Work dossier · summary and historical context
The 'Miracles of the Hymn ʾƎgziʾabǝḥer nagśa' is an anonymous Ethiopic hagiographic collection that recounts miracles attributed to the liturgical hymn 'God is King' in the Ethiopian Orthodox tradition. The work survives in Geʿez manuscripts and is edited in betmas:LIT7584TaameraMah. It likely reinforced the hymn's devotional status, though its date and provenance remain uncertain. The text presents numbered miracle narratives, each introduced by a formulaic heading, and includes references to figures such as Abba Sinoda (Shenoute), linking the collection to Coptic monastic liturgy. No earlier Greek or Arabic Vorlage is attested.
This collection is significant as a rare hagiographic work focused on a liturgical hymn rather than a saint, illustrating the Ethiopian Orthodox tradition's veneration of liturgical texts. It provides insight into medieval Ethiopian devotional practices and the perceived miraculous power of hymnody. The work's links to Coptic monasticism (via Abba Sinoda) and its potential connections to other Ethiopic miracle collections (e.g., Taʾammǝra Māryām) merit further study. It also highlights the need for critical editions and comparative analysis of Ethiopic hagiographic literature.
The work is undated, but its terminus post quem is the composition of the hymn 'ʾƎgziʾabǝḥer nagśa', which is used in Ethiopian Orthodox liturgy. The hymn's origins are obscure, but it likely emerged within the medieval Ethiopian Christian tradition, possibly after the 13th century when Geʿez hymnody flourished. The collection survives in Ethiopic manuscripts, with the source edition based on betmas:LIT7584TaameraMah. No critical apparatus or stemma is provided, and the relationship to other Ethiopic miracle collections (e.g., Taʾammǝra Māryām) is unexamined. The mention of Abba Sinoda (d. 466 CE) suggests a link to Coptic monasticism, but this does not date the text. The work was likely transmitted in monastic scriptoria, possibly in the Ethiopian highlands, and its anonymous authorship reflects common hagiographic practice. The edition does not specify a date or place of composition, and the text's liturgical context suggests it was used to promote devotion to the hymn.
Apparatus · what the pipeline recorded
| Coptic | Rendering | Count | First |
|---|---|---|---|
| no glossary terms recorded | |||