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of the
Nativity, "Today the Virgin gives birth to Him Who is above all being…." The emperor, the patriarch, the clergy, and the entire congregation were amazed at both the profound theology of the hymn and Romanos' clear, sonorous voice as he sang. According to tradition, this was the very first
381:—i.e., he had a popular, but elevated style—and abundant Semiticisms support the view that he was of Jewish origin. Arresting imagery, sharp metaphors and similes, bold comparisons, antitheses, coining of successful maxims, and vivid dramatization characterize his style.
352:) refers to the shaft on which a scroll is wound, hence the significance of the Theotokos' command for him to swallow a scroll, indicating that his compositions were by divine inspiration. The scene of Romanos's first performance is often shown in the lower register of
579:
In poetic talent, fire of inspiration, depth of feeling, and elevation of language, he far surpasses all the other melodes. The literary history of the future will perhaps acclaim
Romanos for the greatest ecclesiastical poet of all
400:
and other sacred subjects, some 60 to 80 of which survive (though not all those attributed to him may be genuine). The earliest manuscripts of his works are dated centuries after his lifetime, akin to those of his successors
889:'Arise, O my soul, O my soul, why sleepest thou? The end draweth near, and thou must speak. Arise, therefore, from thy sleep, and Christ our God, who is in all places and filleth all things, shall spare thee.'
515:
His
Kontakion of the Nativity is still considered to be his masterpiece, and up until the twelfth century it was sung every year at the imperial banquet on that feast by the joint choirs of Hagia Sophia and of the
1042:. 6 (Papers presented to the Third International Conference on Patristic Studies held at Christ Church, Oxford, 1959, Part IV Theologica, Augustiniana, ed. F. L. Cross). Berlin: Akademie-Verlag: 210–220.
337:(Mother of God) appeared to him with a scroll in her hand. She commanded him to eat the scroll, and as soon as he did so, he awoke. He immediately received a blessing from the Patriarch, mounted the
1712:
560:
published in Munich several previously unpublished chants of
Romanos and other hymnographers, from manuscripts discovered in the library of the Monastery of St John the Theologian in
535:
Of his other
Kontakia, one of the most well-known is the hymn, "My soul, my soul, why sleepest thou..." which is chanted as part of the service of the "Great Canon" of
880:Ψυχή μου, ψυχή μου, ἀνάστα, τί καθεύδεις; τὸ τέλος ἐγγίζει καὶ μέλλεις θορυβεῖσθαι· ἀνάνηψον οὖν, ἵνα φείσηταί σου Χριστὸς ὁ Θεός, ὁ πανταχοῦ παρὼν καὶ τὰ πάντα πληρῶν
329:. He read so poorly that another reader had to take his place. Some of the lesser clergy ridiculed Romanus for this, and being humiliated he sat down in one of the
285:
If those scholars who believe that he lived during the reign of the earlier
Anastasius are correct, then he may have continued writing during the reign of Emperor
528:
is celebrated in the
Byzantine rite on 25 December, rather than on 6 January when Western Christians celebrate the visit (in the Orthodox Church, January 6, the
207:
of rhythmic poetry", he flourished during the sixth century, though the earliest manuscripts of his works are dated centuries after this. He was the foremost
1332:
159:
of the
Nativity written on it. He is surrounded by the Patriarch, the Emperor, and members of the congregation. His icon is often a combined with that of
1337:
1001:
955:
1352:
289:(527-65), who was himself a hymn-writer; this would make him a contemporary of two other famous Byzantine hymnographers, Anastasios and Kyriakos.
1871:
223:
for
October. Beyond this, his name is mentioned by only two other ancient sources. once in the eighth-century poet St. Germanos and once in the
1692:
1474:
306:
1108:
799:
1103:
1240:
946:
554:. Most recent scholarship has asserted that he is not the author of the hymn, although there is significant dissent among scholars.
899:
302:
231:) where he is called "Romanos the melodist". From this scanty evidence we learn that he was born to a Jewish family in either
1861:
1846:
1841:
1186:
1068:
1028:
982:
902:
in Sarah Gador-Whyte, “Changing
Conceptions of Mary in Sixth-Century Byzantium: The Kontakia of Romanos the Melodist,” in
160:
282:), residing to the end of his life at the Monastery of Kyros, where he was buried along with his disciple St. Ananias.
529:
864:
1886:
1856:
243:. He was baptized as a young boy (though whether or not his parents also converted is uncertain). Having moved to
165:
Sometimes he is depicted as a deacon holding a censer in his right hand and a small model of a church in his left.
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Young man vested as a deacon, standing on a raised platform in the middle of a church, holding a scroll with his
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which contains kontakia and oikoi for the whole year, but does not include all compositions of Romanos.
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Although in more recent icons Saint Romanos is depicted standing on the ambo (directly in front of the
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in Constantinople. Most of the poem takes the form of a dialogue between the Mother of God and the
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Koder, Johannes (2008). "Imperial Propaganda in the Kontakia of Romanos the Melode".
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Domar: the calendrical and liturgical cycle of the Armenian Apostolic Orthodox Church
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Digitalized manuscripts of Romanos the Melodist at the Princeton University Library
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695:(1888), with three additional hymns from the Monastery at Patmos. See also Pitra's
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According to legend, Romanus was not at first considered to be either a talented
271:
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Romanos is one of many persons who have been credited with composing the famous
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because of his great humility. Once, around the year 518, while serving in the
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605:, points out that in the oldest icons he is portrayed wearing the shorter red
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Theology and Poetry in Early Byzantium: The Kontakia of Romanos the Melodist
1112:. Vol. 23 (11th ed.). Cambridge University Press. p. 576–577.
803:. Vol. 23 (11th ed.). Cambridge University Press. p. 576–577.
456:". It was only in the ninth century that the term kontakion came into use.
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1640:
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906:, edited by Bronwen Neil and Lynda Garland, 77–92 (Farnham: Ashgate, 2013).
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commemorates Saint Romanos on the Saturday before the third Sunday of the
333:. Overcome by weariness and sorrow, he soon fell asleep. As he slept, the
1713:
Museum of Ancient Greek, Byzantine and Post-Byzantine Musical Instruments
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684:
643:. Nevertheless, his music significantly influenced Armenian hymnography.
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The main source of information about the life of Romanos comes from the
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635:. This is a remarkable fact given that Saint Romanos lived after the
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Romanos le Mélode et les origines de la poésie religieuse à Byzance
547:
435:
409:. The oldest editions of full texts are dated to the 11th century.
322:
262:
during the reign of the emperor Anastasius—on the question whether
236:
98:
1218:
1093:
This article incorporates text from a publication now in the
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918:, Armenian Orthodox Theological Research Institute, 2002, p. 505.
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The Virgin in Song: Mary and the Poetry of Romanos the Melodist
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and standing on a raised platform in the middle of the church.
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Liturgy and the Emotions in Byzantium: Compunction and Hymnody
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and composer, who is a central early figure in the history of
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Schork, R. J. (1962). "Typology in the Kontakia of Romanos".
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71:
37:
438:. When it was sung to an original melody, it was called an
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76:
444:. Originally, Saint Romanos' works were known simply as "
26:"Saint Roman" redirects here. For the French commune, see
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270:(713-716) is meant, the renowned Byzantinologist Prof.
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550:Hymn to the Theotokos, which is still sung during
341:(pulpit), and chanted extemporaneously his famous
346:kontakion ever sung. The Greek word "kontakion" (
1818:
624:of music; he is celebrated yearly on 1 October.
856:Singers in Late Byzantine and Slavonic Painting
822:
16:6th century Byzantine hymnographer and composer
1234:
274:favours the earlier date. There he served as
646:
420:, the full hymn having been replaced by the
384:He is said to have composed more than 1,000
368:Romanos and Virgin Mary, Miniature from the
1011:. Revised by Christian Troelsgård. Oxford:
192:; late 5th-century – after 555) was a
1241:
1227:
693:Sanctus Romanus Veterum Melodorum Princeps
49:
947:Russian Orthodox Church Outside of Russia
659:83. Cambridge, Mass., 2024. (18 kontakia)
301:or singer. He was, however, loved by the
255:in the Church of the Resurrection there.
19:For other people with the same name, see
1098:
904:Questions of Gender in Byzantine Society
787:
783:
781:
707:Geschichte der byzantinischen Litteratur
584:
434:, each with a refrain, and united by an
416:of each kontakion is chanted during the
363:
1021:10.1093/gmo/9781561592630.article.04494
975:10.1093/gmo/9781561592630.article.23748
965:. Revised by Alexander Lingas. Oxford:
952:
749:
681:. Oxford, 1963–1970. (complete edition)
459:Among his known works are kontakia on:
377:Romanos wrote in an Atticized literary
1872:History of the Jews in the Middle East
1819:
1046:
1037:
816:
691:, i. (1876), containing 29 poems, and
1222:
1144:
778:
639:and the Armenian Apostolic Church is
532:, celebrates the Baptism of Christ).
392:celebrating various festivals of the
998:
828:
428:composed of from 18 to 30 verses or
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161:The Protection of the Mother of God
55:Icon of Romanus the Melodist (1649)
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564:. There exists in the library of
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775:1 Οκτωβρίου. ΜΕΓΑΣ ΣΥΝΑΞΑΡΙΣΤΗΣ.
697:Hymnographie de l'église grecque
655:Ed. and trans. Thomas Arentzen.
424:. A full kontakion was a poetic
909:
657:Dumbarton Oaks Medieval Library
319:Feast of the Nativity of Christ
892:
869:
847:
834:
755:
412:Today, usually only the first
321:, he was assigned to read the
163:, which falls on the same day.
1:
1193:Works by Romanos the Melodist
925:
844:, (Munich, 1897), pp. 312-18.
663:Sancti Romani Melodi Cantica.
575:Krumbacher says of his work:
524:, whose visit to the newborn
498:, the day before Palm Sunday)
1862:6th-century Christian saints
1847:6th-century Byzantine people
1842:5th-century Byzantine people
1725:School of Ecclesiastic Music
992:UK public library membership
597:, the famous Russian church
494:The Raising of Lazarus (for
7:
1199:(public domain audiobooks)
1137:José Grosdidier de Matons,
518:Church of the Holy Apostles
303:Patriarch of Constantinople
10:
1908:
1053:Cambridge University Press
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1523:Byzantine Musical Symbols
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859:, p. 126ff, BRILL, 1986,
771:Ὁ Ὅσιος Ῥωμανὸς ὁ Μελῳδός
721:Umarbeitungen bei Romanos
647:Editions and translations
629:Armenian Apostolic Church
593:) and wearing a deacon's
539:on the fifth Thursday of
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189:
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127:Armenian Apostolic Church
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953:Engberg, Gudrun (2001).
842:Gesch. d. byz. Literatur
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21:Romanus (disambiguation)
1887:Byzantine hymnographers
1857:Syrian Christian saints
1313:Joseph the Hymnographer
1208:The Kontakia of Romanos
1109:Encyclopædia Britannica
1047:Mellas, Andrew (2020).
1013:Oxford University Press
967:Oxford University Press
800:Encyclopædia Britannica
679:Constantine A. Trypanis
633:Exaltation of the Cross
620:, Saint Romanos is the
618:Eastern Orthodox Church
356:icons (example above).
278:in the "Great Church" (
214:
117:Eastern Orthodox Church
1677:Thrasyvoulos Stanitsas
1550:Hagiopolitan Octoechos
1545:Neobyzantine Octoechos
1303:Theophanes the Branded
999:Levy, Kenneth (2001).
956:"Romanos the Melodist"
582:
530:Feast of the Theophany
463:The Nativity of Christ
374:
371:Menologion of Basil II
211:composer of his time.
141:October 1 (October 14
1837:6th-century composers
1708:Monastery of Stoudios
1657:Greek Byzantine Choir
1147:Dumbarton Oaks Papers
1061:10.1017/9781108767361
937:Catholic Encyclopedia
585:Legacy and depictions
577:
367:
307:Church of the Panagia
235:(modern-day Homs) or
1877:Jewish Greek history
1737:*also music theorist
1672:Konstantinos Pringos
1518:72 equal temperament
1318:Joseph the Confessor
1298:Theodore the Studite
1273:Romanos the Melodist
1189:at Wikimedia Commons
1187:Romanos the Melodist
1134:(Cambridge UK, 2017)
1127:(Philadelphia, 2017)
932:Romanos the Melodist
637:Council of Chalcedon
182:Romanos the Melodist
1852:Byzantine composers
1293:Stephen the Sabaite
1130:Sarah Gador-Whyte,
501:Adam's Lament (for
398:lives of the saints
394:ecclesiastical year
1667:Iakovos Nafpliotis
1662:Nikodimos Kabarnos
1621:Solon Hadjisolomos
1376:Janus Plousiadenos
1333:Nikephoros Ethikos
1008:Grove Music Online
962:Grove Music Online
714:Studien zu Romanos
653:Poems about Women.
603:Johann von Gardner
375:
258:He later moved to
1756:
1755:
1719:Only-begotten Son
1636:Miloš Velimirović
1555:Papadic Octoechos
1427:Paschal troparion
1406:George Pachymeres
1369:Manuel Chrysaphes
1259:List of composers
1185:Media related to
1123:Thomas Arentzen,
1070:978-1-108-76736-1
1040:Studia Patristica
1030:978-1-56159-263-0
1002:"Byzantine Chant"
990:(subscription or
984:978-1-56159-263-0
934:article from the
888:
819:, pp. 24–25.
508:The Treachery of
247:(Beirut), he was
190:Ῥωμανὸς ὁ Μελωδός
179:
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110:Venerated in
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1892:People from Homs
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1283:John of Damascus
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1118:Further reading
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1641:Egon Wellesz
1560:Nana (echos)
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766:Synaxaristes
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669:. – Vol. 2:
666:
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626:
622:patron saint
615:
599:musicologist
588:
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556:
545:
534:
526:Christ Child
514:
490:Prodigal Son
458:
439:
429:
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389:
383:
376:
369:
331:choir stalls
296:
284:
280:Hagia Sophia
264:Anastasius I
257:
228:
218:
197:hymnographer
181:
180:
97:(modern-day
75:(modern-day
61:The Melodist
1832:550s deaths
1827:490s births
1693:Akolouthiai
1588:Cretan lyra
1576:Instruments
1358:John Kladas
943:St. Romanos
817:Mellas 2020
685:J. B. Pitra
591:iconostasis
503:Palm Sunday
229:anaklomenon
28:Saint-Roman
1821:Categories
1650:Performers
1475:Koinonikon
1458:Cherubikon
926:References
762:(in Greek)
595:sticharion
570:manuscript
552:Great Lent
541:Great Lent
472:St Stephen
311:Blachernae
151:Attributes
1533:Octoechos
1497:Sticheron
1492:Troparion
1480:Kontakion
1448:Aposticha
1432:Octoechos
1394:Theorists
1266:Composers
1159:0070-7546
1079:225623021
994:required)
829:Levy 2001
675:Paul Maas
673:. Ed. by
468:Martyrdom
441:idiomelon
349:κοντάκιον
343:Kontakion
335:Theotokos
287:Justinian
276:sacristan
209:Kontakion
194:Byzantine
171:Patronage
157:Kontakion
91:After 555
1748:Category
1609:Scholars
1595:Thaboura
1485:Akathist
1468:Kathisma
1197:LibriVox
1167:20788050
665:Vol. 1:
568:a Greek
548:Akathist
436:acrostic
390:kontakia
323:kathisma
317:for the
249:ordained
237:Damascus
99:Istanbul
1761:Portals
1686:Related
1600:Organon
1513:Petasti
1420:Liturgy
1104:Romanos
1097::
887:
616:In the
452:", or "
414:strophe
327:Psalter
245:Berytus
227:(s. v.
221:Menaion
43:Romanos
1811:Poetry
1787:Saints
1538:Nenano
1506:Theory
1308:Kassia
1165:
1157:
1091:
1077:
1067:
1027:
981:
863:
764:Great
699:(1867)
611:singer
566:Moscow
562:Patmos
446:psalms
426:sermon
407:Kassia
396:, the
354:Pokrov
299:reader
293:Legend
253:deacon
205:Pindar
103:Turkey
1799:Music
1528:Echos
1453:Canon
1441:Forms
1163:JSTOR
1075:S2CID
728:Notes
609:of a
607:tunic
580:ages.
510:Judas
454:poems
422:canon
386:hymns
379:koine
360:Works
241:Syria
233:Emesa
225:Souda
186:Greek
175:Music
137:Feast
81:Syria
72:Emesa
38:Saint
1567:Ison
1155:ISSN
1065:ISBN
1025:ISBN
979:ISBN
898:See
885:lit.
861:ISBN
677:and
627:The
522:Magi
488:The
482:The
478:Monk
466:The
450:odes
448:", "
431:ikoi
405:and
339:ambo
215:Life
143:N.S.
88:Died
77:Homs
66:Born
1195:at
1106:".
1057:doi
1017:doi
971:doi
470:of
388:or
309:at
239:in
1823::
1161:.
1151:62
1149:.
1073:.
1063:.
1055:.
1023:.
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1005:.
977:.
969:.
959:.
882:,
878::
809:^
797:.
780:^
768::
736:^
705:,
687:,
601:,
543:.
251:a
188::
101:,
79:,
1763::
1371:*
1242:e
1235:t
1228:v
1169:.
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1033:.
1019::
987:.
973::
949:)
945:(
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773:.
752:.
719:—
712:—
505:)
184:(
145:)
105:)
83:)
30:.
23:.
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