Today is the feast day of an Eastern Father and Doctor, Saint Ephrem the Syrian (†373). Here is a bit of what Pope Benedict XVI had to say about Ephrem in his November 28, 2007, general audience:
St Ephrem has left us an important theological inheritance. His substantial opus can be divided into four categories: works written in ordinary prose (his polemic works or biblical commentaries); works written in poetic prose; homilies in verse; and lastly, hymns, undoubtedly Ephrem's most abundant production. He is a rich and interesting author in many ways, but especially from the theological point of view. It is the fact that theology and poetry converge in his work which makes it so special. If we desire to approach his doctrine, we must insist on this from the outset: namely, on the fact that he produces theology in poetical form. Poetry enabled him to deepen his theological reflection through paradoxes and images. At the same time, his theology became liturgy, became music; indeed, he was a great composer, a musician. Theology, reflection on the faith, poetry, song and praise of God go together; and it is precisely in this liturgical character that the divine truth emerges clearly in Ephrem's theology. In his search for God, in his theological activity, he employed the way of paradoxes and symbols. He made ample use of contrasting images because they served to emphasize the mystery of God. ...
The figure of Ephrem is still absolutely timely for the life of the various Christian Churches. We discover him in the first place as a theologian who reflects poetically, on the basis of Holy Scripture, on the mystery of man's redemption brought about by Christ, the Word of God incarnate. His is a theological reflection expressed in images and symbols taken from nature, daily life and the Bible. Ephrem gives his poetry and liturgical hymns a didactic and catechetical character: they are theological hymns yet at the same time suitable for recitation or liturgical song. On the occasion of liturgical feasts, Ephrem made use of these hymns to spread Church doctrine. Time has proven them to be an extremely effective catechetical instrument for the Christian community.
Ephrem's reflection on the theme of God the Creator is important: nothing in creation is isolated and the world, next to Sacred Scripture, is a Bible of God. By using his freedom wrongly, man upsets the cosmic order. The role of women was important to Ephrem. The way he spoke of them was always inspired with sensitivity and respect: the dwelling place of Jesus in Mary's womb greatly increased women's dignity. Ephrem held that just as there is no Redemption without Jesus, there is no Incarnation without Mary. The divine and human dimensions of the mystery of our redemption can already be found in Ephrem's texts; poetically and with fundamentally scriptural images, he anticipated the theological background and in some way the very language of the great Christological definitions of the fifth-century Councils.
And here an excerpt from "Principi Apostolorum Petro" (On St. Ephrem the Syrian), the 1920 encyclical from Pope Benedict XV:
It is indeed fitting to honor the blessed deacon of Edessa for his desire that the preaching of the divine word and the training of his disciples rest on the purity of Sacred Scripture. He also acquired honor as a Christian musician and poet. He was so accomplished in both arts that he was called the "lyre of the Holy Spirit." From this, Venerable Brothers, you can learn what arts promote the knowledge of sacred things. Ephrem lived among people whose nature was attracted by the sweetness of poetry and music. The heretics of the second century after Christ used these same allurements to skillfully disseminate their errors. Therefore Ephrem, like youthful David killing the giant Goliath with his own sword, opposed art with art and clothed Catholic doctrine in melody and rhythm. These he diligently taught to boys and girls, so that eventually all the people learned them. In this fashion he not only renewed the education of the faithful in Christian doctrine and supported their piety with the spirit of the sacred liturgy, but also happily kept creeping heresy at bay.
The artistry introduced by Blessed Ephrem added dignity to sacred matters as Theodoretus stresses. The metric rhythm, which our saint popularized, was widely propagated both among the Greeks and the Latins. Indeed does it seem probable that the liturgical antiphonary with its songs and processions, introduced at Constantinople in the works of Chrysostom and at Milan by Ambrose (whence it spread throughout all of Italy), was the work of some other author? For the "custom of Eastern rhythm" deeply moved the catechumen Augustine in northern Italy; Gregory the Great improved it and we use it in a more advanced form. Critics acknowledge that that "same Eastern rhythm" had it origins in Ephrem's Syrian antiphonary.
It is no wonder then that many of the Fathers of the Church stress the authority of St. Ephrem. Nyssenus says of his writings, "Studying the Old and New Scriptures most thoroughly, he interpreted them accurately, word for word; and what was hidden and concealed, from the very creation of the world to the last book of grace, he illumined with commentaries, using the light of the Spirit." And Chrysostom: "The great Ephrem is scourge of the slothful, consoler of the afflicted, educator, instructor and exhorter of youth, mirror of monks, leader of penitents, goad and sting of heretics, reservoir of virtues, and the home and lodging of the Holy Spirit." Certainly nothing greater can be said in praise of a man who, however, seemed so small in his own eyes that he claimed to be the least of all and a most vile sinner." (pars 12-14)
Several of St. Ephrem's writings can be accessed here.
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