Work dossier · summary and historical context
The Malkǝʾa-hymn to Māmās is an anonymous Geʿez poetic composition in the malkǝʾa genre, praising the martyr Māmās through salutations to his bodily parts and virtues. The text survives in Ethiopian manuscript tradition, likely copied for liturgical use on the saint's feast day (Miyāzyā 15) in the Ethiopian Orthodox Täwaḥədo Church. Its composition is conventionally placed in the later Solomonic period (15th–18th c.) based on genre and language, though no firm evidence supports this. The source edition provides only the Geʿez text and an English draft without critical apparatus. The hymn includes narrative elements, place names like Merkēzā and Sesewē, and biblical allusions, reflecting local hagiographic traditions and ongoing liturgical use.
This hymn is significant as a witness to the malkǝʾa genre, a uniquely Ethiopian poetic form that blends praise of saints' physical and spiritual attributes with liturgical function. It attests to the cult of the martyr Māmās within the Ethiopian Orthodox Täwaḥədo Church and provides insight into local hagiographic traditions, including place names and biblical typology. The text's ongoing liturgical use underscores its enduring religious importance, while its anonymous and undated status highlights challenges in studying Ethiopian Christian literature.
The Malkǝʾa-hymn to Māmās belongs to the malkǝʾa genre, a distinctive Geʿez poetic form that developed in the Ethiopian Orthodox Täwaḥədo Church, likely during the later Solomonic period (15th–18th c.). This period saw a flourishing of hagiographic and liturgical literature in the Ethiopian highlands, often composed in Geʿez, the classical liturgical language. The hymn is anonymous and undated, with no specific manuscript witness identified; it survives through manuscript copies used for liturgical recitation on the saint's feast day (Miyāzyā 15). The text's transmission reflects the oral and manuscript culture of Ethiopian monastic communities, where such hymns were copied and adapted over centuries. The mention of place names like Merkēzā and Sesewē suggests local cult traditions, possibly tied to specific monasteries or regions. The hymn's biblical allusions (e.g., to Moses and the cloud at Sinai) indicate a deep integration of scriptural motifs into local hagiography. The lack of critical edition or variant readings limits precise dating and contextualization.
Apparatus · what the pipeline recorded
| Coptic | Rendering | Count | First |
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| no glossary terms recorded | |||