seen from Netherlands
seen from United States
seen from Russia
seen from Kazakhstan
seen from Germany
seen from Malaysia
seen from United Kingdom
seen from Germany
seen from China
seen from United States
seen from China
seen from Spain
seen from China
seen from United Kingdom
seen from Germany
seen from Türkiye
seen from United States
seen from Germany
seen from Malaysia
seen from New Zealand
Okay posting this on its own for my character library... And because it's INCREDIBLE AS ALL HELLS. @/everyone COMMISSION @eydika on VGen she's AMAZING.
(Pictured: Orthros being a super chill guy, Cambion + Paladin of Conquest, bastard son of the (future but who's counting) king of Stygia, she/he.)
The 9 Biblical Odes & What They Teach Us
When you go to a Matins service you may notice halfway through the service different hymns appearing called odes. But what are these odes?
The Biblical Odes (also known as canticles or odes) are a set of nine passages that are from Scripture and form the foundation for the odes in the canon (a major component of Matins). For our sake, in this article the Biblical Odes are referred to as the canticles, while the hymns that make up the canon are referred to as the odes so that there is no confusion between the two. While there are nine odes, only eight are used in the service every day (Marangos, 1999). The only time all nine odes are sung is during Great Lent, specifically on Tuesdays of Great Lent. However, it is the troparia without its respective verse in the odes that are used in most parishes today (with the exemption of the Magnificat and canons sung in monasteries).
Because none of the original scriptural canticles are read besides during Great Lent, the first part of the canon that is chanted is a verse called the irmos. The irmos is like an overture connecting the theme of the canon with the theme of the canticle (Marangos, 1999). This theme is then further developed by the subsequent troparia. The last hymn of an ode is called a katavasia. Therefore, in Matins, when we sing the katavasias after the Synaxarion (ex: Katavasias of the Theotokos), we are singing the last hymns of the each ode in the canon. Sometimes this katavasia is the irmos from another canon or it could even be repeating the irmos of the given ode like during Pascha (“Glossary of Liturgical Terminology.”). So overall, the general structure of a canon done today is the following: Irmos, troparia, and katavasia.
There are groups of the odes. The first two odes are based on psalms in the Scripture while odes three through seven are based on prayers. Because all of the odes are based on Scripture, it is very important to have an understanding of it to understand the odes themselves.
The First Ode (Exodus 15:1-19)
The first ode is based on the First Song of Moses (Exodus 15: 1-19). The first song of Moses occurs after Moses and the Israelites cross the Red Sea. In this song, the Israelites are praising and giving thanks to God for delivering them from Egypt. They recount all that God has done for them. When the Jews gathered for worship, they would sing the canticle of the Song of Moses so that they could be reminded of all the good works that God has done for them. Similarly, it teaches us today how God helped the Israelites in the past and prepares us to face any obstacles we may face in the future (Marangos, 1999). Because of this, the first ode helps us see how God prepares the way for the new Israel under the New Covenant of His Son, Jesus Christ.
Small Supplicatory Canon to the Theotokos. Ode i. Mode pl.4
"Crossing the waters as on dry land, in that way escaping from the evil's of Egypt's land, the Israelites cried out exclaiming: To our Redeemer and God now let us sing."
Katavasias of the Cross. Ode i. Mode pl. 4
"A cross did Moses inscribe, when with an upright stroke of his rod he divided the Red Sea for Israel who went on foot; then he turned and smote the sea, once again uniting it o'er Pharaoh's chariots, with transverse stroke portraying the invincible weapon. Wherefore, let us praise in song Christ our God; for He truly is glorified."
Canon of Pascha. Ode i. Mode 1.
"Resurrection day! O peoples, let us brilliantly shine. Pascha, the Lord's Pascha! For Christ our God has out of death passed us over into life, and likewise from earth to heaven, as we now sing unto Him a triumphal hymn."
The Second Ode (Deuteronomy 32:1-43)
The second ode is based on the Second Song of Moses (Deuteronomy 32: 1-43). The second Song of Moses occurs towards the end of Moses' life. This song was written because God told Moses that the people of Israel would go back on their covenant with God. So, God told Moses to write down and teach people this song to remind them of their covenant with God and so that the people would have no excuse when God calls out their transgressions. This ode is only said on Tuesdays of Great Lent due to the severe nature of the canticle ("Biblical Odes"). This ode emphasizes the woe, anger, and apostasy of man; the need for our repentance; and the vengeance of God (Marangos, 1999).
The Third Ode (1 Samuel 2:1-10)
The third ode is based on the Song of Hannah (1 Samuel 2:1-10). Hannah is the mother of Samuel, who was the last of the Judges of Israel. Hannah was one of the wives of Elkanah but was childless. Her womb was barren due to the Lord closing her womb. But, she prayed to God and promised to dedicate her son to the Lord if she were to have one. As a result, Samuel was born. These words from Hannah are often compared with Mary's words from the Magnificat. Because of Hannah's story, we often see a theme of God filling something barren: the Lord has given life to something void of it (Marangos, 1999). There is also the theme of the Lord giving riches and exaltations (Marangos, 1999).
Katavasias of the Cross. Ode iii . Mode pl. 4
"The rod is perceived as a figure of the Mystery, for by its blossoming it showed who was chosen to be priest. And for the Church that formerly was barren hath the Wood of the Cross now blossomed forth unto strength and steadfastness."
Canon of Pascha. Ode iii. Mode 1.
"Now everything, heaven and the earth and the nethermost regions, have all been filled with light. Let the entire creation therefore celebrate the rising of Christ. For it is established in Him."
Katavasias of the Transfiguration. Ode iii. Mode 4.
"The bow of the mighty is become weak, and the strengthless have girded themselves with power; wherefore my heart is established in the Lord."
The Fourth Ode (Habakkuk 3:1-19)
The fourth ode is based on the Prayer of Habakkuk (Habakkuk 3:1-19). Habakkuk was one of the Twelve Prophets who wrote during the Babylonian captivity. This ode deals with things such as revival, exaltation despite bad situations, losing everything due to sinfulness, and repentance. Another common theme is the glory of God. There is also the phrase "I have heard" shown in this ode, emphasizing how we have heard what God has done for others and ask Him to do the same for us (Marangos, 1999). We also begin to see the first steps of repentance here: obedience to the commandments of God (Marangos, 1999).
Katavasias on the Sunday of the Prodigal Son. Ode iv. Mode 2.
"When the Prophet foresaw Thy birth from a Virgin, he proclaimed it, crying: I have heard Thy report, and I was afraid; for from Thaeman, and out of the overshadowed holy mountain art Thou come, O Christ.
Katavasias of the Transfiguration. Ode iv. Mode 4.
"I have heard of Thy glorious dispensation, O Christ God, that Thou was born of the Virgin, that Thou mightest deliver from error those who cry: Glory to Thy power, O Lord."
Katavasias of Theophany. Ode iv. Mode 2.
"Cleansed with the torchlight and fire of mystic vision, the Prophet singeth hymns of mortals' renewal; His voice he raiseth, which is moved by the Spirit, showing the unutr'able Word's Incarnation, Who hath wholly crushed the dominion of the mighty."
The Fifth Ode (Isaiah 26:9-20)
The fifth ode is based on the Prayer of Isaiah (Isaiah 26:9-20). This takes place right before the Babylonian captivity, and this song (unlike the last ode) is more a song of victory than a song of defeat. This ode connects the light with the commandments. If you want to be illumined and enlightened, then focus on the commandments of God (Marangos, 1999). The canticle also talks about the raising of the dead as a prophecy, so we see this reflected in Ode 5.
Katavasias on the Sunday of Orthodoxy. Ode v. Mode pl. 4
"Thou, my Lord, didst come as Light to the world, a holy Light, turning those who praise Thee away from abysmal folly."
Katavasias of the Transfiguration. Ode v. Mode 4.
"O Thou Who didst hew the primordial light from the light, that Thy works might hymn Thee in light, O Christ, our Creator, guide our ways in Thy light."
Katavasias on the Sunday of the Pharisee & Publican. Ode v. Mode pl. 2
"O Good One, lighten with Thy divine light the souls of those who come to Thee early and eagerly that they may know Thee, O Word of God, the true God, Who callest us from the darkness of iniquities."
The Sixth Ode (Jonah 2:2-9)
The sixth ode is based on the Prayer of Jonah (Jonah 2:2-9). This prayer takes place when the prophet Jonah was swallowed by a sea creature after he disobeyed God's commandments. He stays in the belly for three days and three nights as a type of Christ's burial and Resurrection. In the belly of the whale, Jonah is praying to God after he recognizes his error and repents. The themes for this ode are calling sinners to repentance, the abyss of sin, and the honor of the Trinity (Marangos, 1999).
Katavasias on Sunday of the Prodigal Son. Ode vi. Mode 2.
"I am ever oppressed in a deep of sins, O Savior, and I am tossed in the gulf of life; but like Jonas from the sea monster so bring even me up out of the passions and preserve me."
Katavasias of the Cross. Ode vi . Mode pl. 4
"When Jonah, who was in the belly of the sea monster, stretched forth his hands in the form of a cross, he prefigured the saving Passion manifestly. Hence also, when he came forth on the third day, he indicated the supernal Resurrection of Christ God, Who was crucified in the flesh and enlightened the world by His Arising on the third day."
Small Supplicatory Canon to the Theotokos. Ode vi. Mode pl.4
"My petition, I pour out to the Lord, and to Him I will confess all my sorrows; For many woes fill my soul to its limits, and unto Hades my whole life has now approached, like Jonah, I pray to You, from corruption, O God, now raise me."
The Seventh Ode (Daniel 3:26-56)
The seventh ode is based on the Prayer of the Three Holy Children (Daniel 3:26-56). This prayer is found in the "apocryphal" parts of the Book of Daniel. In the book of Daniel, the three Hebrew youths are thrown into the furnace after they follow the commandments of God. But they are not consumed by the fire because an Angel of God (God) appears, and the fire becomes like water to the youths. This story is read in its entirety on Holy Saturday morning because, at this point, Jesus is in Hades preaching to the dead. One theme of this ode is that God is with us in our martyrdom, whether it be physical, financial, or other types of martyrdom (Marangos, 1999).
Canon of Pascha. Ode vii. Mode 1.
"The same One who delivered the Lads from fire, becoming a mortal man, suffers in the flesh; and by His Passion He arrays mortal nature with majesty free of all corruption, the only God of the fathers, blessed and supremely glorious."
Katavasias of Christmas I. Ode vii. Mode 1.
"The Servants nurtured piously together, with contempt regarding the impious king's decree, intrepidly faced the threat of holocaust, and while standing in the midst of flames they chanted thus, saying: O God of the fathers, you are blessed."
Katavasias of the Cross. Ode vii. Mode pl. 4
"The ungodly tyrant's most insensate decree affrighted common folk, breathing forth with threat wicked mouthings of blasphemy. But the Three Children were not struck with fear by rage wild and bestial, nor by roaring fire; but in an echoing and dew-besprinkling breeze, they stood amidst the fire and sang: O Thou supremely praised God of our Fathers and our God, for ever art Thou blessed."
The Eight Ode (Daniel 3:57-88)
The eighth ode is based on the Song of the Three Holy Children (Daniel 3:57-88). After the Angel appears in the fire and brings the Holy Youths protection, Hananiah, Azariah, and Mishael sing with the angels, praising God. On Holy Saturday, while also reading the entirety of Daniel 3:1-56, we also sing all the verses of the Song of the Three Holy Servants. We praise and sing to the Lord because He is in the furnace of Hell at this point along with everyone who has died (Marangos, 1999). The hymns say that in our present life this will also happen with us when we suffer some sort of martyrdom for Christ.
Katavasias of Dormition. Ode viii. Mode 1.
"We praise and we bless and we worship the Lord. Unto the Servants in the furnace, God's almighty Angel showed a flame burning the impious, but the saints cooling as with dew. Into a life-welling fountain He has made the Theotokos, gushing destruction upon death, but life to those who sing the hymn: We who have been redeemed chant in praise of the only Creator, exalting Him supremely unto all the ages."
Katavasias of the Theotokos. Ode viii. Mode 4.
"We praise and we bless and we worship the Lord. Guitless were those Servants in the furnace. The Son of the Theotokos went and rescued them. He who was prefigured then, having been incarnate now, is gathering the whole wide world into His Church to sing: 'O all you works of the Lord, to all ages sing praises to the Lord and exalt Him beyond measure'."
Canon of Pascha. Ode viii. Mode 1.
"Come on this illustrious day of Resurrection and day of Christ's Kingdom, let us receive the communion of the joy divine from the new fruit of the vine for eternal life, and highly extol Him as God unto the ages."
The Ninth Ode (Luke 1:46-55, 68-79)
The ninth and final ode is based on the Magnificat (Luke 1:46-55) and the Song of Zacharias, which is also known as the Benedictus (Luke 1:68-79). All of the other canticles come to their culmination with this ode (Marangos, 1999). The person who can step in the fire, liberate us from the belly of the whale, liberate us from Babylon, take us from the desert into Paradise, and allow us to cross the Red Sea is Jesus Christ, and He is born into the world for us through Mary (Marangos, 1999). And after we are told about Christ in the odes, we soon transition to the Divine Liturgy where we have a deeper connection with him.
As mentioned before, this is usually the only Biblical Ode whose verses we read during the service. You can see this when we sing the Magnificat during Matins.
Ode ix. The Magnificat. Mode 3.
Verse: My soul magnifies the Lord, and my spirit has rejoiced in God my Savior.
“Greater in honor than the Cherubim, and in glory greater beyond compare than the Seraphim; you without corruption gave birth to God the Word, and are truly Theotokos. You do we magnify.”
But you also have parts where the verses are not read. For example, after the Magnificat usually follows the ninth ode of the Katavasias for the service.
Katavasias for Summer. Ode ix. Mode 4.
"Your childbirth occurred without corruption. For God it was wearing flesh who came forth from your virginal womb. For He appeared on earth and made His dwelling among men. And therefore you O Theotokos we all magnify."
Small Supplicatory Canon to the Theotokos. Ode ix. Mode pl.4
"Saved through you, O pure Virgin, hence we do confess you to be most truly the birthgiver of our Lord; with choirs of bodiless Angels, you do we magnify."
Canon of Pascha. Ode ix. Mode 1.
"O my soul, magnify Him who willingly suffered, was buried, and a rose from the grave on the third day. Arise, shine! Arise, shine, O new Jerusalem! Shine! For the glory of the Lord has risen upon you. Zion, exult and be glad now. O pure Mother of God, rejoice, celebrating the resurrection of Christ your Son!"
Conclusion
Overall, the nine odes help us in navigating our salvation journey. They teach us what God has done for us, but also show us that God can be wrathful. They teach us about how God grants us life and about repentance. Finally, they teach us about how God protects those who follow his commandments and about the greatness of our God in all these things.
Next time you attend Matins or any service that has the canons, I hope you'll keep the stories of the canticles in mind. Pay attention to the songs that are being sung and see what you can learn about our faith and our journey to repentance! May God bless you all.
-Joanna
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Works Cited
“Biblical Odes.” OrthodoxWiki, orthodoxwiki.org/Biblical_Odes#cite_note-1.
“Glossary of Liturgical Terminology.” Holy Trinity, Holy Trinity Cathedral, www.holy-trinity.org/liturgics/lazor-glossary.html. Accessed 24 Oct. 2023.
Marangos, Frank. “Tone 2.” Sing Praises to God: An Examination of the Eight Tones. 17 Dec. 1999, www.goarch.org/-/sing-praises-to-god-an-examination-of-the-eight-tones?redirect=%2Fchapel%2Fchant%2F&_com_liferay_asset_publisher_web_portlet_AssetPublisherPortlet_INSTANCE_FCDSMkO4ID2i_viewSingleAsset=true.
Katavasias taken from the Antiochian Orthodox Christian Archdiocese of North America and from Digital Chant Stand. Paraklesis text taken "The Service of the Small Paraklesis to the Most Holy Theotokos" by Holy Cross Orthodox Press
Universal Collision: Meet the Adventurer Support Assists!
Name: Orthros
Class: 5★
Summoner/Duo: No
🎂Birthday🎂: No
Weapon Type: SPECIAL (Seen as Fists) (EX Weapon: Heavenly Vision)
Current character status: Released
Info: (From AFK Arena Wiki)
Everything in our world is temporary. Cities and empires fall and are forgotten under the dust, Swords and plowshares alike rust and crumble. Even mountains, seemingly eternal to the mortals whose lives are so brief by comparison, are worn down to their roots under countless dawns. Only the gods escape what for all else is inevitable. They stand alongside time itself as the sole inheritors of the infinite.
Before the celestial realm of the gods was ravaged by the forces of darkness, there stood a glimmering clock tower, crafted by the heavenly carpenter Ansiel. The clock in the tower, however, didn't simply tell the time. Rather, time followed its dictate. Minutes and hours and days marched dutifully behind the turning hands of the divine artifact. Ansiel's skill was such that the clock was imbued with a sort of sentience that developed and expanded as time went by. Dura herself honored the clock-entity with a name. Orthros. In the first battle against the Hypogeans, Orthros fought alongside Dura. It was when she fell that Orthros discovered his ability to literally turn back the hands of time. She stood again as blood from the fallen returned to wounds and eyes previously closed in death opened. Armies sheathed their swords and marched backwards into the gates that had spilled them forth. All but the gods themselves were unaware that they had been given a second chance.
Dura fell again, and again time was reversed. In each iteration, she fell, and the outcome only became increasingly dire for the forces of light and life. In a final bid for victory, Orthros took time back to before the invasion had even begun. Dura commanded that this time, he leave it. Her fate was her fate, and no amount of meddling would change that.
Since then, Orthros has taken little notice in the affairs of the mortal realms. For eons, he steadily maintained the flow of the temporal stream and did little else. It wasn't until learning of another entity with powers similar to his own that he stirred. A demon has been blinking in and out of various points in the continuum to change past and future. Time, however, is the domain of Orthros and Orthros alone. He will not allow another to twist it to their own designs. (AFK Arena Moment)
Relationships:
Zolrath - Enemy
VC:
The Celestials do not run from their enemies. - DEF and M.DEF of user +100% (3 Turns) and inflict rage on all enemies
Skills / Abilities:
Lunatic (Charge) - Activate Lunatic status Charge on user (3 turns)
Charge: For each hit (including damage to self), add Thunder-type attack (XS)
- Attack type is determined by the original attack
- Regardless of whether there is an active Stance or not, each additional attack increases Ultimate Skill Gauge bar by 0.5%
Time Suspension - Combined Light and Thunder type Blunt attack on a single enemy x24 (M), and physical resistance of enemy -75% (2 Turns)
Time Trap - Speed of all enemies -40% (3 Turns), and inflict Time Stopper on a random enemy
Time Stopper status - User that is inflicted with this status cannot go back to subline or swap with another ally
Inertia - Light type attack on all enemies x4 (XL), and convert buffs of a random enemy to debuffs (3 Turns)
God's Punch: Type O - Thunder type blunt attack on a single enemy (XL)
When in Lunatic: Increases the Ultimate Skill Gauge by 33% and increases the Power of the skill (up to +400%)
Orthros 2.1 by Y.Tsuruta https://flic.kr/p/2iGjaw1
Gerard Garouste : Le Classique, années 1970, Orthros et le Classique, Orion le Classique, Orion l’Indien, Colomba, La Chambre rouge, Adhara, Le Commandeur et le Vase bleu, La Barque et le Pêcheur, le Pantalon rouge, Le Pendu, le Vase et le Miroir. #centrepompidou #gerardgarouste #galerietemplon #leclassique #orthros #orion #colomba #lachambrerouge #adhara #lecommandeur #levasebleu #labarque #lepecheur #lepantalonrouge #lependu #lemiroir #ɪɴsᴛᴀᴘɪᴄ #photoofthedays #parismaville (à Centre Pompidou) https://www.instagram.com/p/CjTeEujLO44/?igshid=NGJjMDIxMWI=
D/D Orthros
小鬼ティナ
ネコミミセリス
魔女っ子リルムとオルちゃん
When the last time i posted something with THEM? I should do it more often! I mean i have so much...
