the icon of the Mother of God. The exclamation without words “Mother of Light” serves as an epigraph to the song of the Mother of God, just as all other biblical songs have epigraphs (1st “We sing to the Lord, gloriously we are glorified”, 3rd “Holy art thou, Lord, and my spirit sings to Thee”). In this form (without “Mother of Light”) the exclamation has glory. Service books until 1647 (Moscow 1658 is silent about it) 2603. But in “Chin” Patr. Filofey and in glory. RKP. (Greek: silent) Jerus. lips., as now, glory. † "Virgo" after "Mother", "penmi" or without the last one 2604. “Vedati is appropriate for the 9th hymn, if there is no Lord’s holiday, then we always verse the Most Honest, even if there is a great doxology,” “if there is a Lord’s holiday, we say irmos 9th hymn, which begins for him from the priest” 2605; “if not (the Most Honest One does not verse), sings (it is unclear whether it is a priest or a deacon) the beginning of the Irmos of the 9th song of the holiday.” So is the old way. oral: but † “in the altar it is loudly spoken, here it is the custom for the priest to proclaim instead of the irmos: We will magnify the Mother of God in songs, and we sing the irmos of the 9th canto” 2606. About the speaker of the cry of glory. RCP: priest before St. doors according to the censing of the altar; "Rank" Patr. Filothea: “the deacon sings with great voice”; old-fashioned mouth: “priest - having repented to St. meal, will proclaim in ch. 6" 2607. The Song of the Theotokos stands out from the ranks not only of the other songs of the canon, but from the entire vigil also in the fact that only here the charter directly requires bows, inviting us to express our reverence to God in view of the imminent end of the service, its festive songs, but in view of the prohibition on kneeling on Sundays - only small ones: “We also perform small bows” (of course: on each verse). This does not exclude the same bows in other places of service, but they are just not considered as necessary there as they are here, or for some reason they are not indicated at all (perhaps due to an oversight). They are indicated in great detail in the order of everyday services, and these instructions can be guided for Sunday and holiday services, replacing prostrations with small ones (this is what the Old Believers do). The old charters required one bow on the 9th song (see p. 693), timing it to the end of it, as can be seen from the note about this bow on the Nativity of Christ, etc., or in the current charter. Then this bow was pushed back to the beginning of the 9th canto, even to the chaos of the 8th, which is why other bows were required at the 9th canto itself, more often dedicated to the song of the Mother of God. The last stage before the current practice is the old style. mouth: “Be aware of this, as always at the end of the 8th canto, whenever we want to begin the 9th canto, we do all the throwing with one word, equally saying: We praise, we bless - we verse the 9th canto, singing in a loud voice the Most Honest Cherub, we bow to both faces from the waist, the last one to the ground.” Censing, being an intensification of prayer and helping to raise the prayerful mood, accompanies the most important parts of the service, and is performed 4 times throughout the vigil. This is the last time. As a final song, it, like all the final songs in each series of songs, is dedicated to St. The Mother of God, there is Her honor, just as the incense on the Immaculates is the honor of the risen Christ, and on the magnification - the celebrated saint. As less important than that incense, it is performed by one deacon or priest, if the deacon is not serving. Hence the duality in the Typikon: “at the end of the 8th canto, I prayed to St. meal, the deacon proclaims: Theotokos and Mother of Light - The priest or deacon censes the St. the altar and the whole church and all the brethren. According to verse 9, having returned and given the censer, he says the litany, and an exclamation from the priest.” (during weekday services, when the deacon does not participate in the service, the priest is instructed to perform incense - see Chapter 9 of the Typikon). Cargo. RKP. Jer. oral, like Greek. and printing, do not mention censing on the 9th canto. "Rank" Patr. Filofeya: “The deacon censes everyone as usual and, returning, stands at the appointed place.” “at the end of the 8th canto the priest performs the usual veneration of the abbot, entering the altar and censing St. the meal and everything sacred and the altar and goes to the church; at the end of the 8th song, standing before St. doors, Kadya St. doors in a cross shape, he will exclaim: Mother of God..." and "cense the church" 2608, later RKP. are not mentioned, like the current Greek, but the Hieraticon: “deacon: Theotokos and Mother of Light and, taking the censer, censes St. the table and the sanctuary and the whole church" 2609. The 9th canto ends with the 3rd and last section of the canon, which has a conclusion similar to the previous two sections, that is, first of all, the small litany. Her exclamation: “For all the Powers of Heaven praise You,” on the one hand, at the end of a long hymn, which is the canon with its approx. 112 songs, expresses a humble recognition of the unworthiness of our praise in comparison with heavenly ones, on the other hand, foreshadows the theme of the next part of Matins, as if thus linking the end of its 3rd part with the beginning of the 4th. The originality of her exclamation The local litany has such an exclamation in all monuments indicating the latter. If already the 6th canto after itself had singing more solemn than the 3rd (kontakion, not sedalion), then the 9th must have something even more solemn, something exceptional. This is, however, only on Sundays, a chant without a name, but performed according to the order of God the Lord: “Holy is the Lord God ("Αγιος Κύριος ό Θεός) ours," i.e. Ps. 98:9, the last words of this verse, a chant that has two verses as a prokeimenon: 1st – the same place of the psalm, read with the previous word: “For (ότι) Holy is the Lord our God”, 2nd verse – the end of the 2nd verse of the same psalm: “over all people”, with the addition from the main verse of the words: “Our God”. Intruding with a peculiar performance (according to the indicated rite with exclamation and singing) into the smooth flow of the longer preceding and subsequent chants, this short chant, with its suddenness, draws special and intense attention of those praying to only one property of God, more than ever revealed to the world by the death of the Savior on the cross, a fundamental property, terrible and, as it were, eerie for us, the thought of which, however, gives an exhaustive and most blissful insight into the Divinity, as can be seen from the fact that only this property serves as the subject of seraphim praise to God. This chant, which, as we will see below, was the luminary chant and now sometimes replaces the luminary (on Vayi Week and Holy Saturday), clearly serves, judging by the way it is performed, the same preparation for the Sunday luminary as “God the Lord” for the troparion, which sets the Sunday luminary apart from others. It is sung (alternately in choirs, three times in total) with the previous proclamation in the real voice, i.e. with his solo singing in this voice, moreover, not by the canonarch, but by the deacon, and with the same, of course, singing of poetry (usually both are simply proclaimed), with the silent participation of the priest. “The same (after the exclamation of the litany) the deacon proclaims: Holy is the Lord our God in a real voice. Art. 1: Yako – The priest stands in his usual place.” “Holy is the Lord” is the most common luminary in the Studian and Evergetid (a little less common) charters, for example, it is laid down in the first on September 1, 6, 7, 8, 13, 14, etc. 2610, in the second - on September 4, 7, 8, 13, 14, etc. 2611 According to both charters, this same luminary (Everget: exapostilary), and he alone, was supposed to be on Sunday, and according to the second, it was sung in the current voice 2612. His appearance at this place of Matins is explained by the proximity of the end of Matins to the liturgy (cf. “One is Holy” at the great doxology; see Introductory chapter, 86, 87; cf. the kaddisch prayer - with the Seraphim’s doxology - at the synagogue service - Introductory chapter, 16:17). In cargo. RKP. Jerus. mouth “Holy is the Lord” is also called exapostilary, although there is already a current exapostilary. “the same (according to the litany) instructed me to sing the verse Holy is the Lord our God in a real voice, to say the verses: For... Above all... The faces according to each verse are to sing Holy is the Lord our God" 2613. Late RKP: “according to 9 songs Holy is the Lord our God” 2614. "Rank" Patr. Filofeya - nothing. “According to verse 9 the priest says: Holy is the Lord our God, v. 1:... st. 2..." 2615 . Under Arseny Sukhanov in the East “according to the litany, the Lord our God is Holy three times according to wings, but the priest or deacon does not say this at all” 2616. Now. Greek Euchologius - deaf. Now. Greek Type. and Hieraticon: “they sing Holy is the Lord our God “twice” and Exalt the Lord our God “once” 2617. The chant “Holy is the Lord” performed according to the rite of “God is the Lord” serves as a preparation for the luminary, which here, according to the 9th song of the canon, occupies the same position as it occupies in the 3rd song of the sedalen, and in the 6th kontakion. If the kontakion surpasses the solemnity of the sedals, then the very place of the luminary at the conclusion of the canon, after such a song as canto 9, makes us expect even greater solemnity from it. Svetilen, indeed, occupies an exceptional position in the divine service. This is a song of Matins that is not repeated anywhere else. As its very name shows (luminary, φωταγωγικόν), it glorifies God as light and the Giver of light; Thus, the luminaries of Lenten Matins are all filled with the concept of light (“This Light, Christ, enlighten me with You” - Chapter 8); everyday luminaries often use this concept (“Your Angels” or “saints”, “enlightening the whole earth” - luminaries on Mondays and Saturdays); so are the luminaries of the greatest holidays (Nativity of Christ: “Our Savior from above, the East of Easts, has visited us, and He who is in darkness and shadow has found the truth”; Baptism: “... He has enlightened those who are in darkness and the sleeping shadow, for the unapproachable light has come and appeared”; Pentecost: “the light of the Father, the light of the Word, the light and the Holy Spirit”; Transfiguration: “Unchangeable Light, the Word, the unborn light of the Father, in the appearance of Thy light today on Tabor, the light of the Father, the light and the Spirit, instructing all creation with light”). However, such content is not necessary for luminaries: usually they simply glorify the event being celebrated (cf. “The flesh has fallen asleep”), which is why luminaries are more often called exapostilaria. The name “luminaries” is invariably applied only to Lenten lanterns, which all talk about light; the hymns that take their place at weekday, Sunday and holiday matins in Greek. liturgical books are called only exapostilaria; in Slavic ones it’s one way or the other; in relation to everyday ones, the name of the luminaries is attached in the Typikon, ch. 9 and 16, the name of the exapostilarians is in the Octoechos and the following Psalter; for Sundays - the name of the luminaries in the Typikon here, the exapostilaria - in the Octoechos; in relation to the holidays - luminaries in the Menaion, exapostilaria - in the Triodion. The name “exapostilaria” (έξαποστειλάριον from έξαποστέλλω – I send, I send) is explained either by the fact that they glorify the sending of the apostles to preach, which is actually stated in the Sunday exapostilaries (Mark of Ephesus) 2618, but only on Sundays, and not at all, or, more likely, by the fact that to sing it the singer comes out to the middle of the church 2619, which is still required for some exapostilarii (see Vel. Monday). – The chanting of the luminaries does not follow a vocal melody, but is completely self-consonant (close to kondakar), which is why the luminary also stands out from all the chants of Matins. On great holidays, like the troparion, it is sung three times. The Exapostilary is mentioned in Hypotiposis and Diatyposis 2620. In the Jerusalem “Succession” of the 9th-12th centuries. it is indicated at the current place of Matins, with the addition of similar or the remark “self-agreed”, sometimes with the indication of voice 2621. The Sunday exapostilary differs from other modified hymns of the Sunday vigil in that they are closely related to the content of the morning Gospel and therefore glorify the multifaceted celebrated event on the one hand, and even more privately than that revealed in the Gospel: they “talk about the procession of the myrrh-bearers to the apostles and the apostles to the tongues to preach about the resurrection” 2622. Of the songs of Sunday Matins, only the stichera on the Glory of the Praises, which are close in place to the exapostilaria, have the same content, but apparently broader, which is therefore directly called “Gospel”. While the festive luminaries are supposed to be sung twice, sometimes three times, the Sunday exapostilary is sung only once, perhaps because it is twice as long as all the other luminaries, or because “Holy is the Lord” is also, in fact, luminary. The Sunday exapostilaria, like the luminaries of the saints and in contrast to the great holiday luminaries, have, like all Sunday songs, the Theotokos. While all the Sunday Theotokos, excluding the unchangeable ones (according to the troparions of the “Cathedral of Angels” and the laudatory stichera), glorify the Mother of God without reference to the event of the resurrection, very rarely hinting at the latter in separate expressions, each luminary Theotokos is entirely dedicated to the depiction of the participation that She took in this event (“You rejoiced with your disciples...” - ex. 1, “You have seen your Son from resurrected from the tomb..." - ex. 9, "The Lord has risen three days from the grave, O Virgin, pray..." - ex. 10), with the only exception ex. 8. Such exceptional content of these Theotokos is fully consistent with the exclusivity in the series of hymns of the exapostilary, which, like the ipakoi and kontakion, is sung only once at a vigil. Resurrection joy, as if increasingly intensifying and more encompassing the entire being of those praying, by the end of the canon reaches the degree when the person praying can no longer think about anything other than the resurrection; therefore, henceforth the Theotokos (according to the exapostilary and praise) become Sunday, and the last Sunday troparion does not have the Theotokos at all. If a saint has a luminary (and many minor saints also have the latter - see, for example, September 27), then his luminary is sung on Slava, but on And now: Theotokos is not the menain luminary (which the Theotokos always has with him), but the resurrection one. This is the case even with great saints. This is due to the special – Sunday – content of these Mother of God. Only on the feasts of the Lord (which connect their service with the Sunday), the Theotokos, their pre- and post-feasts the resurrection of the Theotokos, the luminary of the Theotokos is replaced by their luminary. The Sunday exapostilaries (probably with their Theotokos), as their inscription in Octoechos shows, were compiled by the Byzantine Emperor Constantine VII Porphyrogenitus (912–959), the son of Emperor Leo VI the Wise, the author of the Gospel stichera. Such authorship ensured their rapid dissemination (cf. “The Only Begotten Son,” the creation of Emperor Justinian): they are already indicated as similar ones in the well-known Jerusalem “Succession” of the 9th-12th centuries; judging by the fact that in all three cases of such instructions the 1st Sunday exapostilaria (“Let us go up with the disciples”) 2623 is invariably called as similar, one can think that all 11 exapostilaria had the same melody. They are mentioned, however, under the general name “exapostilaria”, by the Studian charters of the Western editions 2624, but for some reason they are not known by the Studian-Alexievsky and Evergetid charters: perhaps they were excluded from the service here when the Gospel was transferred first to the 6th canon of the canon, and then before the canon. Cargo. RKP. Jerus. устава: «ексапостиларии: Свят Господь, рядовую евангельскую стихиру (т. е. ексапостиларии, потому что евангельская стихира положена далее на своем месте) два раза и Богородичен раз». Greek RKP: "Sunday" ex, saint, if celebrated, and the Mother of God.” Slav. RKP: “therefore the luminary (canonarch) speaks. resurrection, Holy One, if there is one, Mother of God" 2625. При Арсении Суханове на Востоке «поют светилен воскресения на правом крылосе, таже на другом поют другой светилен, аще есть, аще ли ни, то Слава и ныне Богородичен» 2626 . Greek Evkh.: "resurrection" ex. and a saint, if celebrated.” Greek current Typikon: “and exapostilaria.” Hieraticon: “Sunday exapostilaria, as well as the Theotokos; если же празднуется святой, после воскресного поется святого, затем Богородицы из Минеи». Old-fashioned, like our 2627. Dmitrievsky A. Τυπικά, CXXX. Pape. Griech. – Deutsch Handwórterbuch, II, 1321. Sophocles. Greek Lexicon, 627. Karabinov I. Lenten Triodion. St. Petersburg, 1910, 72. Talmud: Roschhaschana, 31a. Ilarius. Preface to the psalms. // Migne. Patrol. s. lat. IX, 234. Pitra. Spicil. solesm. IV, 1. Cabrol. Diet. d. archeol. III, 639. Migne. Patrol. s. gr., 28, 275. 4 Mansvetov I. Church mouth M., 1885, 3. Turaev B. Hours Ethiopian ts., 129 and d. Night service. Ethiopian c. Kyiv, 1901, 21, 28, 30. This is also supported by the analogy “The Lord cried”: even in the old printed books, all the psalms “The Lord cried” are indicated to be sung with special refrains, and for the stichera, the last verses of the psalm are repeated from the 10th, 8th or 6th from the end. Cabrol. Diet, d'archeol. IX, 2467. Hours Soph. b. No. 1052, l. 40 rev; Est. Moscow Synod, b. No. 330/380, l. 259. In simple brackets are additions and discrepancies in the printed Psalter, in broken brackets are additions from manuscripts. RKP. Moscow Syn. b. No. 330/380, l. 127 rev. Dmitrievsky A. Τυπικά, 264, 265, 607. Kekelidze K., prot. Liturgist cargo. memory, 318. RKP. Moscow Room. m. North 491/35, l. 7. Syn. b No. 381 Greek, l. 6. Τυπικόν Ven., 1643, l. 4. RKP. Moscow Syn. b. No. 328/383, l. 7 rev; No. 329/384, l. 19 rev; No. 679/386, l. 8 rev. Music Kyiv Ak. Aa 194, p. 130. Old-fashioned mouth, l. 76. RKP. Moscow Syn. b. No. 329/384, l. 191. Proscinitary, ch. 46, p. 207–233. RKP. Solov, b. Kaz. Ak. No. 1117, l. 123 rev. – 124 and others. Dmitrievsky A. Theologian rus. c. XVI century, p. 161. RKP. Moscow Syn. b. No. 335/391, l. 304, 307. Arseny, ep. Brief pract. mouth., 62–65. Proscinitary, ch. 46, p. 226, 272. Karabinov I. Lenten Triodion, 97. Kekelidze K., prot. Liturgist cargo. memory, 350 etc. Kekelidze K., prot. Lit. cargo memory, 354, 378 Filaret (Gumilevsky), archbishop Historical overview of hymns and hymns of the Greek Church. Chernigov, 1864. RKP. Moscow Typogr. b. No. 285/1206/142, l. 1, 46. RKP. Moscow Syn. b. No. 330/380, l. 1; Soph. b. at St. Petersburg Ak. No. 905, l. 153. Dmitrievsky A. Τυπικά, 608, 800. See p. 665, approx. 3. (Nevostruev K.) Description of glory. RKP. Moscow Syn. b. M., 1869, HI, 1, 449 etc. Regarding the doubling of stichera and troparions, the general rule is that the doubled song must be sung twice in a row, and not repeated subsequently; This is required by the antiphonal nature of all liturgical singing in general. The main rule of this combination is that the entire canon of Sunday Matins should not increase beyond 14, i.e., that each hymn should have no more than 14 troparions with the Iirmos inclusive. How consistently and strictly this principle of connecting with the Sunday canon of others is carried out by the charter is shown by the fact that even when coinciding with the Sunday of the twelfth feast of the Theotokos, which has a canon of 16, Sunday Matins does not increase its canon by a single verse, and because of this the festive canon is halved and sung only by 8. As if the number 14 is a double sacred 7 (7 troparia for each face), for the Sunday canon Matins represents an inviolable prerogative. RKP. Moscow Syn. b. No. 330/380, l. 1. Dmitrievsky A. Τυπικά, 800. Dmitrievsky A. Τυπικά, 608. For quotes, see p. 672, approx. 3. Old-fashioned mouth, l. 16 and rev. Τυπικόν. Ven., 1884, 2; Ί ερατικόν, 29. Παρακλητική. Ven., 1850, 6. Arseny, old school Ep. Uralsk. Brief practical regulations. Uralsk, 1908 (7416), l. 54 rev. RKP. Moscow Syn. b. No. 330/380, l. 76 rev., 112, 115, 127 rev. Toscani. Ad typ. graec., 48. RKP. Moscow Typogr. b. No. 285/1206/142, l. 4. RKP. Moscow Syn. b. No. 330/380, l. 29, 174 vol., 190. In Sinaisk. Euhol. No. 995 – 1481 service of St. Paraskeva is named καταβασία. Dmitrievsky A. Ευχολόγια, 449. Dmitrievsky A. Τυπικά, 264. RKP. Moscow Room. music North 491/35, l. 95. Syn. b. No. 381 Greek, l. 45. RKP. Moscow Syn. b. No. 330/380, l. 149 rev. RKP. Music Kievsk. Ak. 194, p. 31. Proscinitary, ch. 46, p. 242. Arseny, ep. Kr. pract. mouth, l. 66 etc. See Irmologius, chapter: “Songs of the Trinity” on chapter 8. and poems in song, sung all day long with the canon. Songs of poems sung on weeks and holidays.” M., 1895, l. 188 etc. Stoglav, ch. 16 Ed. Kozhanchikova. St. Petersburg, 1863, 79. Kapterev N. Fight against pat. Joseph on issue about unicorn // Bogosl. Vestn. 1908, 3, 375. Proscinitary, ch. 46, p. 218, 237, 242. Fomenko Kl., prot. Features of theology Greek ts., 17. (Nevostruev and Gorsky). Description glory RKP. Moscow Syn. b., 449, 466 etc. RKP. Moscow Syn. b. No. 328/383, l. 7 rev; No. 329/384, l. 19. Old-fashioned Service M., 1904, l. 7 rev. Hypotyposis, §§ 3, 12. Diatyposis – Dmitrievsky A. Τυπικά, 848. RKP. Moscow Type. b. No. 285/142/1206, l. 18 rev. etc. Quotes: p. 672, approx. 3; With. 665, approx. 3. Liturgiarion. Venice, 1544, building I. Migne. Patrol. s. gr., 127. Tour. imp. Irene, 24. Curopalates. Bonn, 1839, 5, 2. Dmitrievsky A. Ευχολόγια, 12. RKP. Moscow Type. b. No. 285/142/1206, l. 27 rev. 94; Wed Triodion Imp. Publ. b. F. 1, 74 (collection of Safarik) XII century, l. 113, 123 vol.; Stichirar Soph. b. St. Petersburg Ak. No. 83 XIV century, l. 34 rev. Kekelidze K., prot. Liturgist cargo. RKP., 318. RKP. Moscow Room. music North 491/35, l. 7 rev; Syn. b. No. 381 tr., l. 6; Τυπικόν. Ven., 1643, 4. Rkp. Moscow Syn. b. No. 328/383, l. 8; No. 678/386, l. 8; Kyiv. Ak. music Aa 194, p. 31. RKP. Moscow Typogr. 6. No. 285/1206/142, l. 94–97. Lenten Triodion, Week. the publican and the prodigal, 6 points each of the canon. RKP. Moscow Syn. b. No. 330/380, l. 87. Sergius (Spassky), archbishop. Complete months of the East: in 2 volumes. Vladimir, 1901–1902. T. 1, 277–251. RKP. Moscow Syn. b. No. 330/380, l. 135, 91 rev. Dmitrievsky A. Τυπικά, 257, 259, 608. It is customary among the Old Believers to bow at every word “we bow” in church songs, and the reciters know how many times in which songs this word appears. Quotes: see note. 4 on p. 690. Nikon, Patriarch. Tablet. Interpretation of the song Most Honest Cherub. According to Greek in the RKP. Venek, b. cod No. 249. Filaret (Gumilevsky), archbishop. Historical overview of the hymns and hymns of the Greek Church. Chernigov, 1864, 296. RKP Mosk. Syn. b. No. 381 Greek, l. 45. Arseny Sukhanov therefore notes that in the East, according to the 9th song on Sunday, “They do not sing with dignity anywhere” (Proskinitarium, chapter 46, p. 243). Boisonnadus. Analecta. Par., 1831, IV, 45. Filaret (Gumilevsky), archbishop. Historical overview of the hymns and hymns of the Greek Church. Chernigov, 1864, 296. See above, p. 694, approx. 2. Kostlin N. Mangnificat // Hauck A. Realencyclopodie. Leipz., 1903, XII, 71 f. Bingham. Origininum s. antique eccles. XIV, 2, 7. Thalhofer U. Handb. d. kath. Liturgik. Freib., 1883–1890, II, 778. Migne. Patrol. s. lat. 86, 121. Hauck. Realencycl. XII, 74. Based on the Greek mouth and Psalms according to Kiev-Pech. ed.: “in songs”. For quotes, see p. 665, approx. 3. Goar. Εύχολόγιον, 7. Rkp. Moscow Syn. b. No. 328/383, l. 8; No. 329/384, l. 20. RKP. Moscow Syn. b. gr. 381, l. 6. Old-fashioned mouth, l. 17 (9). Quotes: see note. 1; With. 696; approx. 4 and 5. RKP. Moscow Syn. b. No. 328/383, l. 8; No. 329/384, l. 20. RKP. Moscow Syn. b. No. 330/380, l. 68, 70, 72, 75, 77. Dmitrievsky A. Τυπικά, 257, 263, 265, 270, 273. RKP. Moscow Syn. b. No. 330/380, l. 8, 14 rev.; Soph. b. St. Petersburg Ak. No. 905, l. 153. Dmitrievsky A. Τυπικά, 608. RKP. Moscow Syn. b. No. 328/383, l. 8. RKP. Moscow Syn. b. No. 678/386, l. 9 rev. Old-fashioned mouth, l. (9) 17. Proscinitary, ch. 46, p. 243. Τυπικόν. Ven., 1884, 3. Hieraticon, 33. Veniamin (Krasnopevkov-Rumovsky), archbishop. New tablet: in 4 hours. St. Petersburg, 1858. Part II, 57. Dmitrievsky A. Τυπικά, 229, 231, 248. Παπαδόπουλος – Κεραμεύς Α . ' Ανάλεκτα ίεροσολυμιτικής σταχυολογίας, 14, 38, 141, 196. Nikolsky K., prot. Pos. to study mouth, 314. Παπαδόπουλος – Κεραμεύς Α . ' Ανάλεκτα ίεροσολυμιτικής σταχυολογίας, 14, 38, 141. Toscani. Ad. typ. gr., 54. RKP. Moscow Syn. b. No. 328/383, l. 8 rev. Εύχολόγιον, 37. Τυπικόν, 3. Ί ερατικόν, 33. Old-fashioned. ust., 9 (17). In accordance with the inter-song, songs 3 and 6 would require reading after the luminary. But he is not there, probably so as not to interrupt the whole stream of songs in this part of Matins, where the solemnity of the service reaches its climax. Moreover, the readings of Matins increase in importance and touchingness as it progresses: first the interpretation of the Apostle, then the Gospel, then Margarita (the best creations of the best father) and finally the Prologue (often replacing the entire service of the saint); even better reading would be required here; This could only be the Holy Scripture itself (cf. the end of Vespers); in ancient times, the Gospel reading took place here (and at Roman Catholic matins). The replacement for the reading here is the “Announcement” after Matins. You might be interested in: