This book explores a specific area of “reception history”: Byzantine hymnography’s use and interpretation of Scriptures, primarily the Old Testament (Septuagint), as part of Orthodox tradition. Lexical-biblical-theological analyses of selected Holy Week hymns show the distinctiveness of “liturgical exegesis” (hymnographic biblical interpretation) and its complementarity to “patristic exegesis.” Even though patristic exegesis and liturgical exegesis are closely interrelated in terms of authorship and basic methodology, this volume seeks to show the main dissimilarities between patristic (i.e., discursive) and liturgical (i.e., imagistic or intuitive) modes of biblical interpretation. The book aims to demonstrate the creativeness of “pre-critical” interpreters of the Bible, i.e., the Byzantine hymnographers. The volume’s introduction sums up the most important moments in the emergence of Byzantine Orthodox Holy Week, as well as the current structure of this liturgical cycle, with an emphasis on Byzantine hymnography. Part I of the book is a collection of lexical-biblical-theological analyses of selected Holy Week hymns spread over six days (and six chapters). The Holy Week hymnography was chosen as a case study for the rich and vast Byzantine hymnography. The analyses show different ways the Byzantine liturgists (i.e., hymnographers) incorporated and interpreted scriptural material, primarily Old Testament, in their hymns. Part II deals with liturgical exegesis and its key features and hermeneutical procedures. It also seeks to underline the differences between patristic biblical commentaries and Byzantine hymns, while advancing an analogy between liturgical exegesis and cubist art.