പഗ്റേ ദമ്ശീഹാ (ദിവ്യരഹസ്യഗീതം)

Anthem of Mysteries / Pagre Damshiha (Pagre d’mšīhā)

Call Number EC-0083
Title Anthem of Mysteries / Pagre Damshiha (Pagre d’mšīhā)
പഗ്റേ ദമ്ശീഹാ (ദിവ്യരഹസ്യഗീതം)
Category Liturgical
Sub Category  
Liturgical Context Offertory procession during Qurbana

Introduction

The Deacon prepares the bread and wine at the side chapel and carries them in procession to the main altar. During the procession, the choir sings the Anthem of the Mysteries: “The precious Body and Blood of Christ at the holy sacrificial altar.” The anthem varies according to Sundays and feast days. Here is the Anthem for the weekdays. This anthem is significant for several reasons. From a theological perspective, it stands out at this part of the liturgy because the text refers to the bread and wine as the body and blood of Jesus, much before the Eucharistic Prayer (Anaphora) and the Invocation of the Holy Spirit (Epiclesis) after that. The anthem represents an Eastern and pre-“transubstantiation” approach in the history of Eucharistic theology. Poetically, this is an example of a single-strophe hymn that has two incipits. These incipits help the worshippers to sing the same song text with two different focuses. The choir sings the anthem with the first incipit, and the congregation repeats it with the second incipit. The Anthem ends with the song of the Angels in heaven, the Thrice-Holy. This is the third time the Thrice-Holy appears, after the “Our Father” and Trisagion. It will appear three times again, twice in the Anaphora, and once in the communion rite. The last two verses of the anthem reiterate the spiritual bond between the earthly and heavenly choirs. The choir invites the congregation to join with the angels, saying, “with the angels let us shout with joy, “Holy, Holy, Holy, Lord God Almighty.” Thus, the earthly liturgy is simultaneous with the heavenly liturgy, defying the human understanding of time and space.

Also refer - Syriac Malabar Qurbana

Transliteration (Malayalam)

Transliteration (Malayalam)

 

 

Transliteration (Malayalam)

Transliteration (Malayalam)

Transliteration & Translation (English)

Syriac Text Translitaration (English) Glossary
Pagre = the body;
d’ +mšīhā = of the Messiah/Christ;
w’ + dme = and his blood;
yaqīrā = precious;
al = at;
madbah = place of sacrifice/altar;
qudšā = holy;
B’dehalṯā = in awe/fear;
wawrēhamṯā = and love;
kollan = all of us;
neṯqārew = let us offer;
le(h) = to him;
W’ + am = and with;
mālākē = angels;
n’yambaw = praise (shout with joy);
le (h) = to him;
Qandiš = holy;
māryā = Lord;
ālāhā = God almighty

Transliteration and Translation ( English)

Syriac Text
Translitaration (English)
Glossary
Pagre = the body;
d’ +mšīhā = of the Messiah/Christ;
w’ + dme = and his blood;
yaqīrā = precious;
al = at;
madbah = place of sacrifice/altar;
qudšā = holy;
B’dehalṯā = in awe/fear;
wawrēhamṯā = and love;
kollan = all of us;
neṯqārew = let us offer;
le(h) = to him;
W’ + am = and with;
mālākē = angels;
n’yambaw = praise (shout with joy);
le (h) = to him;
Qandiš = holy;
māryā = Lord;
ālāhā = God almighty

Available Recordings

Aramaic Project Recordings

S.No. Artist Youtube Link Aramaic Project Number Notes
1 . Dr. Vellian and Rev. Sister. Dennis Video AP 6E
2 Marth Mariam Church, Kuravilangad Video AP 36
3. Fr. George Plathottam. Video AP 70U
4. Mar Thoma Sisters Video AP 18D
5. Dr. Jacob Vellian Video AP 80P
6. Maria Joseph and Bro. Libin Video AP 90
7. Fr. Augustine Kandathikkudyil, Video AP 96
8. St. Thomas the Apostle Syro-Malabar Forane Catholic Church, Dallas, Texas, USA Video AP 100
9. Infant Jesus Church, Koovappadam. Kochi Video AP 122
10. Fr. Cyril Thayyil Video AP 127
11. Annmariya Njarakunnel Video AP 149
12. Choir Team Video AP 155
13 Choir Team of Marth Maryam Forane Church, Kuravilangad Video AP 156
14. Fr. Anthony Kaitharan Video AP 206 / AP2-05
15. Bishop Thomas Tharayil Video AP 210  
16. Fr. George Nellikkat Video AP 223  
17. Childrem Choir Video AP 243  
18 Fr. Saji Mattathil Video AP 165-20  

Copyright

Christian Musicological Society of India. Do not use any part of this article without prior written permission from the Christian Musicological Society of India. For permission please send request to This email address is being protected from spambots. You need JavaScript enabled to view it.


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