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of the
Nativity, "Today the Virgin gives birth to Him Who is above all being…." The emperor, the patriarch, the clergy, and the entire congregation were amazed at both the profound theology of the hymn and Romanos' clear, sonorous voice as he sang. According to tradition, this was the very first
392:—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.
363:) refers to the shaft on which a scroll is wound, hence the significance of the Theotokos' command for him to swallow a scroll, indicating that his compositions were by divine inspiration. The scene of Romanos's first performance is often shown in the lower register of
590:
In poetic talent, fire of inspiration, depth of feeling, and elevation of language, he far surpasses all the other melodes. The literary history of the future will perhaps acclaim
Romanos for the greatest ecclesiastical poet of all
411:
and other sacred subjects, some 60 to 80 of which survive (though not all those attributed to him may be genuine). The earliest manuscripts of his works are dated centuries after his lifetime, akin to those of his successors
900:'Arise, O my soul, O my soul, why sleepest thou? The end draweth near, and thou must speak. Arise, therefore, from thy sleep, and Christ our God, who is in all places and filleth all things, shall spare thee.'
526:
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
1061:. 6 (Papers presented to the Third International Conference on Patristic Studies held at Christ Church, Oxford, 1959, Part IV Theologica, Augustiniana, ed. F. L. Cross). Berlin: Akademie-Verlag: 210–220.
348:(Mother of God) appeared to him with a scroll in her hand. She commanded him to eat the scroll, and as soon as he did so, he awoke. He immediately received a blessing from the Patriarch, mounted the
1731:
571:
published in Munich several previously unpublished chants of
Romanos and other hymnographers, from manuscripts discovered in the library of the Monastery of St John the Theologian in
546:
Of his other
Kontakia, one of the most well-known is the hymn, "My soul, my soul, why sleepest thou..." which is chanted as part of the service of the "Great Canon" of
891:Ψυχή μου, ψυχή μου, ἀνάστα, τί καθεύδεις; τὸ τέλος ἐγγίζει καὶ μέλλεις θορυβεῖσθαι· ἀνάνηψον οὖν, ἵνα φείσηταί σου Χριστὸς ὁ Θεός, ὁ πανταχοῦ παρὼν καὶ τὰ πάντα πληρῶν
340:. He read so poorly that another reader had to take his place. Some of the lesser clergy ridiculed Romanus for this, and being humiliated he sat down in one of the
296:
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
539:
is celebrated in the
Byzantine rite on 25 December, rather than on 6 January when Western Christians celebrate the visit (in the Orthodox Church, January 6, the
218:
of rhythmic poetry", he flourished during the sixth century, though the earliest manuscripts of his works are dated centuries after this. He was the foremost
1351:
170:
of the
Nativity written on it. He is surrounded by the Patriarch, the Emperor, and members of the congregation. His icon is often a combined with that of
1356:
1020:
974:
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300:(527-65), who was himself a hymn-writer; this would make him a contemporary of two other famous Byzantine hymnographers, Anastasios and Kyriakos.
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234:
for
October. Beyond this, his name is mentioned by only two other ancient sources. once in the eighth-century poet St. Germanos and once in the
1711:
1493:
317:
1127:
810:
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1259:
965:
565:. Most recent scholarship has asserted that he is not the author of the hymn, although there is significant dissent among scholars.
910:
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242:) where he is called "Romanos the melodist". From this scanty evidence we learn that he was born to a Jewish family in either
1880:
1865:
1860:
1205:
1087:
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in Sarah Gador-Whyte, “Changing
Conceptions of Mary in Sixth-Century Byzantium: The Kontakia of Romanos the Melodist,” in
171:
293:), residing to the end of his life at the Monastery of Kyros, where he was buried along with his disciple St. Ananias.
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875:
1905:
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254:. He was baptized as a young boy (though whether or not his parents also converted is uncertain). Having moved to
176:
Sometimes he is depicted as a deacon holding a censer in his right hand and a small model of a church in his left.
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Young man vested as a deacon, standing on a raised platform in the middle of a church, holding a scroll with his
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17:
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which contains kontakia and oikoi for the whole year, but does not include all compositions of Romanos.
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Although in more recent icons Saint Romanos is depicted standing on the ambo (directly in front of the
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in Constantinople. Most of the poem takes the form of a dialogue between the Mother of God and the
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Koder, Johannes (2008). "Imperial Propaganda in the Kontakia of Romanos the Melode".
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Domar: the calendrical and liturgical cycle of the Armenian Apostolic Orthodox Church
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Digitalized manuscripts of Romanos the Melodist at the Princeton University Library
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706:(1888), with three additional hymns from the Monastery at Patmos. See also Pitra's
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According to legend, Romanus was not at first considered to be either a talented
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Romanos is one of many persons who have been credited with composing the famous
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because of his great humility. Once, around the year 518, while serving in the
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Theology and Poetry in Early Byzantium: The Kontakia of Romanos the Melodist
1131:. Vol. 23 (11th ed.). Cambridge University Press. p. 576–577.
814:. Vol. 23 (11th ed.). Cambridge University Press. p. 576–577.
467:". It was only in the ninth century that the term kontakion came into use.
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commemorates Saint Romanos on the Saturday before the third Sunday of the
344:. Overcome by weariness and sorrow, he soon fell asleep. As he slept, the
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Museum of Ancient Greek, Byzantine and Post-Byzantine Musical Instruments
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695:
654:. Nevertheless, his music significantly influenced Armenian hymnography.
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The main source of information about the life of Romanos comes from the
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646:. This is a remarkable fact given that Saint Romanos lived after the
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Romanos le Mélode et les origines de la poésie religieuse à Byzance
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446:
420:. The oldest editions of full texts are dated to the 11th century.
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during the reign of the emperor Anastasius—on the question whether
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109:
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This article incorporates text from a publication now in the
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937:, Armenian Orthodox Theological Research Institute, 2002, p. 505.
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The Virgin in Song: Mary and the Poetry of Romanos the Melodist
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and standing on a raised platform in the middle of the church.
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Liturgy and the Emotions in Byzantium: Compunction and Hymnody
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and composer, who is a central early figure in the history of
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Schork, R. J. (1962). "Typology in the Kontakia of Romanos".
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449:. When it was sung to an original melody, it was called an
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455:. Originally, Saint Romanos' works were known simply as "
37:"Saint Roman" redirects here. For the French commune, see
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281:(713-716) is meant, the renowned Byzantinologist Prof.
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561:Hymn to the Theotokos, which is still sung during
352:(pulpit), and chanted extemporaneously his famous
357:kontakion ever sung. The Greek word "kontakion" (
1837:
635:of music; he is celebrated yearly on 1 October.
867:Singers in Late Byzantine and Slavonic Painting
833:
27:6th century Byzantine hymnographer and composer
1253:
285:favours the earlier date. There he served as
657:
431:, the full hymn having been replaced by the
395:He is said to have composed more than 1,000
379:Romanos and Virgin Mary, Miniature from the
1030:. Revised by Christian Troelsgård. Oxford:
203:; late 5th-century – after 555) was a
1260:
1246:
704:Sanctus Romanus Veterum Melodorum Princeps
60:
966:Russian Orthodox Church Outside of Russia
670:83. Cambridge, Mass., 2024. (18 kontakia)
312:or singer. He was, however, loved by the
266:in the Church of the Resurrection there.
30:For other people with the same name, see
1117:
915:Questions of Gender in Byzantine Society
798:
794:
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718:Geschichte der byzantinischen Litteratur
595:
445:, each with a refrain, and united by an
427:of each kontakion is chanted during the
374:
1040:10.1093/gmo/9781561592630.article.04494
994:10.1093/gmo/9781561592630.article.23748
984:. Revised by Alexander Lingas. Oxford:
971:
760:
692:. Oxford, 1963–1970. (complete edition)
470:Among his known works are kontakia on:
388:Romanos wrote in an Atticized literary
14:
1891:History of the Jews in the Middle East
1838:
1065:
1056:
827:
702:, i. (1876), containing 29 poems, and
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789:
650:and the Armenian Apostolic Church is
543:, celebrates the Baptism of Christ).
403:celebrating various festivals of the
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439:composed of from 18 to 30 verses or
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172:The Protection of the Mother of God
66:Icon of Romanus the Melodist (1649)
24:
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25:
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925:, 77–92 (Farnham: Ashgate, 2013).
575:. There exists in the library of
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786:1 Οκτωβρίου. ΜΕΓΑΣ ΣΥΝΑΞΑΡΙΣΤΗΣ.
708:Hymnographie de l'église grecque
666:Ed. and trans. Thomas Arentzen.
435:. A full kontakion was a poetic
928:
668:Dumbarton Oaks Medieval Library
330:Feast of the Nativity of Christ
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880:
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423:Today, usually only the first
332:, he was assigned to read the
174:, which falls on the same day.
13:
1:
1212:Works by Romanos the Melodist
944:
855:, (Munich, 1897), pp. 312-18.
674:Sancti Romani Melodi Cantica.
586:Krumbacher says of his work:
535:, whose visit to the newborn
509:, the day before Palm Sunday)
1881:6th-century Christian saints
1866:6th-century Byzantine people
1861:5th-century Byzantine people
1744:School of Ecclesiastic Music
1011:UK public library membership
608:, the famous Russian church
505:The Raising of Lazarus (for
7:
1218:(public domain audiobooks)
1156:José Grosdidier de Matons,
529:Church of the Holy Apostles
314:Patriarch of Constantinople
10:
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1072:Cambridge University Press
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870:, p. 126ff, BRILL, 1986,
782:Ὁ Ὅσιος Ῥωμανὸς ὁ Μελῳδός
732:Umarbeitungen bei Romanos
658:Editions and translations
640:Armenian Apostolic Church
604:) and wearing a deacon's
550:on the fifth Thursday of
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853:Gesch. d. byz. Literatur
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32:Romanus (disambiguation)
1906:Byzantine hymnographers
1876:Syrian Christian saints
1332:Joseph the Hymnographer
1227:The Kontakia of Romanos
1128:Encyclopædia Britannica
1066:Mellas, Andrew (2020).
1032:Oxford University Press
986:Oxford University Press
811:Encyclopædia Britannica
690:Constantine A. Trypanis
644:Exaltation of the Cross
631:, Saint Romanos is the
629:Eastern Orthodox Church
367:icons (example above).
289:in the "Great Church" (
225:
128:Eastern Orthodox Church
1696:Thrasyvoulos Stanitsas
1569:Hagiopolitan Octoechos
1564:Neobyzantine Octoechos
1322:Theophanes the Branded
1018:Levy, Kenneth (2001).
975:"Romanos the Melodist"
593:
541:Feast of the Theophany
474:The Nativity of Christ
385:
382:Menologion of Basil II
222:composer of his time.
152:October 1 (October 14
1856:6th-century composers
1727:Monastery of Stoudios
1676:Greek Byzantine Choir
1166:Dumbarton Oaks Papers
1080:10.1017/9781108767361
956:Catholic Encyclopedia
596:Legacy and depictions
588:
378:
318:Church of the Panagia
246:(modern-day Homs) or
1896:Jewish Greek history
1756:*also music theorist
1691:Konstantinos Pringos
1537:72 equal temperament
1337:Joseph the Confessor
1317:Theodore the Studite
1292:Romanos the Melodist
1208:at Wikimedia Commons
1206:Romanos the Melodist
1153:(Cambridge UK, 2017)
1146:(Philadelphia, 2017)
951:Romanos the Melodist
648:Council of Chalcedon
193:Romanos the Melodist
1871:Byzantine composers
1312:Stephen the Sabaite
1149:Sarah Gador-Whyte,
512:Adam's Lament (for
409:lives of the saints
405:ecclesiastical year
1686:Iakovos Nafpliotis
1681:Nikodimos Kabarnos
1640:Solon Hadjisolomos
1395:Janus Plousiadenos
1352:Nikephoros Ethikos
1027:Grove Music Online
981:Grove Music Online
725:Studien zu Romanos
664:Poems about Women.
614:Johann von Gardner
386:
269:He later moved to
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1774:
1738:Only-begotten Son
1655:Miloš Velimirović
1574:Papadic Octoechos
1446:Paschal troparion
1425:George Pachymeres
1388:Manuel Chrysaphes
1278:List of composers
1204:Media related to
1142:Thomas Arentzen,
1089:978-1-108-76736-1
1059:Studia Patristica
1049:978-1-56159-263-0
1021:"Byzantine Chant"
1009:(subscription or
1003:978-1-56159-263-0
953:article from the
899:
830:, pp. 24–25.
519:The Treachery of
258:(Beirut), he was
201:Ῥωμανὸς ὁ Μελωδός
190:
189:
121:Venerated in
16:(Redirected from
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1302:John of Damascus
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1717:Protopsaltes
1660:Egon Wellesz
1579:Nana (echos)
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919:Bronwen Neil
917:, edited by
914:
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777:Synaxaristes
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761:Engberg 2001
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681:
680:. – Vol. 2:
677:
673:
663:
637:
633:patron saint
626:
610:musicologist
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537:Christ Child
525:
501:Prodigal Son
469:
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342:choir stalls
307:
295:
291:Hagia Sophia
275:Anastasius I
268:
239:
229:
208:hymnographer
192:
191:
108:(modern-day
86:(modern-day
72:The Melodist
1851:550s deaths
1846:490s births
1712:Akolouthiai
1607:Cretan lyra
1595:Instruments
1377:John Kladas
962:St. Romanos
828:Mellas 2020
696:J. B. Pitra
602:iconostasis
514:Palm Sunday
240:anaklomenon
39:Saint-Roman
18:Saint Roman
1840:Categories
1669:Performers
1494:Koinonikon
1477:Cherubikon
945:References
773:(in Greek)
606:sticharion
581:manuscript
563:Great Lent
552:Great Lent
483:St Stephen
322:Blachernae
162:Attributes
1552:Octoechos
1516:Sticheron
1511:Troparion
1499:Kontakion
1467:Aposticha
1451:Octoechos
1413:Theorists
1285:Composers
1178:0070-7546
1098:225623021
1013:required)
840:Levy 2001
686:Paul Maas
684:. Ed. by
479:Martyrdom
452:idiomelon
360:κοντάκιον
354:Kontakion
346:Theotokos
298:Justinian
287:sacristan
220:Kontakion
205:Byzantine
182:Patronage
168:Kontakion
102:After 555
1767:Category
1628:Scholars
1614:Thaboura
1504:Akathist
1487:Kathisma
1216:LibriVox
1186:20788050
676:Vol. 1:
579:a Greek
559:Akathist
447:acrostic
401:kontakia
334:kathisma
328:for the
260:ordained
248:Damascus
110:Istanbul
1780:Portals
1705:Related
1619:Organon
1532:Petasti
1439:Liturgy
1123:Romanos
1116::
898:
627:In the
463:", or "
425:strophe
338:Psalter
256:Berytus
238:(s. v.
232:Menaion
54:Romanos
1830:Poetry
1806:Saints
1557:Nenano
1525:Theory
1327:Kassia
1184:
1176:
1110:
1096:
1086:
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1000:
874:
775:Great
710:(1867)
622:singer
577:Moscow
573:Patmos
457:psalms
437:sermon
418:Kassia
407:, the
365:Pokrov
310:reader
304:Legend
264:deacon
216:Pindar
114:Turkey
1818:Music
1547:Echos
1472:Canon
1460:Forms
1182:JSTOR
1094:S2CID
739:Notes
620:of a
618:tunic
591:ages.
521:Judas
465:poems
433:canon
397:hymns
390:koine
371:Works
252:Syria
244:Emesa
236:Souda
197:Greek
186:Music
148:Feast
92:Syria
83:Emesa
49:Saint
1586:Ison
1174:ISSN
1084:ISBN
1044:ISBN
998:ISBN
921:and
909:See
896:lit.
872:ISBN
688:and
638:The
533:Magi
499:The
493:The
489:Monk
477:The
461:odes
459:", "
442:ikoi
416:and
350:ambo
226:Life
154:N.S.
99:Died
88:Homs
77:Born
1214:at
1125:".
1076:doi
1036:doi
990:doi
481:of
399:or
320:at
250:in
1842::
1180:.
1170:62
1168:.
1092:.
1082:.
1074:.
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1024:.
996:.
988:.
978:.
893:,
889::
820:^
808:.
791:^
779::
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612:,
554:.
262:a
199::
112:,
90:,
1782::
1390:*
1261:e
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964:(
842:.
784:.
763:.
730:—
723:—
516:)
195:(
156:)
116:)
94:)
41:.
34:.
20:)
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