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Category Archives: Spirituality

Why hast Thou forsaken me?

30 Tuesday Mar 2021

Posted by michelinewalker in Abrahamic Religions, Human Condition, Spirituality, the Bible, The Eucharist

≈ 8 Comments

Tags

Anamnèse, Gethsemani, Lamartine, Les Sept Paroles du Christ, Mass, Seven sayings of Christ, the Canonical Hours, vigilance

Jesus Christ Pantokrator
Agony in the Garden by El Greco

The seven sayings of Jesus on the cross

Ten years ago, I published a post on the Canonical hours and noted that literary critic Northrop Frye suggested that these words: “My God, my God, why hast thou forsaken me?” expressed the very essence of the tragic mode. They expressed:

a sense of his exclusion, as a divine being from the society of the Trinity.

Northrop Frye [1]

Jesus was no longer God.

The seven sayings are:

  • 1.11. Father, forgive them; for they know not what they do
  • 1.22. Today you will be with me in paradise (to the bon larron, or thief)
  • 1.33. Woman, behold, thy son! Behold, thy mother!
  • 1.44. My God, my God, why hast thou forsaken me?
  • 1.55. I thirst
  • 1.66. It is finished
  • 1.77. Father, into thy hands I commend my spirit

The seven sayings, being “last words”, may provide a way to understand what was ultimately important to this man who was dying on the cross.

(See Sayings of Jesus on the cross, Wikipedia.)

They do. The sayings of Jesus on the cross epitomize the burden of incarnation. Adam and Eve ate the forbidden fruit and had to leave the Garden of Eden, but they would be redeemed. Not only was Jesus made flesh, but he died a cruel death: crucifixion.

The Eucharist, or Holy Communion, commemorates the Last Supper. It invites an anamnesis. The host, l’hostie, represents the body of Christ. « Le Christianisme (…) utilise le pain pour représenter le corps de Jésus-Christ ».

“[D]o this in remembrance of me.”
« Ensuite il prit du pain; et, après avoir rendu grâces, il le rompit, et le leur donna, en disant: Ceci est mon corps, qui est donné pour vous; faites ceci en mémoire de moi.» (Luc 22 : 19).

During the Last Supper, Jesus of Nazareth knew that he had been betrayed and that he would be arrested. He was alone when his agony began.

The Canonical Hours

As for the nine (originally seven) Canonical Hours, they constitute vigilance. At the Garden of Gethsemane, during his agony, Jesus’ disciples would not keep watch with Him. Jesus was abandoned (See Matthew 26: 36 – 46).

Now Cenobite Monks, Monks who live under an abbey, observe nine Hours. Vigil was added, which precedes Matins. Monks keep watch night and day. Jesus, the Redeemer was a man and vulnerable. Vigils are kept the day or evening before Feasts. They may include or be replaced by fasting.

The Canonical hours are:

  • Vigil
  • Matins (nighttime)
  • Lauds (early morning)
  • Prime (first hour of daylight)
  • Terce (third hour)
  • Sext (noon)
  • Nones (ninth hour)
  • Vespers (sunset evening)
  • Compline (end of the day)

It is my understanding that the evening song or, evensong, comprises the Nunc Dimittis, Simeon’s song of praise. It is a canticle. The Hours are mostly Psalms, but include Antiphons, Responsories and Canticles.

“Why hast Thou forsaken me?”

This saying is Matthew 27: 46 & Psalm 22:1, but in my French psautier, the relevant Psaume is numbered 21. In my Bible, however, the same Psalm is numbered 22 (21):

« Mon Dieu, mon Dieu, pourquoi m’abandonner ? »
“Eli, Eli, lema sabachthani?”
[Why hast Thou forsaken me?]

Jesus was a Jew and he spoke Aramaic. Eli would be Elijah. These words were uttered when Jesus was dying on the cross. In the ninth hour he said: My God, my God, why hast Thou forsaken me? They are the fourth of seven sayings of Christ on the Cross (Les Sept Paroles du Christ).

Conclusion

On the cross, Jesus, God the Son, fully assumed his humanity, the incarnation. His disciples would not keep watch with him during his agony (Matthew 26: 36 – 46), and he was crucified (Psalm 22: [21]). All His sayings on the cross express the human condition, but none so powerfully as: “My God, my God, why hast Thou forsaken me?” In « L’Isolement », Alphonse de Lamartine wrote: « Un seul être vous manque, et tout est dépeuplé » (Only one being is missing, and all is a wasteland). Lamartine borrowed this line from Nicolas-Germain Léonard (1844 – 1893). On the death of his daughter, Lamartine also wrote Gethsémani ou La Mort de Julia: « C’était le seul anneau de ma chaîne brisée » (She was the only link in my broken chain). Why hast Thou… Père, père…

I learned liturgy and liturgical music as a student of musicology and the theory of music. Jesus’ sayings on the cross have been set to music by several composers (see Sayings of Jesus on the cross, Wikipedia). To this body of music, Théodore Dubois (1837 – 1924) contributed: Les Sept Paroles du Christ, an Oratorio.

RELATED ARTICLES

  • A God Who Allows Suffering by Anna Waldherr atsunnyside blog
  • Canonical Hours or the Divine Office (19 November 2011)
  • Feasts & Liturgy, Page

_________________________
[1] Northrop Frye, Anatomy of Criticism, (Princeton NJ: Princeton University Press, 1973 [1957]), p. 36.

—ooo—

Love to everyone 💕

Les Sept Paroles du Christ de Théodore Dubois interprété par l’Ensemble vocal Abbaye de la Cambre
Bronzino‘s depiction of the crucifixion with three nails, no ropes, and an hypopodium standing support, c. 1545. (Photo credit: Wikipedia)

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30 March 2021
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On the Bibles Moralisées

01 Monday Mar 2021

Posted by michelinewalker in Illuminated Manuscripts, Illustrations, Spirituality

≈ 8 Comments

Tags

Creation and Recreation, mythology, Pierre Séguier, William Blake

Die Schöpfung from Europe a Prophecy, by William Blake (Photo credit: Wikipedia)

In an earlier post, I mentioned that Pierre Séguier owned the French collection (Paris) of the Oxford-Paris-Londres Bible. Pierre Séguier was one of a handful of individuals who ruled France in the seventeenth century. He purchased the Paris selection of the Bible moralisée. However, he also conducted the trial of Nicolas Fouquet, France’s Superintendant of Finances (1653-1661). (See RELATED ARTICLES.)

A Portrait of Pierre Séguier, Chancellor of France, by Charles Le Brun, 1655 (Photo credit: Larousse)

In the same post, I described our four Bibles as paradox literature. That paragraph is no longer part of my post. I may have erased it mistakenly or it may have been removed. It could wait. Paradox literature is defined as follows:

In literature, the paradox is an anomalous juxtaposition of incongruous ideas for the sake of striking exposition or unexpected insight. It functions as a method of literary composition and analysis that involves examining apparently contradictory statements and drawing conclusions either to reconcile them or to explain their presence.

(See Paradox in literature, Wikipedia) [1]

Yes, there is a paradox. God used an instrument that man would create: the compass. The artists who illuminated the Creation depicted tools that would make sense to their contemporaries, not to mention the artists themselves. In fact, these examples showed that man was creative. God Himself had to be recognizable. The four depictions of God we have seen could be understood by the humblest among us. Northrop Frye writes that:

Present things are related to past things in such a way that cognition becomes the same thing as re-cognition, awareness that a present effect is a past cause in another form.

Northrop Frye [2]

So, we have created myths, stories (mythoi) of causality.

RELATED ARTICLES

  • Vaux-le Vicomte: Fouquet’s Rise and Fall (20 August 2013)
  • Bibles mémorisées: 13th-century France (27 February 2021)

_________________________
[1] Rescher, Nicholas. Paradoxes:Their Roots, Range, and Resolution. Open Court: Chicago, 2001.
[2] Northrop Frye, Creation and Recreation (University of Toronto Press, 1980), p. 59.

Love to everyone 💕

Haydn: Die Schöpfung Hob. XXI:2 / Erster Teil – 1A. Einleitung: “Die Vorstellung des Chaos”
Codex Vindobonensis 2554 

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1st March 2021
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Bibles moralisées: 13th-century France

27 Saturday Feb 2021

Posted by michelinewalker in Art, Illuminated Manuscripts, Spirituality

≈ 8 Comments

Tags

13th-century France, Blanche de Castille, Four Bibles, Illuminated Bibles


Oxford-Paris-Londres

Our four Bibles are the following:

  • Codex Vindobonensis 2554 Vienna
  • Codex Vindobonensis 1179 (Vienna)
  • Bible moralisée de saint Louis (Toledo) *
  • Bible moralisée Oxford-Paris-Londres
  • *The Bible of St Louis has an English-language entry. 

1. Codex Vindobonensis 2554 (Vienna)
Only one of the Bibles moralisées listed above shows God working. It is Codex Vindobonensis 2554. The illumination we saw shows God in the process of creating the world. Each folio has a recto-verso arrangement. In other words, when opening the Bible, one sees the Old Testament (Ancien Testament) on one side and the New Testament (Nouveau Testament) on the other side. All represent the Book of Genesis.
God or Christ is represented on f 1v.
« Ici crie Dex ciel et terre, soleil et lune et toz elemenz ».
He God created heaven and earth, the sun and the moon, and all the elements.
It was made in France in approximately 1215 – 1230.
The text is in Old French, not Latin.
It contains 246 folios (bound)
Illuminations measure 34.4 x 26 cm (h & w) (haut & large)
It is listed in the Warburg Institute Iconographic Database.

Dieu, architecte de l’univers, f 1v 2554 (Vienna) (Photo credit: Wikipedia) (1)
Dieu, architecte de l’univers, f 1v (Vienna) (Photo credit: Wikipedia)

2. Codex Vindobonensis 1179
Codex Vindobonensis 1179 is also housed in Vienna. Scenes are represented on both sides of the book and represent the Old Testament, on one side, and the New Testament on the other side. Images represent the Book of Genesis.
God or Christ is represented on f 1v.
It was made in France in approximately 1225
It contains 130 folios (bound).
It is the smallest of our four Bibles.
Illuminations measure 43 x 29.5 (h & w) (haut & large)
It is listed in the Warburg Institute Iconographic Database.

The St. Louis Bible – The Pantocrator, God the Son, as the Creator of the universe. (Photo credit: Wikipedia) (3)

3. The Bible of St Louis or the Toledo/Pierpont Morgan Library de New York, M. 240.
Under the illumination depicting God, we La Bible de Saint Louis – Christ en tant que Créateur de l’Univers (The St. Louis Bible – The Pantocrator, God the Son, Creator of the universe).
Images represent Genesis.
God the Son is represented on f 1v.
It was made in France between 1220-1230 or 1240.
It contains 224+222+31+153 parchment folios bound in four volumes.
Illuminations measure 34,4 × 26 cm (h & w) (haut & large).
It is listed in the Warburg Institute Iconographic Database.

4. Bible moralisée Oxford-Paris-Londres  
Under the illuminated portrayal of God, one reads Christ en gloire. Le frontispice du volume d’Oxford.
It is a copy of the Toledo/Pierpoint Bible moralisée or the St Louis Bible.
It is classified as Bodl. 270b, Lat. 11580, Harley 1526-1527
It was made in France between 1230 and 1240
Illuminations measure 40 × 27,5 cm (h & w) or (haut & large)
The volumes belonged to John Thwayte in the 16th century and later to Sir Christopher Heydon (1561-1623). Sir Christopher Heydon gave the folios to the Bodleian Library at Oxford. Its French owner was Pierre Séguier, who bequeathed his illuminations it to his grandson Armand du Cambout. The folios were then housed in the abbaye de Saint-Germain-des-Prés. Since the French Revolution, the French folios have been kept in the Bibliothèque nationale de France.
Oxford has folios from the Book of Genesis up to the Book of Job, which constitutes 1728 miniatures in medallions. The Bibliothèque nationale de France is home to 1776 miniatures, from the Book of Job and the Book of Malachi. The British Library houses 1408 folios from the Books of Maccabees and the New Testament.
It is listed in the Warburg Institute Iconographic Database.

Comments

The Bible of Toledo/Pierpoint is considered the superior Bible. However, unlike the Vienna Bibles, it shows God the son as Creator of the Universe. It, therefore, reflects the dogma of the Holy Trinity. God the Father, God the Son and the Holy Ghost. The Vienna Bibles show God, the architect. In this respect, Vienna Bible Ms 2554, God seems to be at work. This depiction of working is often shown. It may seem literal and naïve, but it is convincing. In Ms 1179, God’s face resembles the face portrayed in Ms 2554. F 1v of the Toledo and Oxford manuscript depict a Christ en gloire, a Majestic God Who nevertheless holds a compass and a world resembling the world of related depictions. It is clearly stated that Christ, as One in three Gods, has created the world.

BLANCHE DE CASTILLE

Blanche de Castille ordered Bibles 1779, 2554 for her husband, but Louis VIII the Lion, born on 5 September 1187, died on 8 November 1226. He reigned for less than four years. The Bible of St. Louis/ToledoMorgan were bought for Louis IX, France. The Oxford-Paris-British Library Bible was ordered for Marguerite de Provence, Louis IX’s wife.

RELATED ARTICLES

God the Architect (19 February 2021)
The Bible of Saint Louis, Toledo (22 February 2021)

Sources and Resources

Wikipedia, Britannica, Facsimiles of the Bibles

List of the Bibles Moralisées

  • Vienna, Österreichische Nationalbibliothek, Codex Vindobonensis 1179 (1220-1226)
  • Vienna, Österreichische Nationalbibliothek, Codex Vindobonensis 2554 (1220-1230)
  • Oxford-Paris-London (ca. 1233)
    • Oxford, Bodleian Library, Ms. Bodley 270b
    • Paris, BnF, Ms. Latin 11560
    • London, British Library, Harley Ms. 1526-1527
  • Toledo-Morgan (ca. 1233)
    • Toledo, Cathedral of Toledo, Bible moralisée (Biblia de San Luis), 3 volumes
    • New York, Morgan Library and Museum, M. 240 (fragment)

(See Bible of St Louis, Wikipedia)

The Bible of St Louis (Photo credit: Wikipedia)

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27 February 2021
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God the Architect

19 Friday Feb 2021

Posted by michelinewalker in Illuminated Manuscripts, Spirituality, the ineffable

≈ 2 Comments

Tags

Bible Moralisée, c. 1250, Freemasonry, illuminations

God the Geometer
Ici crie Dex ciel et terre, soleil et lune et toz elemenz

Science, and particularly geometry and astronomy, was linked directly to the divine for most medieval scholars. Since God created the universe after geometric and harmonic principles, to seek these principles was therefore to seek and worship God.

Great Architect of the Universe – Wikipedia

We are looking at an enluminure from an illuminated Bible manuscript. God the Geometer is from a Bible moralisée made in 13th-century France (1250). God is viewed as a geometer. Yet, geometers could not have existed before God created the world. So, ironically, God is borrowing an instrument that men will create after He has created “heaven and earth, the sun and the moon and all the elements.” Moreover, the instrument reminds me of the Masonic Square and Compasses. (See Great Architect of the Universe, and Freemasonry, Wikipedia)

Discrepancies such as using what has not been created, knowing events before they happen, Jesus redeeming Mary before He was born, awake in me feelings I cannot describe adequately: the ineffable infinity.

This Bible Moralisée reminds me of The Bible of St Louis (13th c., Paris) – V. English – www.moleiro.com. The Bible of St Louis (13th c., Paris) – V. English – www.moleiro.com – YouTube

Sources and Resources
God the Geometer (Wikimedia)
The Bible of St Louis (13th c., Paris) – V. English – www.moleiro.com – YouTube
Great Architect of the Universe – Wikipedia
Freemasonry, Wikipedia
Codex Vindobonensis 2554 (French, ca. 1250)
Österreichische Nationalbibliothek.
Galerie des Enluminures

Love to everyone 💕

William Blake God (Fine Art America)

© Micheline Walker
19 February 2021
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The Negro-Spiritual

16 Sunday Aug 2020

Posted by michelinewalker in Spirituality, The United States, Underground Railroad, Voyageurs, Winged Creatures

≈ Comments Off on The Negro-Spiritual

Tags

African-American, anamnesis, Despair, Hope, Legacy, Negro-Spiritual

The Negro-Spiritual is a genre in music, created by Black slaves before emancipation, and which has endured. As you know, Frederick Douglass’ textbook was the Bible. The Bible is not easy to read but it offers a “paradise lost,” a very humble saviour who rewards those who are in pain. Such themes are precious to oppressed people. Heaven also offers winged beings: angels. They can fly, which one cannot do if one is in shackles. Uncharitable owners kept their slaves in shackles or punished them by putting them in shackles. It was extremely painful and it could break a person’s body. The word anamnesis is linked to the Negro-Spiritual. One goes back in time and remembers that there is a promised land.

The poor, or those whose life has been broken, know they will be saved. Life eternal awaits them and those who suffer often commit suicide. There is life eternal and they may be reborn. Rebirth is a central theme in world literature and the arts. Nature awakens when Spring arrives. Those who cannot read know that there is a circle and a cycle. Vivaldi’s Four Seasons makes so much sense. The fourth movement contains a restful melody. In Winter, nature rests. The music suggests a form of suspension.

John Milton’s Paradise Lost is also Paradise regained. The desperate poets of 19th-century France looked upon man as remembering paradise. He cannot, therefore, find a comfortable place on earth. Baudelaire’s Albatros looks clumsy on the deck of ships. Sailors laugh. In full flight, he is divine.  This is a powerful image. Le Souvenir, remembering is an important theme in 19th-century French literature, beginning with Lamartine.  Le Lac is an essential poem. Lamartine has lost the woman he loved. She has died, but he asks nature to remember. To be remembered is an option. My favourite line in Lamartine is:

Un seul être vous manque, et tout est dépeuplé ! (L’Isolement)
[Only one being is missing, and all is gone!]

Black slaves turned to religion, mixing the music of Western Africa and Christian themes. (See Negro Spiritual, simple English, Wikipedia). It is music one sang while working. The voyageurs of New France sang as the paddled their Amerindian birch bark canoe. One had to be a singer to be hired. The favourite song of voyageurs was À la claire fontaine. It ended with the words I will never forget you: Jamais je ne t’oublierai.

The Blacks also knew French fables based on Reynard the Fox. These are told in Uncle Remus, by Joel Chandler Harris. Such narratives can be seen as African-American, because Br’er Rabbit, brother rabbit, outfoxes the Fox. He is the trickster. Yet, Uncle Remus bears considerable resemblance to Reynard, the trickster. Many Acadians deported in 1755, made their way to Louisiana. They walked through Georgia. They had lost everything. Some walked back to Acadia. However, their land had been settled by the British. I gave a paper on Reynard, in Hull, England, in 2001. I saw the tombs of my husband’s ancestors at Beverley Minster. David died in August 2001.

Black slaves found sustenance in the Bible, and created a repertoire of songs that speak to the soul. The negro-spiritual is one of the United States’ most important legacies. It is unique and expresses both despair and hope.

RELATED POSTS

Créoles, Cajuns & Uncle Remus (22 January 2014)← the music
Uncle Rémus and “Tar Baby” (21 August 2012)
Évangéline & the “literary homeland” (24 January 2012)

Love to everyone 💕

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16 August 2020
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The Eastern Church’s Theotokos

12 Saturday Jan 2019

Posted by michelinewalker in Orthodox Churches, Russian Art, Russian Music, Spirituality

≈ 3 Comments

Tags

Augustine of Hippo, Dogmas, Eleusa Iconography, Icons, Original Sin, the Birth-Giver of God, the Byzantine Empire, the East-West Schism of 1054, the Immaculate Conception, the Theotokos of Vladimir

Theotokos of Vladimir, tempera on panel, 104 x 69 cm, painted about 1130 in Constantinople (Wiki2.org.)

Icons

  • the Eastern Church
  • the Western Church

In Eastern or Orthodox Churches, the Western Church’s Virgin Mary, the mother of Jesus of Nazareth, is called the Theotokos, a Greek word meaning literally the “Birth-Giver of God.” Moreover, in Orthodox Churches, also called the Byzantine Rite, the Theotokos has always been portrayed in the same way. In the Western Church, depictions of Mary differ from artist to artist and from art movement to art movement. The Western Church has paintings and statues of the Virgin Mary, but the Theotokos is an icon.

The Theotokos

The image at the top of this post shows a very precious icon, the Theotokos of Vladimir. It is a Byzantine icon of the Virgin and Child dating to the Kormenian period and predating the Fall of Constantinople, on 29 May 1453, the capital of the Christian Byzantine Empire. Constantinople fell to the Ottoman Empire, further dividing the Eastern and Western Churches, which separated in 1054. Byzantine icons survived the Great Schism.

kazan_moscow

Our Lady of Kazan, a 16th-century copy (Yelokhovo Cathedral, Moscow)

The Theotokos of Vladimir was painted in Constantinople and resembles the Theotokos of Kazan. The Theotokos of Kazan is a copy, the original was likely destroyed 1904, but I would call it archetypal. It was likely painted in or about 1131 and was a gift from the Greek Patriarch of Constantinople to Grand Duke Yury Dolgorukiy of Kyiv. The Icon was housed in Mezhyhirskyi Monastery. But the Theotokos of Vladimir was stolen when Andrei Bogolyubsky sacked Kyiv, in 1169. It was taken to Vladimir, a medieval capital of Russia located two hundred kilometers east of Moscow. (See Theotokos of Vladimir, Wiki2.org.)

The Theotokos is regarded as the holy protectress of Russia.” The Theotokos of Vladimir is now housed in a functioning church in the Tretyakov Gallery, in Moscow. (See Theotokos of Vladimir, Wiki2.org.) Vladimir’s Theotokos is described as iconography of the Eleusa (tenderness). Such icons of the Theotokos show Jesus “cuddling up” to his mother.

The Great Schism of 1054

  • the Original Sin
  • the Immaculate Conception
  • Saint Augustine

East and West remained united despite several disputes, but these culminated in the  Great Schism of 1054. The East-West Schism involves many issues, such as the Trinity. God is one but in three coeternal consubstantial persons or hypostases. However, we will focus on one dispute: the Immaculate Conception. 

In 1054, the Eastern Church rejected the Immaculate Conception. According to Augustine of Hippo (13 November 354 – 28 August 430 CE), a revered father of the Church, humans were born guilty of the Original Sin. They were tainted until Baptism.

However, Mary, the mother of the Redeemer could not be born stained. She had to be born free of the Original Sin. According to the Catholic Encyclopedia,

[t]he formal active essence of original sin was not removed from her soul, as it is removed from others by baptism; it was excluded, it never was in her [Mary’s] soul. Simultaneously with the exclusion of sin.

(See The Immaculate Conception, The Catholic Encyclopedia.)

Mary was not “exempt from sorrow, bodily infirmities, and death,” but she was redeemed through the same merits of Christ.

The immunity from original sin was given to Mary by a singular exemption from a universal law through the same merits of Christ, by which other men are cleansed from sin by baptism.

The Eastern Church  rejected the rather convoluted Immaculate Conception.

Dogmas

The Immaculate Conception was indeed difficult to accept. Yet, this doctrine was not dogmatically defined in the Catholic Church until 1854 when Pope Pius IX, declared ex cathedra, i.e., using papal infallibility, in his papal bull Ineffabilis Deus, the Immaculate Conception to be doctrine. (See Immaculate Conception, Wiki2.org.)

We declare, pronounce, and define that the doctrine which holds that the most Blessed Virgin Mary, in the first instance of her conception, by a singular grace and privilege granted by Almighty God, in view of the merits of Jesus Christ, the Savior of the human race, was preserved free from all stain of original sin, is a doctrine revealed by God and therefore to be believed firmly and constantly by all the faithful.

(See Ineffabilis Deus, Wiki2.org.)

Not only does the Eastern Church reject the Immaculate Conception, but it also rejects papal infallibility. In the Eastern Church, the Theotokos falls asleep, which is called the Dormition of the Mother of God. But, on 1 November 1950, in the apostolic constitution Munificentissimus Deus, Pope Pius XII used papal infallibility to make the Assumption of the Virgin Mary a dogma.

The Immaculate Conception is celebrated on 8 December in the Western Church and 9 December, in the Eastern Church. The Assumption of the Virgin Mary is celebrated on 15 August in both the Western and Eastern Churches, but 15 August is August 28, N.S. for those following the Julian Calendar.

Conclusion

  • nullifaction of the anathemas of 1054

Would that I could conclude this post appropriately. The Parables of Jesus of Nazareth and Mariology are favourite topics. Dogmas are not.

Eastern Orthodox concepts of Mary have been mostly expressed in liturgy and are not subject to a central dogmatic teaching office.

(See Mariology, Wiki2.org.)

But the debate is over. “In 1965, Pope Paul VI and the Ecumenical Patriarch of Constantinople Athenagoras I  nullified the anathemas of 1054 although this nullification of measures taken against a few individuals was essentially a goodwill gesture and did not constitute any sort of reunion.” (See East-West Schism, Wiki2.org.)

It may be that this nullifaction was a “goodwill gesture,” but there were genuine benefits to this goodwill gesture. Basically, East or West, a Christian is a Christian. The Theotokos of Vladimir is in the Tretyakov Gallery, in a functioning church.  It cannot go out of style.

I read a sentence, the source of which is Britannica, but cannot find again. However, it read that “[t]he Byzantine heritage survived … mainly because the Orthodox church showed an astonishing internal strength and a remarkable administrative flexibility.” The eastern church has Synods, each of which is autonomous, rather than one Holy See. (See Autocephaly, Wiki2.org.)

However, what led me to investigate the Immaculate Conception and, in the process, mention the Assumption, is the extraordinary spirituality of Russia’s liturgical music. It shows “astonishing internal strength.”

RELATED ARTICLE

  • The Art of Dionisius (9 September 2012)

Love to everyone 💕

kazan_moscow

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12 January 2019
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Hymn of the Cherubim

31 Monday Dec 2018

Posted by michelinewalker in Russian Art, Russian Music, Spirituality

≈ 8 Comments

Tags

Hymn of the Cherubim, In the forest at winter, Isaac Levitan, Tchaikovsky

in-the-forest-at-winter-1885.jpg!Large

In the forest at winter by Isaac Levitan, 1855 (WikiArt.org.)

Let this be my shortest post. The painting is by Isaac Levitan and the music, Tchaikovsky‘s. Choirs are Russian or Bulgarian.

 

Love to everyone 💛

Hymn of the Cherubim by The USSR Ministry Of Culture Chamber Choir

in-the-forest-at-winter-1885.jpg!Large

In the forest at winter by Isaac Levitan, 1855 (WikiArt.org.)

© Micheline Walker
31 December 2018
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Salve Regina: the Season’s Antiphon

03 Thursday Aug 2017

Posted by michelinewalker in Marian Hymnology, Spirituality

≈ 17 Comments

Tags

Antiphons, Arvo Pärt's Salve Regina, Gregorian chant, Hermann of Reichenau, Marian Feast Days, Salve Regina

800px-Leonardo_da_Vinci_-_study_of_a_woman's_head

Leonardo da Vinci, a study of the Head of Madonna, c. 1484 CE. (Photo credit: Wikipedia)

The Marian Antiphons

The Marian antiphons are:

  • Alma Redemptoris Mater, “Kindly Mother of the Redeemer” (Advent through February 2) click on Tomás Luis de Victoria
  • Ave Regina Cælorum,“Hail, Queen of Heaven” (Presentation of the Lord through Good Friday) click on Marc-Antoine Charpentier
  • Regina Cæli, “Queen of Heaven, Rejoice” (Easter season) click on Palestrina
  • Salve Regina, “Hail, Holy Queen” (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

These four antiphons are sung during the eight Canonical Hours, or Divine Office. They may precede or end a psalm. The Salve Regina is sung at Compline and is the best-known of antiphons. Antiphons have been associated with Benedictine monasticism. They are in the Catholic Gregorian Chant repertory which is perhaps rooted in part in Iberian Mozarabic Chant and also originates in Judaism. There are 150 psalms. Many psalters are illuminated manuscripts. The Marian Antiphons were written in Latin, but Wikipedia entries provide an English translation.

Britannica[1] describes antiphons as “Roman Catholic liturgical music, chant melody and text sung before and after a psalm verse. These were sung originally by alternating choirs (antiphonal singing). The antiphonal singing of psalms was adopted from Hebrew worship by the early Christian churches, notably that of Syria.” But Marian antiphons are not “true antiphons.”[2]

In its description of antiphons, Britannica adds that “[t]he four Marian antiphons are long hymns, not true antiphons but independent compositions especially noted for their beauty.” The four Marian antiphonies may have changed as polyphony developed. Moreover it is not uncommon for composers to set a known text to music. In an earlier post, I noted that Michel-Richard de Lalande wrote a Regina Cæli. Several composers have written a Regina Cæli and several, a Salve Regina. Many of these liturgical texts have numerous settings. Mozart’s Requiem is a mass.

It may therefore be prudent to describe Marian antiphons as content rather than form. But they are in the Catholic Gregorian Chant repertory which may be rooted in Iberian Mozarabic chant.  Marian antiphons, however, are not psalmody. It should be noted as well that Marian hymnology includes antiphons that differ from the four Marian antiphons. For instance, the antiphon Ave Maris Stella (click on Ave Maris Stella) is the Acadians‘ national anthem. Acadians are the French-speaking inhabitants of Canada’s Atlantic provinces: New Brunswick, Nova Scotia and Prince Edward Island.

800px-Lobo_de_Mesquita_-_Manuscrito_da_Antífona_Salve_Regina_-_1787

Salve Regina manuscript, 1787 (Photo credit: Wikipedia)

Hermann of Reichenau

Scholars disagree, but the Salve Regina and the Alma Redemptoris Mater, a prayer, yet also a Marian antiphon, are attributed to Hermann von Reichenau [3] (18 July 1013 – 24 September 1054), also called Hermannus Contractus or Hermannus Augiensis or Herman the Cripple, a crippled son of the Count of Altshausen. Hermann was taken to a Benedictine abbey, where he was schooled, at the age of seven. He later entered the Benedictine order. He was a composer, a music theorist, mathematician, and astronomer. He was beatified (cultus confirmed) in 1863. (See Hermann of Reichenau, Wikipedia.) The Salve Regina is one of the Leonine Prayers.

Although the dates do not coincide precisely, there are four Marian antiphons just as there are four seasons. However, although Christian feasts are celebrated on or near solstices and equinoctial points, they also occur at other moments of the year. Christmas is celebrated near the longest night of the year, the winter solstice, and the summer solstice coincides with St John’s Day, or Saint-Jean-Baptiste Day, Quebec’s national holiday, celebrated on 24 June. Easter is celebrated near the vernal equinox. It is Eastertide. As for the autumn equinox, it occurs near the mostly forgotten Michaelmas, la Saint-Michel, on 29 September.

An artistic rendering of “Herman the Lame” as he is sometimes called (Photo credit: Wikipedia)

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St. Michael, detail from Abraham and the Archangel Michael, Lower Saxony, … Courtesy of the Institut für Denkmalpflege, Halle, Germany  (Photo credit: Encyclopædia Britannica)

As for liturgical seasons, there are eight : Advent, Christmastide, Epiphany, Pre-Lent, Lent, Easter Triduum, Eastertide. In the Catholic Church, there are eight Marian Feast Days. (See Marian Feast Days, Wikipedia).

The main Catholic Marian Feast Days are:

  • January 1 Mary, the Holy Mother of God
  • March 25 The Annunciation of the Lord
  • May 31 The Visitation of the Blessed Virgin Mary
  • August 15 The Assumption of the Blessed Virgin Mary
  • September 8  The Nativity of the Blessed Virgin Mary
  • December 8 The Immaculate Conception of the Blessed Virgin Mary

In the Eastern Orthodox and Greek-Catholic liturgical calendars, the most important Marian Feast Days are:

  • March 25 Annunciation of the Theotokos (Mother of God)
  • August 15 Dormition of the Mother of God
  • September 8 Nativity of the Theotokos
  • November 21 The Entry of the Most Holy Theotokos into the Temple

Conclusion

A complete discussion of Marian hymns would demand a closer examination of several Christian denominations: Armenian, etc. But for most Christians, the next Marian feast day is the Assumption of Mary, called the Dormition of Mary in the Eastern Church. It is celebrated on the 15th of August.

I will conclude by quoting, once more, Britannica’s entry on antiphons: “The antiphonal singing of psalms was adopted from Hebrew worship by the early Christian churches, notably that of Syria.” Moreover, Mary is venerated in Islam. (See Mary in Islam, Wikipedia.) This quotation points to the Abrahamic religions: Judaism, Christianity and Islam.

RELATED ARTICLES

  • Arabization & Islamization (22 June 2017)
  • Feasts & Liturgy (29 December 2016)
  • Saint Nicholas, Sinterklass, Santa Claus (25 December 2016)
  • Candlemas: its Stories & its Songs, updated (2 February 2015)
  • Caccini’s “Ave Maria” (25 December 2015)
  • The Marian Antiphonies (5 April 2015)
  • Musings on the Origins of Christmas (22 December 2014)
  • Epiphany: Balthasar, Melchior & Gaspar (6 January 2013)
  • A Christmas Offering (cont’d): Hymns to Mary (26 December 2012)
  • Components of the Mass as a Musical Form (19 December 2012)
  • The Four Seasons: from Darkness into Light.2 (6 December 2012)
  • From the Magnificat to the Stabat Mater (6 April 2012)
  • Raphael and Marian Liturgy at NDP (4 April 2012)
  • Fra Angelico & the Annunciation (3 April 2012)
  • On Calendars & Feast Days (2 April 2012)
  • Nunc Dimittis, Simeon’s Song of Praise (2 February 2012)
  • A Christmas Offering: Hymns to Mary (25 December 2011)
  • The Blessed Virgin: Mariology (24 December 2011)
  • A Portrait of Giovanni Battista Pergolesi (20 December 2011)
  • Canonical Hours and the Divine Office (19 November 2011)
  • The Blessed Virgin: Mariology (24 December 2011)
  • Liturgy as a Musical Form (15 December 2011)

Love to everyone ♥ 

_________________________

[1] https://www.britannica.com/art/antiphon-music

[2] https://www.britannica.com/art/antiphon-music

[3] https://www.britannica.com/biography/Hermann-von-Reichenau

The Music

I’m using Arvo Pärt‘s Salve Regina, with footage taken from Sátántangó (1994) for the second time. However, Wikipedia’s entry on  Herman of Reichenau includes a fine interpretation of the Salve Regina by Les Petits Chanteurs de Passy. It is delightful.

Homemade music video for Salve Regina by Arvo Pärt. Performed by The Estonian Philharmonic Chamber Choir. Conducted by Paul Hillier.
Amazon link: http://www.amazon.com/gp/product/B000…

Footage taken from Sátántangó (1994) directed by Béla Tarr.
Imdb link: http://www.imdb.com/title/tt0111341/

images

© Micheline Walker
3 August 2017
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