“Internal” Arguments Concerning the Niceta-Remesian Paternity and the Pelasgo-/Wallachian-Dacian Autochthonism of the All-Christendom Hymn, «Te, Deum, Laudamus...»
In the foreword to the homily De Psalmodiae bono, Niceta of Remesiana** emphasizes:
«I recall that, while talking about the beauty and the avails of the wake / vigil, I promised that, in the following speech, I would deal with the praise and the sacraments of hymns, a thing which, with God’s help, will be accomplished in this work» (apud VSP, 75).
After a history of the «types of cantillation» in the Church, from the psalmist David to Saint Cyprian (mentioning the latter’s work Ad Donatum), Niceta of Remesiana concluded in a Zalmoxian manner:
«...God created this elixir, the sweet singing, suitable to heal the wounds caused by sins... The sweetness of chanting can expel from the human soul that which the strictness of law cannot» (ibid.).
Poetry and music, that is recitation and singing / chanting, both with the epopts in Zalmoxianism and with Niceta of Remesiana, whose practice seemed to “reach the stars” (Paulinus of Nola), is shaped on «the universal grounds of the moral reconstruction of the world» (cf. IPnp, 104).
Niceta of Remesiana’s views on Chrisitian hymnology, on “psalmody”, through the elements arising from the aesthetics of Zalmoxianism, greatly enrich the corolla of “the avails of psalm singing” as compared to the one rendered manifest with the Happy Augustine, with Saint Basil the Great (although the latter, being from Cappadocia – “cap-à/la-Dacia – / Capadochia / “Cape of Dochia / Dacia”, was not unfamiliar with Zalmoxianism, the former millenary religion of his “Roman-imperial” natal province), with Gregory of Nyssa et al.
A particularly valuable sermon from Niceta of Remesiana is De diversis appelationibus / On the Different Names for Christ, in which it is noticed, on the basis of The Holy Scriptures, that Jesus Christ is called: Truth, Way, Word, Angel, Wisdom, Judge, Light, Lamb, Man, Peace, Stone, Priest, Power, Door etc.
Niceta of Remesiana’s poetical work as an “art / music of the spheres / stars” reverberated “the Cosmic Christianity”, deeply rooted over the whole Dacia by means of Zalmoxianism, to the amazement of the people beyond the borders of the archaic-Wallachian spiritual area.
On his journeys to Rome, as Paulinus of Nola certified, Niceta of Remesiana was astonishing due not only to his erudition, but also to the practice of cosmic chanting, the gifted Pelasgian (> Wallachian) poet-bishop from the South of the Danube making use of music, like Orpheus, from his manifold status as teacher, theoretician and philosopher:
«...in Italy, where he creates a sensation through his stunning erudition, Paulinus introduces him as an author of hymns and, at the same time, as a priest who employs music in a wholly uncommon way; he would not enter the Italian Houses of God unless he were accompanied by choirs of monks and nuns, together with whom he chants, while entering, beautiful songs and hymns; it is these choirs that makes Paulinus remark, “they reach the stars with their songs”; on the ship taking him to his Motherland, together with the sailors who were used to singing but celeuma / oarsmen’s song, Niceta sings hymns which charm the sea beasts, urging them to approach the ship and listen as if bewitched; […] Niceta blends poetry and music, he is a singer, a bard, but also a prophet, engaged in the struggle for taming nature and for human felicity» (ibid.).
From Niceta of Remesiana’s rich poetic work only Te, Deum, laudamus… / We Praise Thee, O God… has survived / has been handed down, which has become the all-Christendom hymn, written at c. 370 A.D., when he was appointed bishop on his native land, at Romoesiana (> Remesiana), in South-Danubian Dacia. With his Te, Deum, laudamus… / We Praise Thee, O God…, the exquisite poet irrevocably compelled recognition in the great Christian world poetry, at the same time inaugurating the gold vein of the Wallachian hymnology.
According to liturgical regulations, Te, Deum, laudamus… / We Praise Thee, O God… is chanted on New Year’s Eve, after the Great Doxology, or instead of it, in the opening sessions of the Holy Synod gatherings, before the proceedings on the National Assembly of the Church, or of the Eparchial Assembly, on the name day of His Beautitude, the Patriarch, of the metropolitan bishops and on the first day of the schoolyear in theological schools; it is chanted as «thanksgiving to God for all His blessings» (VSP, 79).
The Christian-doctrinary and poetical works of the poet-bishop from Dacia, Niceta of Remesiana (c. 340 – 416 A.D.), enjoyed appraisal, even eulogy, from his coevals – as it has been irrefutably emphasized above – during his lifetime. In all likelihood, little time had elapsed since his “rise to the Heaven”, or, unequivocally, from the “Small Schism” (April – August 519; cf. VSP, 65) until the anti-Nicetian / anti-Remesian “campaign” commenced, closely correlated with “the ancient, century-old anti-Dacia campaign” of the cohorts of “schismatics” supported – in the first place – by Rome, by Constantinusa / Constantinople (today, Istanbul) etc. During these “campaigns” of “sinking into oblivion” (of “deletion” / annihilation) Niceta of Remesiana’s name, as well as the obliteration of Dacia’s name from history – “campaigns” which, unfortunately, continue even nowadays –, the bishop’s poetical masterpiece, Te, Deum, laudamus… / We Praise Thee, O God…, which inaugurates the gold vein of the Christendom hymnology and, in particular, the Pelasgian / Wallachian hymnology, and which eclipses the “similar” works of the age, was wrongly attributed – in consistence with “Rome’s anti-Dacia strategies” and based on no grounds, be they “by word of ear” – to poets belonging to the “Mediterranean-Christian-imperial circuit”.
It stands as outrageous that “most of the researchers” of the 17 centuries which have elapsed from the birth of the All-Christendom hymn, Te, Deum, laudamus… / We Praise Thee, O God…, by Niceta of Remesiana, have not made any appeal to any of the indisputable / irrefragable internal arguments concerning the Nicetian-Remesian paternity and the Pelasgo-Dacian / Wallachian autochthonism, rendered obvious by its bishop-author from South of the Danube by placing them in the very “keystone”, in the “hymnic-climax”. It has not been taken into consideration that, in the horizon of the year 370 A.D., the poet-bishop, Niceta of Remesiana, was addressing – by means of this hymn – to the Dacians on both banks of the Lower Danube. As early as the horizon of the year 1600 B.C., these Dacians believed in the monotheistic Zalmoxianism, of which over eighty per cent was appropriated by Christianity.
The English version by Gabriela Pachia.
Bibliography under sigles / Bibliografia „siglată“ :
- IPnp = Ion Itu, Our First Poets, Braşov, The Latin Orient Publishing House, 1994.
- VSP = Nestor Vornicescu: Patristic Writings in the Romanian Orthodox Church Until the 17th, sources, translations, circulation, doctoral thesis, (excerpt from the review The Oltenia Metropolitan Church, Nos. 1 – 2, 3 – 4, and 5 – 6, XXXV / 1983), Craiova, 1983.
*Variante (în limbile valahă / dacoromână şi engleză) ale întregului studiu “Internal” Arguments Concerning the Niceta-Remesian Paternity and the Pelasgo-/Wallachian-Dacian Autochthonism of the All-Christendom Hymn, «Te, Deum, Laudamus...» (Argumente „interne“ privind paternitatea nicetian-remesiană şi autohtonismul pelasgo-/valaho-dacic al imnului întregii Creştinătăţi, «Te, Deum, laudamus...»), de Ion Pachia-Tatomirescu, pot fi aflate de Distinsul Receptor în :
(A) volumul Argumente „Interne“ – «Te Deum Laudamus...» – Internal Arguments, de Ion Pachia-Tatomirescu, Timişoara, Editura Aethicus (ISBN: 978-606-8125-00-8), 2009 (cf.
(B) Anuarul de martie (Timişoara, ISSN 1842-0974, redactor-şef: Ion Pachia-Tatomirescu), nr. 5 / 2010, pp. 297 ‒ 322 (cf.
** Imaginea de mai sus, „din caseta clasicei fotografii auctoriale“, reprezintă pe episcopul-poet, Sfântul Pelasg > Valah, Niceta Remesianu (aprox. 340 ‒ 416), portret în tuş, de Patricia Pura.