Saint Lucy

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Life

Lucy's Latin name Lucia shares a root (luc-) with the Latin word for light, lux. "In 'Lucy' is said, the way of light" Jacobus de Voragine stated at the beginning of his vita of the Blessed Virgin Lucy, in Legenda Aurea, the most widely-read version of the Lucy legend in the Middle Ages.

Eutychia and Lucy at the Tomb of Saint Agatha, by Jacobello del Fiore inspection lamp

Because people wanted to shed light on Lucy's bravery, legends grew up, reported in the acta that are associated with her name. All the details are conventional ones also associated with other female martyrs of the early 4th century. Her Roman father died when she was young, leaving her and her mother without a protecting guardian. Her mother, Eutychia, had suffered four years with dysentery but Lucy had heard the renown of Saint Agatha, the patroness of Catania, "and when they were at a Mass, one read a gospel that made mention of a woman who was healed of the dysentery by touching of the hem of the coat of Jesus Christ," which, according to the Legenda Aurea, convinced her mother to pray together at Saint Agatha's tomb. They stayed up all night praying, until they fell asleep, exhausted. Saint Agatha appeared in a vision to Lucy and said, "Soon you shall be the glory of Syracuse, as I am of Catania." At that instant Eutychiaea was cured. puck lights

Eutychia had arranged a marriage for Lucy with a pagan bridegroom, but Lucy urged that the dowry be spent on alms so that she might retain her virginity. Euthychia suggested that the sums would make a good bequest, but Lucy countered, "...whatever you give away at death for the Lord's sake you give because you cannot take it with you. Give now to the true Savior, while you are healthy, whatever you intended to give away at your death." News that the patrimony and jewels were being distributed came to the ears of Lucy's betrothed, who heard from a chattering nurse that Lucy had found a nobler Bridegroom. led icicle lights

Her rejected pagan bridegroom denounced Lucy as a Christian to the magistrate Paschasius, who ordered her to burn a sacrifice to the emperor's image. Lucy replied that she had given all that she had: "I offer to Him myself, let Him do with His offering as it pleases Him." Sentenced to be defiled in a brothel, Lucy asserted:

No one's body is polluted so as to endanger the soul if it has not pleased the mind. If you were to lift my hand to your idol and so make me offer against my will, I would still be guiltless in the sight of the true God, who judges according to the will and knows all things. If now, against my will, you cause me to be polluted, a twofold purity will be gloriously imputed to me. You cannot bend my will to your purpose; whatever you do to my body, that cannot happen to me.

The Christian tradition states that when the guards came to take her away they found her so filled with the Holy Spirit that she was as stiff and heavy as a mountain; they could not move her even when they hitched her to a team of oxen. Even after implanting a dagger through her throat she prophesied against her persecutor. As a final torture, her eyes were gouged out. She was miraculously still able to see without her eyes. In paintings St. Lucy is frequently shown holding her eyes on a golden plate.

Legend

Statue of St. Lucy at Saint Leonard of Port Maurice Church in the North End of Boston

Jacobus de Voragine did not include the episode of Lucy's passion that has been most vivid to her devots ever since the Middle Ages: having her eyes torn out. It should be noted that another account dates this loss of eyes to before her martyrdom, claiming that in response to a suitor who admired her beautiful eyes, "she cut them out and sent them to him, asking to be left in peace thereafter." Lucy was represented in Gothic art holding a dish with two eyes on it (illustration above). The legend concludes with God restoring Lucy's eyes.

Dante also mentions Lucia in Inferno Canto II as the messenger "of all cruelty the foe" sent to Beatrice from "The blessed Dame" (Divine Mercy), to rouse Beatrice to send Virgil to Dante's aid. She has instructed Virgil to guide Dante through Hell and Purgatory. Lucia is only referenced indirectly in Virgil's discourse within the narrative and doesn't appear; the reasons for her appearing in this intermediary role are still somewhat unclear to scholars, although doubtless Dante had some allegorical end in mind, perhaps having Lucy as a figure of Illuminating Grace or Mercy or even Justice. Nonetheless Dante obviously regarded Lucia with great reverence, placing her opposite Adam within the Mystic Rose in Canto XXXII of the Paradiso.

In Mark Musa's translation of Dante's Purgatorio, it is noted that Lucy was admired by an undesirable suitor for her beautiful eyes. To stay chaste she plucked out her own eyes, a great sacrifice for which God gave her a pair of even more beautiful eyes. It is said in Sweden that to vividly celebrate St. Lucy's Day will help him/her live the long winter days with enough light.

Lucy's name also played a large part in naming Lucy as a patron saint of the blind and those with eye-trouble. She was the patroness of Syracuse in Sicily, Italy.

Relics

Sigebert (1030-1112), a monk of Gembloux, in his sermo de Sancta Lucia, chronicled that her body lay undisturbed in Sicily for 400 years, before Faroald II, Duke of Spoleto, captured the island and transferred the body to Corfinium in the Abruzzo, Italy. From there it was removed by the Emperor Otho I in 972 to Metz and deposited in the church of St. Vincent. It was from this shrine that an arm of the saint was taken to the monastery of Luitburg in the Diocese of Spires - an incident celebrated by Sigebert himself in verse.

The subsequent history of the relics is not clear. On their capture of Constantinople in 1204, the French found some relics attributed to Saint Lucy in the city, and Enrico Dandolo, Doge of Venice, secured them for the monastery of St. George at Venice. In 1513 the Venetians presented to Louis XII of France the saint's head, which he deposited in the cathedral church of Bourges. Another account, however, states that the head was brought to Bourges from Rome where it had been transferred during the time when the relics rested in Corfinium. The remainder of the relics remain in Venice: they were transferred to the church of San Geremia when the church of Santa Lucia was demolished in the 19th century to make way for the new railway terminus. A century later, on 7 November 1981, thieves stole all her bones, except her head. Police recovered them five weeks later, on her feast day. Other parts of the corpse have found their way to Rome, Naples, Verona, Lisbon, Milan, as well as Germany and France.

Lucia procession in Sweden.

Popular celebration

Main article: Saint Lucy's Day

As her brief day brings the longest night of the year by the old reckoning, John Donne's poem, "A Nocturnal upon St. Lucie's Day, being the shortest day", begins with: "'Tis the year's midnight, and it is the day's," and expresses, in a mourning piece, the withdrawal of the world-spirit into sterility and darkness, where "The world's whole sap is sunk." .

This timing, and her name meaning light, is a factor in the particular devotion to St. Lucy in Scandinavian countries, where young girls dress as the saint in honor of the feast. A special devotion to St. Lucy is present in the North Eastern regions of Italy.

List of dedications to St. Lucy

This list is incomplete; you can help by expanding it.

St. Lucy's Church (New York City) (parish established 1900, present church built 1915)

St. Lucy's Church, Newark, New Jersey

Church of St. Lucy, Santa Luija, Gozo, Kerem, Malta

References

^ Traditional dates as given in Catholic Encyclopedia, s.v. "Lucy, Saint".

^ a b http://www.newadvent.org/cathen/09414a.htm

^ Noted by Blunt 1885.

^ http://www.newadvent.org/cathen/09414a.htm; supplementing the fourteenth-century synthesis of legendary material in Legenda Aurea, Sigebert of Gembloux's mid-eleventh century passio, written to support a local cult of Lucy at Metz, is edited by Tino Licht, Acta Sanctae Luciae (Universittsverlag Winter) 2007 along with a historicizing tractate and a sermon.

^ Calendarium Romanum (Libreria Editrice Vaticana, 1969), p. 139

^ "We know nothing of St. Lucy, as the sole authority for her story is her fabulous 'Acts', a Christian romance similar to the 'Acts' of other virgin martyrs", wrote John Henry Blunt (The Annotated Book of Common Prayer, [London] 1885:176), adding "though probably based on facts".

^ a b "lfric's Lives of Saints". (Walter W. Skeat, ed., Early English Text Society, original series, vols. 76, 82, 94, 114 [London, 1881-1900], revised; as found at the University of Virginia's Old English resource pages). http://www.engl.virginia.edu/OE/aelfric/lucy.html. Retrieved 20 June 2007. 

^ ""St. Lucy's Day" article". At the "School of the Seasons" website. http://www.schooloftheseasons.com/lucy.html. Retrieved 20 June 2007. 

^ See David H. Higgins' commentary in Dante, The Divine Comedy, trans. C.H. Sisson. NY: Oxford University Press, 1993. ISBN 019920960X. P. 506.

^ "Santa Lucia of the gondoliers brought home to Sicily", 17 December 2004.

External links

Jacobus de Voragine, Legenda Aurea: St. Lucy (e-text, in English)

"Cara Santa Lucia..." (Italian)

"St. Lucy" from New Advent's Catholic Encyclopedia.

Representetions of Saint Lucy

Categories: 283 births | 304 deaths | Italian saints | Sicilian saints | 3rd-century Romans | 4th-century Romans | Saints of the Golden Legend | 4th-century Christian female saints | 4th-century Christian martyr saints | Anglican saintsHidden categories: Pages containing cite templates with deprecated parameters | Incomplete lists

Barsom

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Physical characteristics

Material

In present-day use, the barsom is a bundle of short metal wires or rods, each about 20cm in length and made of brass or silver. fava beans

The use of metal wires or rods is a relatively recent development: Until at least the 16th century, the barsom was made of twigs or stems, and there was an elaborate ritual surrounding their collection. There is no indication in scripture or older tradition as to which plant was to be used, and Yasna 25.3 eulogizes the plant without being specific. navy beans

One indication of which plant was used comes from the 16th century, where the authors of the Rivayat epistles reprimand their Indian co-religionists for not using twigs of the tamarisk (R. 329). The twigs of the pomegranate tree also figure in other late sources. Strabo (XV.3.14) speaks of "a bundle of slender myrtle rods." cannellini beans

Dimensions

Both scripture and tradition are precise with respect to the dimensions of the twigs required. Yasna 57.5 mandates that each twig shall not exceed "the height of the knee," and Vendidad 19.19 (supported by the Nirangistan) requires each rod to be at most the length of an aesha and the thickness of the width of a yava. Darmesteter translates aesha as "ploughshare" and yava as barley-corn. A twig/rod was thus at most about 7mm thick. The Nirangstan further adds that the thickness may not be less than that of a human hair.

The barsom that appears in Achaemenid and Sassanid art "was of impressive size, about 45 cm (1 ft) long, made up apparently of stiff straight rods."

Number

The number of twigs/rods depends on the ritual being performed, and the Shayast-na Shayast (14.2) unambiguously states that this number must be adhered to. A recitation of the Yasna liturgy is accompanied by a bundle of 21 twigs, with two others being placed by the side of another ritual implement. The Vendidad requires 33 twigs in the bundle with two other placed as for the Yasna. A recitation of the Visperad requires 35 twigs, with none left over. The number similarly varies for other rituals, all of these however only requiring between 3 and 15 twigs.

Binding

In present-day use, and with only one exception, the rods remain unbound. The one exception is the baj ceremony for the dead, towards the end of which the baresman bundle is bound with a strip of a leaf of a Date Palm.

Use in ritual

In ritual, the barsom bundle is either held in the left hand, or placed across a pair of metallic stands about 20cm in height, with one stand at each end of the bundle. These stands have a crescent-shaped brace at the top, so (also) preventing the rods from rolling off. The crescent shape gives them their name, mah-rui, literally "moon-faced." Dadestan-i Denig 48.17 states the stands must be of metal.

A barsom has no immediate practical purpose. At Zoroastrian ritual it represents plant creation, accompanying the other symbolic tokens that represent other facets of creation, and each of which then also represent the presence of an Amesha Spenta at the ritual. In the case of the barsom, it is Ameretat "immortality." The crescent-shaped brace of the barsom stand is likewise identified with vegetation: mah, the moon, is in Zoroastrian scripture and tradition the cosmogonical protector of plants and encourages their growth. "The object of holding the barsom and repeating prayers is to praise the Creator for the support accorded by nature and for the gift of the produce of the earth, which supplies the means of existence to the human and the animal world. The object of selecting the barsom from the twigs of a tree is to take it as a representative of the whole vegetable kingdom, for which benedictions and thanks to the Creator are offered, and there is further proof to show that the performance of the barsom ritual is intended to express gratitude to the Creator for His boundless gifts."

The barsom is also held by a priest during the abbreviated Yasna recitation before meals. An episode of the Shahnameh recalls that when Yazdegerd III (the last Sassanid emperor, but like his forefathers, also a priest) was in hiding, his request for a barsom gave him away to the enemy.

In Zoroastrian tradition, the second chapter of the Yasna liturgy is named the Barsom Yasht. As a part of the liturgy, it is not however part of the Yasht collection. In the Avesta categorization of Kellens, Yasna 2 - the Barsom Yasht - complements the other 7 of the first 8 Yasna chapters, the purpose of the 8-chapter set being an invitation of the divinities to the ceremony. After Yasna 1's initial invitation of Ahura Mazda, the Amesha Spentas and the remaining yazatas, the baresman and libation are presented to them in Yasna 2.

References

Notes

a) ^ 

Boyce, Z2, pp. 38-39: "Three representations of men carrying similar bundles of rods have been identified on Assyrian and Urartian objects of the eight and early seventh centuries BCE and it seems possible that the magi of western Iran, having come to dwell in a wooded land, allowed themselves to be influenced so far by the cultic usages of their Zagrosian neighbours that they adopted these long rods for their own baresman."

n. 145: P. Clameyer, "Barsombuendel im 8. und 9. Jahrhundert v. Chr.", Wandlungen, Studien zur antiken und neueren Kunst E. Homann-Wedeking gewidmet, Waldsassen-Bayern 1975, 11-5. The examples which he cites are those published by R. D. Barnett, Survey XIV (1967) 3002 fig. 1063; H. J. Kellner, Situla (Ljubljana) 1974, 14/15, 50 Taf. 3; and C. Lehmann-Haupt, Armenien Einst und Jetzt I, 1910, 261 (Abb.), cf. M. van Loon, Urartian Art, 1966, 153 f., fig. 18 E 5.

References

^ Kanga 1989, p. 825.

^ Boyce 1982, pp. 38-39.

^ a b Boyce 1982, p. 38.

^ Dhabhar 1932, p. 327.

^ West 1882, p. 165.

^ Kanga 1989, p. 826.

^ Modi 1922, p. 280.

^ Skjrv 1989, p. 827.

^ Kellens 1989, p. 37.

Works cited

Boyce, Mary (1982), The History of Zoroastrianism, 2, Leiden: Brill 

Dhabar, Bamanji Nusserwanji (1932), The Persian Rivayats of Hormazyar Framarz and others, Bombay: K. R. Cama Oriental Institute 

Kanga, M. F. (1989), "Barsom", Encyclopedia Iranica, 3.8, London: Routledge & Kegan Paul, pp. 825827 

Kellens, Jean (1989), "Avesta", Encyclopaedia Iranica, 3, New York: Routledge and Kegan Paul, pp. 3544 

Modi, Jivanji Jamshedji (1922), Religious Ceremonies and Customs of the Parsees, Bombay: British India Press, pp. 277286 

Skjrv, Prods Oktor (1989), "Barsom Yat", Encyclopedia Iranica, 3.8, London: Routledge & Kegan Paul, pp. 827 

West, Edward William (1882), Mller, Max, ed., Pahlavi Texts 2 (Sacred Books of the East, vol. 18), Oxford: OUP 

Categories: Zoroastrian ritualsHidden categories: Articles containing Avestan language text