Work dossier · summary and historical context
The Malkeʿ of Takla ʾIyyasus of Dabra Dəmāḥ is an anonymous Geʿez praise poem structured as a series of stanzas, each saluting a different bodily part of the saint, a hallmark of the Ethiopic malkeʿ genre. The edition is based on a single manuscript witness (betmas) with no variant readings or stemma, limiting knowledge of its textual history. The work is used liturgically in the Ethiopian Orthodox Täwaḥədo tradition on the saint’s feast day, though the date is unspecified. The poem’s composition likely postdates the saint’s floruit by centuries, as is typical for the genre. No translation or commentary accompanies the Geʿez text, requiring the reader to supply linguistic and theological interpretation.
This malkeʿ exemplifies the Ethiopic tradition of praising saints through bodily-part salutations, a genre that blends biblical typology with local hagiography. The poem’s identification of Takla ʾIyyasus with Christ and ʾIyyasu (Jesus) underscores the saint’s typological role, a common Ethiopic practice. Its liturgical use highlights the ongoing veneration of Takla ʾIyyasus in the Täwaḥədo tradition. The work also provides insight into the monastic geography of Ethiopia, referencing sites like Dabra Dəmāḥ and Wāldəba.
The Malkeʿ of Takla ʾIyyasus of Dabra Dəmāḥ belongs to the Ethiopic Christian literary tradition, composed in Geʿez, the classical liturgical language of the Ethiopian Orthodox Täwaḥədo Church. The work is undated, but the malkeʿ genre flourished from the 14th century onward, often composed centuries after the saint’s life. Takla ʾIyyasus is venerated as a monastic saint associated with Dabra Dəmāḥ, Dabra Səḫən, Dabra Kərbe, and Wāldəba—monastic sites in Ethiopia. The poem’s single manuscript witness (betmas) provides no information on its provenance or scribal context, and the lack of a stemma obscures its transmission history. The text’s liturgical use suggests it was performed on the saint’s feast day, but the date is not recorded in the edition. The poem’s anonymous authorship and uncertain date reflect the typical hagiographic practice of later authors composing praise poems for earlier saints, often drawing on local traditions and biblical typology.
Apparatus · what the pipeline recorded
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