THE OLDEST IADGARI The Jerusalem Tropologion – 4th to 8th centuries

In 1980 there appeared a landmark in liturgical scholarship and documentation, a critical edition of the “Oldest Iadgari”1, that is, the Georgian Tropologion, with all the poetical texts for the Liturgical Year in Jerusalem, many of which can be shown to be earlier than the year 614, in a magnificent and luxurious critical edition which occupies pp. 7-556, followed by extensive indices of troparia in Georgian, those with known Greek parallels, biblical texts, etc. (pp. 557-656) and completed by a series of codicological and liturgiological articles by three eminent Georgian authors (pp. 657-919). At the end of the book are found résumés in Russian (pp. 922-929) and French (pp. 930-939) and a table of contents (pp. 940-942). The impact of this publication in the following years has been limited, despite the work of a small number of specialists, largely because of the impenetrable linguistic barrier. Georgian scholars usually publish only in Georgian, and this proto-Caucasian language represents a formidable challenge even to quite capable linguists. The purpose of the present study is thus to give an extended account of this important publication in the hope that more scholars will be inspired to learn Old and Modern Georgian. The exceptional interest of the material now available will be seen from the table of contents, which offers a very precise account of the test edited and the articles which follow. The calendar presented is of great interest? The stational rubics in the texts and the absence of a feast of St. Saba make it clear that the rite is that of the city of Jerusalem and not that of the Georgian monks at the St. Saba monastery or on Sinai. Here now is a translation of the Index (p. 940): Foreword (by E. Met’reveli) 5 “Text” March 25th Annunciation2 7 December 25th Nativity 11 December 26th David and Jacob 22 December 27th St. Stephen 24 December 28th SS. Peter and Paul3 27 December 29th SS. James the Apostle and John the Evangelist 29 January 1st τὰ τῶν ἀρχιερέων4 30 January 6th Epiphany 37 January 7th St. Abo 37

1 Met’reveli, E., Ch’ank’ievi, Ts., Khevsuriani, L., AA. and Edd., Udzvelesi Iadgari (Dzveli Kartuli Mts’erlobis Dzeglebi II), (Tbilisi: Metsniereba, 1980), in 4°, 942 pp. 2 The position of the Annunciation, seemingly out of chronological order, immediately before Christmas, is evidence of the pre-Justinian level of the Georgian Jerusalem calendar. 3 The June feast of Peter and Paul was introduced, on the basis of practice in the Roman church, by Anastasios and Justin. The Oldest Iadgari has both dates. 4 Cf. Van Esbroeck, Les plus anciens homéliaires géorgiens, p. 335 (full bibliographical details of works referred to in the notes will be found in the bibliography at the end of this work). This is the feast of the Bishops of Jerusalem.

Easter5 of the Epiphany 60 January 17th St. Anthony 75 January 28th The Fathers 79 January 29th Apparition of the Cross6 85 February 2nd The Meeting7 86 Removal of Meat8 99 Removal of Cheese9 100 1st Saturday10 of St. Theodore 107 2nd Sunday 115 3rd Sunday 123 4th Sunday 130 4th Saturday: The 40 Martyrs11 137 5th Sunday 145 6th Sunday 153 6th Saturday of Lazarus 160 Palm Sunday 165 Easter 216 New Sunday 220 2nd Saturday of Easter: of the Paralytic 227 Thursday of the 3rd of Easter: of the Infant Children12 229 23rd April St. George13 233 7th May Apparition of the Cross14 235 6th Thursday Ascension 237 6th Saturday Healing of the Blind Man 243 7th Sunday Pentecost 245 25th June Nativity of John15 251 26th June St. Febronia16 255 Atenagenay – of the Apostles17 255 6th August Transfiguration 260

5 i.e. Sunday (after). 6 January 29th is the Feast of the Apparition of the Cross to Constantine; May 7th is the Feast of the Apparition of the Cross to Constantius, and September 14th is the Feast of the Elevation of the Cross. 7 I.e. the Feast known as Candlemas in the Latin church. 8 I.e. “Meatfare Sunday”. 9 I.e. “Cheesefare Sunday”. 10 I.e. of Great Lent. 11 I.e. of Sebaste. 12 This Feast of the Holy Innocents is surely that celebrated by Egeria, who went to Bethlehem in May. See Paul Devos, La date du voyage d’Egérie in Analecta Bollandiana 85 (Bruxelles, 1967) pp. 165-194, especially p. 180 where Bethlehem is mentioned, although only in passing, and the visit is regrettably not exploited for the author’s chronological thesis to date the visit as having taken place in the year 384. 13 St. George occurs both on 23rd April and on 3rd November. 14 See note 6 above. 15 John the Baptist. This is a post-Justinian feast (i.e., after 550). The title in the Iadgari adds berdzulad (“à la grecque”). 16 From Mesopotamia. 17 In the text, the title reads: 7th Sunday of Pentecost. The Apostles; Atenagenay. Cf. Van Esbroeck, Les plus anciens homéliaires, p. 332.

15th August “Mariamobay” 266 29th June Peter and Paul18 275 15th July St. Kyriakē19 275 26th July St. Thekla20 275 29th July Beheading of St. John [the Baptist] 275 8th September Nativity of the Mother of God 283 13th September ’Egkaίnia21 287 14th September Elevation of the Cross22 298 24th September St. Thekla23 315 27th September The Silence of Zachariah24 316 28th September St. Chariton25 318 3rd November St. George26 318 14th November The Archangels 321 The Dead 327 Ὑπακοή and graduals27 334-

366 Dasadebelni (troparia) of the Resurrection 367 Dasadebelni (troparia) of penance 513 Dasadebelni of the Fallen Asleep 525 Supplement I 529 Supplement II 540 FOR THE TEXT 557 INDICES Troparia 563 Heirmoi: Georgian-Greek 643 Troparia: Georgian-Greek 644 Psalms 651 STUDIES Overview of the Literature (Lili Khevsuriani) 657 The Jerusalem Lectionary and the Oldest Iadgari (Elene Met’reveli) 662 Manuscripts and Editions of the Jerusalem Lectionary (Elene Met’reveli) 663 The Khanmet’i Lectionary (Elene Met’reveli) 664 An Account of the Khanmet’i Lectionary and the Kanon (Elene Met’reveli) 672

18 This is a post-Justinian date. Cf. note 3 above. 19 Only the reference is given, without hymnography. 20 As in note 19 above. This date is given only in the MS A (see below); the other MSS have 24th September. 21 Enk’eniay = Dedication (of the Church of the Anastasis by Constantine). 22 See note 6 above. 23 See note 20 above. 24 We find the first mention of the inauguration of this Feast in the Homily by St. John Chrysostom on Christmas in which he justifies the new Feast of Christmas, cf. PG 49, 351-362. 25 See note 19 above. 26 See note 13 above. 27 (Ibak’oni da c’ardgomani). These are given for all the major feasts (Annunciation, Nativity etc.), including “Lamp’ronay”, Sunday of the Lamps (= before Lazarus), and also for penitence, “Lit’ani” (processions) and “qrmatani” (children), i.e. the three of Babylon in the burning fiery furnace.

Detailed Analysis of Each of the Oldest Iadgaris (Elene Met’reveli) 684 The Principal Copies of the Oldest Iadgari (Lili Khevsuriani) 691 The Constituent Parts of the Oldest Iadgari (Lili Khevsuriani) 706 The Calendar of the Oldest Iadgari (Lili Khevsuriani) 721 The Principal Structures of the Parts of the Year in the Oldest Iadgari (idem) 741 Certain Feasts in the Oldest Iadgari (Lili Khevsuriani) 747 The Lenten Cycle in the Oldest Iadgari (Lili Khevsuriani) 757 Passion Week in the Oldest Iadgari (Lili Khevsuriani) 771 Easter in the Oldest Iadgari (Lili Khevsuriani) 779 Minor Festal Periods in the Oldest Iadgari (Lili Khevsuriani) 785 The Versatile Nature of the Oldest Iadgari (Elene Met’reveli) 789 The Poetic Stratum of the Lectionary in the Oldest Iadgari (Elene Met’reveli) 793 The Greek Models of the Poetic Lectionary Troparia in the Oldest Iadgari (idem) 798 Concerning the Dating of the Lectionary Poetic Stratum of the Oldest Iadgari (id.)

808

The Troparia of Midday and the Mesonyktikon of Friday of the Passion (idem) 818 The Stichira of the Oldest Iadgari (Elene Met’reveli) 820 The Kanon of the Annual Cycle in the Oldest Iadgari (Elene Met’reveli) 828 “Skhwani28” Hymns in the Oldest Iadgari (Elene Met’reveli) 844 The Akolouthia of the Heirmei in the Iadgari (Elene Met’reveli) 851 The 2nd Ode in the Kanon of the Oldest Iadgari (Elene Met’reveli) 856 The 9th Ode in the Oldest Iadgari (Elene Met’reveli) 858 The MS A Stratum Feasts in the Oldest Iadgari (Elene Met’reveli) 862 The Hymnography for Abo (Elene Met’reveli) 866 Hymnography for the Resurrection in the Old Redaction (Tsatsa Ch’ank’ievi) 869-

913 MSS of Resurrection Hymnography (Tsatsa Ch’ank’ievi) 870 The Relation of the Resurrection Hymnography with the Other Hymnography of the Oldest Iadgari (Tsatsa Ch’ank’ievi)

873

The Resurrection Hymnography of the Parchment-Papyrus Iadgari (idem) 881 The Composition of the Hymnography (Tsatsa Ch’ank’ievi) 885 Psalmic Hymnography (Tsatsa Ch’ank’ievi) 888 Material Dedicated to the Mother of God (Tsatsa Ch’ank’ievi) 892 Georgian Troparia Corresponding to Greek Heirmoi (Tsatsa Ch’ank’ievi) 905 Resurrection Hymnographical Material in the Liturgical Manuals (idem) 908 Liturgical Indications in the Resurrection Hymnography (idem) 911 Troparia of Penance (Lili Khevsuriani) 913 Abbreviations Used for Bibliography 920 Codes 921 Résumé in Russian 922 Résumé in French 930

28 Skhwani = “others, ἄλλοι”, or alternative series of hymnography.

After this impressive list of contents, it is clear that a brief study such as this can do little more than describe certain sections of the Iadgari and summarise their content. We shall direct our attention principally to the text edited – all 549 pages of it – after a summary of the foreword. Our treatment of the indices and articles that follow, tempting as they may be after reading their titles, must regrettably be brief in the extreme.

* * *

In the Foreword (pp. 5-6), Elene Met’reveli points out the key role of the Georgian literary centres in Palestine from the 5th-8th centuries, during which period the Jerusalem rite was in use in Georgia. In Georgian we possess four liturgical books of the Jerusalem rite from this pre-Byzantine period: (1) the Jerusalem Lectionary; (2) the Liturgy of St. James; (3) the Mravaltavi or Collection of Homilies, and (4) the hymnographical material – the Iadgari or Tropologion.29 From the 10th century onwards there was a gradual Constantinopolitisation, as a result of which these books fell out of use – indeed, their Greek original were lost, and the survive only in Georgian. Only a small portion of this material survived in the later Greek books, and this fact highlights the importance of these Georgian texts. The Iadgari is the first ever collection of liturgical hymnography since it coincides with the first period of hymnographical development. It is based on the Lectionary or the “Great Kanon”, from which it developed parallel to the development of hymnography. It therefore has various strata (Georgian: pena), and shows us the history of Georgian, and therefore Greek, hymnography from the 5th-9th centuries. Formerly only one MS of the Oldest Iadgari was know – the “Parchment-Papyrus” MS30. Subsequent, Sin. 18, Sin. 41 and Sin. 40, all 10th century MSS, have come to light31. Parts of the Iadgari are also contained in Sin. 34, 26, 20 and 54. These MSS in combination not only enable us to restore lost or illegible or misplaced parts of the Parchment-Papyrus Iadgari, but they also help us to understand its structure, formation and development. A particular problem was sorting out the chronology of the composition of the 10th century Iadgari. The criterion must be the development of poetic forms. However, the relation of pre-Byzantine hymnography with early Byzantine hymnography still requires detailed investigation. E. Met’reveli states that the present study cannot claim to be exhaustive; it is intended to give a complete reconstruction of the Oldest Iadgari and to present it without falsification, explaining the various strata. Elene Met’reveli and Lili Khevsuriani edited the annual cycle part of the Oldest Iadgari from 4 MSS with corresponding studies. Lili Khevsuriani compiled the index of troparia in this part and 29 As Stig Symeon Fröyshov’s still unpublished thesis on Geo. Sin. 35 has shown, we also possess the Book of Hours or Horologion (see Bibliography). 30 Ed. Ak’ak’i Shanidze (Tbilisi: 1977). This MS has the unusual feature of being composed of parchment and papyrus bound together. 31 Descriptions can be found in the remarkable, if imperfect, pioneering catalogue: E. Met’reveli, Ts. Ch’ank’ievi, L. Khevsuriani, L. Jghamai, Kartul Khelnats’erta Aghts’eriloba, Sinuri K’olektsia (Tbilisi, Metsniereba: 1978, vol. 1: 248 pp. and 1979, vol. 2: 332 pp.). This highly detailed work describes all the Georgian Sinai MSS, providing a most detailed analysis, folio by folio, with incipita and cross-references. In general, only 1-4 folia are dealt with per page; nevertheless, the authors have not always correctly identified the contents.

took the responsibility for organising the general technical details. The second part of the Iadgari (Resurrection troparia) was editedfrom 7 MSS by Tsatsa Ch’ank’ievi, who also compiled an index of troparia for this part and wrote an accompanying study.

***

We shall now examine the critical edition of the Iadgari itself. The text in this edition is remarkably clear: three different type-faces are used to make it quite clear from which MS the troparion or section thereof is taken; the folio numbers are given in the margin, and the presentation is pleasant and easy to read. At times the critical apparatus is very extensive (e.g., p. 118 and p. 191, each of which has fourteen lines of critical apparatus). As our first example we shall take the Iadgari material for the Feast of Christmas (pp. 11-22). “25 OF THE MONTH OF DECEMBER NATIVITY OF OUR LORD JESUS CHRIST” One enters at the time of evening of the day before; they will perform the k’wereksi32, and the prayer, and say: Ibak’oy33 tone 4 plagal. (there follows the full text). Stichos.34 (Ps. 66:7). Ibak’oy35 (full text). And they say the prokeimenon tone 2 (Ps. 22:1)36 Stichos (Ps. 22:2). Aleluay37 (Ps. 79:2). Verses38 to Lord I have cried39 tone 4 plagal.

32 The term k’wereksi is absent from the dictionaries, and is not to be found in Helmut Leeb, Die Gesänge im Gemeindegottesdienst von Jerusalem, nor in Protoierey Korneliy Kekelidze, Liturgicheskie gruzinskie pamyatniki. The word suggests a Greek origin, no doubt κήρυξις, “proclamation by a herald” or “preaching”. It is probably a diaconal admonition or a litany, as a parallel development to the East Syrian kârûzûthâ (litany or diaconal procalamation), cf. Juan Mateos, Lelya-Sapra p. 489; the word is connected semantically to the Christian Arabic liturgical verb karraza (to bless or consecrate). Good examples (in English translation) of the kôrûzûthô in the Maronite rite may be found in The Maronite Liturgical Year, vol. I (Diocese of St. Maron, USA: 1982), pp. 231-239, and vol. II, pp. 273-278 ( = Appendix I). Such litanies would fit very well into the context of the k’wereksi as the initial element for this prelude to the vigil vespers which really start after the Alleluia. 33 Leeb, Die Gesänge, pp. 197 ff., goes to great lengths to reach no conclusion about the difference between an ibak’oy and an okhitay. Ibak’oy is clearly from the Greek ὑπακοή, see note 27 above. There is no difference in form between these and other troparia. 34 Dasadebeli. This word is also difficult to translate. A vague equivalent such as “verse” might be best. Sometimes it is a psalm-verse, which, in turn, is sometimes in relation with a psalmuni (see note 36), and sometimes not. In these cases I have translated it as στίχος, following current Greek usage. On other occasions, such as the dasadebelni of the Resurrection, we have yet another designation for a troparion, which is the translation I have preferred there. 35 Here the title is supplied from the Lectionary. 36 “Prokeimenon” is the translation I have chosen for psalmuni, which is always a psalm-verse, often in relation with a dasadebeli (note 34) but sometimes alone; Kekelidze regularly translates psalmuni as prokimen. 37 Alleluia, also aleluay, aleluay, aleluay at the end of the following first verse of the Κύριε ἐκέκραξα series. The “Alleluia” texts are always psalm-verses.

4 Verses. The first ends in the remarkable phrase: “…O Christ our God, and we say, ‘Alleluia, alleluia, alleluia’.” The third contains phrases familiar in the Byzantine liturgy of today: “…Sun of justice…O life-giving Lord, glory to you!”. Skhwani40 (3 Verses).41

Prokeimenon of the Sacrifice42; tone 1 plagal (Ps. 2:7). Stichos (Ps. 2:8). Perform the okhitay [given] above. For the Washing of Hands43 (one poetic text)44. Eἰς τὰ ἅγια45 tone 2 (one poetic text)46. From midnight onwards47 they begin to read the readings48 and they say these Verses49: Tone 2 (text of the first dasadebeli)50 Prokeimenon (Ps. 44:1) 2nd dasadebeli tone 451 Prokeimenon (Ps. 46:2). 3rd dasadebeli52 Prokeimenon (Ps. 49:1) 4th dasadebeli53 38 Dasadebelni, or troparia, intercalated between verses of Ps. 140 (at least this psalm and maybe others), as in present-day Byzantine practice. 39 Oupalo ghaghat’qavsa = Κύριε ἐκέκραξα: the opening words of Ps. 140, the classic Vespers Psalm (on account of v. 2). We know from Egeria that this was the Vespers psalm at Jerusalem; here we see it could be sung in a series of eight tones, with poetic verses intercalated between the last verses of the psalm, or of those following it if others were added, as in present-day Byzantine usage. 40 See note 28 above. 41 The prelude to vespers lasted until the Alleluia. Vespers is represented by Ps. 140 and its poetic material, and certainly the Hymn of the Lucernarium Φῶς ἱλαρόν. What follows is a series of texts for the vigil evening Eucharist. 42 Zhamists’irva – the (eucharistic) sacrifice. 43 Qheltabanisay: a regular poetic component in the Jerusalem Eucharistic Liturgy. 44 This text is now found as the 3rd apostichon of Christmas vespers (tone 3) as “Ἀνατολίου” (the only one thus designated): Toῦ Kυρίου ’Iησοῦ γεννηθέντος…. MR II p. 660; however, see note 50 below. 45 The term sits’midisay refers to a hymn sung during the transfer of the Gifts before the Anaphora. This is absolutely certain from a description found in Sin. Geo. 89, quoted in Robert F. Taft, The Great Entrance, p. 72. Taft, op. cit., gives a full account of this term in the Georgian Jerusalem rite in pp. 71-75, considerably clarifying the less convincing version given in Leeb, Die Gesänge, pp. 113-115. The Greek term for sits’midisay is εἰς τὰ ἅγια. Taft, op. cit., makes it clear that Jerusalem texts for the Eucharistic Liturgy having a qheltabanisay + sits’midisay are earlier than the ninth century (p. 73). 46 This text equals almost exactly the 4th verse (tone 2!) now sung at Κύριε ἐκέκραξα on vespers of (the Eve) of 26th December, which is the Synaxis of the Mother of God. The text is the 3rd “Ἀνατολίου”: Tί σου προσενέγκωµεν, Xριστέ…; MR II p. 676. 47 This marks the end of the Vigil Evening Eucharist and the beginning of the Midnight Vigil. 48 Cf. the Lectionary: 12 readings, interspersed with troparia and prokeimena, which are selected from psalms in the order they are found in the psalter. 49 Dasadebelni. 50 This is practically identical with the 2nd Verse (tone 2!) from the same series mentioned in note 46, the first “Ἀνατολίου”; MR II p. 676; it is, however, identical with the text referred to in note 44. 51 The text is extremely close to the 1st text now at Lauds (tone 4!) on Christmas morning: Eὐφραίνεσθε δίκαιοι, οὐρανοὶ ἀγαλλιᾶσθε… MR II 671, where it is attributed: Ἀνδρέου Ἱερουσολυµίτου (but note Elene Met’reveli’s observations in her articles – pp. 793ff. – concerning attributions in modern liturgical books often indicating the name not of authors but of compilers of much earlier material). 52 The Iadgari assigns no tone to this text. 53 See note 52.

Prokeimenon (Ps. 66:2). 5th dasadebeli, tone 1 plagal Prokeimenon (Ps. 71:1). 6th dasadebeli, tone 4 plagal Prokeimenon (Ps. 84:2) 7th dasadebeli, tone 4 plagal Prokeimenon (Ps. 86:1) 8th dasadebeli, tone 3 plagal Prokeimenon (Ps. 88:2) 9th dasadebeli54 Prokeimenon (Ps. 109:1) 10th dasadebeli, tone 2 Prokeimenon (Ps. 117:1) 11th dasadebeli, also tone 255 Prokeimenon (Ps. 131:1) Prokeimenon (Ps. 131:8)56 Stichos57 (Ps. 131:1). And they will read the Gospel [ K A N O N ]58 Ode 1, tone 4 plagal … (4 troparia + 1 theotokion) Ode 2 … … … (3 troparia; no theotokion) Ode 3 … … … (4 troparia + 1 theotokion) Ode 4 … … … (4 troparia + 1 theotokion) Ode 5 … … … (3 troparia + 1 theotokion) Ode 6 … … … (4 troparia + 1 theotokion) Ode 7 … … … (3 troparia + 1 theotokion) + skhwani59 … (2 troparia; no theotokion) + skhwani … (3 troparia; no theotokion) Ode 8 … … … (3 troparia; no theotokion) + skhwani … (3 troparia; no theotokion) + skhwani … (3 troparia; no theotokion) Ode 9 … … … (3 troparia + 1 theotokion) + skhwani … (3 troparia + 1 theotokion)60

54 See note 52. 55 This is the last of the troparia which were intercalated between the twelve reading, accompanied by prokeimena. It is interesting to note that the texts of the Vigil Eucharist and the first two troparia of the Midnight Vigil seem to have found their way into the present-day offices, whereas the following troparia (many of which are of outstanding beauty) have been unread for a thousand years. 56 This is the Prokeimenon of the Gospel, with its Verse (dasadebeli!). 57 See note 56. 58 This title is not found in the Iadgari, but the 9 Odes are found in series with their titles. Ode 2, omitted outside penitential seasons in today’s books, is here found in full. The Kanon does not correspond at all to that at present in use, although the biblical themes of the 9 Odes do. The surprising occasional presence of skhwani cannot be attributed to the assimilation of an originally larger number of odes as their themes follow the ode in which they are placed. Many but by no means all the odes have a theotokion as their final troparion. The odes contain between 3 and 5 troparia, sometimes plus a theotokion. 59 See note 28.

Lauds61 (8 brief troparia) + skhwani (3 long troparia) + skhwani (4 long troparia) + skhwani (2 long troparia) Okhitay, tone 162 Prokeimenon, tone 2 (Ps. 2:7 (MS. B]; Ps. 22:1 [MS. C])63 Stichos (Ps. 22:2 [MS. C] Alleluia, tone 4 (Ps. 109:3 [MS. A]; Ps. 109:164 [MSS. BC]). For the Washing of Hands65 Eἰς τὰ ἅγια66.

__________________________ Summary The Iadgari Christmas celebrations are thus the following:

1. Pre-Vespers a. K’wereksi b. Prayer c. Ὑπακοή I + Stichos d. Ὑπακοή II e. Prokeimenon + Stichos [f. Reading] g. Alleluia + psalm-verse [h. Gospel.]

2. Vespers a. Ps. 140 + troparia [b. Φῶς ἱλαρόν] 3. Vigil Eucharist a. Prokeimenon + Stichos [b. Reading] c. okhitay [d. Gospel?] e. Lavabo 60 As the 9th Ode is based on the Magnificat, all the troparia could fairly be considered to be theotokia in character. 61 Akebditsa = ‘Ad “Laudate”’. These are the Αἶνοι, which are still today the last part of the psalmody of Mattins: Psalms 148, 149 and 150, with troparia intercalated between the last verses. In all, we have a grand total of 17 troparia in this oldest of poetic anthologies for the liturgy, which seems in contrast with the modern theory that shorter or fewer necessarily means older. However, the skhwani were probably from other anthologies, not necessarily intended to be sung in addition to all the others. In the present-day service there are only 6 troparia at this point. None of the troparia found in the Iadgari is a theotokion, but the okhitay that follows them and introduces the Eucharistic Liturgy is a particularly impressive theotokion. 62 This panegyric to the Mother of God begins the texts for the day Eucharist of the Feast. 63 The variant between the two MSS may be owing to the fact that both texts begin “Owpalman m-”. 64 “The Lord said to my Lord: Sit…”. 65 The same text as in the Vigil Eucharist, see notes 43 and 44. 66 Sits’midis shemoqvanebisay: literally, “Ad introductionem sanctorum”. This is a variant of the title sits’midisay, see note 45. The text is the same as that at the Vigil Eucharist, see note 46.

f. Transfer of Gifts with sits’midisay [g. Anaphora] [h. Communion] 4. Midnight Vigil a. 12 readings interspersed with troparia and prokeimena. b. Prokeimenon + stichos c. Gospel d. The Kanon: 9 Odes with troparia for each. e. Lauds with (many?) troparia. 5. Day Eucharist a. Okhitay b. Prokeimenon + stichos [c. Reading] d. Alleluia [e. Gospel] f. Lavabo g. Transfer of gifts with sits’midisay [h. Anaphora] [i. Communion].

________________________ After this brief account of Christmas, let us now examine what the Iadgari offers from Palm Sunday until Easter (pp. 165-219).

________________________

PALM SUNDAY [Vespers]67 Κύριε ἐκέκραξα, tone 1 (6 troparia) Skhwani, tone 4 (2 troparia) [Mattins] [Kanon]68 Ode 1 (4 troparia) + skhwani (2 troparia) Ode 2 (6 troparia) + skhwani (3 troparia) Ode 3 (3 troparia) + skhwani (2 troparia) Ode 4 (2 troparia + 1 theotokion) + skhwani (3 troparia) Ode 5 (3 troparia) + skhwani (2 troparia) Ode 6 (2 troparia) + skhwani (3 troparia) Ode 7 (4 troparia) + skhwani (3 troparia + 1 triadikon) Ode 8 (3 troparia) + skhwani (3 very long troparia beginning “dghes…” = ‘today…’) Ode 9 (2 troparia + 1 theotokion) + skhwani (3 troparia) Prokeimenon before the Gospel, tone 4 (very long: Ps. 85:8-9). Stichos (Ps. 95:12-13)

67 Texts in square brackets are not found in the text of the Iadgari. 68 This is not the one in use nowadays. Note all 9 odes, including ode 2, the many skhwani and the very few theotokia.

Lauds (6 troparia) + skhwani (3 troparia) ____________________________

And for the Lit’ani69 they go out and say the following ibak’oni Tone 1 2nd, tone 2 Skhway (a long text) Tone 4 Skhway [sic] (3 troparia) [EUCHARIST]70 Okhitay, tone 171 Prokeimenon (Ps. 97:8) Stichos (Ps. 97:1) Alleluia, tone 1 plagal (Ps. 8:2-3) For the Washing of Hands, tone 1 Eἰς τὰ ἅγια, tone 2 plagal

_________________________________ VESPERS Κύριε ἐκέκραξα, tone 1 plagal (4 troparia) Okhitay tone 172 Prokeimenon, tone 3 plagal (Ps. 71:18-19) Stichos

Summary

PALM SUNDAY

1. Vespers a. Ps. 140 + troparia [b. Φῶς ἱλαρόν]

2. Mattins a. Kanon: 9 Odes, all with ἅλλοι

b. Prokeimenon with Stichos c. Gospel73

e. Lauds + troparia. 3. Procession with 7 ibak’oni

4. Eucharist a. Okhitay Tὴν κοινὴν Ἀνάστασιν…

69 i.e., procession. 70 Cf. note 67. 71 Up to this point it has been remarkable that no text could be found to correspond with the rite at present in use. However, here we have the well-known troparion or Apolytikion (tone 1!) of Palm Sunday, attributed in the contemporary books to Saint Andrew of Jerusalem: Tὴν κοινὴν Ἀνάστασιν… TR p. 605. 72 Not the same as in note 71. 73 This is certain, since the preceding Prokeimenon is called: “the Prokeimenon before the Gospel”.

b. Prokeimenon + stichos [c. Reading] d. Alleluia [e. Gospel] f. Lavabo g. Transfer of gifts with sits’midisay [h. Anaphora] [i. Communion].

5. Vespers a. Ps. 140 + troparia [b. Φῶς ἱλαρόν]

c. Okhitay74 d. Prokeimenon + stichos

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7th [GREAT] MONDAY [MATTINS] [KANON]75 Ode 1, tone 1 plagal (5 troparia) tone 1 (4 troparia) Ode 8, tone 1 (4 troparia) Ode 9 (3 troparia) Lauds, tone 3 plagal (4 troparia) [VESPERS] Κύριε ἐκέκραξα, tone 1 (5 troparia) Okhitay, tone 1 plagal Prokeimenon, tone 4 plagal (Ps. 64:6) Stichos (Ps. 64:2-4).

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7th [GREAT] TUESDAY

[MATTINS] [KANON] Ode 2, tone 2 plagal (5 troparia) skhwani (4 troparia) Ode 8, tone 2 (3 troparia) Ode 9 (4 troparia)

74 See note 72. 75 Here we see a “Triôdion” phenomenon of great interest: On Monday we find Odes 1,8,9. Tuesday Odes 2,8,9. Wednesday Odes 3,8,9. Thursday Odes 4,8,9. Friday Odes 5,8,9. Saturday Odes 6,7,8,9. Sunday Odes 1,2,3,4,5,6,7,8,9.

Lauds, tone 3 plagal (4 troparia) [VESPERS] Κύριε ἐκέκραξα, tone 3 plagal (3 troparia) Okhitay, tone 3 plagal Prokeimenon (Ps. 24:1-2) Stichos (Ps. 24:2-4).

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7th [GREAT] WEDNESDAY

[MATTINS] [KANON] Ode 3, tone 1 (5 troparia) Ode 8, (3 troparia) Ode 9 (4 troparia) Lauds, tone 3 (3 troparia, concerning betrayal and Judas) [VESPERS] Κύριε ἐκέκραξα, tone 3 (3 troparia) Okhitay, tone 1 (long text) Prokeimenon (Ps. 40:7-8) Stichos (Ps. 40:2-3).

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7th [GREAT] THURSDAY

[MATTINS] [KANON] Ode 4, tone 3 plagal (4 troparia) Ode 8, tone 3 (4 troparia) Ode 9 (4 troparia) Lauds, tone 3 plagal (3 long troparia, beginning “dghes…” = ‘today…’) [VESPERS] Κύριε ἐκέκραξα, tone 3 plagal (3 troparia)76 Skhwani, tone 2 plagal (5 troparia) Prokeimenon (Ps. 54:22) Stichos (Ps. 54:2-3). SACRIFICE77 Okhitay tone 4 plagal Prokeimenon (Ps. 22:5) Stichos (Ps. 22:1-3) They do not say the Alleluia and Peace to all78 At the Washing of Hands, tone 1 Eἰς τὰ ἅγια, tone 179 76 The first of these begins poignantly: “Him who arrays himself with light as with a garment, today…”. This figure is often used in the troparia to Ps. 140, showing its function as a lucernarium. 77 See note 42. 78 Both of which precede the Gospel.

Ganitsadeni80, tone 1 plagal Skhway, tone 2 Skhway, tone 3 plagal They say for the washing of feet: Gradual81, tone 2 plagal Stichos (Ps. 40:10) After the communion82 they say the same prokeimenon83 and they read the Gospel of the Washing of the Feet. Prokeimenon: (Ps. 22:5)84 Stichos (Ps. 22:1). And they read the Gospel. Ibak’oy (very long text) While you wash your hands, say: (3 short Trinitarian formulæ). MESONYKTIKΑ85 [1st dasadebeli]86 tone 1 plagal (Ps. 2:2) Prokeimenon (Ps. 2:1) Ibak’oy

79 “The Lamb of God, who takes away the sins of the world, today is sacrificed… we say: You are holy, you are holy, you are holy, o Lord: glory to you!”. 80 Hymns for the communion of the people (cf. Leeb, Die Gesänge, pp. 128-129). The word ganitsadey is derived from the classic Palestinian communion text, Ps. 37:9, “Taste and see that the Lord is good”. There are three texts given here, and this may be because of the large numbers of communicants this day, cf. Egeria, quoted in Leeb (supra). Few feasts have proper ganitsadeni, and it could appear that the communion was usually accompanied simply by Ps. 37, maybe sung responsorially with v. 9 as the refrain (cf. Leeb, loc. cit.). 81 Ts’ardgomay: “gradual” or “station”. This is another kind of troparion, but the name implies its accompanying a procession. It appears likely that the procession here is that of the Holy Gifts remaining after the Communion. The whole structure here is very problematic unless we see this text as replacing an ordinary element in the post-communion rites. See note 82. 82 This is the second mention of the Communion in the same Eucharist, according to our interpretation, i.e.: ganitsadey (communion song), and ziarebi, which appears here to mean the whole of the communion rite, including the post-communion rites, into which the Gradual was inserted. This view implies the following structure:

1. Ganitsadeni: at the communion. 2. Post-communion rites in which certain elements have been replaced by the special gradual

and Stichos, and then: 3. The beginning of the Rite of the Washing of the Feet:

a. Prokeimenon + Stichos as before the Gospel of the Eucharist. b. The Gospel of the Washing of the Feet c. The Rite of the Washing of the Feet accompanied by the ibak’oy d. Hand-ablution rites (3 texts).

83 “The same Prokeimenon”, i.e., that at the Liturgy, see note 82. 84 See note 83. 85 Shwaghamisani. 86 We find the pattern dasadebeli-psalmuni here; this is the opposite of what we have seen before. At this point the same dasadebeli is supplied from the following occurrences. I have preferred to leave the Georgian term dasadebeli in transliteration rather than confuse the issue by using the work Stichos: only dasadebelni 1 and 2 are psalm-verses and the others are poetic troparia. The pattern is repeated 7 times: dasadebeli, psalmuni, [reading, see note 90], ibak’oy I, ibak’oy II. The texts refer especially to the washing of feet, the treachery of Judas, the trial, etc.

Another ibak’oy87 [This unit 7 times, with variety of texts and tones]88 When you have finished all of the dawn office89, and when you have read the Gospel90, you will say, tone 2 [1 text] Prokeimenon (Ps. 21:2) It is recited in its entirety91 The Gradual92 is recited Prokeimenon (Ps. 40:10)93 Ibak’oy, tone 2 And if you wish, say also “As a lamb”94 and “By the might”95. They will read the Gospel96 and say the ibak’oy, tone 3.

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Summary of Great Thursday

1. MATTINS a. Odes 4,8,9 (4 troparia each) b. Lauds (3 troparia).

2. VESPERS a. Ps. 140 (3+5 troparia)

[b. Φῶς ἱλαρόν] c. Prokeimenon + Stichos.

3. EVENING EUCHARIST a. okhitay b. Prokeimenon + stikhon c. [Reading;] no Alleluia 87 Skhway ibak’oy. 88 In units 2-5 the fourth text is simply called skhway; in the sixth unit we find dasadebeli, prokeimenon, ibak’oy, ibak’oy 2, skhway, and in the seventh the fourth text is called ibak’oy. 89 Tsisk’risay, “the dawn office”. This is commonly used for Mattins, although here we are in a midnight vigil, and the office for the next day offers us Mattins with Odes, etc. 90 This indication suggests that here was the first Gospel reading at this Midnight Vigil, and the preceding 7 readings which we are presuming followed the prokeimenon would then have been other scriptural texts. We shall see below that there were 12 Gospel readings at Mattins on Great (Good) Friday, as in the present-day Byzantine rite. However, in the present-day Armenian rite, which is heavily influenced by the Jerusalem rite, especially in the conservative Great Week services, there are seven Gospel readings at nocturns in the night between Great Thursday and Great Friday. It is possible, but rather unlikely, that there was a midnight vigil with 7 Gospels of the Passion followed at dawn by mattins with 12 Gospels of the Passion. The Iadgari does not give sufficient information to settle this question. See note 99, which complicates rather than resolves the question. 91 I.e., the whole of Ps. 21with v. 2 as the response. This text shows that at the time this rubric was written other Prokeimenon-psalms were no longer being recited in their entirety, as in modern usage. 92 See note 81 above. The procession or entry may have been to another part of the church, to Golgotha, for example. 93 MSS BC give 93:21. 94 The 2nd ibak’oy of the 7th unit referred to in note 88. 95 The 1st ibak’oy of the 7th unit. 96 The second (or ninth) Gospel of the service, as a stational office, see note 92, for ts’ardgomay. The variable duration of the procession may explain the option for 1-3 ibak’oni.

[d. Gospel] e. Lavabo f. Transfer of Gifts with sits’midisay [g. Anaphora] h. Communion (3 ganicadeni) 3a. POST-COMMUNION WITH THE RITE OF WASHING OF FEET a. Post-communion with special Gradual + stichos. b. Prokeimenon [+ Stichos] = (b) at the Eucharist c. Gospel d. Washing of Feet with ibak’oy e. Hand-ablutions (3 texts). 4. MIDNIGHT VIGIL a. { dasadebeli + prokeimenon [ + reading ] + 2 or 3 ibak’oni } (this unit 7 times)

b. Gospel 4a. STATIONAL OFFICE

a. Hymn b. Prokeimenon (entire psalm) c. Gradual d. Prokeimenon e. Ibak’oy (1,2 or 3) f. Gospel g. Ibak’oy

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GREAT FRIDAY

MATTINS Ode 5, tone 2 (3 troparia) Ode 8, tone 1 plagal (4 troparia) Ode 9 (5 troparia; the first and last are theotokia). Exaposteilarion97tone 2 plagal Stichos (Ps. 93:21-22) Lauds, tone 1 plagal (9 troparia)98

AT MIDDAY ON FRIDAY they say:

First dasadebeli, tone 2 plagal99 97 Gamoavliney. Leeb appears not to have discussed this term. 98 The 6th troparion is close to the first part of the first text of today’s Great Friday Mattins at Antiphon 10 (tone 2 plagal): Ὁ ἀναβαλλόµενος φῶς… τῆς δόξης. TR p. 670. 99 This is the first half of the celebrated 1st text of the 15th Antiphon at Great Friday Mattins today, which is so solemnly sung by the Greeks and by the Antiochene Orthodox, who identify the entire office with it by antonomasia. The tone is the same. TR p. 673 Σήµερον κρέµαται ἐπὶ ξύλου… ἐλευθερώσας τὸν Ἀδάµ. The phrase Ἡλίοις προσηλώθη ὁ Nυµφίος… ὁ υἱὸς τῆς Παρθένου is lacking, but the conclusion is the same: Προσκυνοῦµεν σου τὰ πάθη… ἀνάστασιν ( = Δόξα at None, TR p. 699). The pattern (dasadebeli + prokeimenon) occurs 12 times. In the present-day Mattins service, 12 Gospels of the Passion are read, so it seems very likely that there was a Gospel reading after each prokeimenon (of which there is sometimes a second in each unit, having a Stichos called dasadebeli).

Prokeimenon (Ps. 1:1)100 2nd dasadebeli, tone 4 plagal101 Prokeimenon (Ps. 2:1) 3rd dasadebeli, tone 4 plagal102 Prokeimenon (Ps. 3:2) 4th dasadebeli, tone 4 plagal103 Prokeimenon (Ps. 4:2) 5th dasadebeli, tone 4 plagal104 Prokeimenon (Ps. 5:2) And they say the prokeimenon tone 4 plagal (Ps. 34:11) Stichos (Ps. 34:1-3) 6th dasadebeli tone 4 plagal105 Prokeimenon (Ps. 6:2) And they say the prokeimenon (Ps. 40:7) Stichos (Ps. 40:2-3) 7th dasadebeli tone 3 plagal106 Prokeimenon (Ps. 7:2) And they say the prokeimenon (Ps. 21:19) Stichos (Ps. 21:2-3) 8th dasadebeli tone 2107 Prokeimenon (Ps. 8:2) And they say the prokeimenon (Ps. 30:6) Stichos (Ps. 30:2) 9th dasadebeli, tone 4 plagal108 Prokeimenon (Ps. 9:2) And they say the prokeimenon (Ps. 37:18)

Agaist this is the current practice of the Armenian Church, mentioned above in note 90, and the fact that after the prokeimenon and Stichos of the 9th unit in the Iadgari we find (in MSS BC) the indication “and they will read the Gospel”. This suggests that Gospels were not read after the other prokeimena, but other scriptural texts, although it would be more than a little strange for non-Gospel readings to follow a Gospel reading. The coincidence that the 9th of the 12 prayers recited secretly by the priest at the beginning of Mattins nowadays is that of preparation for the Gospel would seem to be irrelevant to this context since this list of prayers derives from the Asmatikos rite of the Great Church of Constantinople and not from Jerusalem. 100 These prokeimena follow the psalter in continuous order. 101 This text, with the same tone, is now the second of the Stichera idiomela at Prime: ‘Ως πρόβατον…TR p. 683. 102 This text is a variant of today’s Great Friday matins Antiphon 12 (tone 4 plagal), Tάδε λέγει Κύριος…. TR p. 671 = the first of the idiomela of Sext, TR p. 692. 103 This is now the first of the idiomela (tone 4 plagal) at today’s Great Friday Terce: Διὰ τὸν φόβον τῶν Ἰoυδαίων…. TR p. 689. 104 This is now the Δόξα (same tone) at Great Friday Prime: Toῖς συλλαβοῦσι σε…. TR p. 683. 105 This is now the second of the idiomela (same tone) at Sext: Οἱ νοµοθέται τοῦ Ἰσραήλ… TR p. 693 = the third text of the 12th Antiphon at Mattins (same tone), TR p. 671. 106 Now the first of τα ἐπόµενα Ἰδιόµελα at Great Friday None (same tone) Θάµβος ἦν κατιδεῖν… TR p. 699. 107 This is now the text following that given in note 105, Ὅτε τῷ σταυρῷ… TR p. 693. 108 This is very close to the second of the Idiomela now at Great Friday Terce (same tone), Πρò τοῦ τιµίου σου σταυροῦ…. TR p. 689.

Stichos (Ps. 37:2-3) And they will read the Gospel109 10th dasadebeli, tone 1 plagal110 Prokeimenon (Ps. 10:1) And they say the prokeimenon (Ps. 68:22) Stichos (Ps. 68:2-3) 11th dasadebeli, tone 4 plagal111 Prokeimenon (Ps. 11:2) And they say the prokeimenon (Ps. 87:5-6) Stichos (Ps. 87:2). 12th dasadebeli, tone 1 plagal112 Prokeimenon (Ps. 12:2) And they say the prokeimenon (Ps. 101:2) Stichos (Ps. 101:33).

[VESPERS] Κύριε ἐκέκραξα, tone 1 (6 troparia) Skhwani, tone 4 (3 troparia) Skhwani, tone 3 plagal (4 troparia) Okhitay, tone 2 plagal (one text) They will read the reading and say Prokeimenon (Ps. 87:7) Stichos (Ps. 87:2-7) They will say at the Washing of the Cross: Ibak’oy, tone 2 plagal113 Skhway114 Skhway (very long text) Skhway, tone 2 plagal Skhway

Summary of Great Friday

1. MATTINS a. Odes 5,8,9 b. Exaposteilarion + Stichos

109 See note 99, para. 2. 110 This is very close to today’s Great Friday Idiomela, Δόξα at Terce (same tone) Δευτε, χριστοφόροι λαοί, … TR p. 693. 111 This is now the first of the Στιχηρὰ Ἰδιόµελα of Great Friday Prime, sung now on tone 2 plagal: Σήµερον τοῦ ναοῦ τὸ καταπέτασµα… TR p. 683. 112 This is now the Δόξα if the Idiomela at Great Friday Terce (same tome), Ἐλκόµενος ἐπὶ σταυροῦ…. TR p. 689. It will be noted that all the dasadebelni from this office have found their way into the Royal Hours of Great Friday. Three of them also occur in the present Mattins Vigil of the 12 Gospels of the Passion. 113 This is now the fourth of τα παρόντα Στιχηρὰ Ἰδιόµελα at Mattins at Lauds on Great Saturday (same tone) Ἡ τήσατο Ἰωσήφ…. TR p. 734, with slight textual differences. 114 We have only the first words, moitkhova, which is the first word of the preceding ibak’oy. This may therefore be merely a repetition.

c. Lauds (9 troparia) 2. MIDDAY VIGIL

a. {Dasadebeli + prokeimenon} This unit 12 times; units 5-12 have 2 prokeimena.

b. Gospel (after the 9th unit [only?]). 3. VESPERS

a. Κύριε ἐκέκραξα (6+3+4 troparia) [b. Φῶς ἱλαρόν] c. Okhitay d. Reading e. Prokeimenon + Stichos

3a. RITE OF THE WASHING OF THE CROSS with 3 ibak’oni.

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[GREAT] SATURDAY At the Dawn Office At the Makarismoi (4 troparia) Skhwani (8 troparia) Skhwani of the Fathers (2 troparia) Ode 6, tone 1 (6 troparia) Ode 7 (9 troparia) Skhwani (5 troparia)115 Skhwani from above116 (5 troparia) Ode 8 (4 troparia) Skhwani (5 troparia) Ode 9 (6 troparia) Skhwani (5 troparia) Skhwani, tone 4 plagal (2 troparia, of which the first is a theotokion).117 Lauds (3 troparia) Skhwani (4 troparia) Skhwani, say first118 (3 troparia) Skhwani (5 troparia) Theotokion119 (very long text) When they complete the Dawn Office120, they will go up to the altar and say the following: tone 2 plagal (one text) They will read the reading and will say Prokeimenon, tone 2 (Ps. 15:10)

115 The last of these bears some similarity with the Idiomelon PeR p. 391 Δεῦτε λαοί, … at Pentecost Vespers, in that the structure is “Holy God…; Holy Mighty…; Holy Immortal…”. The content, however, is firmly centres on the three children of Bablylon. 116 It is not clear to what this refers. 117 All the texts up to this point are concerned with death on the cross. The troparia at Lauds refer to the laying in the tomb by Joseph of Arimathæa. 118 A strange observation! 119 Ghmrtismshobilisay. 120 Tsisk’risa zhami.

Stichos (Ps. 15:1-10) And the Gospel; afterwards: Ibak’oy

VESPERS

They will bless the church121; they will say Κύριε ἐκέκραξα and will go back to the beginning Troparion122 of Κύριε ἐκέκραξα, tone 4 plagal123 Skhwani (4 incipits of troparia)124 Prokeimenon, [tone] 3 (Is. 33:10)125 Stichos126 Second Prokeimenon, [tone] 3 (Ps. 112:2) Stikhon (Ps. 112:1-2) Okhitay with the Easter tone127 Prokeimenon [tone] 1 (Ps. 81:8)128 Stichos (Ps. 81:1) Φῶς ἱλαρόν, they will read the reading and begin the

EUCHARIST Okhitay129 Prokeimenon (Ps. 64:2) Stichos (Ps. 64:3) Alleluia (Ps. 101:14) At the Washing of Hands, tone 1 plagal Skhway

121 Maybe an incensation of the Church of the Anastasis. 122 Dasadebeli. 123 One text: “Shine, shine, Jerusalem, for your light has come…” cf. Is 60:1. This text is halfway between the Isaiah text and the first part of the present 9th Heirmos at Easter matins, PeR p. 11: Φωτίζου, φωτίζου, ἡ νέα Ἱερουσαλήµ. ἡγ γὰρ δόξα Κυρίου, ἐπί σε ἀνέτειλε. 124 If the first incipit (moslvasa) is the troparion Moslvasa mas shensa jwarad, we have the 12th dasadebeli at the Great Friday Midday Vigil, cf. note 112. This is probably not the case, as this Vespers service already has a marked character of Resurrection, although the second incipit refers to the Cross: Jwartsumay tavs-idev. 125 The prokeimenon is called psalmuni, although the text, by way of an exception, is not from the Psalms, but from Isaiah, and obviously a classic resurrection text: ‘”Now I will arise,” says the Lord, “now I will lift myself up [Georgian: I shall be great], now I will be exalted”.’ 126 This is also not from the Psalms; the text starts as Ps 149 :1 = Is 42:10, “Sing to the Lord a new song”, but does not continue like the biblical texts. After this special psalmuni-dasadebeli, we have a normal prokeimenon-Stichos from the Psalms, an okhitay “with the Easter tone”, another prokeimenon-Stichos, the classic Easter okhitay (cf. note 129), and the prokeimenon-stikhon of the Eucharistic Liturgy. 127 The incipit, which is all we have, = Ps. 147:12: Praise, Jerusalem, the Lord. 128 Another classic Resurrection text: “Arise, o God, judge the earth.” This is the refrain in the same service in today’s rite, cf. TR p. 759 where it takes the place of the Alleluia, with verses equaling the Stichos here. 129 Here is the classic “Byzantine” troparion of Easter: Xριστὸς ἀνέστη… PeR p. 6. The Georgian version is slightly different in the last phrase, da mqopta maplavisata adgomay moanich’a, suggesting a Greek original καὶ τοῖς οὖσιν ἐν τοῖς µνήµασι, ἀνάστασιν χαρισάµενος. For the variant *οὖσιν (mqopta), cf. the current Slavonic version with sushhim. This is a case where the modern recension seems closer to the *archaic Greek text than the Old Believers’ version i grobnym zhivot darovà.

Skhway Eἰς τὰ ἅγια with Alleluia130 Communion131 (2 troparia) [tone] 2 (1 troparion) Post-communion troparia132, tone 1 plagal (2 troparia)

Summary of Great Saturday

1. MATTINS (“Dawn Office”) a. Makarismoi (14 troparia) b. Odes 6,7,8,9 (many troparia) c. Lauds (15 troparia) d) Theotokion 1a. ENTRANCE TO ALTAR

a. Processional text b. Prokeimenon-stichos c. Gospel d. Ibak’oy.

2. VESPERS a. “Blessing of church” (incensation?) b. Κύριε ἐκέκραξα I c. Κύριε ἐκέκραξα II + 1 + 4 troparia d. Prokeimenon + Stichos [e. Reading] f. Prokeimenon II + Stichos g. Okhitay “with the Easter tone” h. Prokeimenon III + Stichos i. Φῶς ἱλαρόν j. Reading 3. (immediately) EVENING RESURRECTION EUCHARIST a. Okhitay: Xριστὸς ἀνέστη b. Prokeimenon + Stichos [c. Reading] d. Alleluia [e. Gospel]

130 This means the response to the psalmody was “Alleluia”. It appears that the Transfer of Gifts was originally accompanied by Ps. 23:7ff.; cf. Taft, The Great Entrance, pp. 99-100; Leeb, Die Gesänge, pp. 102ff., 115ff. MS C suggests Xριστὸς ἀνέστη at this point. 131 Ganitsadeni, cf. notes 80 and 82. 132 Aghavseni = τα του “Πληρωθήτω”; cf. Leeb, op. cit. pp. 127-133. Aghavse means “fill”, “fulfil”, “be filled”, as an imperative, and Leeb refers this to the present-day post-communion song “Let our mouth be filled with your praise…”. On the basis of the Chronicon paschale (PG 92, 1001 BC), he shows this hymn was introduced as an obligatory post-communion perissì by the Patriarch in Constantinople in May 624. The aghavseni are to be seen in connection with this text, and at the date given it is as least as likely that the text was adopted in Constantinople from Jerusalem rather than the other way round, in which case it would have been in use in Jerusalem before that date. Other hymns adopted from Jerusalem include the Easter troparion “Christ is risen…” and the hymn “O only-begotten Son…”.

f. Lavabo (3 texts) g. Eἰς τὰ ἅγια: “Alleluia” or “Xριστὸς ἀνέστη” [h. Anaphora] i. Communion songs (3 troparia) j. Post-Communion songs (2 troparia)

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EASTER

MIDDAY133 Okhitay134 Prokeimenon (Ps. 117:24)135 Stichos (Ps. 117:25) Alleluia (Ps. 101:20-22) Skhway (Ps. 67:2)136 At the Washing of Hands (1 incipit) Skhway (1 incipit)137 Skhway138 [Skhway] tone 4 plagal Eἰς τὰ ἅγια with Alleluia139 Communion (one text)140 At the ninth hour141they go up to the Holy [Church of the] Ascension and say “I confess”, tone 4 plagal, and they will say in alternation142: Dasadebeli (one troparion). They also go to Zion. Prokeimenon (Ps 64:2)143 And they say on the same tone in alternation144: Dasadebeli (one troparion)

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VESPERS

133 Metskhrad, literally: at the Ninth [Hour]. 134 The hymn Ὁ µονογενὴς Υἱὸς καὶ Λόγος τοῦ Θεοῦ… (= Ἡ Θεία Λειτουργία etc., Roma, 1950 p. 26), now the perissì of the second Antiphon at the Divine Liturgy throughout the year. 135 As at Easter today (the fourth verse of the Easter stichera): “This is the day the Lord has made, let us rejoice and be glad in it”. 136 “Let God arise and his enemies be scattered…”; the first of today’s Easter verses. 137 “Δεῦτε, λαός”. 138 This text also occurs as the qheltabanisay in the Resurrection cycle of Tone 3 plagal (Udzvelesi Iadgari, p. 493); = Sunday Mattins (same tone), 4th troparion at lauds, Tί ἀνταποδώσαµεν τῷ Κυρίῳ; … PeR p. 549, with slight variants. 139 See note 130; this is the only indication in the MSS, and only in MS B. 140 Ganitsadey, see notes 80 and 82. 141 Or: “at midday”, cf. note 133. (Metskhresa zhamsa). Here starts a procession which first goes to the Eleona, or the church of the Analypsis, and then to the church of Zion. 142 Mimogdebit, literally: “rolling to and fro”. This could be either two choirs in alternation or else antiphonal psalmody with the troparion as a refrain. 143 “Praise is due to you, o God, in Zion”. 144 See note 142.

Κύριε ἐκέκραξα, tone 4 plagal (3 troparia) Okhitay, tone 1 plagal You will find it in New Sunday145at Vespers146. Prokeimenon (Ps. 149:1) Stichos (Ps. 149:2);

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Summary of Easter Day

1. MIDDAY LITURGY a. Okhitay: Ὁ µονογενής b. Prokeimenon + Stichos [c. Reading] d. Alleluia (+ skhway) [e. Gospel] f. Lavabo (4 texts) g. Eἰς τὰ ἅγια “with Alleluia” [h. Anaphora] i. Communion-song 2. PROCESSION i. to the Church of the Ascension: a. Song: “I confess…”, tone 4 plagal b. Alternation (?) of dasadebeli. ii. to the Church of Zion:

a. Prokeimenon + Stichos b. Alternation (?) of dasadebeli.

3. VESPERS a. Κύριε ἐκέκραξα (3 troparia) b. Okhitay c. Prokeimenon + Stichos [d. Φῶς ἱλαρόν].

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* * * To conclude our description of selected sections of the Iadgari, two further, and briefer, surveys may be of interest. As an example of the Ibak’oni and Graduals section (pp. 334-366, see note 27), let us examine the last of the categories, that of the Qrmatani, the Three Children of Babylon (pp. 365-366). We find: Tone 1 (2 troparia) 145 Akhalk’wiraesa: the Sunday after Easter. 146 It is the first troparion at Κύριε ἐκέκραξα, on the same tone, on New Sunday evening (Udzvelesi Iadgari p. 219), and is also found as the 10th troparion of the same tone in the Resurrection common for Κύριε ἐκέκραξα (Udzvelesi Iadgari, p. 442). It now appears as the fourth of the Στιχηρὰ ἀναστάσιµα (same tone) at Bright Friday Lauds, Κύριε ὥσπερ ἐξηλθες… PeR p. 34, with slight variations.

Tone 1 plagal (1 troparion) Tone 2 (1 troparion) Tone 2 plagal (1 troparion) Tone 3 (1 troparion) Tone 3 plagal (1 troparion) Tone 4 (1 troparion) Tone 4 plagal (1 troparion) All the texts are based on the biblical account, and the recurrent phrases are: “O God of our Fathers, blessed are you, and glorious…”, etc. Note the remarkable order of the tones.

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The Dasadebelni of the Resurrection (pp. 367-912) (pp. 367-512) are arranged under 8 tones, in the order 1, 2, 3, 4, 1 plagal, 2 plagal, 3 plagal, 4 plagal. A brief account of tome 1 will explain the structure of the other tones. What we are dealing with is a complete Little Oktoechos, i.e., the poetic material for one day’s office in full, on the theme of the Resurrection, in eight versions, one for each tone. This gives an eight-week cycle, as in today’s “Byzantine” rite. Here is the schema for tone 1: Κύριε ἐκέκραξα (20 + 4 + 8 troparia)147 Prokeimenon (Ps. 140:2) Stichos (Ps. 140:10) Okhitay (one text) At “Behold, bless”148 (6 troparia). Tὰ τοῦ σταυροῦ149 Ode 1150 (10 troparia + 1 theotokion) Ode 2 (7 troparia; no theotokion) Ode 3 (8 troparia + 2 theotokia) Ode 4 (6 troparia + 1 theotokion + 3 troparia) Ode 5 (8 troparia + 1 theotokion + 3 troparia) Ode 6 (10 troparia + 2 theotokia) Ode 7 (13 troparia; no theotokion)

147 The 1st troparion occurs elsewhere : In the same liturgical site, for the Holy Innocents and for the Resurrection common of tone 2 (!). It is in the same position (for Great Vespers on Sunday Eve, tone 1, first of the Στιχηρὰ ἀναστάσιµα τῆς Ὀκτοήχου: Ἤχος α') today: Tὰς ἑσπερινὰς ἡµῶν εὐχάς…. PeR p.2. This identification was missed in the compilation of the Index, Udzvelesi Iadgari, p. 648. 148 Aka ak’urtkhevditsa: troparia for Ps. 133:1, the prokeimenon for Sunday evening vespers in today’s rite. This psalms has but 3 verses, each divided in half, according to the canons of Hebrew poety. Here we have 6 troparia, all short and interspersed with “alleluia”, e.g., (1) “Praise the Saviour’s resurrection, alleluia!” or (4) “Come, nations, hymn the Lord, alleluia, risen from the dead, alleluia, who has illumined the world, alleluia!”. 149 Jwarisani: 5 incipits, all containing the word jwari (Cross). These hymns to the Cross situated at the end of the Vespers of the Resurrection suggest a procession from the main church of the Anastasis to Golgotha, within the same building. 150 The 9 Odes (all 9 are found in the Iadgari) are the same as those of today’s rite. The Georgian titles are key words from these Odes, e.g. Ode 1 = Ugalobditsa = “At ‘Hymn!’”; Ode 2 = Moikhilesa = “At ‘See!’”.

Ode 8 (21 troparia; no theotokion as such)151 Ode 9 (16 troparia of which 1, 2, 6, 7, 9, 12, 13 and 14 are theotokia152) Graduals of the Dawn Office153 (4 psalm verses, each with its Stichos154) Gardamotkmani155 [sic] (one text) At lauds (21 troparia) Decorations156 and Praises157 of the All-Holy and Glorious Holy God-Bearer (14 texts)158 At the Liturgy159: Prokeimenon (Ps. 73:12) Stichos (Ps. 73:2 or 73:16) Prokeimenon with Alleluia (Ps. 17:2 or 23:1) Skhway (Ps. 45:11) At the Washing of Hands (one text) Eἰς τὰ ἅγια160 (3 texts)161.

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Summary of the Resurrection Common of the First Tone

1. VESPERS a. Κύριε ἐκέκραξα (20 + 4 + 8 troparia) b. Prokeimenon + Stichos c. Okhitay (1 troparion) 1b. Vespers Part 2 or Compline a. Ps. 133 (6 troparia) b. Tὰ τοῦ σταυροῦ (5 troparia) 2. MATTINS a. All 9 Odes (7 to 21 troparia each) b. Graduals (4 x [prokeimenon + Stichos]) c. Post-Gospel texts (1 troparion) 151 Troparia 6 and 18 are addressed to Christ “incarnate of a virgin” or “born of a virgin”. These can thus be indirectly classed as theotokia. Of these 21 troparia, 1-17 are from MS B, so the very high number is not achieved merely by collating different traditions (unless this preceded the redaction of MS B). 152 E.g., troparion 12: “You, o glorified God-bearer, Virgin, with a voice of hymning all together we unceasingly glorify.” 153 Ts’ardgomani sisk’risani. 154 Dasadebeli. 155 Gardamotkmani are texts following the reading of the Gospel at Mattins, cf. Leeb, Die Gesänge, p. 274, who says it is for “Ostersonntag”. There is no such text in the Iadgari for the Easter office, but they are found for each Sunday for each of the 8 tones in the Resurrection common. 156 Shemk’obani. 157 Sheskhmani. 158 Troparia 7-10 begin “Gikharoden!” = Xαίρε, as at the Akathistos Hymnos. Troparion 7 has 3 phrases beginning in this way. Troparion 8: “Hail, o Mother of Light! Hail, o most….”, cf. the diaconal exclamation now at Mattins: Tην Θεοτόκον και Mητέρα του φωτος, ’εν ‘ύµνοις τιµωντες, µεγαλόνωµεν: Eυχολόγιον το Mέγα, p. 11 (Athens: 1970, photo-reprint of Venice: 1862) [the Slavic recension does not have “τιµωντες”]. 159 Samkhrad: “at Midday”. 160 See note 45. 161 Texts referring to Isaiah’s vision in the Temple. In the first, the Archangels and Angels cry out “You are hold, you are holy, you are holy, o Lord! The heavens and the earth are full of your glory, o our Saviour.” In the second, “the many-eyed cherubim and six-winged seraphim with unceasing voice cry out and say: ‘Holy (is), holy (is), holy is the Lord, the King of glory’.” The third text is only an incipit.

d. Lauds (21 troparia) e. Theotokia (14 texts) 3. EUCHARISTIC LITURGY a. Prokeimenon + Stichos b. Prokeimenon with Alleluia + 1 skhway c. Lavabo (1 troparion) d. Eἰς τὰ ἅγια (3 troparia)

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* * *

The limits of this study do not permit a proper analysis of the part of the book following the critical edition on pp. 557-942. The titles of the components may be seen from the table of contents, given in translation at the beginning of this study. I shall now give only a few brief indications concerning what is said about the manuscripts used (“For the Text”, pp. 557-562); the indices (pp. 563-656), and a sample essay selected from the series of articles which follow the indices. The Manuscripts from Which the Iadgari Was Edited 7 principal manuscripts were used for the edition of the Iadgari: A = H 2123: the “Parchment-Papyrus Iadgari” [“ch’il-et’rat’i”] (ed. Ak’ak’I Shanidze, Tbilisi: 1977), a 10th century MS with the unusual feature that it is written on a combination of parchment and papyrus folia. B = Sin. Geo. 18162 C = Sin. Geo. 40 D = Sin. Geo. 41 E = Sin. Geo. 34163 + the Leipzig fragments, E1 being the Resurrection troparia. Sin. Geo. 34 also contains the Zhamni = the hours164. F = Sin. Geo. 26 G = Sin. Geo. 20165 In this series, the major MSS are ABCD. EFG are of later date. However, E reflects early usage and gives a number of useful critical indications included by John Zosime himself, explaining whether material is “ancient” or “new” (before or after the 7th century reform).

162 For the description of the Georgian Sinai MSS, see note 31. 163 This is the most famous autograph MS of John Zosime. 164 This part has recently been edited by Stig Symeon Fröyshov in his important yet still unpublished thesis in Paris (see Bibliography). The Horologion gives a daily cursus of 24 offices with a kathisma at most of them, whereby the Psalter was read entirely during the day. This was the daily cycle of the Anastasis before the 7th century reform, part of which was celebrated publicly (saerod) and the rest recited by the monastic community of the Spoudaioi, who relayed this acemetic task of prayer. Professor Fröyshov has told me recently (June 2008) that he is preparing this enormous tome for publication. 165 F and G contain Resurrection troparia only.

The Indices (pp. 563-656) Four indices are given: 1. An index of the incipits of all the troparia in the Georgian Iadgari (pp. 563-643). This is doubly useful, as often the Iadgari itself quotes texts only by their incipits which are, however, found in full at other points. 2. A Georgian-Greek index of heirmoi, giving identifications for those heirmoi which have survived in the modern liturgical texts and hence correspond to a known Greek version (pp. 643-646). On p. 643, 5 Heiromologia are cited, 4 Greek and one Georgian (ed. Elene Met’reveli). 3. A Georgian-Greek index giving identifications for the troparia in the Iadgari which have survived in the modern liturgical texts and hence correspond to a known Greek version (pp. 646-650). All the poetic books of the modern rite are cited in the Roman edition. Given the immensity of the task, it is not surprising that some identifications have escaped the authors.166 Close comparison of the texts identified in indices 2 and 3 is fascinating, and the subtle variations revealed are of considerable interest. Elen Met’reveli shows that this is evidence that the Georgian corresponds to an earlier version of the Greek in some cases, prior to re-editing or redaction by John of Damascus and others. 4. A biblical index of Psalm texts (pp. 651-656).

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As a sample of the articles that follow the indices, here is an account of one of Elene Met’reveli’s articles: The Poetic Stratum of the Lectionary in the Oldest Iadgari (pp. 793-808) The article begins with an excursus on the development of the first poetic texts in the liturgy, with especial reference to Baumstark’s Liturgie comparée (Udzvelesi Iadgari, notes 384 and 386). Met’reveli supports the thesis that the first troparia, of which the earliest anthology is indicated in the Lectionary, are the canonisation of texts that were originally improvised spontaneously by an individual. She mentions that 119 entries (about 5%) in the Parchment-Papyrus MS have been identified in the present-day Greek books by Bernard Outtier. These texts are now scattered throughout the Menaia, the Lenten triodion, the Horologion, the Oktoechos, the Pentecostarion and the Heirmologion. The Iadgari is, however, a rich selection with 3,000 entries. This bears out Baumstark’s thesis of the ancient character of liturgical development, especially for Lent and Easter (see Udzvelesi Iadgari, note 401). In other words, as soon as the literary genre was invented, it was used for a very large number of compositions. This point is a further indication of the especial importance of the Iadgari as a repertory of early Byzantine texts. The author continues by stating that the oldest texts of this repertory are those of the Lectionary Stratum.167 The Lectionary indicates texts by incipit, which are found in full in the Iadgari. Many of the oldest troparia are quite brief.168 The modern Greek

166 See note 147. 167 Met’reveli does not explore the possibility that the Lectionary itself may contain various strata. 168 See the examples in notes 148 and 152.

books preserve old elements in a new disposition and, as the author proceeds to show, in new forms. Hence the Georgian Iadgari preserves many elements lost in the later Greek tradition. All the poetical forms of the Greek liturgy are to be found in the Iadgari. The author gives a series of very interesting examples. 1st example: Georgian Greek 6th Monday 2nd Sunday Okhitay, tone 2 plagal ’Iδιόµελον τοῦ Tριωδίου,ἤχος πλ. β' Here the rhythm (quantity of syllable) and phrase-division is exactly the same in the Georgian and the Greek. The tone indication is the same and we can deduce that the tune to which it was sung was precisely the same. The translation follows the literal style common in early texts, and thus here the Georgian is an exact parallel of the Greek. 2nd example: 1st Monday 2nd Monday Okhitay, tone 1 plagal Στιχηρὸν Ἰδιόµελον ἤχος α'. In this case the rhythm of the Georgian is not that of the Greek, and a different tone is indicated. This implies that the two versions were sung to different melodies. The Greek text is, however, the model for the translation found in the Iadgari. The rhythm is modified, but the phrase division169 according to sense corresponds. The difference is thus limited to the melody, but the text as such is an exact parallel of the Greek. 3rd example: 5th Thursday Στιχηρὰ καὶ καθίσµατα170 Okhitay, tone 1 plagal Στιχηρὰ κατανυκτικὰ ἤχος πλ. δ' Here the translation is very literal, with the exception of the last line, where the Georgian has da shemits’qale me = *καὶ ἐλεησόν µε. However, the rhythm is quite different. The Greek is in no way a model for the rhythm of the Georgian. The Greek text shows the following rhythm (number of syllables per phrase): 10, 10, 7, 7, 8, 4. Met’reveli states that this is a Damascene rule and that the present text is hence a clear example of the 8th-9th century reform of the Greek, whereas the Georgian corresponds to an earlier form. This demonstrates, she says, that this okhitay belongs to the oldest

169 In the Iadgari the texts are written out without punctuation like the early Greek MSS. However, the division we refer to here is that shown by asterisks in later liturgical editions. 170 Here the author gives a note (Udzvelesi Iadgari, note 407) which seems very confusing. Does she really mean to say that k’atismebi are equivalent to ts’ardgomebi (graduals)?

part of the Lectionary stratum in the Iadgari, showing the earlier form of the Greek.171 In the Greek, the στιχηρά following the text given in the example are all on the same model, whereas the Georgian gives one text in isolation. Met’reveli thus sees this στιχηρόν as an adaptation of the earlier Greek text, to which the Georgian bears witness, and the following στιχηρά as copies on the model of the revised ancient text. 4th example: Second Sunday of Lent Στιχηρὰ κατὰ καθίσµατα At the Washing of Hands [tone 2] Στιχηρὰ κατανυκτικὰ ἤχος β' Aυτόµελον (4th strophe) Here the Greek text does not exhibit a regular rhythm, nor does the Georgian rhythm correspond to the Greek rhythm. The text corresponds perfectly, with one exception: in the first half, the Georgian has the first person plural and in the second half the singular, whereas the Greek is in the singular throughout. The translation is a little freer than the foregoing examples in that the phraseology is organized slightly differently. 5th example: 3rd Tuesday of Lent As in ex. 4; Κύριε ἐκέκραξα, tone 2 1st strophe (2nd strophe) Here the rhythm differs, but the translation corresponds perfectly. The Georgian has 39 syllable in 4 phrases and the Greek 33 in 4. 6th example: 4th Tuesday of Lent As in exx. 4 and 5, Κύριε ἐκέκραξα, tone 2 2nd strophe (1st strophe) Here there are considerable differences in the translation, although the rhythm is closer (Georgian: 34 syllables in 4 lines; Greek: 33 in 4 – again). Met’reveli concludes that the only text which is from the old stratum is the irregular composition corresponding to the Georgian qheltabanisay (ex. 4). Exx. 5 and 6 are more regular and are later compositions. The Greek shows all the signs of being a new redaction and a compilation. She points out that the content of the strophes corresponds to the themes of the Sundays as given in Egeria, confirming the original place of these texts as they are found in the Georgian Iadgari and reinforcing the view that the Greek is a later compilation. Moreover, today’s Greek books show an excess of hagiographical material which has flooded out the original structure. She says the

171 This theory, which seems quite gratuitous at first, finds increasing support as the further examples are examined.

Georgian Iadgari perfectly preserves the primitive style of poetic prose in use before the poetisation of the modern Greek books which were complied in the 10th-14th centuries. The Iadgari is known as the Tροπολόγιον in Greek and it antedates the Greek Kanons, which contain none of the original Greek monostrophes. The Iadgari represents the Jerusalem rite before its constantinopolitisation. The archaic strophes offer the basis of the poetic rhythmic division which was regularised in the later reform. In other words, it appears that the earlier form, as found in the Iadgari, was that of poetic prose, and this was later formalised into rhythmic poetry, as we find in the later Greek service-books.

* * *

So far the texts examined have been anonymous, i.e., they bear no attribution in today’s service-books. Elene Met’reveli proceeds to consider texts which the modern books attribute to 7th-8th century authors. 7th example: Epiphany Epiphany (στιχηρα) At the Washing of Hands Ἤχος β'. Ἰωάννου Moναχοῦ172. Tone 2. In this text nearly every line has one more syllable in the Georgian (in which, of course, it is anonymous). Apart from this, both the content and the phrase division correspond precisely. The last three lines are different in the Georgian, whereas the Slavonic version corresponds to the modern Greek. Elene Met’reveli offers the following explanation for this phenomenon: John of Damascus revised the Greek text at a date later than that at which the Georgian version was already established. MS A gives the last words as shegwits’qalen chwen = *ἐλέησον ἡµᾶς, unlike the Greek, which has δόξα σοι. BC have didebay shenda = δόξα σοι. Met’reveli sees this as the later retroactive influence of the revised Greek version on the Georgian. The revised Greek text does not correspond to the Georgian in its syllabic structure, whereas the revised Greek later served as a model for the στιχηρά that followed it in its new liturgical location. The conclusion drawn by Met’reveli is that the attributions found in today’s Greek books are probably only the names of 7th-8th century compilers of texts which may be at least as old as the 5th century. This appears particularly clearly in certain texts attributed by the Greek books to Cosmas of Jerusalem. 8th example: At the Divine Liturgy for the feast of the transfiguration there are two texts (the okhitay = entrance hymn, and the qheltabanisy = lavabo) which are at Vespers in today’s books. These texts are attributed to Cosmas of Jerusalem.

172 John the Monk is the regular nom-de-plume of John of Damascus.

Transfiguration Στιχηρὰ Ἰδιόµελα

At the Washing of Hands, ἤχος δ'. Koσµᾶ Moναχοῦ tone 4 Again we find that almost every Georgian phrase is one syllable longer than the

corresponding Greek. The translation is very fine and the phrase division corresponds exactly to the Greek.

9th example: Transfiguration (The third text of which ex. 8 is the first) Okhitay, tone 4 Here the phrase division but not the syllable count corresponds. The Greek books attribute 4 στιχηρά to Cosmas. The first 2 correspond to the pattern of ex. 8 and the last 2 to that of ex. 9. This is therefore a clear indication that Cosmas adapted ancient στιχηρά as a model for his compilation of στιχηρὰ ἰδιόµελα.

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In the following article, Met’reveli amasses further evidence for her hypothesis, bringing telling examples of texts attributed to Cosmas of Jerusalem, Andrew of Jerusalem, John of Damascus and even Emperor Leo VII (886-912). This evidence, it should be emphasised, would not have been available without this edition of the Iadgari. It is to be hoped that liturgical scholars will now, like Professor Fröyshov, apply themselves seriously to the study of the Georgian manuscripts, which are a veritable treasury of early texts long since lost in Greek.

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BIBLIOGRAPHY I ( = Udzvelesi Iadgari, p. 920)

GARITTE, G., Catalogue des manuscrits géorgiens littéraires du Mont Sinaï. (CSCO, vol. 165, Subsidia, vol. 9) (Louvain, 1956). GARITTE, G., Le Calendrier palestino-géorgien du Sinaiticum 34 (X° siècle). (Edition, translation and commentary). (Subsidia hagiologica, N° 30), (Bruxelles, 1958). INGOROQVA, P’., Tkhzulebata k’rebuli, vol. 3. (Tbilisi, 1965). JAVAKHASHVILI, I., Sinis mtis kartul khelnats’erta aghts’eriloba. (Tbilisi, 1947). КЕКЕЛИДЗЕ, К. C., Ieрусалимскiй Канонарь VII вhка. (Georgian edition), (Тифлисъ, 1912). КЕКЕЛИДЗЕ, К. C., Литургическiя грузинскiя памятники въ отечественныхъ книгохранилищахъ и ихъ научное значенiе. (Тифлисъ, 1908). LEEB, Helmut, Die Gesänge im Gemeindesgottesdienst vom Jerusalem (vom 5. bis 8. Jahrhundert). (Wiener Beiträge zur Theologie, vol. XXXIII), (Wien, 1970). MAPP, H., Oписание грузинских рукописей Cинайского монастыря. (Mocква-Ленинград, 1940). MET’REVELI, El.; CH’ANK’IEVI, Ts.; KHEVSURIANI, L.; JGHAMAIA, L.; AA. Edd., Kartul khelnats’erta aghts’eriloba. Sinuri k’olektsia, Part I. (Tbilisi, 1978). CH’ANK’IEVI, Ts.; JGHAMAIA, L.; AA. Edd., Kartul khelnats’erta aghts’eriloba. Sinuri k’olektsia, Part II. (Tbilisi, 1979). MET’REVELI, El., A., Ed., Dzlisp’irni da gmrtismshoblisani. Ori dzveli redaktsia X-XI ss. Khelnats’erebis mikhedvit. (Tbilisi, 1971). RENOUX, A., Le codex arménien Jérusalem 121. I. Introduction aux origines de la liturgie hiérosolymitaine. Lumières nouvelles. (Turnhout, 1971). RENOUX, A., Le codex arménien Jérusalem 121. II. Edition comparée du texte et de deux autres manuscrits. (Turnhout, 1971). SHANIDZE, A.; MART’INOSOVI, A.; JISHIASHVILI, A., AA. and Edd., SHANIDZE, A., General Editor, Ch’il-et’rat’is iadgari. (Tbilisi, 1971). TARCHNISHVILI, M., Ed., Le Grand Lectionnaire de l’Eglise de Jérusalem (V°-VIII° siècle), voll. I and II. (Louvain, 1959, 1960) (=CSCO, col. 188, 189, 204, 205). VAN ESBROECK, M., Les plus anciens homéliaires géorgiens. Etude descriptive et historique. (Louvain, 1975).

BIBLIOGRAPHY II ( = SUPPLEMENTARY SELECT BIBLIOGRAPHY)

ARRANZ, Miguel, Le Typicon du Monastère du Saint-Sauveur à Messine. (Roma: Pont. Institutum Studiorum Orientalium, 1969) ( = Orientalia Christiana Analecta 185). BAUMSTARK, A., Comparative Liturgy. (Westminster, Maryland, 1958). Chronicon Paschale in Patrologia Græca 92, col. 1001 BC. DEVOS, Paul, La Date du Voyage d’Egérie in Analecta Bollandiana 85 (bruxelles, 1967), pp. 165-194. EGERIA = Itinerium Ætheriæ, Ed. PÉTRÉ, Hélène. (Paris: Editions du Cerf, 1948) ( = Sources Chrétiennes 21). Ἡ Θεία Λειτουργία. (Ῥῶµη, 1950). JANERAS, Sebastiã, Le Vendredi-Saint dans la tradition liturgique byzantine. (Roma: Studia Anselmiana 99, Analecta Liturgica 12, 1988). JOHN CHRYSOSTOM, St., Homily on Christmas, in Patrologia Græca 49, coll. 351-362. The Maronite Liturgical Year, voll. I and II (Diocese of St. Maron, USA, 1982). MATEOS, Juan, Lelya-Sapra. Les Offices Chaldéens de la Nuit et du Matin. (Roma: Pont. Institutum Studiorum Orientalium, 1972) ( = Orientalia Christiana Analecta 156). Mηναία τοῦ ὅλου Ἐνιαυτοῦ, Tόµος B’ ( = November and December). (Ῥῶµη, 1889). Παρακλητικὴ ἥτοι Ὀκτωήχος ἡ Mεγάλη. (Ῥῶµη, 1885). Πεντεκοστάριον. (Ῥῶµη, 1883). TAFT, Robert F., The Great Entrance. (Roma: Pont. Institutum Studiorum Orientalium, 1975) ( = Orientalia Christiana Analecta 200). Tριῴδιον κατανυκτικόν. (Ῥῶµη, 1879). WELLESZ, Egon, A History of Byzantine Music and Hymnography. (Oxford: Clarendon Press, Second Edition: 1961).