| Epitaphios Thrinos Εγκώμια επιταφίου (Greek) | |
 | |
| Lament of Christ | |
|---|---|
| Released | 1522 |
| No. of Hymns | up to 185 |
| Psalms | 118 |
TheEpitaphios Thrinos (Greek:Επιτάφιος Θρήνος,lit. 'Threnody on the Tomb') also known asEncomia Epitafiou (Εγκώμια Επιταφίου) is a Christian liturgical hymn sang on Holy Friday in the Orthodox churches. Full of strong emotional feelings, it is one of "the most beloved hymns of the Orthodox".[1]
Known in English as the "Threnody at the Tomb", its other Greek name,Encomia Epitafiou (Greek: Εγκώμια επιταφίου), "Praises of the Tomb", could assimilate it with a form ofencomium or praise rather thanlament. The pagan encomium is the source of the Christian panegyric, and theEpitaphios Thrinos was therefore a form ofpanegyric for Christ.
The early manuscripts for the liturgy of Holy Saturday do not seem to mention theEncomia. The first reference toencomia is found in manuscripts of the thirteenth century in connection withPsalm 118, known as theAmomos. Their number, however was undefined, and it appears that the collection grew gradually to its present form, resulting in many variations among the collections.[2]
The repertoire of theEncomia lamentations first appeared as such in the 1522 edition of the service book of the Orthodox ChurchTriodion, printed inVenice. Subsequent editions have relied heavily on this source.[3]
According to the LentenTriodion as well as the 1906 edition of thePatriarchal Text, there are 185 verses in theEpitaphios Thrinos divided into threestasis or sections. However, the Triodion and the Patriarchal text do not concur as to the placement of theEpitaphios: in all the editions of theTriodion the Encomia appear before the Canon in the order of the Orthros of Great Saturday while the same Encomia appear after the Canon for the Patriarchal Text of Great Week.
The verses of these Lamentations are interspersed between the verses ofPsalm 118 (the chanting of this psalm forms a major part of the Orthodox funeral service as well as being a usual part of Saturday Matins). The Lamentations are divided into three sections calledstáses, which commemorate the Passion, Death and Entombment of Christ. Eachstatis is commonly known by its first phrase; in Greek these are:
At the beginning of eachstasis, the priest or deacon performs acensing of theepitaphios. In the Greek tradition, at the third and finalstasis, the priest will sprinklerosewater on theepitaphios and the congregation, symbolising the anointing of Christ's body with spices.
All three ofstasis end with the same eulogy they begin while the officiating priest or high priest incenses the epitaph on all four sides.
While some musical settings have famous authors or interpreters, the author of theEncomia remains unknown. Famous hymnographers of the Holy Week hymns, includingAndrew of Crete,Cosmas of Maiuma,John of Damascus,Theophanes the Confessor,Theodore the Studite,Joseph the Hymnographer, andMark the Monk could be associated with theEncomia but no strong evidence for any of the above has been given to confirm their authorship.[5] The lyrics of theEncomia would be particularly long to quote in full, but the emotions they convey can be seen from this short abstract of the thirdstasis on the entombment of Christ:
| Greek original | English translation |
|---|---|
| Ω γλυκύ μου έαρ, γλυκύτατόν μου Τέκνον, πού έδυ σου το κάλλος; Υιέ Θεού παντάναξ, Θεέ μου πλαστουργέ μου, πώς πάθος κατεδέξω; Έρραναν τον τάφον αι Μυροφόροι μύρα, λίαν πρωί ελθούσαι. Ω Τριάς Θεέ μου, Πατήρ Υιός και Πνεύμα, ελέησον τον κόσμον. Ιδείν την του Υιού σου, Ανάστασιν, Παρθένε, αξίωσον τους δούλους σου. | O my sweet spring, my sweetest Son, where is thy beauty? Son of God almighty, my God my Creator, how can I accept passion? Myrrh-bearers flowed over the grave, early in the morning you came. O Triune God of mine, Father, Son and Spirit, have mercy on the world. See that your Son, Once Risen, O Virgin, may make his servants worthy. |
These lyrics served as models for the creation of similar ones for theDormition of the Virgin, forSaint Nicholas and others.
In addition to the cantors of Byzantine music, the eulogies have been performed and recorded by various contemporary Greek and international artists, such asMaria Farantouri,Glykeria,Haris Alexiou,Petros Gaitanos,Fairuz and others.