ⲁⲅⲓⲟⲥ ⲉⲥⲧⲓⲛ

The Coptic hymn ⲁⲅⲓⲟⲥ ⲉⲥⲧⲓⲛ is quite a controversial one!

In terms of its text, there is a significant amount of ambiguity—first, it is written with both five and/or six lines in one stanza (the first stichon repeating twice in some texts and tunes). Second, it is also written in such a way that there are variables and controls in each stanza—the variables being an alphabetic acrostic (ⲁⲅⲓⲟⲥ ⳾ ⲃⲁⲥⲓⲗⲉⲩⲥⲓⲛ ⳾ ⲅⲉⲛⲟⲥ ⳾ ⲇⲓⲕⲉⲟⲥ ⳾ ⲉⲟⲩⲃⲟⲏⲑⲓⲛ etc.) and the controls having to do with the Holy Trinity (ⲟ ⲡⲁⲧⲏⲣ⳾ ⲛ̀ⲉⲡⲟⲩⲣⲁⲛⲓⲟⲛ ⳾ ⲧⲟ ⲡⲛⲉⲩⲙⲁ ⲧⲟⲩ ⲁⲅⲓⲟⲩ etc.). Third, the text employs a number of Greek words that are still undecipherable at this point in time, resulting in very poor translations or rather approximations. Many have rejected the use of the hymn until such a time when more manuscript evidence can be found to assess and adjust the text, while some have written other texts so as to retain the tunes without reciting the ambiguous text. Much more study needs to be done here!

In terms of its use, we are accustomed to hearing it in the veneration rite. As more evidence comes to light, it seems that it had other utilizations including the conclusion of the wedding rite.

In terms of its music, there are two main renditions—the northern or Bohairic melody which is common and dear to the hearts of almost every practicing copt, and the southern or Sahidic melody which is not known much at all. Here, we’ve chanted both melodies as an amalgam of sorts so as to retain them and show their musical relation

Enjoy and pray for us!