Византиялық әнші-жырау Романос Мелодист өмірі мен шығармашылығы

6th century Byzantine hymnographer and composer

Romanos the Melodist (Ῥωμανὸς ὁ Μελωδός; late 5th century — after 555) was a Byzantine hymnographer and composer, who is a central early figure in the history of Byzantine music. Called "the Pindar 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 Kontakion composer of his time.

The main source of information about the life of Romanos comes from the Menaion 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 Souda (s. v. anaklomenon) where he is called "Romanos the melodist". From this scanty evidence we learn that he was born to a Jewish family in either Emesa (modern day Homs) or Damascus in Syria. He was baptized as a young boy (though whether or not his parents also converted is uncertain). Having moved to Berytus (Beirut), he was ordained a deacon in the Church of the Resurrection there. He later moved to Constantinople during the reign of the emperor Anastasius—on the question whether Anastasius I (491 518) or Anastasius II (713 716) is meant, the renowned Byzantinologist Prof. Karl Krumbacher favours the earlier date. There he served as sacristan in the "Great Church" (Hagia Sophia), residing to the end of his life at the Monastery of Kyros, where he was buried along with his disciple St. Ananias. 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 Justinian (527 65), who was himself a hymn writer; this would make him a contemporary of two other famous Byzantine hymnographers, Anastasios and Kyriakos.

According to legend, Romanus was not at first considered to be either a talented reader or singer. He was, however, loved by the Patriarch of Constantinople because of his great humility. Once, around the year 518, while serving in the Church of the Panagia at Blachernae, during the All Night Vigil for the Feast of the Nativity of Christ, he was assigned to read the kathisma verses from the Psalter. 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 choir stalls. Overcome by weariness and sorrow, he soon fell asleep. As he slept, the Theotokos (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 ambo (pulpit), and chanted extemporaneously his famous Kontakion 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 kontakion ever sung. The Greek word "kontakion" (κοντάκιον) 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 Pokrov icons (example above).

Although in more recent icons Saint Romanos is depicted standing on the ambo (directly in front of the iconostasis) and wearing a deacon's sticharion, the famous Russian church musicologist, Johann von Gardner, points out that in the oldest icons he is portrayed wearing the shorter red tunic of a singer and standing on a raised platform in the middle of the church. In the Eastern Orthodox Church, Saint Romanos is the patron saint of music; he is celebrated yearly on 1 October. The Armenian Apostolic Church commemorates Saint Romanos on the Saturday before the third Sunday of the Exaltation of the Cross. This is a remarkable fact given that Saint Romanos lived after the Council of Chalcedon and the Armenian Apostolic Church is non Chalcedonian. Nevertheless, his music significantly influenced Armenian hymnography.