Gador-Whyte begins with an intriguing tale of Romanos and his muse: the Theotokos. She repurposes this traditional view of Romanos’ inspiration with the analysis that Mary is a “particularly interesting, helpful and flexible character” (77) for Romanos. In this article, Gador-Whyte concentrates on the manifestations of Mary Theotokos as protector, intercessor, and mother.
First is Theotokos, which Romanos often associates with parthenos (virgin). Gador-Whyte sees this juxtaposition of titles as indicating Mary’s status as both human virgin and divine God-bearer – thus elevating Mary and indicating the importance of virginity and asceticism in early Christianity. In the fifth century, the term “Theotokos” became particularly laden with Christological connotations. In one hymn, Romanos calls on the congregation to participate in the life of Christ through the Theotokos. Indeed, in other kontakia Romanos emphasizes Mary’s connection to God by indicating that salvation can come through Mary.
Mary is also a protector, as exemplified most famously in the Akathist (which Gador-Whyte does not believe was written by Romanos). She cites Limberis’ argument that Mary’s role as protector continues the tradition of city deities, like Pallas Athena. Romanos goes beyond this role to see the Virgin as protector of all Christians. In On the Nativity of the Virgin Mary, Romanos calls Mary “τείχος και στήριγμα” (wall and foundation) for every Christian. Gador-Whyte suggests that these metaphors combine military imagery with femininity and virginity: as the fortress, the Theotokos is a motherly protector who remains “the perfect virgin, inviolate and unpenetrated” (83).
Mary is also an intercessor who “speaks for humanity, interceding with God on behalf of mortals” (83). Romanos narrates how Christ himself gives this role to Mary. Gador-Whyte notes that this language is almost entirely absent from contemporary homilies on Mary. Nevertheless, other evidence indicates that Mary did fulfill an intercessory role. For example, Mary was the object of amulets and petitions on lead seals. Nevertheless, this image does remain rare in Greek sources. Gador-Whyte suggests that Romanos may have been influenced (though not directly) by authors of Syriac homilies, like Jacob of Sarug. Romanos characteristically sees Mary as an intercessor through her role as a mother. Gador-Whyte sees as evidence the emotions Romanos attributes to Mary, including compassion and pity.
Gador-Whyte next turns to Mary’s role as an ordinary mother. Passages that refer to Mary as a mother – for example, weeping for her son – emphasize the familiarity of what is otherwise a stiff, formal figure. Gador-Whyte notes that Romanos’ depiction of Mary as a “perfect, loving mother fits with sixth-century ideas of female roles” (88), as they are indicated in the Codex Justinianus. She further cites a wonderful passage from On Mary at the Cross, in which the Theotokos relates the crucifixion to Mary’s previous experiences. “Seeing her own lamb being dragged to slaughter, Mary the ewe-lamb” asks her son “Is there another wedding in Cana?” This beautiful depiction of ordinary motherly care exemplifies Mary’s depiction as – in Roger Scott’s words – a “suburban mum.”
Gador-Whyte concludes by drawing together the many facets of Romanos’ Mary she has outlined. She argues that the “diversity of images … is evidence in part for the burgeoning developments in the Marian cult in this period, and in part a function of how imagery works in poetry, with different symbols, metaphors and images resonating in different contexts” (92). Gador-Whyte’s sensitivity to the multiple facets of Mary is to her credit. Yet many of these facets are characterized in broad strokes – for instance, “masculine” military strength and “feminine” sensitivity – and more nuance and appreciation of historical context would go a long way. For example, Gador-Whyte briefly discusses the roles of emotions in characterizing Mary; sensitivity to the theoretical issues with writing a history of emotions would help complicate the picture she paints. Overall, though, the masterful poetry of Romanos the Melodist shines through in this article.