Celica Milovanovic - GREGORY OF NAZIANZUS'S DE REBUS SUIS PDF
Celica Milovanovic - GREGORY OF NAZIANZUS'S DE REBUS SUIS PDF
Celica Milovanovic - GREGORY OF NAZIANZUS'S DE REBUS SUIS PDF
DOI:10.2298/ZRVI0845043M
UDC:821.14'0213"04"
1 De rebus suis (Concerning his own affairs) is a traditional modern title for Gregorys
Carmen 2 (Liber II), 1 (Sectio I, De seipso), 1. Text in Migne, PG 37, coll. 9691017. English transla-
tion by D. M. Meehan, Saint Gregory of Nazianzus: Three Poems, Washington, D. C., 1987, 2545.
2 See ^elica Milovanovi}, Gregory of Nazianzus: Ars Poetica. In suos versus, Carmen 2, 1,
39, Journal of Early Christian Studies 5 (1997) 497510.
44 ^elica Milovanovi}
place within the ample tradition of ancient didactic poetry deserves to be exam-
ined more carefully than has been the case so far.3
Although the very notion of genre may raise some eyebrows among contem-
porary literary critics, in classical studies it is not considered old-fashioned or ob-
solete. Classicists by and large still believe that literary genres have a definite and
significant presence in ancient literature, and that they function within texts as a
way of reducing complexity and thereby not only enriching, but even enabling lit-
erary communication.4 Thus, as another scholar put it, by understanding what it
is that sets a particular body of texts apart as a specific genre, we are able to appre-
ciate better the qualities of the individual texts, and especially in the case of a
comparatively neglected type of literature such as didactic poetry, attention to ge-
neric characteristics can contribute in important ways to our interpretation of oth-
erwise well-studied works.5 In other words, if we are to understand a work prop-
erly, and be able to evaluate its literary qualities fairly, we must be alert to the
presence of typical generic characteristics in it.
Gregorys poem De rebus suis is a case in point. Being one of the major au-
tobiographical poems it has been studied and quoted often enough, but never
placed in its proper generic context, which, in turn, has led to some misunder-
standings concerning its true nature and inherent qualities.6 Therefore, I wish to
point out the specific elements that make this poem a didactic epic, in the hope of
demonstrating that Gregory was well aware of the requirements, as well as the his-
torical development of the genre from Hesiod, Parmenides and Empedocles in the
beginning, down to the various Cynegetica and Halieutica of his own day.
In modern scholarship, however, the history and theory of didactic epic has
come into focus only within the last fifteen years, or so. A thorough and compre-
3 For a recent attempt to place Gregorys autobiographical poems within the tradition of di-
dactic iambics see A. Cameron, Poetry and Literary Culture in Late Antiquity, edd. S. Swain- M. Ed-
wards, Approaching Late Antiquity. The Transformation from Early to Late Empire, Oxford and New
York, 2004, 327354. However, although Gregorys Carm.2,1,1 De rebus suis is autobiographical in
content, it is written in hexameters and therefore belongs to a different sub-genre of didactic poetry.
4 G. B. Conte G. W. Most, Genre, edd. S. Hornblower A. Spawforth, The Oxford Classical
Dictionary 3d ed., Oxford and New York 1996, 631.
5 K. Volk, The Poetics of Latin Didactic. Lucretius, Vergil, Ovid, Manilius, Oxford and New
York, 2002, vii. Ironically, ancient literary critics did not recognize until rather late that didactic epic
was a separate genre, distinct from the heroic epic.
6 For example, R. Keydell, Die Literarhistorische Stellung der Gedichte Gregors von Nazianz,
Atti dello VIII Congresso Internazionale di Studi Byzantini I, Roma 1953, 134143, while recogniz-
ing the poetic inspiration and inherent quality of this poem, maintains that the poem represents for-
mally a hymn to Christ, broken in two by some additional material inserted in the middle, which is
an indication that Gregory had to invent a form for this confessional autobiography (141). But as we
will try to demonstrate here, Gregory did not seek to invent a new form for this poem; rather, he was
actually following a time-honored model. Similarly, another scholar, A. Casanova, Gregory of
Nazianzus, De rebus suis 424 ff. and De vita sua 68ff.: Echoes of Epic and Dramatic Poetry in his
Mothers Prayer, edd. P. Allen- W. Mayer- L. Cross, Prayer and Spirituality in the Early Church, vol.
2, Brisbane 1999, 145153, assumes that the model for at least some parts of the poem was Homers
Iliad which cannot be right since Gregory did not set out to write a heroic, but rather didactic epic,
with its own, well-known (at the time) set of rules.
Gregory of Nazianzuss De rebus suis 45
hensive survey can be found in Peter Tooheys Epic Lessons.7 Although meant for
the curious general reader the book offers an insightful description of the main
characteristics of the genre, as well as a literary-historical analysis of some twenty-
-five major didactic poems spanning the period between the eighth century B.C.
(Hesiod) and the fifth century A.D. (Prudentius). According to Toohey, ancient Greek
and Roman didactic poems usually share most, or all, of the following features:
An explicit desire to instruct, in a single voice (that of the teacher), a
specific addressee (the presumed student); in practice, the specific ad-
dressee can be substituted by the general you that is, whoever hap-
pens to be reading the poem;
A serious tone and, in spite of the technical subject matter (from science,
philosophy, religion, agriculture, or various leisure activities), a pro-
nounced interest in moral teaching;
Epic hexameter as a meter of choice; use of some of the formulaic tech-
niques of the oral heroic epic, as well as the pretense of poetic simultane-
ity (the illusion that the poem is being created in performance, before our
own eyes, so to say); an emphasis on textual variety and dramatic tonal
oscillations;
So-called calculated intrusions, that is, vivid narrative or descriptive ep-
isodes loosely connected to the main theme, whose material often comes
from mythology; in the absence of plot and narrative unity, these episodes
help to heighten the emotional impact of the whole;
Conceptual simplicity, as one of the core requirements; an overall
paratactic composition; a moderate length, usually around 800 lines (but
could be anywhere between 500 and 1000 lines);
A metaphrastic nature most didactic poems represent a secondary,
poetic version of an originally prose work on a technical subject.
Turning to our poem, we will first review its contents, and then consider
how it handles the specific requirements of the genre. The poem begins with an
opening invocation and prayer to Christ the Lord: since His helpful hand has man-
ifested itself already many times in history, the present suppliant, who finds him-
self in great distress, is also hoping for a quick and efficient help from above
(lines 136).8 After that follows a statement of the main theme:
7 P. Toohey, Epic Lessons. An introduction to ancient didactic poetry, London and New York
1996.
8 In the opinion of A. Casanova (see n. 6 above) this prayer is composed according to the an-
cient Greek, more specifically Homeric, formula (such as the prayer of Chryses in Book 1 of the Il-
iad). I do not see enough evidence to support that opinion, but I find it significant that this type of
prayer /invocation, which begins with a listing of Gods former interventions in human history, is well
attested not only in early Christian prayers, but also in 4th century liturgical practice, e.g. in the Lit-
urgy of St. Basil (the two long prayers read silently by the priest during the anaphora). Other examples
of this type of prayer in Gregory are discussed by K. Demoen, The Paradigmatic Prayer in Gregory
Nazianzen, ed. E. A. Livingstone, Studia Patristica vol. XXXII (Papers presented at the Twelfth Inter-
national Conference on Patristic Studies held in Oxford 1995), Leuven 1997, 96101.
46 ^elica Milovanovi}
9 Line 37, tr. Meehan. Henceforward, all quotes from De rebus suis will be in Meehans trans-
lation.
Gregory of Nazianzuss De rebus suis 47
place, and hid me in the recesses of the heavenly abode. There the light of
the Trinity shone upon my eyes, a light than which I have known nothing
brighter. It is throned on high and gives off an ineffable and harmonious ra-
diance, which is the principle of all those things that time shuts off from
heaven. I died to the world and the world to me (lines 194202).
This section, full of apparently genuine emotion, culminates in a revelation:
no matter how dear his brother had been to him, says Gregory, it is not so much
the death of the brother, as the dreaded loss of his own soul that he now deplores.
It is my soul that I lament, as one would mourn a queen, fair, and stately,
and sprung from a noble line of kings, that he might see languishing, fast in
chains, when enemies have taken her with the spear. They have bound her in
harsh slavery, and she bends her sad gaze upon the ground. For such was my
fate. In such wise am I stricken to the heart (lines 230234).10
Next, returning briefly to the theme of the two doors (paths) and the two
kinds of people traveling towards them, Gregory goes on to explain why, and to
whom, he is making this confession. His actual reason for speaking up, as he puts
it, is so that whoever sees my plight should tremble and improve his own life
(line 351). And if we should wonder who the whoever may be, that is, which
audience exactly he is trying to reach, Gregory gives the following explanation:
his words are meant for those who are united with himself in love and suffering,
who yearn for the cross, love the path of rectitude and have compassion for the
fallen. Then he adds, in a tone of defiance mixed with sadness:
As for me, I shall not give over my laments until I make good my escape
from lamentable evil, and place a padlock on the mad passions of the mind.
Satan, the evil one, has thrown open all the doors to them, doors that were
fast before, when I was sheltered by the hand of God. In those days evil
could not approach me, but it is swift to gain hold now (lines 253259).
Again, he goes over some of the same ground: he wishes he had fled the
world, that is, become a monk, and devoted his whole life to Christ. But he had to
take care of his parents for whom he had a deep affection, and whose favorite
child he had been. He recounts the spiritual zeal and eagerness of his youth, and
remembers how once but not any more the splendor of Gods lofty throne
was blinding his vision. He is unable to say whether he will ever go back to his
former ways, although he is greatly thirsting for the light, now that he has come to
the evening of his life. Again he states that he has never been in such trouble, not
even when he survived a raging storm at sea, on his way from Alexandria to Ath-
ens; or when he lived through an earthquake in Greece; or when he almost died
10 This striking image has no parallel in Homer. The one possible source of this similes im-
agery that I can think of could be Heliodoruss Ethiopian Story. In the opening scene of that novel we
find a beautiful, tall young woman, who had apparently been captured by pirates, mourning the pre-
sumed death of her lover. See J. P. Morgan, trans., An Ethiopian Story, ed. B. P. Reardon, Collected
Ancient Greek Novels, Berkeley, Los Angeles and London 1989, 349 sqq.
48 ^elica Milovanovi}
from some pulmonary illness; or when he injured his eye and became impure be-
cause of the injury and unable to perform the liturgical services; none of those, he
says, were as troublesome as the present turmoil in his soul. In spite of all, how-
ever, he still hopes to be able to return to the holy land of pure and simple faith,
and he begs Christ, who is benign to all the humble, but crushes the proud, to
have pity on him (lines 261366).
Next come three so-called calculated intrusions, or narrative episodes, to
further illustrate Gregorys troubles. Two of these stories come from the Bible,
while the third is clearly a family story that he had often heard from his mother.
First, the story of the Good Samaritan Luke 10, 3037 is presented in the form of
an extended simile: as when the man was going down from Jerusalem the mis-
fortunes I encountered were like that too. Gregory draws numerous points of
comparison between himself and the man who had been attacked by robbers: the
robber (=the devil) attacked him when he traveled from the noble city and its way
of life (= his own youthful and worshipful self? Or, perhaps, the city of Constanti-
nople?); he stripped him of his clothes (=the grace of Christ), and left him naked
as Adam (= expelled from Eden); the priests (=the bishops at the council in Con-
stantinople?) abandoned him when they saw that he was in trouble; he is begging
Christ to save him and lead him to that all-hospitable place of rest (=the inn from
the story) whence he can be restored once more to the holy city of faith (lines
367392).11
Second is the story of the publican and Pharisee Luke 18, 1014. Having
told the story in some detail, Gregory, who identifies himself as the publican,
prays to Christ to save him, if not for his own sake for he himself had never ac-
complished anything to deserve it then for the sake of his excellent parents
(lines 393423).
The third story is told with considerable emotion and is full of biblical refer-
ences. His dear mother, called alternately the holy Anna, or Sarah, had prayed for
a male child, promising to dedicate him to Christ. Her prayer had been granted and
she was even given the name of the child in a dream. The child Gregory was
dedicated as a new Samuel and he grew up amid expectations that he would be-
come a priest; his own father, a new Abraham, would lead him to the altar as a
sacred, living victim unto God and an illustrious Isaac; this, in his mothers
words, would be the most noble inheritance he could ever receive in this world,
and in the world to come which is by far the best. Gregory, yielding to his
11 Although Gregory himself presents the story as a spiritual allegory, it is nevertheless tempt-
ing to read in it a veiled reference to his withdrawal from the Council of Constantinople in 381. In par-
ticular the statement about the priests who abandoned him (line 387) reminds us of Gregorys often
discussed bitterness and resentment against his fellow bishops. If this interpretation is correct, it would
help date the poem to the last years of Gregorys life. That goes against the accepted opinion that De
rebus suis was written in the year 371; see J. Bernardi, Trois autobiographies de Saint Gregoire de
Nazianze, edd. M.-F. Baslez, P. Hoffmann, L. Pernot, Linvention de lautobiographie d Hesiode a
Saint Augustin, Paris 1993, 155165. I believe this poem was written at roughly the same time, but
slightly before De vita sua (Carm. 2.1.11).
Gregory of Nazianzuss De rebus suis 49
mothers desire, since earliest childhood was devoted to Christ who, in turn, in a
wonderfully straightforward manner used to converse with his servant, and in
those conversations commanded that he live in holy chastity.12
Ending his recollections, Gregory brings up once again the theme of the two
paths and the narrow gate at the end of the good path. Unfortunately, says he, the
ways of the good and the evil are adjacent, and it is very difficult to stay on the right
path. His own career illustrates that. When he was a child he traveled the royal
road towards the seat that shines on high, but now that he is drawing to the close of
his life he finds himself tottering, as on drunken feet, along a crooked path, being
weighed down by the incessant struggle with the demon (lines 424493).
But the battle has not been lost yet. Gregory has come to realize who he is
and to what station he wishes to raise himself, and he is determined to fight the en-
emy to the end. After some more general considerations about the ways of the
good and the wicked in this world, and the warning that we should all be afraid of
that great eye which sees beneath the earth, penetrates the immense depths of the
ocean, and whatsoever the mind of man conceals (lines 518520), he introduces
an elaborate poetic simile. In it he compares himself to a mighty tree almost de-
stroyed by the torrents of a river in flood, a wretched trunk, borne among the
rocks, where it rots under the constant wear of flood and flotsam. That leads to a
passionate plea to Christ not to abandon him and to allow him once again to enter-
tain the hope of heaven. Human life is full of ups and downs whose purpose we
are unable to understand, but which must all be for the best since they are part of
Gods plan. Then, in a series of references to biblical miracles Gregory begs to be
freed from the various ills that beset him (lines 529595).
Given the all-allusive nature of Gregorys poetry in general,13 the miracles
he is praying for might offer some clues concerning his own circumstances at the
time. He starts by begging for the assistance of the poor man Lazarus so that he,
being rich in suffering, might not end up expelled from the ample bosom of
Abraham Lk.16, 1931; then in a quick succession of biblical allusions he prays
to be delivered form the issue of blood Mk.5, 2529, from the legion of dev-
ils Mk.5, 213, from leprosy Matt.8, 14, and from loss of eyesight and hear-
ing Mar.8,2226; Mat. 11,5; 15, 30; he pointedly prays to Christ to make his
withered hand stretch out, loose the knot of his tongue, make firm the tottering
gait of the feetgive life to the paralyzed limbs, raise to life the rotting corpse.
This last sequence in particular, referring to various sections from the Gospels of
Luke and Matthew Lk. 6,611; 1,64; Matt.11,5, could also be an allusion to a
real ailment that Gregory was suffering from at that time of his life.
The poem ends as it begins, with a formal invocation to Christ. In it Gregory
addresses Christ with a long list of biblical titles and pronounces his ultimate ar-
12 In another poem, Carm. 2, 1, 45, PG 37, coll. 1370 sqq., Gregory tells in detail of the vision
of Purity and Chastity that he had received in a dream, sometime in his youth.
13 For Gregory's poetic style as unremittingly allusive see D. A. Sykes, The Poemata Ar-
cana of St. Gregory Nazianzen. Some Literary Questions, BZ 72 (1979) 13.
50 ^elica Milovanovi}
dent wish: As the years run their course, grant that I may here and hereafter be
mingled with the whole divinity, with hymns unending may I celebrate Thee in
joy (lines 622634).
In spite of the fact that the poem is long and often repetitive, the underlying
leitmotif can be heard clearly: Gregory sees himself on the brink of a spiritual fall,
in a state of religious torpor, and unable to reestablish the lines of communication
with the divine that he knew from his youth. Nevertheless, he prays fervently for
healing and salvation, and hopes, expects even, to be reinstated in the grace of
Christ, his beloved Lord.
The next question to consider is how De rebus suis relates overall to the
genre of didactic epic. The short answer would be it fills the bill completely.
The poem consists of 634 hexameter lines, written in a pointedly Homeric lan-
guage interspersed throughout though it may be with words from later
sources.14 Among the figures of style, extended simile is the one used most fre-
quently.15 Another remarkable figure is a direct address to a person/hero long
since dead, as when Gregory addresses his brother with: Poor Caesarius now
that you are dead, youve become the prey of jackals, etc. (lines 177184). The
illusion of simultaneity, indicating that the poem is being developed as we listen
to it, is reinforced by expressions such as what the morrow will bring, I do not
know (line 297), or I do not clearly understand what is hidden in this simili-
tude (line 378). The three calculated intrusions, that is the narrative episodes
inserted conspicuously in the center of the poem, add liveliness and immediacy to
the discourse.
The question of the addressee, that is, the person for whose benefit the moral
and spiritual instruction is offered, is of special interest, for the presence of such a
person is one of the prominent generic requirements. It is true that the poem does
not name a specific addressee, but it makes it clear throughout that whoever
reads/listens to it and understands its message might eventually improve his own
life and become a better person. However, I tend to believe that Gregory had in
mind a more specific audience. As already mentioned, in one place he claims to be
speaking to those who are united with himself in love and suffering, who yearn
for the cross, love the path of rectitude and have compassion for the fallen (line
240). Whether this refers to any Christian reader, or more specifically to the
monks whose company he sought all his life, is hard to know. I am inclined to
14 The overall impression one gets from reading the poem is that the language is totally Ho-
meric. However, if one looks more closely, the impression changes. For example, Gregorys use of
compound adjectives is not totally Homeric. Of the roughly 50 compound adjectives found in the
poem, about 30 are attested in Homer, while the rest come from later sources, such as Hesiod, Pindar,
Callimachus and Theocritus. A small number of compound adjectives, three or four, might be hapax
legomena (monophorbos, opsitokos, methuplanes, christophoros).
15 There are about 23 similes in the poem, long and short, from one line, to twenty-five lines
long. The short ones are applied usually to other people (Caesarius shone like the morning star in the
imperial palace), or to general statements (human prosperity is as slight as the wake the ship leaves
behind), while the longer, more elaborate ones, with multiple correspondences between the simile
and the surrounding narrative, invariably apply to Gregorys own life and circumstances.
Gregory of Nazianzuss De rebus suis 51
think that many of his poems, in particular those written in Homeric language, are
meant primarily for the (ideally) well educated monks and clergy. I see a further
indication of that in the so-called Poemata arcana, where Gregory says that his
words will be directed to the pure, or those on the path to purification (e
katharoisin ee kathairomenoisin), and also to those in the know (epistamenois
dagoreuso).16 That terminology is very similar to the expressions found in our
poem, and it implies not only the same generic identification, but also the same
imaginary addressee.
The overall conceptual simplicity as already pointed out is quite obvi-
ous: the whole poem is meant to illustrate the idea of the two paths/exit doors
from life, and the difficulty of staying on the right path that leads to the right gate.
Such simple binary concepts, it seems, are very characteristic of the whole genre.
The originator of the genre, Hesiod, whose Works and Days was recognized in an-
tiquity as the benchmark against which later didactic epic can be measured,17
had placed at the center of his poem the opposition between the two erides, the
good eris (competition in hard work, justice) and the evil eris (quarreling and vio-
lence, injustice), and the two paths that lead to them. In the same way, the pre-So-
cratic philosopher Empedocles, in his poem On Nature known to us in frag-
ments only had singled out the struggle between the agencies of Love and
Strife, which in turn define the dynamics of interaction of the four basic elements,
as the foundation of his cosmic system and a good organizing principle for his
poem.18 His older contemporary Parmenides, also known to us in fragments only,
had based his exposition on the nature of reality on the Way of Truth, on the one
hand, and the Way of Seeming, on the other. He, like our Gregory, had also em-
ployed the image of the two gates/two paths:
Here are the gates of the paths of Night and Day,
And a lintel and a stone threshold enclose them.
To their very top they are filled with great doors.
Justice the punisher fastens now one, now the other.19
The image of the two gates, however, was not original with Parmenides, ei-
ther he might have borrowed it from the grandfather of all epic genres, the great
Homer himself. In a famous passage from the Odyssey, Homer, in Penelopes
words, describes the two gates through which dreams come, one made of ivory,
the other made of horn; the dreams coming through the ivory gate are of no conse-
quence whatsoever, while those coming through the gate of horn are true and pro-
16 Carmen 1, 1, 1, lines 910; 19, ed. D. A. Sykes, St. Gregory of Nazianzus. Poemata Arcana,
Oxford 1997, 2.
17 P. Toohey, 21.
18 The great Lucretius, who had probably used Empedocles as his own literary model, could
also be said to have based his cosmic system, as enunciated in his initial programmatic statement (Bk. 1,
5061), on a dual process whereby things combine and are once more dissolved into their constitu-
ents: D. Sedley, Lucretius and the Transformation of Greek Wisdom, Cambridge 1998, 28.
19 Translated by P. Toohey, 37. Once again, Lucretius, the quintessential didactic poet, em-
ploys similar imagery in Bk. 6, 32.
52 ^elica Milovanovi}
phetic (Book 19, 5627). Considering that didactic epic is ultimately an offshoot
of the older, heroic epic, it is not surprising that this well-known Homeric conceit
had been used as a hallmark of the new genre. Gregory is clearly aware of where
the idea had come from and the first words of his programmatic statement doiai
gar te pulai thnetois stugerou thanatoio (=among mortals two gates towards hate-
ful death are open: line 37) go back to Homer directly.
Another distinctive feature of the epic didactic genre although not univer-
sally recognized as such would be the special form given to the extended,
so-called Homeric, simile. In modern scholarship it was David West who first
pointed out that not all Homeric similes had been created equal.20 For, whereas
Homer employed the extended simile to illustrate only one most prominent aspect
of the action, the didactic poet, on the other hand, had a tendency to build multi-
ple-correspondence similes. In that type of simile the as part, and the so, thus
part of the comparison share a number of points in common.21 Here is an example
from De rebus suis:
It is as when by the banks of a river in flood a pine tree or a flourishing
plane is torn from its roots by the passing surge and destroyed. First all the
foundations are undermined, and the tree leans headlong over the bank.
Then it is broken off from the slight roots by which it still clings, and it is
whirled into the middle of the torrent. Amid great crackling it is borne
among the rocks, where it rots under the constant wear of flood and flotsam.
There it lies by the banks, a wretched trunk. So with my soul. It was flour-
ishing for Christ the King. But in furious onset the inexorable enemy cast it
to earth. Most of it perished, and the pitiable remnant is borne hither and
thither. God alone can raise it up again (lines 529546).22
The motif of the river in flood that uproots and carries away a mighty tree is
definitely reminiscent of several similes scattered throughout the Iliad, but Greg-
orys version is not a simple copy, but rather a variation on a traditional theme.
The closest parallel from Homer would be this one:
As when a river swollen in winter spate courses down to the plain from the
mountains, sped by rain from Zeus, and sweeps into its current many dead
trees, oaks and pines, and washes a mass of drift-wood into the sea, so then
glorious Aias swept havoc over the plain, cutting down horses and men.23
24 Whether Gregory was the first Christian poet to write Homeric similes based on biblical
themes I cannot tell, but I do not know of any others.
25 The transfusion of metaphor, according to West, 265, is the metaphorical use in the narra-
tive of terms borrowed from the world of the simile as well as the metaphorical use in the simile
of terms borrowed from the world of the narrative.
54 ^elica Milovanovi}
eleere. . .), took him to the inn to be nursed back to health, and gave money for the
medicines for his wounds (kai min agon katedese kai helkesi pharmaka eleipe. . .).
Then, in a reversal (transfusion) of metaphor, Gregory identifies completely
with the man from the story: he is not any longer like that man, he is that man. He
begs Christ to have pity on him since he was abandoned by the priests (. . . alla
me, Anax, eleaire, thanatoio saoson, hon leipsan hierees), to save him from the
robbers and wicked fellow-travelers (. . . phores kai paroditas nelea thumon
echontas), to bandage his wounds and to lead him to the universal inn in the holy
city (. . . helkea eu katadeson agon epi pandokon oikon).
This, clearly, is not a piece of writing dashed of nonchalantly, in a moment
of inspiration; this is a deeply considered and carefully executed comparison
where every word carries its appointed weight and contributes to an intricate and
deliberate pattern of sound and meaning.26 And lest we forget that impressive
display of verbal virtuosity is realized in a language that had long since fallen out
of use, the Homeric (Ionian) language of the heroic epic. Gregory had a good rea-
son, after all, to be proud of his verbal dexterity.
The metaphrastic nature of this poem and Gregorys poetry in general
deserves a closer look too. The practice of changing prose to verse, and vice versa,
was nothing new in itself; it was a well-known element of rhetorical instruction in
antiquity. Gregory himself states clearly that his poetical works are based on mate-
rial from either his own or other (non-Christian) authors prose works (logoi;
mythoi); that material, consisting of passages containing prominent ideas, or other-
wise notable for their verbal qualities, was available to him because it had been
preserved in writing.27 I imagine Gregory must have kept a notebook where he
copied excerpts from his readings and where he would also jot down his own
thoughts and insights; if that indeed was the case, it would help explain why there
are so many cross-references throughout his work.
However, when the change involved a technical exposition of some kind,
the transition from prose to verse was not simple and straightforward; it was based
on certain rules to which modern scholarship had not been paying much attention
until recently. To my knowledge, it was David Sedley, in his study on Lucretius
and his literary forebear Empedocles, who was the first to demonstrate that the po-
ets engaged in versification of technical/scientific subject matter purposely
avoided the technical terms belonging to that specific discipline, substituting for
them a series of allegorical expressions and mutually complementary, live meta-
phors.28
26 In addition to the above quoted similes, another one is quite interesting, too; in lines 5563
Gregory speaks of a former experience whereby the evil one, disguised as a good person, had
tricked him and taken away his better judgment, just as a fisherman tricks a fish by offering it a bait
with a bronze hook inside. In my opinion this might be a hidden allusion to the infamous Maximus af-
fair from the time of Gregorys stay in Constantinople.
27 On His Own Verses, Carm. 2.1.39, 647, PG 37, col. 1334.
28 D. Sedley, 43 sqq. The finding that a didactic poet should actually avoid using technical
terms is somehow counterintuitive and thus even more interesting. The opposing, earlier view would
Gregory of Nazianzuss De rebus suis 55
Such a tendency can definitely be found in De rebus suis too. The techni-
cal subtext of the poem is the Scriptures, or, more specifically, Christian theology
and liturgy. However, the archaic language in which the poem was written was ob-
viously ill-suited for expressing the radically new concepts and materials. So, how
did Gregory handle this difficulty? His approach was quite complex, as a matter of
fact. On the one hand, he did not hesitate to include all kinds of biblical names and
references, or specific theological concepts, such as, to mention but one, Trias
(=Trinity); he also allowed the presence of a whole series of non-technical words
from other, later literary sources all the while maintaining successfully the illu-
sion of speaking in the pure Homeric language. On the other hand, he clearly and
purposely tried to avoid the use of some common liturgical terms, otherwise well
attested in Christian writings of the time, using instead cumbersome poetic periph-
rases.
Here are some examples. The expressions from the creed, such as homo-
ousion toi patri (=of the same essence as the Father), enanthropesanta (=become
man), and ek tou patros ekporeuomenon (=who proceeds from the father), Gregory
renders as phusis gennetoros ise (line 628), and epei brotos autos etuchthes (line
14), and pneuma ho patrothen eisi (line 630); the common phrase, found in the lit-
urgies of James, Basil and John Chrysostom alike, thusian logiken anapherein
(=the offering of spiritual sacrifice), in Gregorys interpretation reads as thuelen
pneumatos ouk anepempsa (line 334); another liturgical expression pasan ten
biotiken apothometha merimnan (=let us put away all worldly care) is rendered as
biotou te fugon sarkos te merimnas (line 263), or again kakas apopempe merimnas
(line 419); the oft repeated prayer hilastheti moi toi hamartoloi (=have mercy on
me a sinner) becomes hilathi soi theraponti brithonti kakoisin (line 402); his own
state of being not yet baptized Gregory describes as psuchen ateleston eichon et
ouraniou charismatos eute loetroi (=my soul was as yet uninitiated in rites of
heavenly grace, for the lack of the washing: line 324).
Also, when he elaborates on the concept of the two gates/paths (lines
461463), which, as already mentioned, is quite common in this genre, he is also,
quite obviously, alluding to the narrow gate from Matt.7, 13. However, his
words are very carefully chosen so as to avoid a direct quotation from the Gospel.
This may be due, at least in part, to the effort of staying within the bounds of the
Homeric language; otherwise, it is a distinct characteristic of the genre. For, it is
noticeable that in other passages within the same poem the normal, i.e., current,
words for prayer and ritual occur without a problem. Thus, the numerous para-
phrases testify to Gregorys awareness of the rules of the didactic genre and his at-
tempt to apply them to his poem.
Finally, one may ask how De rebus suis measures up against the bench-
mark of the genre, Hesiods Works and Days. For, it is my belief that in writing
claim that it was good didactic practice to allow prose words as technical terms of direct communi-
cation, in preference to cumbersome poetic periphrases: D. A. Sykes, St. Gregory of Nazianzus
Poemata Arcana, Oxford New York 1997, 60.
56 ^elica Milovanovi}
this poem Gregory was actually emulating that work. The overall structure of De
rebus suis seems to replicate the structure of the first part of Works and Days. Just
as Hesiod begins with an opening invocation after which he states the main theme
(=the two erides, work versus violence), and then introduces in succession the
myth of Prometheus, the myth of the Five Ages and the fable of the hawk and
nightingale, so does Gregory begin with an opening prayer after which he states
his main theme (=the two exit gates/pathways in life), and then recounts the story
of the Good Samaritan, the story of the publican and the Pharisee, and the family
story of his early dedication to Christ. Another striking similarity is in the fact that
in the middle of his moralizing comments Hesiod stops to warn his brother that
The eye of Zeus sees all, notices all; it sees all this, too, if it wishes, and knows
exactly what sort of host this town is to justice;29 in the same way Gregory warns
his readers to fear the great eye which sees beneath the earth, penetrates the im-
mense depths of the ocean, and whatsoever the mind of man conceals (lines
518520).
And yet, in spite of the fact that Gregory followed such a venerable model,
he was quite successful in putting his own unmistakable stamp on the whole. The
authorial voice in this piece is his own, not Hesiods, throughout. Also, here too,
as everywhere else in his writings, Gregory succeeded in combining the old, pa-
gan, and the new, Christian, materials seamlessly. Thus De rebus suis stands as
another witness to the creative possibilities of tradition combined with originality,
the bedrock on which ancient literature rested securely for more than a thousand
years.
^elica Milovanovi}
PESMA GRIGORIJA BOGOSLOVA DE REBUS SUIS
U OKVIRU TRADICIJE ANTI^KOG DIDAKTI^KOG EPA
29 Works and Days 267269, transl. A. N. Athanassakis, Hesiod, Theogony. Works and Days.
Shield, Baltimore and London 1983, 73.
Gregory of Nazianzuss De rebus suis 57
APPENDIX
U|ite na uska vrata; jer su {iroka vrata i {irok put {to vode u
propast, i mnogo ih ima koji wim idu Mat. 7, 33.
Dvoja su vrata smrtnicima otvorena u smrt `alosnu. Jer neki smrtnici
u duhu svome imaju blatwavi izvor nevaqalstva, wima su svagda na pameti
dela opaka, i saveti pogubni, /40/ i kako telu da ugode a sit stomak je na-
silnik veliki! i oni sami sebe na greh svaki podsti~u, u prestupima u`i-
vaju i sopstvenu propast veselo do~ekuju. Drugi, pak, za to vreme ~istim
Gregory of Nazianzuss De rebus suis 59
okom uma svoga u Boga gledaju, i opaku drskost sveta razuzdanog nenavide, ne-
go `ivot kao senke u ispo{}enom telu provode, daleko od svega {to je gre{no
i prqavo; duhom istan~ani, oni lakim stopama po zemqi hode i na poziv
bo`ji spremno odgovaraju, sledbenici nevidqivog `ivota Hrista vladara, u
nadi da }e i sami, kad taj `ivot kona~no osvane, zablistati jednom za svagda
kao sunce sjajno. /50/ Ali i oni neizbe`no trpe rane i ubode od o{trog trwa
`ivotnog, dok im |avo, zlotvor mahniti, iz zasede smi{qa nebrojene muke i
stradawa ej, jadni li su, smrtnici kleti! jer on ~esto krije svoje pogub-
ne namere pod obrazinom ~estitosti, naro~ito onda kad u otvorenoj borbi
po~ne da gubi i primoran je da se povla~i. On qudima snuje propast ba{ kao
{to bronzana udica u mamcu skrivena ribama smrt donosi dok `eqne `i-
vota za hranom zevaju, one u utrobu svoju gutaju pogibiju neo~ekivanu i zlo-
kobni ~as sudwi. Tako i meni, ~im sam shvatio da je kao no} crn, /60/ podlac
do|e preobu~en u lik dobra ~oveka svetlosti podobna, i prosto mi uze pamet,
zato da bih u svojoj `eqi za vrlinom u nevaqalstvo skrenuo.
umro, otada kao mrtvac sa jo{ ne{to malo preostalog daha `ivim, li{en
snage kao ~ovek snom ophrvan; `ivot je moj drugde, ja stewem i uzdi{em pod
teretom ovog grubog oklopa telesnog mudri qudi ga zovu mrakom razuma. I
`eqa mi je `arka da kad se oslobodim ovog `ivota i vida pomra~enog, daleko
od svega {to po zemqi hodi i luta i druge sa pravog puta zavodi, jo{ jasnije
sagledam sve ono {to se ne mewa, i to ne kao dosad, bez reda ume{ano u pri-
vi|awa senovita /210/ koja mogu da prevare oko i najo{trijeg uma, nego celu
istinu, okom ~istoga uma, licem u lice, netremice. Ali to kasnije. Ovde do-
le sve je dim prqav i prah crni, svi mi {to smo onaj veliki `ivot za `ivqe-
we ovda{we zamenili, visoko za zemaqsko, ve~no za propadqivo. Zato su na
mene svi navalili i ne nameravaju da se povuku, nego jure za lakom lovinom.
Avaj, avaj, Cezarije prah tu`ni, on je mene od svake napasti ogra|i-
vao, izda{no je davao da me od svake brige oslobodi, {tuju}i me kako niko
nikad nije brata {tovao, /220/ i uzdr`avaju}i se kao {to bi se neko drugi
pred ocem svojim qubqenim uzdr`avao. Ali nije sve to uzrok mome jadikova-
wu, ne `alim ja imawe rastureno, ionako sam hteo da ga delim sa siromasi-
ma, ta, i ja sam ovde samo na prolazu, potuka~ {to na ruku Vi{wega stalno
pogleda i odatle sebi dobra o~ekuje; niti pla~em zbog uvrede i sramote to
svako mrzi jer i najdobrodu{nijeg ~oveka zna da ispuni gor~inom `u~i; ni-
ti tu`im za bratom i sestrom, oboma rano preminulima, {to mi ih grob sad
skriva; ne, ni{ta od toga ja ne oplakujem toliko koliko svoju sopstvenu du-
{u, kao {to bi neko oplakivao /230/ kwegiwicu visoku i ubavu, blagorodne
kraqevske loze izdanak, vide}i je kako se mu~i u te{kim okovima neraskidi-
vim, jer su je neprijateqi kopqem savladali i u te{ko ropstvo bacili, te
sad tu`ne o~i svoje za zemqu prikiva. Tako ne{to sam ja prepatio, takvu ra-
nu na srcu nosim.
Ima jedna stara izreka da koga je quta guja otrovnim zubom ujela, taj o
bolnoj rani samo sa onima ho}e da razgovara koji su i sami iskusili zub i
vatreni otrov guje klete; takav ~ovek jedini zna kakav je to otrov stra{an.
/240/ Tako i ja, muku svoju samo }u onima da ispri~am koji istu qubav imaju,
istu nevoqu, patwu podjednaku. Moju pri~u blagonaklono bi primili i naj-
boqe bi razumeli {ta se krije u srcu bolnom samo oni koji `ude da na svo-
jim ple}ima ponesu krst te{ki i koji imaju svoje mesto u dvorovima Kraqa
velikoga; oni vole svakoga ko pravim putem hodi i `ale onoga {to se spota-
kao. Drugima bih bio za podsmeh, da im jade svoje sad po~nem da izla`em,
svima onima ~ija je nepostojana vera samo po povr{ini srca urezana, koji
nemaju u utrobi svojoj `arku qubav i ~e`wu za Vladarem, /250/ no `ive sad i
ovde i samo se o danu dana{wem brinu. Takvi da i{~eznu! Jer oni jezik svoj
oru`je uvek na boj spremno o{tre protiv svakoga bez razlike, bilo da je
~ovek ~estit, bilo nevaqalac. No, ja kukam, i sa kukwavom ne}u prestajati
sve dok se ne oslobodim svog nevaqalstva `alosnog i dok rezu ne postavim
na luda~ke strasti uma moga kojima je quti |avo sva vrata sad {irom otvo-
rio; ranije su bile ~vrsto ogra|ene, dok me je {titila ruka bo`ja, i r|av-
{tina tada nije imala zgodnog izgovora a brza je da se za izgovor prihvati
Gregory of Nazianzuss De rebus suis 63
kao vatra {to se hvata obli`we trske /260/ i uz pomo} vetra plamen razbuk-
tali u zrak {aqe.
Celih dvadeset no}i i dana tada sam na stra`wem delu la|e prele`ao, usrd-
nim molitvama zazivaju}i Boga visokovladara. Zapenu{ali talasi, kao pla-
nine ili stene okomite, prete}i su se prema la|i dizali, sad s jedne, sad s
druge strane, delimi~no se i na brod obru{avaju}i. Jedra su se tresla, silo-
viti vetar o{tro je zvi`dao kroz predwe konopce {to katarku dr`e. Nebo je
bilo prekriveno crnim oblacima, kroz oblake su muwe prosijavale, sa svih
strana tutwava stra{na je odjekivala. /320/ Tada sam sebe u potpunosti pre-
dao Bogu i tako sam na{ao spas iz podivqalog mora posle moga sve~anoga
obe}awa more se smirilo. Niti onda kad je {irom Jelade zemqotres udario,
i zemqa se do temeqa uzdrmala, a pomo}i niotkuda ne be{e; ja sam se tada
mnogo upla{io jer jo{ nisam bio upu}en, kroz kr{tewe vodom, u svete bla-
goslovene tajne nebesne a to privla~i na qude milost i vedrinu Duha ne-
beskog. Niti onda kad je bole{tina ispunila usta moja gadnom izlu~inom i
opasno suzila puteve kojima dah prolazi, to jest staze samoga `ivota. Niti
kad sam lakomisleno vrte}i vrbovu gran~icu /330/ slu~ajno posred srede
probu{io i raskrvavio o~ni kapak; svetlost mi je bila utrnula, kao da sam
nekoga ubio, i ta bolna povreda mnogo mi je drugog jada zadala rukama svo-
jim nisam smeo da Bogu prinosim `rtvu duhovnu sve dok suzama svojim nisam
ranu izle~io; ne~ist ~ovek da se dotakne svetiwa nije dobro, kao {to ne
vaqa ni da ~ovek golim okom u sunce jarko gleda. I jo{ mnogo {to {ta sam ja
prepatio ta, ko bi mogao da ispri~a sva iskustva, neka te{ka neka blago-
datna, kojima me je Bog k sebi prizvao!
Ali nikad jo{, velim, nikad nisam takva zla iskusio /340/ u kakva je
du{a moja nesre}na u posledwe vreme zapala, i zbog kojih `eqno o~ekuje da
joj svane dan slobode kad }e se od svega otrgnuti i u nagoti svojoj ute}i od
po`ara, i od neraskidivih stega `ivotnih, i od prete}e ~equsti a`daje koja
samo ~eka da svojim sna`nim vilicama sameqe sve ~ega se dohvati. Du{a je
moja hrana Belijaru 2 Kor. 6, 15. O, ko }e otvoriti izvor vode na licu mo-
me, pod kapcima o~nim, da potocima suza o~istim svu prqav{tinu, oplaku-
ju}i, kao {to i treba, pogre{ke svoje za smrtnike, kao i za du{e ne~iste,
suze su lek najboqi, /350/ suze i prah crni, na zemqi le`awe i ko{uqa od
kostreti; e, da bi svako ko mene gleda od straha uzdrhtao i sam sobom boqi
postao, i od crne ravnice misirske, od te{kog rada i ispod ruke cara Fara-
ona daleko pobegao i u svoju svetu domovinu se uputio Izlaz. 1112! I da
ne ostane kao zarobqenik na kamenitom tlu vavilonskom, na obali reke sede-
}i, obliven suzama, dok mu instrumenti muzi~ki netaknuti pored wega le`e
Ps. 137, nego da po`uri u granice svete zemqe, da pobegne od ropskog iga
asirskog {to ga je te{ko pritisnulo 2 Car. 17, i da svojim rukama polo`i
temeqe hrama velikoga! /360/ A ja, jadan, otkako sam tu svetu zemqu napustio,
bez prestanka za wom `udim. Od te{ke muke sam oronuo, ka zemqi se savijam,
bol u du{i se pove}ava, zazirem od qudi i od besmrtnoga Cara, pogru`en
sam u srcu i bedno obu~en, ne pu{tam glasa od sebe, bedom svojom izazivam
samilost Vladara, jer on je blag prema onima {to na zemqi le`e, a na gorde
i obesne ne obra}a pa`wu.
Gregory of Nazianzuss De rebus suis 65
ska u tesnacu Egripskome {to stalno pravac mewa, tako se i mi po zemqi vr-
timo, i di~imo se uspesima svojim bezvrednim! Ni{ta u qudskome `ivotu
ne ostaje isto do svr{etka, ni zlo ni dobro. A putevi su wihovi tik jedan uz
drugi, pa niti r|av ~ovek zna gde }e na posletku zavr{iti, niti je dobrome
vrlina wegova doveka postojana, nego r|av{tinu strah ometa i sapiwe, a vr-
linu zavist. Tako je Hristos hteo da se rod qudski ~as ovamo, ~as onamo po-
vodi, e da bismo pogled uvis podizali i wegovu snagu uvi|ali. I najboqi je
onaj koji ravnim putem gredi /480/ i ne osvr}e se na pusti pepeo Sodoma {to
se zatre zbog bluda u ogwu nevi|enom, ve} `urno be`i na brdo visoko, daleko
od rodne grude, da ne bi kao slan kamen ostao za pri~u i nauk budu}im nara-
{tajima Post. 19.
A ja sa patwama mojim, `iv sam svedok nevaqal{tine qudske. Kad sam
bio dete, dok je u grudima tek samo malo pameti bilo, ja sam pa`qivo pratio
tu maju{nu senku razuma, po{tovao sam dobre obi~aje i lepo sam napredovao
sigurnim korakom du` puta carskog ka onom prestolu {to blista u visini.
Sada, pak, kad sam znawe izu~io i kad se kraju `ivota pribli`avam, /490/ ja
se jadan krivim putem teturam, nesiguran na nogama kao da sam se vina napio.
Umoran sam i ote`ao od stalne borbe sa zmijom vijugavom {to iz potaje, a i
otvoreno, vara i potkrada duh na svako dobro usredsre|en. U jednom trenutku
misli svoje Bogu okre}em, u slede}em sam opet uvu~en u zli vrtlog `ivotni;
ovaj svet prostrani je ve} veliki deo du{e moje o{tetio. No, ipak, iako sam
crnom i zlokobnom tamom okru`en, jer neprijateq moj svoj mra~ni otrov oko
mene razli, ba{ kao {to sipa morska ispod vode bquje, ipak ja jo{ toliko
imam razuma i uvida u ono {to je najva`nije, /500/ da znam ko sam i koliko je
daleko meta do koje `elim da dosko~im a gde, me|utim, jadan le`im jer se
na zemqu okliznuh, ili, boqe, ispod zemqe upadoh u bezdane dowe.
Meni nema leka ni utehe, ne povodim se za re~ima {to idu na voqu
zlim strastima, ne radujem se kad vidim koliko su drugi pokvareni, kao da
sam ja najboqi. Ta, zar je ikakvo zadovoqstvo ~oveku koji se previja od bola
od rane ma~em zadate, da vidi da se drugi rawenici jo{ te`e mu~e?! Ili ka-
kva je vajda nevaqalima od nevaqalstva onih {to su jo{ gori?! S druge stra-
ne, dobar ~ovek je na dobitku kad nai|e na boqeg od sebe, /510/ a isto tako i
r|av. Koji mo`e da vidi, slepima je od pomo}i. A zlim delima se radovati,
to je vrhunac nevaqal{tine. Jo{ kad neko vrhunskog nevaqalca dr`i za od-
li~nog ~oveka, to me jako boli, to je tuga skrivena u srcu mome. Boqe je da
odli~an ~ovek va`i za r|avog, nego da nevaqalac u`iva dobro ime, i od do-
broga pohvalu da prima, kao grob la`qivi {to iznutra smrdi od le{eva tru-
lih i plesnivih, a spoqa se blista sve`e okre~en i lepim bojama ofarban.
^uvajmo se od onog oka velikog {to vidi i pod zemqom, i u bezdanu
morskom, i {to god je u dubini /520/ uma qudskog. Vreme tu ni{ta ne zna~i,
pred Bogom je sve uvek prisutno. Pa kako bi se iko mogao nadati da svoje ne-
vaqalstvo sakrije?! I gde }emo se mi sami sakriti na dan suda?! I ko }e da
nas brani i zastupa?! Kako }emo izma}i oku bo`jem kad vatra o~istiteqna
po~ne da sudi i procewuje zasluge svakoga od nas, gutaju}i zlobu kao slamu i
68 ^elica Milovanovi}
hrvan, kolena svoja tebi priklawam. Po{qi {to pre Lazara, da ovla`enim
prstom osve`i jezik moj od vatre osu{en, da me bezdan ne proguta, /580/ da me
Avram ne izbaci iz velikog krila svoga mene prebogatog u patwama Luk.
16, 1931! Pru`i ruku svoju svemo}nu, daj leka od bolesti, poka`i na meni
mo} ~udesa i znamewa, kao nekad! Reci ne{to, i te~ewe krvi neka namah pre-
stane Mar. 5, 2529. Reci, i neka duh legeona mahnitog u krdo sviwa u|e i u
more upadne, daleko ga bilo Mar. 5, 213! Odagnaj od mene gubu ru`nu
Mat. 8, 14, daj da svetlost prodre u o~i moje {to ne vide, i da u{i moje
zvuk poslu{aju Mar. 8, 2226; Mat. 11, 5; 15, 30; podigni ruku moju usahlu,
smrvi lance kojima je jezik moj okovan, /590/ u~vrsti hod nogu mojih osla-
bqenih Luk. 6, 611; 1, 64. Koricom hleba me nasiti; umiri more uzburka-
no Mar. 6, 4651, zasijaj od sunca sjajniji. Oja~aj udove ote`ale, vaskrsni
mrtvaca usmrdelog Mat. 11, 5; Jov. 11, 44. Nemoj mene, besplodnog, kao smo-
kvu onu na prvi pogled osu{iti Mar. 11, 1214.
Razni qudi, Hriste, u razli~ita se pomagala uzdaju, neki u krv svoju i
poreklo, neki u prah telesni, neki u ponos i uspeh kratkotrajan, neki, opet,
`ude za drugom kakvom pomo}u ni{tavnom; ja jedini okrenut sam tebi jed-
nom, o Caru nad carevima! /600/ Ti svime upravqa{, ti si meni snaga najve-
}a. Jer nema meni bri`ne supruge, da jade neizle~ive rastera i da me u `alo-
sti ute{nim re~ima okrepi; nema dece mile, da se wima ponosim deca su
~oveku oslonac u starosti, wihovim mladim stopama on put svoj nastavqa;
nema bra}e i sestara, nema prijateqa, da u wima u`ivam. Brata i sestru od-
nela je zlosre}na sudbina; prijateqi moji, mirnog `ivota qubiteqi, drhta-
li su na najmawu opasnost koja bi drugome zapretila; to mi je sva radost bi-
la kao jelenu `ednom kad se na|e blizu izvora vode hladne jer to su bili
qudi odli~ni, /610/ hristonosivi, koji su plot prevazi{li jo{ dok su na ze-
mqi `iveli, prijateqi Duha iskonskog, bogoslu`iteqi ~estiti, neo`ewe-
ni, od sveta odvojeni. Ali i oni se sad sukobqavaju po tvom pitawu, jedan je
zauzeo ovakav stav, drugi onakav, i preterana revnost u veri raskinula je po-
verewe i sklad me|usobne qubavi od koje sad samo ime ostade. To je kao kad
~ovek prvo utekne nekako od lava, pa naleti na podivqalu me~ku, no i wu
uspe da izbegne, pa onda sav sre}an u ku}u svoju uleti i rukom se na zid na-
sloni, a odatle neo~ekivano isko~i zmija i ujede ga, /620/ tako i mene pat-
we bezbrojne opsedaju i nema mi leka niotkuda, {to god da prona|em, jo{ je
gore i bolnije. Na sve strane sam gledao, u svakakvim okolnostima sam se pa-
tio, no, opet, Bla`eni, od tebe sam krenuo i ka tebi opet pogled okre}em, od-
brano moja, svedr`itequ, nero|eni, ti si po~etak i otac po~etka sina be-
smrtnoga, svetlosti velike od ~iste svetlosti {to se preliva iz jednoga u
jedno, a {to se re~ima ne da iskazati! Sine bo`ji, mudrosti, caru, slovo,
istino, sliko lika prvobitnog, prirodo jednaka roditequ svome, pastiru,
jagwe, `rtvo, bo`e, ~ove~e, arhijereju! /630/ Du{e, koji od oca ishodi{, sve-
tlosti uma na{ega, koji ~iste pose}uje{ i ~oveka bogom ~inis, smiluj se i
daj da u godinama koje dolaze i ovde i u budu}em `ivotu u~estvujem u sveko-
likom bo`anstvu i da te kroz pesmu tebi prijatnu u radosti slavim.