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The oldest form of Christian hymnography is the akathist. Tradition attributes the creation of the first akathist to St. Roman the Melodist, who lived in the VI century. The famous hymnographer wrote it in honor of holy virgin Mary - Mother of God. Since then, many church hymnographers have resorted to the genre of akathist, dedicating their works to Christ, saints and miraculous icons.
Great Akathist.
At present, most researchers are inclined to date the Akathist to the Theotokos from the era from the emperor St. Justinian I (527-565) to Emperor Heraclius (610-641) and attribute his authorship to St. Roman the Sweet Singer.
The Akathist to the Theotokos is divided into 2 parts: narrative, telling about the events of the earthly life of the Mother of God and the childhood of Christ according to the canonical Gospels and the Protoevangelium of James (Ikos 1-12), and dogmatic, concerning the doctrine of the Incarnation and the salvation of the human race (13-24th icoses). The beginning (introduction) “Victory Chosen Voivode” is not connected with the content of the Akathist to the Theotokos, being a later addition to the text. Its appearance is correlated with the siege of Constantinople in the summer of 626 by the Avars and Slavs, when Patriarch Sergius I with the icon Mother of God bypassed the city walls and the danger was averted. Zachin is a victorious thanksgiving song addressed to the Mother of God on behalf of her city, delivered from the horrors of the invasion of foreigners and performed together with the Akathist to the Mother of God on August 7, 626.
Following the beginning, there are 12 large and 12 small stanzas, alternating, 24 in total, in the order of the alphabetic acrostic. All stanzas in the Greek tradition are called ikos. They are divided into short ones (kontakia), ending with the refrain "Alleluia", and long ones (ikos) consisting of 12 salutatory appeals to the Mother of God, and ending with the greeting "Hail, Bride, Bride."
During the translation, some rhetorical and all metrical features of the original disappeared, but the Akathist to the Theotokos retained the fullness of its dogmatic content. In the corpus of liturgical books now accepted in the Russian Orthodox Church, the Akathist to the Mother of God is placed in the Lenten Triodion and in the Psalter with resurrection, as well as in the Prayer Books and Akathists intended for private reading.
Based on the text of the Akathist, which tells about the events of the Annunciation and the Nativity of Christ, it can be assumed that it was originally intended for singing on the feast of the Cathedral of Our Lady (December 26), and then on the feast of the Annunciation (March 25). The Akathist to the Theotokos was read for the first time in the Blachernae Church of the Theotokos in Constantinople during the siege.
The service of the Akathist to the Theotokos on Saturday of the 5th week of Great Lent was superimposed on the weekly night cathedral service from Friday to Saturday in Constantinople in honor of Holy Mother of God, accompanied by a procession with Her icons around the city and arranged in the image of a similar procession in Jerusalem. This service is known from the life of St. Stephen the Younger, which describes how the mother of the saint goes to the Friday service at Blachernae and there she prays before the image of the Mother of God.
In modern liturgical practice, according to the Jerusalem Charter adopted in the Orthodox Church, the Akathist to the Mother of God is divided into 4 parts and is sung at Matins on Saturday Akathist (Saturday of the 5th week of Great Lent). Having stood near the image of the Mother of God, the clergy worship according to their rank. The primate distributes burning candles to the co-servants and, during the slow singing of the 1st kontakion, censes the entire church. Then the ikos and kontakia of the 1st part of the akathist are read. During the conciliar service, they are divided, if possible, among all the priests. Only the 1st and 12th icosas and the 13th kontakion are read by the primate himself. In some churches, only the beginning of the ikos is read, and the refrains "Rejoice" are sung antiphonally on both faces.
After the end of the 3rd ikos, the singers sing "The Chosen Governor". The priests go to the altar. The royal doors are closed, the 17th kathisma is read. Little litany. At the exclamation, the royal doors are opened. The singers again sing a drawn-out "Choose Governor". The clergy go to the icon of the Mother of God. A small incense is performed: the royal doors, local icons, the iconostasis, the primate, singers and worshipers. Further ikos and kontakia of the akathist are read, ending with the 7th kontakion: "I want Simeon." After reading the 2nd part of the akathist, the singers sing "The Chosen Governor", the clergy go to the altar, and the royal doors are closed.
In modern practice, the ikosa is usually read by the priest in a liturgical recitative, and "Alleluia" and "Rejoice, Bride of the Bride" are sung by the chorus and praying to the local everyday tune.
Akathists as a genre of church hymns.

Greek hymns, built according to the formal model of the Akathist to the Mother of God, appeared at the end of the Byzantine era and gave impetus to the formation of the akathist as a genre of church hymns. Its development is connected with the names of the Patriarchs of Constantinople Isidore I Buhiras and Filofey Kokkin. 7 hymns of Patriarch Isidore are known, entitled as “Ikosi, like Akathist, the creation of the most holy Patriarch of New Rome, Konstantin city, Kir Isidore”: arch. Michael, John the Baptist, St. Nicholas the Wonderworker, the Assumption of the Mother of God, the Cross of the Lord, the apostles Peter and Paul and 12 apostles. Patriarch Philotheus is credited with 2 akathists: to all the saints as part of the service of the same name and to the Life-Giving Sepulcher and the Resurrection of the Lord.
The further development of the akathist genre and the expansion of the scope of its use is associated primarily with the liturgical practice of the Russian Orthodox Church. Probably the oldest Slavic monuments of this genre are "Akathist to the Sweetest Jesus" and "Joy" to John the Baptist, written by Francis Skorina and published by him around 1522 in Vilna as part of the "Small Road Book". The akathists of Patriarch Isidore served as models and sources for Skaryna, therefore Francis's writings, despite the author's Catholic religion, are generally Orthodox in nature.
The largest number of Russian akathists, Ser. XVII - beginning. 18th century, dedicated to St. Sergius of Radonezh. One of the authors of the akathist to Sergius of Radonezh in 1711 is the archimadrite of the Kolomna Epiphany Staro-Golutvin monastery Joasaph.
In the synodal period, the heyday of akathist creativity in Russia falls on the second half of the 19th century - the beginning of the 20th century. The impetus for the creation of akathists was the activity of the Archbishop of Kherson Innokenty (Borisov), who revised the akathists then used by the Uniates: the Passion of Christ, the Protection of the Most Holy Theotokos, the Holy Sepulcher and the Resurrection of Christ, the Holy Trinity, arch. Michael. Being Bishop of Kharkov (1843-1848), he set them to be performed in local churches, because "the effect of these akathists on the people was extremely strong and noble."
Russian akathists usually have a laudatory rather than dogmatic character and are dedicated to ascetics especially revered in Russia. Probably, they were intended for reading at the relics or icons of the saint, in temples associated with his name. Thus, akathists began to form part of private worship.
Akathist creativity in Russia was a church-wide phenomenon, the authors of akathists could be people of very different church and social status: spiritual writers, professors of theological schools, clergymen.
The process of approving a newly written akathist proceeded as follows: the author or an interested person (abbot of a monastery, priest or headman of a temple) sent an essay and a request for permission to read its prayer to the Spiritual Censorship Committee. Further, the censor made his judgment and offered it to the committee, and the committee made a report to the Holy Synod, where the akathist was considered again, based, as a rule, on the opinion of the bishop, and made a decision on the possibility of publishing the work. The ban could be due to non-compliance with the requirements of spiritual censorship, to the theological or literary illiteracy of the akathist, or to the existence of others with the same dedication already approved by the censorship.

The distribution of akathists, which routinely used the same words and expressions, often shallow from the theological point of view, also caused a negative reaction. Unlike St. Theophan the Recluse, who sympathized with the newly written akathists, repeatedly expressed their critical attitude towards them to St. Philaret of Moscow, Metropolitan Anthony (Khrapovitsky) and others. Archim. Cyprian (Kern) wrote: “An infinite number of akathists, especially in Russia, that have spread, is nothing but a wretched and meaningless effort to paraphrase the classic Akathist ...”
Russian church revival of the last decade of the XX century. led to a sharp increase in hymnographic creativity. Most of the created hymnographic works are akathists to the Mother of God for the sake of Her newly-appeared miraculous icons, as well as to the newly glorified Russian and Greek saints. Their publication requires the approval of the Liturgical Commission under the Holy Synod of the Russian Orthodox Church. From the point of view of the charter, the newly written akathists have no liturgical use. Usually they are used only as part of the secret rule. In the Russian Orthodox Church, the practice of performing a prayer service with an Akathist is widespread, in some churches even “vespers with an akathist” and “matins with an akathist”. The Moscow diocese has a tradition of serving an akathist to the icon of the Mother of God the Inexhaustible Chalice on Sunday evenings.

Deacon Evgeny Nektarov

Constantly updated collection of canonical Orthodox akathists and canons with ancient and miraculous icons: Lord Jesus Christ, Mother of God, saints ...

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Akathist- (Greek akathistos, from the Greek a - a negative particle and kathizo - I sit down, a hymn, when singing which they do not sit, "non-sitting song") - special laudatory chants in honor of the Savior, the Mother of God or saints.

Akathists consist of 25 songs, which are arranged in the order of the letters of the Greek alphabet: 13 kontakia and 12 ikos ("kondak" - a short laudatory song; "ikos" - a lengthy song). Ikos end with the exclamation "rejoice" and kontakia - "Hallelujah" (in Hebrew - "praise God"). At the same time, the ikos end with the same refrain as the first kontakion, and all other kontakions end with the alleluia refrain. The first of the famous akathists - the akathist to the Most Holy Theotokos - was written in the reign of Emperor Heraclius in 626.

Canon(Greek κανών, "rule, measure, norm") - a form of church prayer poetry, a type of church hymn poem of complex construction; consists of 9 songs, the 1st stanza of each is called irmos, the rest (4 - 6) - troparia. Replaced kontakion in VIII century. The canon compares Old Testament images and prophecies with the corresponding events of the New Testament...

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"Praise, servants of the Lord,
praise the name of the Lord"
Ps. 113:1

"Pray without ceasing"
1 Thessalonians 5:17

"And now, Lord God, stand on
your resting place, you and the ark
your might. Priests
Yours, O Lord God, let them put on
to salvation, and your saints
let them enjoy the blessings"
2 Chronicles 6:41

"With every prayer and supplication
pray at all times in the spirit,
and try about this very thing with everyone
constancy and prayer for all the saints"

I remember the service of the akathist at the MDA. There had just been some kind of everyday service, almost entirely - with the royal gates closed, an ordinary priest led the service. But the time has come for the akathist - the royal doors are open, the light is on, the clergy leave the altar, and the bishop is at the head of the consecrated cathedral. The contrast is impressive.

If you ask an average parishioner of our churches what is the difference between a stichera and a sedal, how the canon works and how many meanings the word “kontakion” has, you are unlikely to get an intelligible answer in at least one out of ten cases. But when it comes to an akathist, there is no need for long theoretical discussions: the average parishioner will simply take out a prayer book (or a separate brochure, or a collection of akathists) from a bag or backpack - and here you are, all-seeing: kontakia, ikos, prayers ...

Akathist is the most popular hymnographic genre in our country. This state of affairs has been established for a long time, and nothing foreshadows changes in the near future. How can one explain such a prevalence and such a demand for akathists? After all, dozens of new texts of this genre appear every year, which means that someone writes them and someone reads them.

A few years ago I tried to understand the reasons for the popularity of akathists. These reasons turned out to be quite a lot: and the technical accessibility of the text (an akathist can be bought in almost any church, in any Orthodox bookstore, downloaded from the Internet), therefore, the possibility of visual perception of the text (and not just by ear, as happens with texts Octoechos, Triodion, Menaion), the optimal volume (reading a single prayer to a saint does not create the feeling of even a “small offering”, the service is too lengthy and complex - and the akathist is at the right time: you can read it in fifteen minutes), the transparency of the structure of the text (the akathist consists from kontakia and ikos, ikos include hayretisms, hayretisms have the same type of structure - all this facilitates the perception of the text), high discreteness of the text (the akathist almost entirely consists of autonomous microtexts that do not flow into each other, as is the case in other hymnographic genres) , simplicity of syntax, Russified (in comparison with "classical" Church Slavonic texts) vocabulary and partly grammar a, the availability of the figurative system and more.

However, all these factors alone can hardly explain such love for akathists, which has been observed for many decades among a significant part of Orthodox Christians in our (and not only our) country.

What is the matter here? Where lies the clue? It seems to me that it is important here to pay attention to where, how and by whom the akathist is read (or sung). When it comes to home prayer rule or about reading an akathist in the subway on the way to work, then here the akathist is in a winning position in relation to, for example, the canon, precisely because of the above reasons: the availability of publications, the simplicity of the text, and so on. But akathists are often sung in churches. And that's a completely different story.

Each parish has its own customs, its own order of singing or reading an akathist. Somewhere akathists sing in a secular rite, somewhere (I saw it myself) a deacon leads the singing, but more often it is still a priest. The degree of solemnity is also different. I remember the service of the akathist at the MDA. There had just been some kind of quite everyday service, almost entirely - with the royal gates closed, an ordinary priest led the service. But the time has come for the akathist - the royal doors are open, the light is on, the clergy leave the altar, and the bishop is at the head of the consecrated cathedral. The contrast is impressive.

But this, perhaps, is not the main thing. Let us compare the singing of the akathist with the "usual" (that is, quite solemn) all-night vigil or even with the liturgy. At the usual Saturday or Sunday service, the priest spends a significant part of the time in the altar, behind the closed royal doors (the veil is also sometimes drawn), that is, he is spatially on his own, and the laity are on their own. Some (at the liturgy - the most important) prayers the priest reads to himself, the people simply do not hear them - the sacramental phrases and subordinate clauses are left to the lot of the laity. And what the people, as it were, hears, in many respects passes by consciousness - and due to insufficient clarity Church Slavonic, and due to the absence necessary knowledge for the perception of such complex texts as the works of Byzantine hymnographers, and simply because it is extremely difficult to perceive a text by ear for two or three hours.

And what about the akathists? The priest is in the middle of the temple, together with the people. The text is in front of everyone's eyes. Everything is heard and seen, everything is clear enough. The parishioners sing an akathist (or at least the refrains at the end of the stanzas) - that is, they are actively involved in the service, they become its participants, and not just passive listeners and contemplators.

In other words, church singing of the akathist is such a quasi-liturgy. This is indeed a common cause, a common prayer - a prayer that is as conscious and heartfelt as possible. Yes, we can talk about the low quality of akathist texts, and such reproaches are largely justified - however, we must admit that akathists fulfill their prayer purpose, but beautiful creations Reverend John Damascus - unfortunately not.

How the Liturgy is celebrated in our country has already been discussed by many different authors (and we have already indicated above). This is both the psychological and institutional opposition of the clergy and the laity (the priest “serves”, and we “stand and pray”), and the separation of the people from the clergy by the altar barrier, and the actual loss of its central part – the anaphora (eucharistic prayers) – from the liturgy, etc. And it is clear that all these problems cannot be solved overnight. And so we see that someone takes a book or a tablet to the service and reads the prayers of the anaphora, and someone - it sounds wild, but it happens - buys a booklet called “Prayers during the Liturgy” and while the priest is praying “his own” prayers, the pious layman prays his own.

Of course, akathists (as well as church unction - there is, in fact, a considerable similarity) are by no means a substitute for the liturgy, the Eucharist. This is nothing more than a surrogate. However, the laity (and even the priests) are hungry for a common meaningful prayer - and akathists here come in handy.

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