Work dossier · summary and historical context
The work is a Geʿez malkeʿ (image) poem in honor of Yoḥanni of Dabra ʿĀśā, a little-known saint in the Ethiopian Orthodox Täwaḥədo tradition. The poem follows the conventional structure of malkeʿ hymns, opening with the formulaic salutation 'ሰላም፡ እብል፡' (salutation I say) and employing bodily and spiritual metaphors to praise the saint. It survives in a single undated manuscript, Bet Mas 49, with no other known witnesses. The composition date is uncertain, but the manuscript likely dates no earlier than the 18th century. The edition presents only the Geʿez text without translation or commentary, limiting accessibility. The poem's liturgical use, if any, is unattested, though malkeʿ hymns are typically recited on a saint's feast day.
This malkeʿ poem is significant as a rare witness to the veneration of a minor saint, Yoḥanni of Dabra ʿĀśā, and exemplifies the standardized yet adaptable malkeʿ genre. Its survival in a single manuscript highlights the fragility of Ethiopian manuscript traditions. The poem's biblical typology, such as the comparison to Aaron building an altar, reflects the integration of Old Testament imagery into Ethiopian Orthodox hymnody. It contributes to the study of Geʿez poetry, hagiography, and liturgical practice, though its limited attestation cautions against broad generalizations.
The malkeʿ genre flourished in the Ethiopian Orthodox Täwaḥədo Church from at least the 15th century, used for liturgical veneration of saints. Yoḥanni of Dabra ʿĀśā is obscure; Dabra ʿĀśā may refer to a monastery or region, but its location and history are poorly documented. The single manuscript, Bet Mas 49, is undated, and no external evidence securely places the poem before the 18th century. The text's survival in a unique witness suggests limited circulation, possibly within a local monastic community. The poem's reference to Takla Hāymānot (Plant of Faith), a major 13th-century saint and founder of Dabra Libanos, links Yoḥanni to the Solomonic monastic tradition, but the nature of this connection is unclear. The work's transmission likely depended on oral or manuscript tradition within Ethiopian Orthodox circles, but its specific provenance remains unknown.
Apparatus · what the pipeline recorded
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