Alpha60
Taxiarches
There are a number of brain-bugs about the liturgy which greatly annoy me, in part because some of those floating around within Orthodoxy caused me confusion in my neophyte years, and in part because others floating around outside the church put people off to us, and to other liturgical churches. To energize my brain before a technically demanding procedure, I thought I would enumerate some of these:
Internal falsehoods
- There is only one Typikon, or only one valid Typikon (untrue, owing to the variations between the Typikons even in churches not using the Violakis Typikon, and also, in the case of Russian Orthodoxy, the acceptance of the pre-Nikonian Old Rite typikon as used by the Edinovertsie and other canonical Old Rite churches); furthermore, it is a long held privilege of monasteries to define their own typikon (for an extreme example, see OCA's New Skete monastery).
- The error of Balsalmon, repeated in the Pedalion and elsewhere, that the Divine LIturgies of St. James and St. Mark are heterodox importations from the Oriental Orthodox.
- The idea that the Oriental Orthodox form of the Trisagion is Patripassian; rather, unlike in Eastern Orthodox usage, the Oriental Orthodox Trisagion is not understood as a Trinitarian hymn but a Christological hymn, and thus, Peter Fullo's addendum to it, "Who was crucified for it", the Theopashcite Clause, is entirely Orthodox and is in agreement with the prevailing Eastern Orthodox Theopaschite theology, which triumphed over the Apthartodocetism preferred by St. Justinian (largely due to external influences from St. Severus of Antioch).
- The idea that St. Justinian wrote the hymn Ho Monogenes; in fact, at most, he merely added it to the Eastern Orthodox liturgy; this hymn rather having originated among the Oriental Orthodox of Antioch or Alexandria; it is most frequently attributed to St. Severus of Antioch, and this makes the most sense in light of the construction of the Syriac Orthodox liturgy, which begins with Ho Monogenes, although some also attribute it to St. Cyril or St. Athanasius of Alexandria.
- The idea that Byzantine Chant is inherently good and all other forms of Orthodox music are rubbish; and the related musical iconoclasm in Slavonic Orthodoxy which deprecates the four part harmony compositions of Bortniansky, Tchernenkov, and other brilliant composers of the 18th century and more recent times. Also, the related idea that all organs are inherently heterodox, which is absurd, given that the Hagia Sophia had one in the Narthex (which would at the very least seem to legitimize the use of an organ in the Narthex, perhaps for preludes or postludes); it also discriminates against the beautiful organ-accompanied music of the Corinthian Orthodox, and Tikey Zes, and also similar music in the Armenian Church. That said, attempts by the Syriac, Assyrian and Slavonic Orthodox communities to use the organ in liturgical services have been unsuccessful, but the retention of vintage pipe organs for use during sacred classical concerts, such as Metropolitan Hilarion Alfeyev's setting of the passion according to St. John, is useful.
Internal falsehoods
- There is only one Typikon, or only one valid Typikon (untrue, owing to the variations between the Typikons even in churches not using the Violakis Typikon, and also, in the case of Russian Orthodoxy, the acceptance of the pre-Nikonian Old Rite typikon as used by the Edinovertsie and other canonical Old Rite churches); furthermore, it is a long held privilege of monasteries to define their own typikon (for an extreme example, see OCA's New Skete monastery).
- The error of Balsalmon, repeated in the Pedalion and elsewhere, that the Divine LIturgies of St. James and St. Mark are heterodox importations from the Oriental Orthodox.
- The idea that the Oriental Orthodox form of the Trisagion is Patripassian; rather, unlike in Eastern Orthodox usage, the Oriental Orthodox Trisagion is not understood as a Trinitarian hymn but a Christological hymn, and thus, Peter Fullo's addendum to it, "Who was crucified for it", the Theopashcite Clause, is entirely Orthodox and is in agreement with the prevailing Eastern Orthodox Theopaschite theology, which triumphed over the Apthartodocetism preferred by St. Justinian (largely due to external influences from St. Severus of Antioch).
- The idea that St. Justinian wrote the hymn Ho Monogenes; in fact, at most, he merely added it to the Eastern Orthodox liturgy; this hymn rather having originated among the Oriental Orthodox of Antioch or Alexandria; it is most frequently attributed to St. Severus of Antioch, and this makes the most sense in light of the construction of the Syriac Orthodox liturgy, which begins with Ho Monogenes, although some also attribute it to St. Cyril or St. Athanasius of Alexandria.
- The idea that Byzantine Chant is inherently good and all other forms of Orthodox music are rubbish; and the related musical iconoclasm in Slavonic Orthodoxy which deprecates the four part harmony compositions of Bortniansky, Tchernenkov, and other brilliant composers of the 18th century and more recent times. Also, the related idea that all organs are inherently heterodox, which is absurd, given that the Hagia Sophia had one in the Narthex (which would at the very least seem to legitimize the use of an organ in the Narthex, perhaps for preludes or postludes); it also discriminates against the beautiful organ-accompanied music of the Corinthian Orthodox, and Tikey Zes, and also similar music in the Armenian Church. That said, attempts by the Syriac, Assyrian and Slavonic Orthodox communities to use the organ in liturgical services have been unsuccessful, but the retention of vintage pipe organs for use during sacred classical concerts, such as Metropolitan Hilarion Alfeyev's setting of the passion according to St. John, is useful.