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The next of the early works of 328 Gregory is considered to be the treatise On the Inscription of Psalms (Εἰς τὰς ἐπιγραφὰς τῶν Ψαλμῶν). This is not a full commentary on the Psalms, but rather a general reflection on the structure and meaning of the Old Testament Book of Psalms. To begin with, Gregory gives an overview of individual parts of the Psalter (Ps. 1–41; 42–72; 73–89; 90–106; 107–150 [numbering according to the Hebrew text]) 329, then examines the inscriptions of individual Psalms, either in their “historical” sense (for example, the relationship of the Psalm with a certain episode in the life of King David 330), or – mainly – in allegorical meaning (one of Gregory’s favorite images is an eight-stringed instrument, the number of its strings symbolizing the beginning of the next century 331). Some researchers consider this work to be unfinished 332. Before taking up the interpretation, Gregory ponders why King David presents his “philosophy” (φιλοσοφίαν 333) in the musical form of the Psalms. Since music, compared to the fine arts, is more connected with emotional perception than with matter, it was not always highly appreciated by the Fathers of the Church. Let us at least remember Augustine's bashful admission that he enjoyed the singing of the Psalms - and not just the spiritual content of the words 334! What has been said does not express any subjective position of this very peculiar thinker, a former Manichaean (and, by the way, the author of a systematic, in the Pythagorean spirit, treatise On Music 335). For other Church Fathers, music also had some kind of suspicious flavor, if not of openly pagan cults 336, then at least of effeminacy and debauchery 337. The Old Testament use of music - as well as the offering of bloody sacrifices - was considered by the fathers to be something that had already been surpassed by the spiritual law of the Gospel, and they tried to interpret references to it allegorically 338 (hence Gregory’s special interpretation of the “eight-stringed instrument”, and other examples that we will encounter). In this context, the “little theology” of music (as A.-I. Marru 339 calls this passage with a big question mark) of Gregory is indeed worthy of attention, although within the framework of the Greek “philosophical koine” 340 it does not represent anything unusual (cf. the Pythagorean reasoning in Plato’s Timaeus (47d) and other theories about the structure of the universe as music, especially in Stoicism 341). Gregory begins with the observation that the “philosophy” of David, presented in the form of the Psalms, is extremely popular in all segments of the population, at mournful and joyful events, at weddings and all-night vigils 342, precisely because of its musical form 343. This is “melodic philosophy” 344. Gregory is trying to answer the question of why music delights us. He comes to describe man as a “microcosm”, including everything observed in the macrocosm 345: everything that exists is ordered in a kind of “musical harmony” 346, where the most diverse objects, despite their diversity, harmonize with each other in an unshakable order and rhythm 347. The harmony and unchanging rhythm of the universe are manifested in the mixture (κρᾶσις 348) of different qualities in each individual object, which ensures coherence 349 and agreement of each part with the whole 350, including the entire cosmos in a kind of musical action 351. Thus, for Gregory, the basis of universal harmony is “mixture” (a materialistic metaphor characteristic of the Stoics 352), ensuring internal cohesion and agreement of each part with the entire cosmos 353. The order and rhythm of the universe are manifested in the smallest details: each part, harmonious in itself, gets along with the whole, since it reproduces its internal structure in its own way. However, so that this materialistic metaphor does not mislead the reader, Gregory hastens to add that “the listener (of this symphony) is the mind (ὁ νοῦς)” 354, which does not at all need sensory perception and, leaving it behind, turns the ear to the “song of heaven” 355, to the sweet sound formed by “the agreement (...) composed of opposites" 356. The movement of the heavens, as well as of all nature, is based on the opposition of rest and movement (στάσις καὶ κίνησις 357): in movement one can see peace, and in that which is motionless, constant mobility (τὸ ἀεικίνητον 358). The sky is in non-stop motion either in a circle or in a “wandering orbit”, but the trajectory (εἱρμός 359) of this movement is always the same, it is unchanged. And on the contrary, that which is motionless is paired with the mobile in perfect musical harmony 360. Thus, mixed (σύγκρατον 361) doxology “reveals the universe with all-harmonious sweet singing.” It is this “mutual unanimity and sympathy [“sympathy”] of everything, directed in order, decorum and consistency, that constitute the first, primitive and true musicia’ 362. “It is this, according to the ineffable law of wisdom, that the Ruler of the universe artistically begins with what is eternally accomplished in wisdom” 363. So, the idea of ​​the musical harmony of the world, “the artist and builder (τεχνίτης καὶ δημιουργός) of which, as the Apostle says (Heb. 11:10), is God” 364, Gregory connects with the biblical idea of ​​creation by the word, creation by means of the Logos. An interesting remark about the mediating role of “what is eternally accomplished in wisdom”: obviously, we are talking about the constant movement of the heavens, which never stops and from which the movement and harmony of the entire universe comes. Man, a “small world”, but also an “imitation of the One who brought the world into harmony” 365, sees in himself the same agreement that operates throughout the entire universe, since the part is certainly homogeneous (ὁμογενές 366) to the whole. Just as the whole sun is reflected in a piece of glass, so in a person, a small world, all the music of the universe is reflected, “in part corresponding to the whole, as much as the whole is contained in the parts” 367. This is indicated by the wise structure of the human body, which is perfectly adapted to the performance of music 368. Gregory speaks here not so much about the “microcosmic” music of the body - about its harmonious functioning and ordered structure, but directly about the adaptability of the human body to singing: Do you see this pipe - the windpipe, this support for the strings - the palate, this play of the tongue, cheeks and mouth, as if on the strings and with a bow? 369 Just as the human spirit is able to listen to the music of heaven, so the human body is able to imitate the music of the universe by singing. And here sounds of different pitches form a melody precisely because of their diversity, ordered sequence and rhythm 370. The secret of David's philosophy lies precisely in the fact that this great king, to whom tradition ascribes the authorship of the Psalter, delved into the music of heaven and recognized in its “skillful and all-wise movement” 371 the narrative of the glory of God (cf. Ps. 19:2). Listening to the musical performance with which creation glorifies the Creator 372, he “mixed in” (κατέμιξεν 373) some miniature (microcosmic) analogy of this music, i.e. the melody of human singing, to his “wise teaching about virtue” 374. This “honey sweetness” 375 is what makes his philosophy so popular, since “everything that is in accordance with nature is kind to nature” 376. His music imparts to our life the correct rhythm and harmony, which heal nature 377. Scripture itself testifies that music can heal: King Saul (1 Sam. 16:14–23), listening to David’s playing, “returned his mind to a natural state” 378. The melody and rhythm of music also have their own symbolic meaning, since they remind us that our life should be orderly and correspond to a certain rhythm, should create agreement and harmony. An overstretched string threatens to break, and an understretched string “becomes deaf and dumb” - in the hands of Gregory, this observation appears as a parable about a virtuous life 379. The whole philosophy of David, as Gregory explains in another place in the interpretation, is aimed at ensuring that the whole life of a person becomes Psalm 380 (i.e., “a piece of music played” on Psalter 381), composed, however, not from “earthly” sounds, but from sounds or thoughts (νοήματα 382) “from above,” i.e. reflecting the harmony of heaven. The symphony of various and varied virtues must “become like the harmony of the whole” 383, and become, like the entire universe, a “divine instrument” 384. Thus, the song of human life, according to Gregory, represented at the conclusion of the Book of Psalms by “harps and psaltery” (glorified “in psalms and psaltery,” Ps. 151:3), must join the doxology of the universe. The tense strings of these instruments show the effort of each individual virtue, which must resist the action of its opposite - vice 385. The psalmist presents the climax of the entire work with the blows of the cymbals (cf. Ps. 150:5) 386. symbolizing the joyful meeting (σύνοδος 387) of angelic and human natures 388: ...when human nature is elevated to its original lot, and during its mutual collision [with the angelic nature, like two plates of cymbals. – L.K.] will emit a sweet voice of thanksgiving 389 . In this majestic blow of the cymbals, Gregory hears the eschatological climax of the entire universe, when human nature, gifted, like the angels, with logos, but knocked out of the rhythm of heavenly praise by sin, will return to its original place 390. Gregory perceives all human history as a kind of pause in the rhythm of the cymbals, when two plates of cymbals went in different directions to meet again in a triumphant finale. The final chord means victory over the enemy, cast into oblivion. Now the universe can forever praise the divine triumph with one breath (cf. Ps. 150:6) 391. This is the ending of the entire Book of Psalms, skillfully included by Gregory in his orienting vision of the cosmos (the original community of spiritual beings, broken by sin and regained in the history of salvation). For our analysis, it is interesting that in the Psalter, as in the Gospel beatitudes, Gregory sees a certain movement or ascent (ἄνοδος 392, ἀνάβασις 393), a divine “guidance” to growth in virtues 394 - this is an original approach within the framework of patriotic exegesis 395. The main stages of the psalmodic ascent are reflected in the division of the Psalter into five parts 396: the first part (Ps. 1–21) is intended to turn the listener away from the futility and deceitfulness of the vicious path 397, which, according to Gregory, is the first step towards virtue 398. He who has tasted this beginning tries to consolidate and develop it; he longs for communion with God 399 just as a deer strives “for the springs of water” (cf. Ps. 42:1). He who has quenched his bodily thirst no longer experiences it, but the divine source, on the contrary, internally transforms the drinker 400. This phase on the path of virtue is described by the second part of the Psalter (Ps. 42–72). The third part (Ps. 73–89) indicates that divine justice is not always evident in this world, and turns its gaze to the future age, which brings judgment and truth, i.e. revealing the true state of affairs, now hidden 401. The fourth stage of the psalmodic path (Ps. 90-106) shows the transitory and temporary nature of the visible, calling on the listener to completely rise above the world 402. And finally, the last part of the Psalter (Ps. 107–150), the pinnacle of all ascent, allows one to see existence from the point of view of one who has truly risen above the transitory. As if from a mountain, he praises the Lord for everything that can be seen from this peak and that is not easy to see in the usual bustle. There are also pictures of human misfortune, clearly discernible even from this bird’s eye view, and yet most of the Psalms of the last part of the Psalter are characterized by thanksgiving and glorification 403. These five parts, Gregory points out, are arranged in ascending order 404, and the final words of each part as a definite boundary (τὸ πέρας 405) of our meditation are doxologies: “Blessed is the Lord God of Israel from everlasting to everlasting: awaken, awaken,” etc. (cf. Ps. 41:14; 72:18 ff; 89:53; 106:48; 150:6). This conclusion shows that the purpose of the entire Book of Psalms and its individual parts is to lead the listener to unceasing praise 406. In each part the structure of the whole is repeated, which corresponds to Gregory’s idea of ​​​​the “musician harmony” of the universe. On the path of virtue as constant progress towards the best and the highest, 407 the philosophy of David leads the listener to that measure of bliss 408 which our thought and our word cannot reach, where even the movement of our hope, always turned forward, 409 stops, since what the ending of the Psalter reveals to us exceeds all hope. The Psalter begins with words about blessedness (cf. Ps. 1:1) as the goal of virtue 410, likening us to the blessed God and giving us participation in Him 411, and the result of the entire psalmodic ascent, as we already know, is the triumphant sound of cymbals, announcing victory over all evil, its destruction, and revealing the unceasing praise of God 412 . How does Gregory imagine unceasing doxology? ... then from every breath will rise praise (cf. Ps. 151:6), forever continuing mercy (εἰς ἀεὶ παρατείνων τὴν χάριν), and with its increase constantly increasing bliss (δι' αὐξήσεως πλεονάζων εἰς τὸ διηνεκὲς τὸ μακάριον) 413 . In this description of eschatological beatitude, which can neither be explained nor imagined, 414 Gregory reveals that blessed eternity, i.e. the eschatological glorification of God, triumphantly begun by the solemn blow of the cymbals, when human and angelic natures are reunited in a single choir, he understands as the constancy of grace and the endless growth of bliss. In this glorification, grace will spread so that it will embrace all eternity entirely, and bliss will increase by unceasing growth, in which there will be no stops or interruptions. This idea of ​​eternity as an infinitely expanded interval, an endless movement, obviously represents an alternative to eternity as repetition, a cyclical eternity, where the rhythm outlined by the blows of cymbals would not be enough for one period and would repeat itself endlessly. This is probably what Gregory is trying to avoid, because he wants the blow of the cymbals in the triumphal chord to acquire even more of its unique uniqueness, ushering in an era of grace “extending” into eternity, bliss multiplied by infinity. The idea of ​​eschatological growth, which we encounter here for the first time in our study, sheds new light on the entire “anabasis” of the Psalter as the path “from strength to strength” and “from victory to victory” 415, which Gregory speaks of in connection with Ps. 84:8 as revised by the Septuagint 416 and with inscriptions of some Psalms 417 not found in the Septuagint. This anabasis is always directed towards a new victory, which lies before us 418, towards a new and ever deeper knowledge of what we are looking for 419. However, only thanks to the idea of ​​eternity itself as a new, endless path, Gregory’s idea acquires special radicalism. In accordance with the purpose of our study, it should be taken into account that in his reflections on the Psalter, Gregory also indirectly points to divine unlimitedness. The key thesis about God here - as in the interpretation of the beatitudes - appears to be divine beatitude (Gregory even says that all statements about God are actually measurements of beatitude 420). We read here also about the unlimited eternity of God: Because You are before creation (cf. Ps 90:2), You embrace all eternal extension from the moment when the nature of the age received its beginning until the moment when the end comes; the end of the endless is infinity 421. Gregory represents human eternity (αἰών) as a certain interval or interval (διάστημα), the boundaries of which are infinity. The eschatological eternity of man is thus a certain interval stretched out into infinity: ... and in the continuation of time greater than this, the measure of which is infinity, and which the Prophet calls: “the age of the century” 422. It is in this last statement that Gregory gives us some key to his idea of ​​eschatological eternity as an endless increase. After all, if human (as opposed to God’s) eternity, the eschatological future of humanity, is actually a certain unlimited interval of time, it is quite natural that the correlate of time – movement – ​​is hidden here. Thus, the human soul retains its “mobility” in eternity, since a person, a creature requiring change, can constantly grow, change for the better (but no longer for the worse). It is this constant possibility of transformation that distinguishes man from God, Who cannot change either for the worse (which is simply excluded) or for the better, “since there is nothing that would be better than Him, and into which He could change” 423. The Treatise on the Inscription of Psalms thus explains to us very interesting aspects of Gregory’s idea of ​​the infinity of God and of human life as an endless path. In addition, it is shown here that the human earthly anabasis from victory to victory will not cease even after the final triumph, and after the final blow of the heavenly cymbals will have the appearance of constant, continuous growth (although Gregory indicates that “the movement of hope will stop”). The only thing that was not realized in the book On the Inscription of Psalms was the combination of both of these motifs, which we will encounter only in the later writings of the saint. J. Daniélou initially considered this work to be relatively late (late 387) and considered it as three independent texts, see La chronologie des sermons, p. 368 ff. However, later he changed his point of view, see above, chapter Life and Works of Gregory, approx. 27 and 28. In inscr. Ps. I,1–9: GNO V, 25–69. As emphasized by M.-J. Rondeau, a method of analyzing a text and searching for the meaning (σκοπός) of the whole and individual parts (τμήματα), stated by Gregory in the introduction (see In inscr. Ps. I: GNO V, 24, 13–25, 6), corresponds to the Neoplatonic order of commenting on Plato’s dialogues, especially the methods of Iamblichus and Proclus (see J.-M. Rondeau, "D'où vient la technique utilisée par Grégoire de Nysse dans son traité Sur les titres es Psaumes?" // Mélanges d'histoire des religions offerts à H.-Ch. 284 ff). A reconstruction of Origen's commentaries on the Psalms, however, shows that the same method was already used by this predecessor and, obviously, Gregory's main source, although the influence of Iamblichus's hermeneutics can also be assumed. Gregory seeks in the entire Psalter and in its individual parts the basic soteriological and ascetic meaning that determines the interpretation of details, as well as the meaning of the allegory (see also R. E. Heine, Gregory of Nyssas Treatise, pp. 25–49). This order corresponds to Origen’s hermeneutics, which also focuses on the basic meaning (σκοπός) of the biblical text: God’s plan of salvation (see M. Harl, “Le guetteuer et la cible: les deux sens de σκοπός dans la langue religieuse des chrétiens” // Revue des Études Grecques, 74,1961, pp. 450–468, especially 455 ff). The construction of the Psalter corresponds not so much to the chronology of David’s life, as Gregory himself notes (In inscr. Ps. II, 11: GNO V, 115, 10–15), but rather to his spiritual path, see also M.-J. Rondeau, D'où vient, c. 274–281 (which also provides an overview of interpretations from the pens of Gregory’s predecessors, Origen and Eusebius); A. Le Boulluec, “Les schémas biographiques dans quelques vies spirituelles des IVe et Ve siècles: les itinéraires de l’ascèse” // Le temps chrétien de la fin de l’Antiquité au Moyen Age – IlIe-XIIIe siècles (Colloques Internationaux du C. N. R. S., No. 604), cp. 243–253, especially 243–246; R. E. Heine, Gregory of Nyssas Treatise, c. 19 ff. Cm. In inscr. Ps. II, 5; II, 11: GNO V, 83; 121 ff. This motif was developed by Gregory in his own brief interpretation of Ps. 6: GNO V, 187–193, see about this N. Ch. Knuth, Zur Auslegungsgeschichte von Psalm 6, Tübingen 1971, c. 36–41. On the mystery of the number eight in this interpretation of Gregory, see also A. J. Visser, “De zesde en de achtste: Gregorius van Nyssa over de zesde psalm” // Homiletica en Biblica, 20, 1963, p. 126–131; on the meaning of the number eight in patristic thought and in ancient Christian liturgics and architecture, see A. Quacquarelli, L’ogdoade patristica e suoi rifiessi nella liturgia e nei monumenti, Bari 1973. See R. E. Heine, Gregory of Nyssas Treatise, p. 10 ff. In inscr. Ps. I, 3: GNO V, 30,11 and 14. See Confess. X, 33.49–50. According to K. Sallmann, Augustine rejects “mimetic” music as an unreflected assimilation to nature, opposing it to the theory of “competent music” based on known rules (see K. Sallmann, “Augustinus’ Rettung der Musik und die antike Mimesistheorie” // H. Eisenberger, ed., Ερμηνεύματα, pp. 81–92). On the significance of music in pagan cults, see J. Quasten, Musik und Gesang in den Kulten der heidnischen Antike und christlichen Frühzeit, Münster 2 1973, p. 3–68; G. Wille, Musica Romana. Die Bedeutung der Musik im Leben der Römer, Amsterdam 1967, c. 26–74. However, Gregory also mentions chants that bring passion into the soul, see In Eccl. hom. 4: GNO V, 347.4–21. On the early Christian overcoming of the pagan and Jewish understanding of music and on the place of music and singing in the early Christian liturgy, see J. Quasten, Musik, p. 78–157. H.-I. Marrou, “Une théologie de la musique chez Grégoire de Nysse?” // J. Fontaine – Ch. Kannengiesser (ed.), Epektasis, c. 501–508. H.-I. Marrou, Une théologie, c. 506. See P. Boyancé, Études sur le Songe de Scipion. Essais d'histoire et de psychologie religieuses, Bordeau – Paris 1936, c. 104–115. From a musicological point of view, Th. also studied individual ideas about cosmic harmony. Reinach, “La musique des sphères” // Revue des Études Greques, 13.1900, p. 432–449. Cm. In inscr. Ps. I, 3: GNO V, 29, 23 – 30, 14. For how much music and singing accompanied the life of the early Christians, see J. Quasten, Musik, p. 158–247. … τὸ ... μελῳδεῖν τὰ ῥήματα (In inscr. Ps. I, 3: GNO V, 30.19 ff). ... ἡ διὰ τῆς μελῳδίας φιλοσοφία (In inscr. Ps. I,3: GNO V, 30.23). ... τὰ τοῦ μεγάλου κόσμου (In inscr. Ps. I, 3: GNO V, 30, 25 ff). … ἁρμονία τις μουσική (In inscr. Ps. I, 3: GNO V, 30, 27). ... κατά τινα τάξιν καί ῥυθμόν (In inscr. Ps. I, 3: GNO V, 30, 28). In inscr. Ps. I, 3: GNO V, 31, 5. … αὐτὴ ἑαυτῆς ἁπτομένη (In inscr. Ps. I, 3: GNO V, 31, 7). … τὴν τῶν μερῶν πρὸς τὸ ὅλον εὐαρμοστίαν ἐργαζομένη (In inscr. Ps. I, 3: GNO V, 31, 8). … τὴν παναρμόνιον ταύτην ἐν τῷ παντὶ μουσουργεῖ μελῳδίαν (In inscr. Ps. I, 3 : GNO V, 31, 9). The Stoics (namely Chrysippus), according to the testimony of Stobaeus and Philo (see SVFII, 471 and 472), distinguished four types of mixing: παράθεσις (Latin juxtapositio, i.e. a simple juxtaposition of bodies that touch only surfaces, without changing their qualities, for example, a handful of different grains), μῖξις (i.e. complete interpenetration of bodies, in which natural qualities are preserved, for example, fire and iron, soul and body), κρᾶσις (similar to μῖξις, however, it concerns liquids, for example, water and wine) and σύγχυσις (bodies also interpenetrate, however, instead of their original qualities, new ones arise - aromatic, medicinal or poisonous properties). However, Alexander of Aphrodisias (see SVFII, 473) in his abstract uses Chrysippus’ term μῖξις as a generic concept for the other three types, i.e. distinguishes only three types of mixing. See about this F. Karfik, “Predpoklady stoické kosmologie” // Reflexe, 18,1998, p. 3/1 – 3/30, esp. 3/19 – 3/23. [Cm. also D. S. Biryukov, “The theme of the penetration of fire into iron and its use in the context of describing the deification of man in the patristic tradition” // Magic Mountain 15 (2008), p. 64–73. – Note, ed.] About this “classical” idea of ​​cosmic harmony, based on the balance of opposites and their union through a certain intermediary, characteristic especially of the early texts of Gregory, see E. Corsini, “L'harmonie du monde et l'homme microcosme dans le De hominis opificio” // J. Fontaine – Ch. Kannengiesser, Epektasis, c. 456–462. In inscr. Ps. I, 3: GNO V, 31, 10; rus. lane – c. 10. (Hereinafter the translation of the homilies About the inscription of the Psalms - according to the edition: Works of St. Gregory of Nissk, Moscow, 1861, vol. 2). ... τῆς τῶν οὐρανῶν ὑμνῳδίας (In inscr. Ps. I, 3: GNO V, 31,12). ἡ συνῳδία... διὰ τῶν ἐναντίων συγκεκραμένη (In inscr. Ps. I,3: GNO V, 31.18 ff; Russian translation - p. 11). In inscr. Ps. I, 3: GNO V, 31, 20 ff. In inscr. Ps. I, 3: GNO V, 31.24. In inscr. Ps. I, 3: GNO V, 31.28. ... μουσική τις ... ἁρμονία (In inscr. Ps. I, 3: GNO V, 32.4). In inscr. Ps. I, 3: GNO V, 32.4. ? καὶ κόσμῳ καὶ ἀκολουθίᾳ διοικουμένη ἡ πρώτη τε καὶ ἀρχέτυπος καὶ ἀληθής ἐστι μουσική (In inscr. Ps. I, 3: GNO V, 32,11–14). ... ἀεὶ γινομένων [ἐν σοφίᾳ] τεχνικῶς ἀνακρούεται (Inscr. Ps. I,3: GNO V, 32, 14 ff; rus. lane – p. 12). In inscr. Ps. I, 3: GNO V, 32, 17 (Russian translation - p. 12). ... μικρὸς δε κόσμος ... καὶ μίμημα τοῦ ἁρμοσαμένου τὸν κόσμον (In inscr. Ps. I, 3: GNO V, 32.18 ff). In inscr. Ps. I,3: GNO V, 32, 22. ... ἀναλογοῦσα τῷ ὅλῳ διὰ τοῦ μέρους (In inscr. Ps. I, 3: GNO V, 32, 27 – 33.1; Russian translation – p. 13). ... πρὸς ἐργασίαν μουσικῆς φιλοτεχνηθεῖσα (In inscr. Ps. I, 3: GNO V, 33, 2 ff). In inscr. Ps. I, 3: GNO V, 33.4 ff (Russian translation – p. 13). In inscr. Ps. I, 3: GNO V, 31.1 – 4. ... τεχνικὴ τε καὶ πάνσοφος κίνησις (In inscr. Ps. I, 3: GNO V, 31, 14; Russian translation - p. 11). See Inscr. Ps. I, 3: GNO V, 31.16 – 20; 32, 6 – 11. In inscr. Ps. I, 3: GNO V, 33.9. In inscr. Ps. I, 3: GNO V, 33.10. In inscr. Ps. I, 3: GNO V, 33, 7. (In inscr. Ps. I, 3: GNO V, 33, 12). Regarding the ancient concept of the healing power of music, see G. Wille, “Rhytmisch-musikalische Heilpädagogik der Antike” // Idem, Schriften zur Geschichte der antiken Musik. Mit einer Bibliographie zur antiken Musik, Frankfurt a. M. 1997, p. 41–57. ... πάλιν πρὸς τὸ κατὰ φύσιν ἐπανελθεῖν τὴν διάνοιαν (In inscr. Ps. 3: GNO V, 33, 29; Russian translation – p. 14). However, Gregory does not leave even this example without allegorization, explaining in another place that David the anointed, driving away demons from Saul with his playing, is a prototype of Christ: the Divine Logos, strumming the harp of the human body, overcomes evil spirits with His song (cp. In inscr. Ps. II, 16: GNO V, 169 ff). See Inscr. Ps. I, 3: GNO V, 33.12 – 25; pyc. nep. – c. 14. In inscr. Ps. II, 3: GNO V, 75, 17. Cp. Gregory's distinction of Psalm (ψαλμός = melody played on a musical instrument), ode (ᾠδή = melody that is sung), praise (αἴνεσις or αἶνος = glorification of God's deeds), hymn (ὕμνος = glorification of God for His benefits) and prayers (προσευχή = request for something that concerns us personally), In inscr. Ps. 3: GNO V, 74, 23 – 75, 6. By the term “psalm” Gregory often means the words of a specific biblical Psalm, see E. Ferguson, “Gregory of Nyssa and “Psalmos”” // Restoration Quarterly, 22, 1979, p. 77–83; his, “Words from the ΨΑΛ-Root in Gregory of Nyssa” // H. Drobner – Ch. Klock (ed.), Studien zu Gregor von Nyssa und der christlichen Spätantike, Leiden 1990, p. 57–68 (added version of the previous article). In inscr. Ps. II, 3: GNO V, 75.19. ... μιμεῖται τὴν τοῦ παντὸς ἁρμονίαν (Inscr. Ps. I,9: GNO V, 66.3 ff). ... ὄργαυoυ ... τῷ θεῷ (In inscr. Ps. I,9: GNO V, 66.4 ff). Cm. In inscr. Ps. I, 9: GNO V, 66.9 ff. The Greek word κύμβαλα, which the Septuagint uses to translate the Hebrew caelcelím (from the root cll = to sound), is related to the Greek κύμβη, κύμβος (= bowl, plate). However, the term caelcelím is used only in Ps. 150:5 and in 2 Sam. 6:5; the Greek κύμβαλα is the equivalent of the more common cognate term meciltajim (eg, 1 Chron. 13:8; 15:19 and elsewhere in 1 and 2 Chron., Ezra, Neh.). In the Old Testament, both of these words denoted a musical instrument similar to modern cymbals: two bronze covers with ears, 10-15 cm in diameter, as excavations in Ugarit, Egypt and Israel show in the 14th-8th centuries. BC In the New Testament, the expression κύμβαλον, ἀλαλάζον occurs only as a metaphor for an empty sound (1 Cor. 13:1). This musical instrument was also known in the Greco-Roman environment, it was used mainly in the orgiastic cults of Cybele and Dionysus (see J. Quasten, Musik, pp. 52–58; G. Wille, Musica, pp. 53–62; D. A. Foxvog - A. D. Kilmer, article “Music” // G. W. Bromiley, ed., The International Standard Bible Encyclopedia, III, Grand Rapids, Mich. 1986, pp. 436–449, zejm. 444; K. L. Schmidt, article κύμβαλον // G. Kitel, ed., Theologisches Wörterbuch NT, III, Stuttgart 1938, p. 1037 ff. Gregory very accurately uses this expression in the sense of small plates. Medieval cymbals are another musical instrument consisting of a series of bells of varying sizes that are struck with hammers. The continuity of these instruments has not been proven (see J. Blades, article “Cymbals” // S. Sadie, ed., The New Grove Dictionary of Music and Musicians, V, London 1980, pp. 112–116, esp. 113 ff; J. W. McKinnon, article Cymbala, ibid., p. 116 ff). What's even stranger is Czech [and Ukrainian. – Approx. trans.] the term “dulcimer” refers to a folk musical instrument similar to a small piano, played with sticks; Accordingly, this word cannot in any way convey the Greek. κύμβαλα, which Gregory uses for his eschatological metaphor, see below. In inscr. Ps. I,9: GNO V, 66.17. Gregory literally speaks of “one and another plate” (ἓν κύμβαλον ... ἕτερον κύμβαλον, In inscr: Ps. I, 9: GNO V, 66, 23 ff). Since Ps 151:5 uses parallelism “in the cymbals of good acclaim, (...) in the cymbals of shouting” (ἐν κυμβάλοις εὐήχοις, ἐν κυμβάλοις άλαλαγμοῦ, O’; becilcele-sáma ` becilcele terú ` á), we could not be talking about the meeting of two cymbal cymbals, but about the meeting of two types of cymbals and their joint sound. However, the singular number used by Gregory does not allow such an interpretation. The method of playing, in which medieval cymbals were held horizontally and moved up and down (cf. the image of a bacchante on a Roman silver plate of the 4th century AD from the British Museum, see J. Blades, article Cymbals, p. 115), especially clearly conveys the image of the fall and restoration of human nature. [Hereinafter, the sign “SU” (above) denotes the “Translation of the Seventy” (interpreters; Septuagint). – Approx. ed.] In inscr. Ps. I.9: GNO V, 66.18 ff; rus. lane - With. 58. This vision of Gregory is similar to Origen's idea of ​​​​the common origin of rational beings, who were divided by the fall into angels and people, in order to be united again in the final apokatastasis, returning to the original ethereal state (see Origenes, Deprinc. 1,6,2: SC 252,196–200). Gregory's metaphor of two cymbals, which precisely by meeting each other produce a triumphant sound, points, however, to the continuing difference between the two natures. So, at least, says R. E. Heine, Gregory of Nyssas Treatise, p. 52: "If both were one, it would be only one cymbal and not music." See ibid., p. 69, approx. 169. In inscr. Ps. I.9: GNO V, 66.20 – 67.9. In inscr. Ps. I,7: GNO V, 43.14. In inscr. Ps. I,7: GNO V, 51.21. ... παρὰ τοῦ θεοῦ πρὸς τὸ κρεῖττον χειραγωγίαν (In inscr. Ps. I, 8: GNO V, 54,18). M.-J. draws attention to the originality of Gregory’s understanding of the Psalter as an ongoing spiritual path. Rondeau, pointing out, however, some inconsistencies in its construction (see M.-J. Rondeau, “Exégèse du psautier et anabase spirituelle chez Grégoire de Nysse” // J. Fontaine - Ch. Kannengiesser, ed., Epektasis, pp. 517–531. On the structure of Gregory’s work, see also A. Le Boulluec, "L'unité du texte. La visée du psautier selon Grégoire de Nysse" // Le texte et ses représentations (Études de littérature ancienne, 3), Paris 1987, pp. 159–166; Gregory of Nyssas Treatise, pp. 11–20 and. 50–79. See Inscr. Ps. I, 5: GNO V, 38.6 ff. Cm. In inscr. Ps. I, 5: GNO V, 39.6 ff. Cm. In inscr. Ps. I, 1: GNO V, 26.23 ff. ... τῆς τοῦ θεοῦ μετουσίας (In inscr. Ps. I, 5: GNO V, 40,10). Cm. In inscr. Ps. I, 5: GNO V, 39.17 – 40.18. Cm. In inscr. Ps. I, 6: GNO V, 40.20 – 43.11. Cm. In inscr. Ps. I, 7: GNO V, 43.13 – 18; 51.21–26. Cm. In inscr. Ps. I, 8: GNO V, 52–65. ... καθάπερ τινὰς βαθμοὺς ἀλλήλων ὑπερανεστῶτας (In inscr. Ps. I, 9: GNO V, 65, 6). In inscr. Ps. I, 9: GNO V, 65.10. See Inscr. Ps. I, 5; 9: GNO V, 38, 15 – 39.4; 65, 8–16. ... πορείας (In inscr. Ps. I, 9: GNO V, 67, 12 ff). ... τὸ μέτρον τῆς μακαριότητος (In inscr. Ps. I, 9: GNO V, 67.14 ff). ... ή κατ’ ἐλπίδα κίνησις ἡ πανταχοῦ τῆς ἐπιθυμίας ἡμῶν προουσα, ἐπειδὰν .... ἀργὴ μένει (In inscr. Ps. I, 9: GNO V, 67,17–20). Τέλος τοῦ κατ’ ἀρετὴν βίου μακαριότης ἐστίν (In inscr. Ps. 1,1: GNO V, 25, 11). J.-M. Rondeau (D'où vient, c. 282 ff) emphasizes the significance of the first words of the commentary text for the entire interpretation ("l'initiale prégnante") within the framework of Neoplatonic exegetical techniques and in Gregory's interpretation of the Psalms. A. Le Boulluec, however, denies the binding nature of this rule (see A. Le Boulluec, L’unité du texte, p. 162 ff). R. E. Heine (Gregory of Nyssas Treatise, c. 31 ff) believes that the corresponding rule was familiar to Gregory, most likely from Aristotle’s Rhetoric (III, 14:1415a5–25). See Inscr. Ps. I,1: GNO V, 26, 8–14. See Inscr. Ps. I,9: GNO V, 67, 21 – 68.20. In inscr. Ps. I, 9 : GNO V, 68, 20 ff (Russian translation – p. 60). Cm. In inscr. Ps. I, 9: GNO V, 68.23 – 69.4. … ἐκ δυνάμεως εἰς δύναμιν καὶ νίκην νίκη διαμειβόμενος (In inscr. Ps. II, 16: GNO V, 175.21 ff). See also In inscr. Ps. II, 11; II, 13: GNO V, 120.27; 133, 21 ff. … πορεύσονται ἐκ δυνάμεως εἰς δύναμιν (Ps 83, 8a O’). For example, Ps 6, 52 [51 O'] or 84 [83 O'] in the Septuagint have an inscription beginning with the words Εἰς τὸ τέλος. In non-septuagint versions, Εἰς τὸ νῖκος (Θ’), Τῷ νικοποιῷ (Α’), Έπινίκιος (Σ’), cm appear instead. Hexapla, ad loc. Obviously, this is why, when interpreting them, Gregory develops the motif “from victory to victory”, see In inscr. Ps. II, 11; II, 13; II, 16: GNO V, 120.27; 133, 21 ff; 175, 21 ff. See Inscr. Ps. II, 11: GNO V, 120.11 – 121, 2. In his brief interpretation of Psalm 6, Gregory comments on the ascent of the Psalter “from strength to strength” in the following way: “whoever in this way extends unceasingly into what is before (Phil 3:13) will never cease from a good ascent, always guided by sublime thoughts to the understanding of what is even higher” (In Ps.: GNO V, 187, 8 ff). Ταῦτα γὰρ πάντα τὰ ὑψηλὰ περὶ τὸ θεῖον νοήματα κατά γε τὸν (Inscr. Ps. I,1: GNO V, 26.2 ff). … σύ, φησίν, πρὸ τῆς κτίσεως εἶ, πᾶν τὸ αἰώνιον ἐμπεριέχων διάστημα, ἀφ’ οὖ τε ἀρχὴν ἔσχεν ἡ τοῦ αἰῶνος φύσις καὶ εἰς ὅ τι προελεύσεται πέρας. πέρας δὲ τοῦ ἀτελευτήτου ἡ ἀπειρία (In inscr. Ps. I, 7: GNO V, 46, 8–12; Russian translation - p. 91). ... εἰς τὸν αἰῶνα καὶ τὸ ὑπὲρ τοῦτο διάστημα, οὗ μέτρον ἐστὶν ἡ ἀπειρία, ὅπερ αἰώνων ὀνομάζει αἰῶνα (In inscr. Ps. II, 13: GNO V, 136, 3 ff; Russian translation - pp. 143–4). ... οὐ γὰρ ἔχει [ή θεία φύσις] τὸ ἑαυτῆς κρεῖττον, πρὸς ὃ μεταβήσεται (In inscr. Ps. II, 4: GNO V, 79.11 ff; Russian translation - p. 71).