X საუკუნის ქართული და ბულგარული ჰიმნოგრაფიის ისტორიიდან

აბსტრაქტი

სტატიიდან აღებული ავტორის ინგლისურენოვანი რეზიუმე:

Key words: hymnography, “Lenten Triodion”, htichera, Ioane Minchkhi, Constantine of Preslav.

In this paper, using the method of comparative analysis, one very interesting phe- no-menon in the history of the 10th-century Georgian and Bulgarian hymnography has been considered. The tenth century is the time of strengthening national self-consciousness in the history of Georgia. At this period several branches of Georgian ecclesiastical writing reach their peak of evolution, including Christian poetry – hymnography. In Georgian hymnography a special place is occupied by Ioane Minchkhi who lived and worked in the first part of the 10th century. The revealing of Minchkhi’s unknown heritage by us – 77 hymns, testifies to the fact that he was the first Georgian “Lenten Trio- dion” compiler and editor.

By composing the first Georgian “Lenten Triodion” Ioane Minchkhi created a new epoch in the history of Georgian hymnography. All redactions of the later period are based on the first Georgian “Lenten Triodion”. Ioane Minchkhi is the only author among Geor- gian hymn-writers who has done work of such scope and complexity. Along with the hymns translated from Greek this collection comprises more than 100 hymns written by Ioane Minchkhi himself, including all small-sized hymns for “Lent- en Triodion”. Thus, Ioane Minchkhi is the author of the whole Sticherion part of the first Georgian “Lenten Triodion”. These hymns which represent the masterpiece of Christian poetry are created with account of strict requirements of this collection.

Along with big traditionalism they are also characterized by great originality. Merging of these two fac- tors gives to Ioane Minchkhi’s poetry uniqueness. By introducing more than 100 hymns for “Lenten Triodion” Ioane Minch- khi added original Georgian layer into “The Lenten Triodion” of Byzantine type. In Georgian hymnography it is considered the only case of “Nationalisation” of hymno- graphic collection translated from Greek. Generally, such kind of thing is less expected in the history of this one of the most canonic branches of ecclesiastic writing - hymnography. It is noteworthy that in Ioane Minchkhi’s hymnographical canon which is devoted to St.Giorgi, there is mentioning of king Giorgi expressed with great benevolence.

This must have been the king of Western Georgia, i.e. king of Abkhazia – Giorgi I who is re- ferred to in “The Life of Kartli”. The name of this king is associated with the foundation of Chkondidi Episcopate. King Giorgi “with great entreaty” asks Ioane Minchkhi to create this hymn that tes- tifies to the distinguished authority of this hymn-writer. At the same time makes prominent the image of this less studied worthy king in the history of Georgia. Similar phenomenon has been discovered by us in the history of the 10th-century Bulgarian hymnography. The tenth century is an extremely fruitful time in the history of Bulgaria. This was a time of the reign of Czar Simeon I who made significant change in the spiritual life of the country, namely, he replaced the Greek language in liturgy with Bulgarian.

According to his will in 893 the People’s Council recognized Bulgarian as an official language for the state and church. In the same year Simeon moved the literary school from the old capital of Bulgaria – Pliska to the new capital Preslav. The Preslav Literary School became a great literary and cultural centre of Bulgaria. The outstanding figure of this epoch – Constantine of Preslav was in high favor and agreement with Simeon I. Constantine of Preslav is known in the history of Bulgaria as a scholar, writer and translator. He was one of the most important men of letters working at the Preslav Literary School at the end of the 9th century and the beginning of the 10th century.

In the history of Bulgarian writing he is known mainly as the author of “The Didactic Gospel”. This is the first compilation of preaches in Slavic literature. The compilation also features “Alphabet Prayers” which are recognized as first specimens of Slavonic ecclesiastic poetry. Constantine of Preslav was the first author who created historical chronicle in Slavic literature – “Histories”. In 906, by commission from Simeon I, he translated “Four Epistles against the Arians” by St. Atanassius of Alexandria, as a response to the beginning of the spread of heresies in medieval Bulgaria. Constantine of Preslav is the alleged author of “Service for Methodius”, showing the struggle of Saint Methodius for the recognition of Old Church Slavonic.

Constantine of Preslav is also the author of one more work: “Proclamation of the Holy Gospels” where he rejects the priority of the foreign language, namely Greek and ev- idences an exceptional importance of Old Bulgarian for the elevation of Bulgarian culture. Thus, in the person of Constantine of Preslav Bulgaria in the 10th century had a universal figure who laid the foundations to several branches of Bulgarian ecclesi- astic literature. All his creative work bears the imprint of national tradition. At the end of the 9th century and the beginning of the 10th century similar aspira- tion is clearly manifested in an environment with which two outstanding representatives of the ecclesiastic literature – Ioane Minchkhi and Constantine of Preslav are connected.

As it turns out, there is an amazing similarity between them also from the viewpoint of contribution made in the most important liturgical-hymnographic collection – “The Lenten Triodion”. Under the name of “The Lenten Triodion” in Christian writing is known the collection which is one of the most important parts of an extensive repertoire in hymnography. Its compilers made an outstanding contribution to the history of hym- nography because the work done at the compilation of this collection actually means the search for numerous hymns and author’s heritage, and their preservation. In 1984 in Holland at the initiative of Najmegen University an old Bulgarian manu- script was published that is dated from the 11th century.

It is “Kichevo Triodium” also known as “Bitola Triodion” which contains one of the oldest redactions of Slavic “Lent- en”. As it turns out, this manuscript is associated with the name of Constantine of Preslav. He must have been an editor and compiler of this one of the earliest redactions of Slavic “Lenten Triodion”. “Bitola Triodion” includes the whole cycle of Climenti Studites ‘‘Three-Odes”. Along with them the whole cycle of unknown (presumably, Byzantine) author enters the manuscript. It seems Constantine of Preslav himself translated from Greek these odes entering the “Lenten Triodion” compiled by him. According to the publisher I. Zaimov’s opinion, it is not an exact translation of the Greek original.

Constantine of Preslav gives free translations of “Three-Odes” by Climenti Studites. Thus, according to “Bitola Triodion”, Constantine of Preslav appears as a figure with independent translational principles to whom belongs one of the earliest and impor- tant redactions of Slavic “Lenten Triodion”. The manuscript deserves special attention for the history of hymnography from the viewpoint that it contains the whole cycle of original Slavic hymns – over 80 small-sized hymns the author of which is Constantine of Preslav. Thus, Constantine of Preslav created the whole Sticharion part of original hymns for Slavic “Lenten Triodion”. These hymns represent the masterpiece of hymnography.

Lyricism merged with profound theological education makes these hymns extremely im- pressive. This is the whole cycle of small-sized hymns which cover almost the entire period of the Lent. The majority of them includes own rhythmic metre and musical composi- tions. The hymns of such type in comparatively small number are found even in Byzantine hymnography itself. They are especially rare in Christian poetry of this or that country (not Greek-speaking). In Georgian hymnography around 30 hymns of this type belong to the only author – Ioane Minchkhi. The work features Constantine of Preslav’s one small-sized hymn intended for the Palm Tuesday that has been compared with Ioane Minchkhi’s small-sized hymn intended for the same day using the method of comparative analysis.

Both of these authors follow the tradition of Jerusalimite liturgy according to which on the Palm Tuesday several readings from the Gospel are put. Of them the hymns of both authors reflect only one – the Gospel of Luke (16, 19-31). Minchkhi’s hymn is totally inspired by this proverb. The spirit of the hymn, general content and phraseology are also similar to the Gospel reading. At the same time, original artistic images are also found. The symbol of “garment” presented in the hymn attracts attention – the transformation of rich, splendid garment into Hell’s flames. Of interest is also a kind of “confession” expressed by a hymnographer. Based on the Parable of the rich man and Lazarus Constantine of Preslav makes original generalization of the theme.

Being “clothed” in purple and fine linen he tries to purify his soul through tears of repentance. In contrast to the style relevant to rich clothes and life the author recalls the Savior crucified “naked” and begs the Lord to have mercy on him – like Lazarus. Concrete Gospel proverb is raised by the author to the highest level of generaliza- tion by contrast with other episode and phenomenon – the crucifixion of Our Savior. This produces unexpected artistic effect. Here a large scale of the author’s thinking is clearly shown. Thus, Constantine of Preslav and Ioane Minchkhi are almost contemporaries – the representatives of the first half of the 10th century.

The creative work of both of them is closely linked with the collection known under the name of “The Lenten Triodion”. Both of them made great contribution in compilation of this collection. Along with this, the whole cycle of small-sized hymns intended for “The Lenten Triodion” belongs to them. This is the entire Sticharon part of relevant “Lenten Triodion”. The creative works of both of them are distinguished with poetic perfection and finally, the activity of both of them coincides with the reign of two kings distinguished with national aspiration – Simeon I and Giorgi I, “Abkhazian” king of Western Georgia. The difference is that Constantine of Preslav actually starts great traditions of Bulgarian literature, whereas Ioane Minchkhi cre- ates new epoch in Georgian ecclesiastic writing that has already begun six centuries before by that time.

The hymns of both of them represent the masterpieces of hymnography.

გამოქვეყნებულია ჟურნალში „სჯანი“, ტ. 13 (2012), გვ. 135–145. ნაშრომის გახსნა