Romanos the Melodist

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Romanos the Melodist bigraphy, stories - Greek hymnographer

Romanos the Melodist : biography

Saint Romanos the Melodist or the Hymnographer ( often Latinized as Romanus or Anglicized as Roman), was one of the greatest of Greek hymnographers, called "the Pindar of rhythmic poetry". He flourished during the sixth century, which is considered to be the "Golden Age" of Byzantine hymnography.

Life

The main source of information about the life of Romanos comes from the Menaion for October. Beyond this, his name is mentioned by only two other ancient sources. One in the eighth-century poet St. Germanos, and once in the Souda (s. v. anaklomenon), where he is called "Romanos the melodist". From this scanty evidence we learn that he was born to a Jewish family in either Emesa (modern-day Homs) or Damascus in Syria. He was baptized as a young boy (though whether or not his parents also converted is uncertain). Having moved to Berytus (Beirut), he was ordained a deacon in the Church of the Resurrection there.

He later moved to Constantinople during the reign of the emperor Anastasius—on the question whether Anastasius I (491-518) or Anastasius II (713-716) is meant, the renowned Byzantinologist, Prof. Karl Krumbacher favours the earlier date.Krumbacher, Gesch. d. byz. Literatur, (Munich, 1897), pp. 312-18. There he served as sacristan in the "Great Church" (Hagia Sophia), residing to the end of his life at the Monastery of Kyros, where he was buried along with his disciple St. Ananias.

If those scholars who believe that he lived during the reign of the earlier Anastasius are correct, then he may have continued writing during the reign of Emperor Justinian (527-65), who was himself a hymn-writer; this would make him a contemporary of two other famous Byzantine hymnographers, Anastasios and Kyriakos.

Works

Romanos wrote in an Atticized literary koine— i.e., he had a popular, but elevated style— and abundant Semiticisms support the view that he was of Jewish origin. Arresting imagery, sharp metaphors and similes, bold comparisons, antitheses, coining of successful maxims, and vivid dramatization characterize his style.

He is said to have composed more than 1,000 hymns or kontakia celebrating various festivals of the ecclesiastical year, the lives of the saints and other sacred subjects, some 60 to 80 of which survive (though not all those attributed to him may be genuine).

Today, usually only the first strophe of each kontakion is chanted during the divine services, the full hymn having been replaced by the canon. A full kontakion was a poetic sermon composed of from 18 to 30 verses or ikoi, each with a refrain, and united by an acrostic. When it was sung to an original melody, it was called an idiomelon. Originally, Saint Romanos’ works were known simply as "psalms", "odes", or "poems". It was only in the ninth century that the term kontakion came into use.

Among his known works are kontakia on:

  • The Nativity of Christ
  • The Martyrdom of St Stephen
  • The Death of a Monk
  • The Last Judgment
  • (for Lazarus Saturday, the day before Palm Sunday)
  • (for Palm Sunday)
  • The Treachery of Judas

His Kontakion of the Nativity is still considered to be his masterpiece, and up until the twelfth century, it was sung every year at the imperial banquet on that feast by the joint choirs of Hagia Sophia and of the Church of the Holy Apostles in Constantinople. Most of the poem takes the form of a dialogue between the Mother of God and the Magi, whose visit to the newborn Christ Child is celebrated in the Byzantine rite on 25 December, rather than on the 6th of January, when Western Christians celebrate the visit (in the Orthodox Church, January 6, the Feast of the Theophany, celebrates the Baptism of Christ).

Of his other Kontakia, one of the most well-known is the hymn, "My soul, my souls, why sleepest thou…" which is chanted as part of the service of the "Great Canon" of St. Andrew of Crete on the fifth Thursday of Great Lent.