Lament of the Fall of Constantinople

#2
Attached is Markos Vasileiou's transcription of Manuel Chrysaphes' lament, Ο Θεός ήλθοσαν έθνη, as published in the liner notes of Manolis Chatzegiakoumes' Symmeikta #6 (already uploaded somewhere previously on the Greek site of Ps.). For this recording / publication, see:

http://panagiotisandriopoulos.blogspot.com/2008/05/blog-post_3951.html

The original can be found written in Chrysphes' hand in MS Iviron 1120 (copied in 1458), on fols. 451r-452r, preceded by the phrase: "Another. Composed after the Fall of C/ple by Manuel Chrysaphes the lampadarios."

The text (from some old notes, forgive any inaccuracies):

Ὁ θεός, ἤλθοσαν ἔθνη, ἤλθοσαν, ἤλθοσαν ἔθνη
εἰς τὴν κληρονομί… εἰς τὴν κληρονομίαν σου,
ἐμίαναν τὸν ναὸν τὸν ἅγιόν σου,
ἐμίανα... χα... χα... χαν
τὸν ναὸν τὸν ἅγιόν σου, ἐμίαναν, κύριε,
ἔθεντο τὰ θνησιμαῖ... χαῖ...α τῶν δούλων σου
βρώ... βρώματα τοῖς πετεινοῖς τοῦ οὐρανοῦ,
τὰς σάρκας τῶν ὁσίων σου τοῖς θηρίοις τῆς γῆς·
ἐξέχεαν, ἐξέχεαν, ἐξέχεαν τὸ αἷμα αὐτῶν, κύριε,
ἐξέχεαν τὸ αἷμα αὐτῶν ὡς ὕδωρ κύκλῳ Ιερουσαλημ,
καὶ οὐκ ἦν ὁ θάπτων.

ἐγενήθημεν, ἐγενήθημεν ὄνειδος τοῖς γείτοσιν ἡμῶν,
μυκτηρισμὸς καὶ χλευασμὸς τοῖς κύκλῳ ἡμῶν.
ἕως πότε, κύριε – πάλιν – ἕως πότε, κύριε,
ὀργισθήσῃ εἰς τέλος,
ἐκκαυθήσεται ὡς πῦρ ὁ ζῆλός σου;
ἕως πότε, κύριε
ἔκχεον τὴν ὀργήν σου,
ἔκχεον, ἔκχεον τὴν ὀργήν σου
ἐπὶ τὰ ἔθνη τὰ μὴ γινώσκοντά σε
σε καὶ ἐπὶ βασιλείας, αἳ τὸ ὄνομά σου οὐκ ἐπεκαλέσαντο...

μὴ μνησθῇς ἡμῶν ἀνομιῶν ἀρχαίων·
ἀλλὰ βοήθησον ἡμῖν ταχὺ
καὶ ἐλέησόν ἡμᾶς.
 

Attachments

μάρκελλος

Μάρκελλος Πιράρ, Γενικός συντονιστής
#5
Here is the Arabic adaptation by Mitri el-Murr (1880-1969).
Here is the translation of the Prologue, written by Mitri's son, Fou'ad (the publisher of the "Spiritual Psalter", vol. 3):
O God, the nations have invaded your inheritance
Manuel Chrysaphes, the composer of this marvellous historical piece, which has been discovered at the beginning of the first world war, did not find more eloquent words than those of Psalm 78 in order to mourn in it the church of Aghia Sophia after it had been turned into a mosque. My father transposed it freely into arabic and he used to perform it during the festal Liturgies instead of the Koinonikon.
 
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