The article is concerned with the portrayal of Adam and Eve’s expulsion from paradise in Slavic hymnography, from its beginnings to the 15th century, juxtaposed against the backdrop of Byzantine-Greek hymnography. These hymns interpret the expulsion from paradise, its consequences, and humanity’s subsequent redemption through Christ (the new Adam) and the Theotokos (the new Eve). The analysis focuses on how kinship terms are used to identify Adam and Eve. Early Slavic hymns primarily use variants прадедъ/предедъ and прабаба/пребаба, along with adjectives прадедьнь, бабьнь and прабабьнь/пребабьнь. Notably, word-formative calques праотьць and прамати/премати, along with their derivatives, are practically absent in early original hymnographic compositions (but appear frequently in later East Slavic hymnography). In translated Slavic hymnography, the Greek ὁ προπάτωρ corresponds to the words праотьць and прадедъ/предедъ, with праотьць being a calque from Greek. The equivalent of the Greek ἡ προμήτωρ is the word прабаба/пребаба and the calque прамати. Both variants coexist in Slavic translated hymnographic monuments from various periods. The presence of прабаба/пребаба and прабабьнь in both original and translated hymnography and their occurrence in the works of individual authors suggests marginal significance for authorship attribution in the case of the so-called Methodius’ Canon to Demetrius of Thessalonica. The Greek προγονικός is translated as прадедьнь and прародительнъ, with the latter appearing in later Church Slavonic liturgical books. A more comprehensive understanding necessitates examining a broader range of texts and their variations.
Martin Braxatoris (Bratislava, Slovakia)
martin.braxatoris@gmail.com
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