Though John of Damascus wrote voluminously on the Scriptures, as in the case of so much of his writing, his work bears little of the stamp of originality. His “Select Passages” (Loci Selecti), as he himself admits, are taken largely from the homilies of St. John Chrysostom and appended as commentaries to texts from the Epistles of St. Paul. The commentary on the Epistles to the Ephesians, Philippians, Colossians, and Thessalonians is taken from Cyril of Alexandria. The “Sacred Parallels” (Sacra parallela) is a kind of topical concordance, treating principally of God, man, virtues, and vices.
Under the general title of “Homilies” he wrote fourteen discourses. The sermon on the Transfiguration, which Lequien asserts was delivered in the church on Mt. Tabor, is of more than usual excellence. It is characterized by dramatic eloquence, vivid description, and a wealth of imagery.
Scripture in testimony of the primacy of Peter
In it he discourses on his favorite topic, the twofold nature of Christ, quotes the classic text of Scripture in testimony of the primacy of Peter, and witnesses the Catholic doctrine of sacramental Penance. In his sermon on Holy Saturday he descants on the Easter duty and on the Real Presence. The Annunciation is the text of a sermon, now extant only in a Latin version of an Arabic text, in which he attributes various blessings to the intercession of the Blessed Virgin.
The second of his three sermons on the Assumption is especially notable for its detailed account of the translation of the body of the Blessed Virgin into heaven, an account, he avers, that is based on the most reliable and ancient tradition. Both Liddledale and Neale regard John of Damascus as the prince of Greek hymnodists. His hymns are contained in the “Carmina” of the Lequien edition. The “canons” on the Nativity, Epiphany, and Pentecost are written in iambic trimeters. Three of his hymns have become widely known and admired in their English version — “Those eternal bowers”, “Come ye faithful raise the strain”, and “Tis the Day of Resurrection”. The most famous of the “canons” is that on Easter.
It is a song of triumph and thanksgiving — the “Te Deum” of the Greek Church. It is a traditional opinion, lately controverted, that John Damascene composed the “Octoëchos”, which contains the liturgical hymns used by the Greek Church in its Sunday services. Gerbet, in his “History of Sacred Music”, credits him with doing for the East what Gregory the Great accomplished for the West — substitution of notes and other musical characters for the letters of the alphabet to indicate musical quantities. It is certain he adapted choral music to the purposes of the Liturgy.
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