each other, and are sometimes strangely interlaced. Where does one begin and another end? Then, there is meaningless repetition which must be passed over, and expressions demanding modification. The symbolism is extravagant, and sometimes a single hymn is crowded with figures the most grotesque. The Mariolatry is excessive, and the hagiolatry offensive. Sifting and pruning are needed before a cento can be formed which would commend itself to modern taste.
But when all that is said, there remains much that is both beautiful and attractive. Some of the hymns and fragments are most chaste, – beautiful and tender in their simple expression of Gospel truths, which are so attractive to all true hearts, no matter by what creed dominated.
(4) The remarkable simplicity characterising those hymns constitutes, strangely it may seem, no small difficulty for the translator. The mere rendering of them into English prose is a comparatively easy task, and can be of no value to any one but the specialist, but to take the unmeasured lines and cut them to form stanzas, and in the process sacrifice nothing of their spirit to the exigencies of rhyme and rhythm, is a task by no means easy. But such drawbacks and difficulties are not insurmountable; and with the growing interest in hymnology which characterises our time, it will be strange if, in the years to come, the Greek service-books are not made to yield their tribute to the praise of the Christian Church in the West.
V. One prime characteristic of Greek hymnody should be referred to. Unlike the English hymn, which is intensely subjective – in some cases unhealthily so – the Greek hymn is in most cases objective. God in the glory of His majesty, and clothed with His attributes, is held up to the worship and adoration of His people. Christ, in His Person and Work, is set before the mind in a most realistic manner. His birth and its accompaniments; His life; the words He spoke, and the work He did; His Passion, in all the agony of its detail; the denial of Peter; the remorse of Judas; the Crucifixion; the darkness, the terror, the opened graves; the penitent thief; the loud cry, the death – all are depicted in plain, unmistakable language. So we have in the hymns of the Greek service-books a pictorial representation of the history of Redemption, which by engaging the mind appeals ultimately to the heart and its emotions. Our self-regarding praise is perhaps inevitable, as being the product of the meditative spirit which has its birth, and lives in the land of the twilight; but the advantages of the objectiveness of Greek hymnody are so patent, that its cultivation might be fostered by our hymn-writers, with advantage to the devotional feeling of our people and to the worship of the Church.
VI. The hymns as they appear in the original are distinguished by a variety of terms, the meaning in certain cases being extremely vague, and in others to be derived from the subject of the hymn, or from its form, or the time, place, or manner in which it is sung. As we have no corresponding terms in our language, it is necessary to retain the original.
The following collection contains specimens of some of these. They are: —
The Canon (κανών). This is the most elaborate form into which the praise of the Greek Church is cast. A canon consists, nominally, of nine odes or hymns, but the second ode is always omitted on account of the denunciations of God against Israel which it contains. The canons of the Great Fast are made up of those rejected odes.
Hirmos (εἱρμός) is the first stanza of each ode. It may or may not have a connection with the stanzas following, but its function is to give them their rhythmical model.
Troparion (τροπάριον). The Troparia are the stanzas which follow the Hirmos, and the term is doubtless derived from the verb τρέπω, to turn. The Troparia turn to the strophes of the Hirmos, as to a model.
Contakion (κοντάκιον) is a term of uncertain origin. Contakia occur after the sixth ode of a canon. They are short hymns, and the term may be derived from the Latin Canticum.
Stichera (στιχηρά) designates a series of verses which are often taken from the Psalter.
Idiomelon (ἰδιόμελον). Unlike Troparia, which follow the model set by the Hirmos, Idiomela follow no model.
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