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This essay is a study of Kassia, a well educated woman of the aristocracy in 9th century Constantinople, spirited in character, in girlhood an iconophile disciple of Theodore the Studite, later a nun and the foundress and superior of a woman's monastery in close relation to the Studite monks. She was the outstanding female poet and composer of music in the Middle Byzantine period. Of the hundreds of hymnographers in the Eastern Church, only four women are positively identified: Theodosia, Thekla, Kassia and Palaiologina. Of these, Kassia is only one who has had some of her compositions admitted into the liturgical books: She is that unique. After some sketch of her background and historical context, this essay focuses on her use of the Scriptures. She operates entirely in the ancient ecclesial, patristic modality. In the Liturgy all the narratives, prophecies, symbols, commandments, parallels and antitheses of scripture are sung - and theologised in the singing. Usually too they have a highly dramatic and dialogical approach. The singers and hearers are drawn into an intimate engagement with the episode of Scripture being rendered into liturgical song. Several examples from her liturgical poetry are translated from the Greek and examined, especially her hymn for the forefeast of Theophany at Vespers, her Troparion to St Barbara, and her most famous work, the Troparion for Orthros in Wednesday of Holy Week, 'O Lord, she who had fallen into many sins'. |
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