Eothina Introduction

The Eleven Eothina

Gospels, Exaposteilaria, Theotokia and Doxastika: Introduction

Ορθρος σημαίνει τὸ χρονικὸ διάστημα λίγο πρὶν τὴν ἀνατολὴ τοῦ ἡλίου. Κατὰ τὴν ἐκκλησιαστικὴ παράδοση τὸ 24ωρο ἀρχίζει ἀπὸ τὴν ἀρχὴ τῆς νύχτας (θἄπρεπε νὰ λέγεται νυχθήμερο καὶ ὄχι ἡμερόνυχτο). Χωρίζεται σὲ 7 καιρούς: Τρεῖς τῆς νύχτας (Ἑσπέρας, Μεσονύχτιο, Ἐξημέρωμα ἢ Ὄρθρος) καὶ Τέσσερις τῆς ἡμέρας (Α´ ὥρα, Γ´ ὥρα, Στ´ ὥρα καὶ Θ´ ὥρα). Στὴν ἐκκλησία, Ὄρθρος λέγεται ἡ Ἀκολουθία ποὺ τελεῖται πρὶν τὴ Θεία Λειτουργία. Εἶναι δοξολογία στὸ Χριστό, ποὺ Ἐκεῖνος εἶναι τὸ Φῶς τοῦ κόσμου καὶ ὁ Ἥλιος τῆς Δικαιοσύνης καὶ εἶναι ἐπίσης παράκληση στὸν Κύριο τοῦ Σύμπαντος μὲ τὴν ἀνατολὴ τῆς καινούργιας ἡμέρας. Συγχρόνως εἶναι ἡ καλύτερη ψυχικὴ προετοιμασία γιὰ τὴ Θεία Λειτουργία (τὸ Μυστήριο τῶν Μυστηρίων) ποὺ θὰ ἐπακολουθήσει. Το Ευαγγέλιο του Ορθρου λέγεται εωθινό, γιατί διαβάζεται το πρωί, στο μέσο περίπου του Όρθρου. Ο ιερέας στέκεται δεξιά από την αγία τράπεζα (που συμβολίζει τον Πανάγιο Τάφο), για να θυμίζει στον άγγελο που τη νύχτα της Aνάστασης στάθηκε στον τάφο του Χριστού και κήρυξε την Aνάσταση («καθήμενον εν τοις δεξιοις», Μκ 16:6). Το εωθινό Ευαγγέλιο πάντοτε μιλάει για την Aνάσταση του Χριστού. Είναι δε τα εωθινά Ευαγγέλια ένδεκα, δηλ. ένδεκα εκλεκτές περικοπές, ληφθείσες από τους τέσσερις ευαγγελιστές. Ένδεκα ήσαν και οι απόστολοι που είδαν τον Κύριο μετά την Ανάσταση. Μετά το εωθινό Ευαγγέλιο ο αναγνώστης λέει το «Ἀνάστασιν Χριστοῦ θεασάμενοι», και κατόπιν ψάλλεται ο 50ος ψαλμός, που λέγεται ψαλμός της μετανοίας. Με τον ψαλμό αυτό, το γνωστό σε όλους «Ἐλέησον μέ, ὁ Θεός…», ζητάμε συγχώρεση για τις αμαρτίες μας. Ο ιερέας, ενώ ψάλλεται ο ψαλμός, κρατώντας το Ευαγγέλιο, βγαίνει από το ιερό βήμα και οι πιστοί ασπάζονται το Ευαγγέλιο. Το Εωθινο Εξαποστειλαριο ψάλλεται προς το τέλος του Όρθρου, μετά τον στίχο «Άγιος Κύριος ο Θεός ημών» και πρίν τους «Αίνους». Είναι πρόλογος (δηλ. μέλος που ακολουθεί τακτή μελωδία, κοινή σε πολλαπλά κείμενα), και ψάλλεται σε ειρμολογικό (δηλ. γοργό) ρυθμό. Περιγράφει σε συντομία τη διήγηση του αντιστοίχου Εωθινού Ευαγγελίου. Έχουμε, λοιπόν, ένδεκα εωθινά εξαποστειλάρια, τα οποία είναι ποιήματα του βυζαντινού αυτοκράτορα Κωνσταντίνου του 7ου του Πορφυρογεννήτου (905-959) , γυιού του βασιλέως Λέοντος 6ου του Σοφού, της δυναστείας των Μακεδόνων. Το περιεχόμενο τους είναι δογματικό, ιστορικό, εγκωμιαστικό. Πήραν το όνομά τους από το ρητό «ο εξαποστέλλων το φως και πορεύεται» (Βαρούχ 3:33, πρβλ. Ευχή Μ. Βασιλείου εις το Μεσώριον Α’ Ώρας), φράση σχετική με τον Όρθρο. Σημειωτέον ότι Τα Εξαποστειλάρια αντικατέστησαν τα «Φωταγωγικά», τα οποία σήμερα ψάλλονται τη Μεγάλη Τεσσαρακοστή στη θέση των Εξαποστειλαρίων. Τα «Φωταγωγικά» αρχίζουν με την φράση «Εξαπόστειλον το φως Σου» (Ψαλμ. 43:3). Κατ’ άλλους, η ονομασία των εξαποστειλαρίων συνδιάστηκε με την αποστολή των Αποστόλων στον κόσμο. Το Εξαποστειλάριο συνοδεύεται πάντα από αντίστοιχο και σχετικό Θεοτοκιον, δηλ. τροπάριο που απευθύνεται πρός την Παναγία. Εωθινό Δοξαστικό ονομάζεται το ιδιόμελο τροπάριο, στο οποίο προηγείται o στίχος «Δόξα Πατρί...», των «Αίνων», που έχει θέμα το αντίστοιχο ευαγγελικό ανάγνωσμα από τα ένδεκα εωθινά Ευαγγέλια. Είναι αργό τροπάριο που χρωματίζει με την ωραιότατη μελωδία της βυζαντινής μουσικής την Αναστάσιμη περιγραφή του Εωθινού Ευαγγελίου. Φυσικά έχουμε ένδεκα Δοξαστικά. Είναι έξοχα ποιητικά δημιουργήματα, γραμμένα από τον βυζαντινο αυτοκράτορα Λέοντα τον 6ο τον Σοφό (866-912), της δυναστείας των Μακεδόνων. Το Δοξαστικό σηματοδοτεί την κατάληξη Όρθρου, κι ακολούθως ψάλλεται η Δοξολογία.

The Matins Gospel (Gk. Eothinon Evangelion) is the solemn intoning of a lection (Gk. perikope) recounting the Resurrection from one of the four Gospels. The Greek word eothinon (plural, eothina) indicates dawn, the traditional time for celebrating Matins (Gk. Orthros = rising up). The reading of the Eothinon Gospel is the central highpoint of Orthros. In contrast to the Gospel of the Divine Liturgy, which is to be read by the deacon, the Matins Gospel is read by the priest, or -if present- by the bishop, himself. Associated with the Eothinon Gospel are the ExapostEilarion, the Theotokion and the Doxastikon. Each is numbered simply one through eleven. Knowing the number of the Eothinon for a given week is important for two reasons: firstly, because Sunday Orthros requires that the appropriate Eothinon Gospel be read along with its proper Exaposteilarion, Theotokion and Doxastikon; and secondly the tone assigned to each Doxastikon also determines in which tone the Great Doxology (which concludes Orthros) is to be chanted. The Eothinon cycle begins on the Sunday after Pentecost (all Saints Sunday), and continues up to, but not including, Palm Sunday of the succeeding year. During the Pentecostarion (the period from Pascha until Pentecost), the same Gospels are read at Sunday Matins, but in a slightly modified order.  The Matins Gospel is read at the Holy Table (altar), which symbolizes the Tomb of Christ. The priest does not hold the Gospel Book during the reading, but reads it as it lies open on the Holy Table. Immediately after the reading, the Gospel Book is brought into center of nave to be venerated by the faithful. The reason for this is that the Orthodox consider the Gospel Book to be an icon of Christ. The priest symbolizes the angel announcing the resurrection to the Myrrhbearers; the bringing forth of the Gospel Book into the center of the temple symbolizes Jesus' appearances to the disciples after his resurrection; and in venerating the Gospel Book the faithful are greeting the resurrected Christ, as the Apostles did (Mt 28:9, Jn 20:19-20). Later, near the end of the Matins service, there are two sets of hymns which are chanted in accordance with the Matins Resurrection Gospel that was read that week. One is the Exaposteilarion, which (along with its corresponding Theotokion) is chanted after the 9th ode of the Katabasiai.  The word Exaposteilarion relates to the theme of being sent out that these hymns feature, or possibly because a chanter was in fact sent out to the center of the church to chant it. The eleven exaposteilaria are ascribed to Emperor Constantine VII, Porphyrogennetos (905-959). Created during the Macedonian renaissance, they are a later part of the liturgical repertoire, which cannot be found in manuscripts before the 11th century. The other is an idiomelon (i.e., a chant with its own specific melody) called the Doxastikon (i.e., a hymn praising God for the Resurrection and sung after the verse “Doxa Patri”, or “Glory to the Father”).  Chanted at the end of “Lauds” or “Praises” (Gk. Ainoi), the Doxastikon is the longest, slowest and most ornate hymn of Matins, underscoring the significance of the Eothinon Gospel of the day. The eleven Doxastika are ascribed to the Emperor Leo VI, the Wise (866-912).

This insert is a gift from our Byzantine School.  We invite you to join us on the last Thursday of each month at 6 pm, as we explore the selection of liturgy “specials” for each week, and other issues related to the liturgical services of our Church. Next mtg – 09/24/15. Please consult the Sunday Bulletin for our regular announcements, or contact Tasos Ioannides, ioanniam@uc.edu or (513)556-3137. Source:  Various web pages (no copyright infringement intended)

Dear Eugenia and Polychronius,

To add further to the discussion on St. Kassiana, I am contributing the
following translation and personal thoughts.

Here is an excerpt translated from *A Historical Survey of the Hymnographers
& Hymnography of the Greek Church*, by the renowned hagiologist and church
historian Archbishop Philaret (Gumilevsky) of Chernigov (St. Petersburg:
Tuzov Press, 1902), pp. 272-275:

Kassia, Kassiana, Eikasia. In manner of life a pious nun; by education, a
learned woman; by birth, a noble virgin. She lived at the beginning of the
9th century, during the reign of Emperor Theophilus and his successor.
Kodinus, describing the antiquities of Constantinople, mentions the
monastery of Eikasia, which was founded by this virgin nun. ³The Monastery
of Eikasia,² he writes, ³was built by the virgin Eikasia, a pious nun,
beautiful of face and of mind.² Zonaras describes the circumstances which
led to Cassia¹s forsaking the world and building the monastery.
³Theophilus,² he writes, ³intending to choose a consort for himself,
summoned eleven beautiful virgins, among whom was the virgin Kassia, who
surpassed the others in beauty, and was as learned as she was nobly born.
Theophilus examined them, holding in his hand a golden apple which he would
give to the one who pleased him most. When he came to Eikasia he said,
marveling at her beauty: ŒAll that is evil hath come from a woman.¹
Eikasia, meekly, her cheeks blushing red with chastity, replied: ŒBut from a
woman all that is more sublime hath come.¹ Defeated by the words of the
virgin, Theophilus walked away and gave the golden apple to Theodora, a
native of Paphlagonia. Not having gained a royal marriage, Eikasia
established the monastery which bears her name, in which she lived for
herself and for the Lord. Excelling in her education, she wrote letters in
which there is no trace of pedantry or pleasantry. Thus did she reach the
end of her life, having betrothed herself to the heavenly King instead of an
earthly king, and having inherited the heavenly kingdom instead of an
earthly kingdom.² Leo Grammaticus records the same incident in his history
of Theophilus.
Kodinus says that during the reigns of Theophilus and his son, Michael,
Kassia composed many canons, stichera and other works, which are quite
marvelous. The same is said by the early 11th century anonymous author who
describes events of the past.
In the services of the Church we no longer see canons ascribed to Kassia,
except for one canon only, that of Great Saturday, which, however, was
reworked by Mark, Bishop of Otranto. This is what Theodore Prodromos writes
of the latter circumstance in his explanation of the canon of Great
Saturday: ³Through Ode V, this canon is the work of Mark, Bishop of Otranto;
but Odes VI through IX are by the great hymnographer Cosmas [of Maiuma];
furthermore, as we know from unwritten tradition, long before [Mark of
Otranto] a certain wise and chaste virgin, Kassia, was the composer of these
hymns, i.e. Odes I through V, i.e. she completed the canon. Later men who
edited the canons, considering it improper to attach to the hymns of a woman
odes of that ascetic Cosmas, commissioned Mark to compose troparia, while
retaining the former irmoi. This tradition is quite plausible. For Mark
did not incorporate the initial letters of the irmoi in his acrostic,
although to do so would have been to his advantage. For the initial letter
Œkappa¹ of the irmos Œkymati thalasses¹ [ŒVolnoyu morskoyu¹] and the letter
Œsigma¹ of the next irmos, ŒSe ton epi ydatOn¹ [ŒTebe na vodakh¹] are taken
from the acrostic; but he, setting the irmoi aside as the work of another
and not of himself, wrote the troparia from Œkappa¹ ŒKyrie Thee mou¹
[ŒGospodi Bozhe moi¹], and from Œsigma¹ ŒSymbola tes taphes sou¹ [ŒThe
tokens of Thy burial¹].² It is hence evident that the canon (i.e, through
Ode V) and the irmoi are not the work of Mark. Moreover, one can see this
from the fact that the words ³but we like the maidens² are included in the
irmos of Ode I. That the subject of this verse is a maiden clearly
indicates that the ode belongs not to a man, but to a woman. Since there
were two choirs during the exodus of the Israelites who originally sang this
ode--one consisting of men, the other of women--she, leaving aside the choir
of men, since she is a woman, said, ³we sing like the maidens². Yea, and
the very acrostic of the canon is dual, and, so to say, like twin-peaked
Parnassus. For the canon of Great Saturday was once a tetradion [a four-ode
hymnic composition]: its acrostic was comprised of only part of an iamb,
i.e., ³prosabbaton the, sabbaton melpO mega²--²The pre-Saturday. I hymn the
Great Saturday.² Half of its iamb applies to Great Friday, i.e. the
pre-Saturday, and the rest applies to Saturday, i.e. I hymn the Great
Saturday. But when the canon was continued and a full canon was made out of
the tetradion, the acrostic was also extended, and instead of the incomplete
iamb a complete one was made, i.e. ³kai simeron de sabbaton melpO mega². In
the Slavonic Triodion, one reads in the superscription of the canon: ³The
canon of Great Saturday, from Ode I to Ode VI, is the work of Mark, Bishop
of Hydrous. The irmoi are the work of a certain woman named Cassia. The
Odes from VI to the end are the work of kyr Cosmas.² Thus, in our present
canon of the work of Cassia only the irmoi remain.
As regards other canons, following Prodromos we must admit that it is
probable that certain portions of them, as is the case with the canon of
Great Saturday, are retained in our present canons, undetected by later
readers.
Among the stichera of Cassia, we find the following in the divine services:
1) for the Nativity of Christ, ³When Augustus reigned alone upon the
earth...²; 2) on Great and Holy Wednesday, ³O Lord, the woman who had fallen
into many sins...²; 3) feast of the martyrs Gurius, Salmonas & Habib,
November 15th (not attributed in the Slavonic Menaion, but attributed in the
Greek) ³Edessa rejoiceth...²; feast of the Nativity of the Forerunner, June
24th (³Today is fulfilled the saying of Isaiah...²; and for the feast of the
martyrs Eustratius & companions, December 13th (Let us hymn and piously
praise the God-bearing martyrs...²).
Having said that Kassia composed many stichera, Kodinus adds: ³such are
those of the harlot and the ointment, for all of these belong to her.² The
words of Kodinus indicate that he knew of many stichera written by Kassia
for the penitent woman, and not merely the one which has come down to us.
As regards the worth of the stichera reliably attributed to Kassia, one
must admit that the first two [above] truly deserve our admiration: as much
as the former is solemn and triumphal, so much is the latter full of a
profound sense of contrition. In the latter, Kassia has quite faithfully
expressed the feelings which filled the soul of the penitent sinful woman
who washed the Savior¹s feet with tears; to express such feelings of one who
greatly loved the Lord, Who was rejected by others, Kassia had to sense in
her own soul the fullness of bitter contrition over the corruption of our
soul, she herself had to be filled with that trusting love for the Savior of
sinners, for which men condemned both the sinful woman and the Savior of
sinners. ³Accept my fountains of tears. O Thou Who pourest forth the
waters from the clouds of the sea, bend Thine ear to the sighs of my heart;
O Thou who bowed down the heavens in Thine ineffable abasement, permit me to
kiss and wipe with the hairs of my head Thine all-pure feet, the noise
whereof Eve heard at noonday, and hid herself in fear. My sins are
many...but who can fathom the depths of Thy judgments? O Savior of souls,
my Savior, Who hast infinite mercy, reject me not, thy handmaid.² One must
say that there are not many who are capable of such profound contrition.

The entry on Kassia in *The Oxford Dictionary of Byzantium* also includes
the information that Kassiane is identical to Kassia and Eikasia: ³KASSIA,
also Kassiane, Eikasia, and other forms of the name, poet....² The entry
cites an article by E. Catafygiotu Topping, which appeared in the "Greek
Orthodox Theological Review", Vol. 26 (1981), pp. 201-209, which someone may
have easy access to, and may contain more information of interest to our
group.

The only Greek-language Church calendar of the saints I have in my library,
the *Agioreitikos Epitrapezios Imerodeiktis, Etous 1977*, by the Monk
Dorotheos of the Skete of Xenophontos (published for Mount Athos in
Thessalonica), confirms the date of commemoration for St. Kassiane as 7
September (O.S.): ³Kassianes tes poietrias,...osia.² (The commemoration of
Kassiana the poetess,...monastic saint.)

Some years ago, I was able to consult St. Justin (Popovich¹s) Lives of the
Saints (in Serbian) concerning this saint. When I am able, I will do so
again. If memory serves, he also confirms the sanctity of St. Kassiana and
the date of her commemoration.

As to the variable forms of the name, it is my opinion the Kassia (a name
quite possibly derived from a plant mentioned in the Old Testament--Ex. 30:
24; Ps. 44: 8; Eze. 27: 19) was the saint¹s lay name, under which she earned
her reputation for erudition and as a poetess. Since it is a common
practice in convents to give nuns male names with female endings (e.g., the
abbess of our Mount of Olives Convent is named Moisea), it may well have
been that at her tonsure Cassia was given a female form of Cassian (i.e.,
Cassiana), after St. John Cassian.

I hope to contribute more on this topic as time and access to sources
permit.

Sincerely,

Isaac Lambertsen. Dear Eugenia and Polychronius,

To add further to the discussion on St. Kassiana, I am contributing the
following translation and personal thoughts.

Here is an excerpt translated from *A Historical Survey of the Hymnographers
& Hymnography of the Greek Church*, by the renowned hagiologist and church
historian Archbishop Philaret (Gumilevsky) of Chernigov (St. Petersburg:
Tuzov Press, 1902), pp. 272-275:

Kassia, Kassiana, Eikasia. In manner of life a pious nun; by education, a
learned woman; by birth, a noble virgin. She lived at the beginning of the
9th century, during the reign of Emperor Theophilus and his successor.
Kodinus, describing the antiquities of Constantinople, mentions the
monastery of Eikasia, which was founded by this virgin nun. ³The Monastery
of Eikasia,² he writes, ³was built by the virgin Eikasia, a pious nun,
beautiful of face and of mind.² Zonaras describes the circumstances which
led to Cassia¹s forsaking the world and building the monastery.
³Theophilus,² he writes, ³intending to choose a consort for himself,
summoned eleven beautiful virgins, among whom was the virgin Kassia, who
surpassed the others in beauty, and was as learned as she was nobly born.
Theophilus examined them, holding in his hand a golden apple which he would
give to the one who pleased him most. When he came to Eikasia he said,
marveling at her beauty: ŒAll that is evil hath come from a woman.¹
Eikasia, meekly, her cheeks blushing red with chastity, replied: ŒBut from a
woman all that is more sublime hath come.¹ Defeated by the words of the
virgin, Theophilus walked away and gave the golden apple to Theodora, a
native of Paphlagonia. Not having gained a royal marriage, Eikasia
established the monastery which bears her name, in which she lived for
herself and for the Lord. Excelling in her education, she wrote letters in
which there is no trace of pedantry or pleasantry. Thus did she reach the
end of her life, having betrothed herself to the heavenly King instead of an
earthly king, and having inherited the heavenly kingdom instead of an
earthly kingdom.² Leo Grammaticus records the same incident in his history
of Theophilus.
Kodinus says that during the reigns of Theophilus and his son, Michael,
Kassia composed many canons, stichera and other works, which are quite
marvelous. The same is said by the early 11th century anonymous author who
describes events of the past.
In the services of the Church we no longer see canons ascribed to Kassia,
except for one canon only, that of Great Saturday, which, however, was
reworked by Mark, Bishop of Otranto. This is what Theodore Prodromos writes
of the latter circumstance in his explanation of the canon of Great
Saturday: ³Through Ode V, this canon is the work of Mark, Bishop of Otranto;
but Odes VI through IX are by the great hymnographer Cosmas [of Maiuma];
furthermore, as we know from unwritten tradition, long before [Mark of
Otranto] a certain wise and chaste virgin, Kassia, was the composer of these
hymns, i.e. Odes I through V, i.e. she completed the canon. Later men who
edited the canons, considering it improper to attach to the hymns of a woman
odes of that ascetic Cosmas, commissioned Mark to compose troparia, while
retaining the former irmoi. This tradition is quite plausible. For Mark
did not incorporate the initial letters of the irmoi in his acrostic,
although to do so would have been to his advantage. For the initial letter
Œkappa¹ of the irmos Œkymati thalasses¹ [ŒVolnoyu morskoyu¹] and the letter
Œsigma¹ of the next irmos, ŒSe ton epi ydatOn¹ [ŒTebe na vodakh¹] are taken
from the acrostic; but he, setting the irmoi aside as the work of another
and not of himself, wrote the troparia from Œkappa¹ ŒKyrie Thee mou¹
[ŒGospodi Bozhe moi¹], and from Œsigma¹ ŒSymbola tes taphes sou¹ [ŒThe
tokens of Thy burial¹].² It is hence evident that the canon (i.e, through
Ode V) and the irmoi are not the work of Mark. Moreover, one can see this
from the fact that the words ³but we like the maidens² are included in the
irmos of Ode I. That the subject of this verse is a maiden clearly
indicates that the ode belongs not to a man, but to a woman. Since there
were two choirs during the exodus of the Israelites who originally sang this
ode--one consisting of men, the other of women--she, leaving aside the choir
of men, since she is a woman, said, ³we sing like the maidens². Yea, and
the very acrostic of the canon is dual, and, so to say, like twin-peaked
Parnassus. For the canon of Great Saturday was once a tetradion [a four-ode
hymnic composition]: its acrostic was comprised of only part of an iamb,
i.e., ³prosabbaton the, sabbaton melpO mega²--²The pre-Saturday. I hymn the
Great Saturday.² Half of its iamb applies to Great Friday, i.e. the
pre-Saturday, and the rest applies to Saturday, i.e. I hymn the Great
Saturday. But when the canon was continued and a full canon was made out of
the tetradion, the acrostic was also extended, and instead of the incomplete
iamb a complete one was made, i.e. ³kai simeron de sabbaton melpO mega². In
the Slavonic Triodion, one reads in the superscription of the canon: ³The
canon of Great Saturday, from Ode I to Ode VI, is the work of Mark, Bishop
of Hydrous. The irmoi are the work of a certain woman named Cassia. The
Odes from VI to the end are the work of kyr Cosmas.² Thus, in our present
canon of the work of Cassia only the irmoi remain.
As regards other canons, following Prodromos we must admit that it is
probable that certain portions of them, as is the case with the canon of
Great Saturday, are retained in our present canons, undetected by later
readers.
Among the stichera of Cassia, we find the following in the divine services:
1) for the Nativity of Christ, ³When Augustus reigned alone upon the
earth...²; 2) on Great and Holy Wednesday, ³O Lord, the woman who had fallen
into many sins...²; 3) feast of the martyrs Gurius, Salmonas & Habib,
November 15th (not attributed in the Slavonic Menaion, but attributed in the
Greek) ³Edessa rejoiceth...²; feast of the Nativity of the Forerunner, June
24th (³Today is fulfilled the saying of Isaiah...²; and for the feast of the
martyrs Eustratius & companions, December 13th (Let us hymn and piously
praise the God-bearing martyrs...²).
Having said that Kassia composed many stichera, Kodinus adds: ³such are
those of the harlot and the ointment, for all of these belong to her.² The
words of Kodinus indicate that he knew of many stichera written by Kassia
for the penitent woman, and not merely the one which has come down to us.
As regards the worth of the stichera reliably attributed to Kassia, one
must admit that the first two [above] truly deserve our admiration: as much
as the former is solemn and triumphal, so much is the latter full of a
profound sense of contrition. In the latter, Kassia has quite faithfully
expressed the feelings which filled the soul of the penitent sinful woman
who washed the Savior¹s feet with tears; to express such feelings of one who
greatly loved the Lord, Who was rejected by others, Kassia had to sense in
her own soul the fullness of bitter contrition over the corruption of our
soul, she herself had to be filled with that trusting love for the Savior of
sinners, for which men condemned both the sinful woman and the Savior of
sinners. ³Accept my fountains of tears. O Thou Who pourest forth the
waters from the clouds of the sea, bend Thine ear to the sighs of my heart;
O Thou who bowed down the heavens in Thine ineffable abasement, permit me to
kiss and wipe with the hairs of my head Thine all-pure feet, the noise
whereof Eve heard at noonday, and hid herself in fear. My sins are
many...but who can fathom the depths of Thy judgments? O Savior of souls,
my Savior, Who hast infinite mercy, reject me not, thy handmaid.² One must
say that there are not many who are capable of such profound contrition.

The entry on Kassia in *The Oxford Dictionary of Byzantium* also includes
the information that Kassiane is identical to Kassia and Eikasia: ³KASSIA,
also Kassiane, Eikasia, and other forms of the name, poet....² The entry
cites an article by E. Catafygiotu Topping, which appeared in the "Greek
Orthodox Theological Review", Vol. 26 (1981), pp. 201-209, which someone may
have easy access to, and may contain more information of interest to our
group.

The only Greek-language Church calendar of the saints I have in my library,
the *Agioreitikos Epitrapezios Imerodeiktis, Etous 1977*, by the Monk
Dorotheos of the Skete of Xenophontos (published for Mount Athos in
Thessalonica), confirms the date of commemoration for St. Kassiane as 7
September (O.S.): ³Kassianes tes poietrias,...osia.² (The commemoration of
Kassiana the poetess,...monastic saint.)

Some years ago, I was able to consult St. Justin (Popovich¹s) Lives of the
Saints (in Serbian) concerning this saint. When I am able, I will do so
again. If memory serves, he also confirms the sanctity of St. Kassiana and
the date of her commemoration.

As to the variable forms of the name, it is my opinion the Kassia (a name
quite possibly derived from a plant mentioned in the Old Testament--Ex. 30:
24; Ps. 44: 8; Eze. 27: 19) was the saint¹s lay name, under which she earned
her reputation for erudition and as a poetess. Since it is a common
practice in convents to give nuns male names with female endings (e.g., the
abbess of our Mount of Olives Convent is named Moisea), it may well have
been that at her tonsure Cassia was given a female form of Cassian (i.e.,
Cassiana), after St. John Cassian.

I hope to contribute more on this topic as time and access to sources
permit.

Sincerely,

Isaac Lambertsen.