σοι, ὁ θεός. (Deut. 32:1–14) Φύλαξόν με, κύριε. (Deut. 32:15–21) Δίκαιος εἶ, κύριε, (Deut. 32:22–38) Δόξα σοι, δόξα σοι. (Deut. 32:39–43) Εἰσάκουσόν μου, κύριε. (3) (4) & (6) with troparion Οἰκτείρησόν με, κύριε. (3) & (9a) with troparion Ἐλέησόν με, κύριε. (5) & Mannaseh (apokr. 2 Chr 33) with troparion Ἰλάσθητί μοι, κύριε. (7) which has a refrain in itself. The troparion The common term for a short hymn of one stanza, or one of a series of stanzas, is troparion. As a refrain interpolated between psalm verses it had the same function as the antiphon in Western plainchant. The simplest troparion was probably "allelouia", and similar to troparia like the trisagion or the cherubikon or the koinonika a lot of troparia became a chant genre of their own. A famous example, whose existence is attested as early as the 4th century, is the Easter Vespers hymn, Phos Hilaron ("O Resplendent Light"). Perhaps the earliest set of troparia of known authorship are those of the monk Auxentios (first half of the 5th century), attested in his biography but not preserved in any later Byzantine order of service. Another, O Monogenes Yios ("Only Begotten Son"), ascribed to the emperor Justinian I (527–565), followed the doxology of the second antiphonon at the beginning of the Divine Liturgy. Romanos the Melodist, the kontakion, and the Hagia Sophia The development of large scale hymnographic forms begins in the fifth century with the rise of the kontakion, a long and elaborate metrical sermon, reputedly of Syriac origin, which finds its acme in the work of St. Romanos the Melodist (6th century). This dramatic homily which could treat various subjects, theological and hagiographical ones as well as imperial propaganda, comprises some 20 to 30 stanzas (oikoi "houses") and was sung in a rather simple style with emphasise on the understanding of the recent texts. The earliest notated versions in Slavic kondakar's (12th century) and Greek kontakaria-psaltika (13th century), however, are in a more elaborate style (also rubrified idiomela), and were probably sung since the ninth century, when kontakia were reduced to the prooimion (introductory verse) and first oikos (stanza). Romanos' own recitation of all the numerous oikoi must have been much simpler, but the most interesting question of the genre are the different functions that kontakia once had. Romanos' original melodies were not delivered by notated sources dating back to the 6th century, the earliest notated