The kontakion would be sung in place of a spoken homily after the reading of the Gospel at one of the services comprising the daily cycle, such as Vespers or Matins. While we cannot be certain of details, it is reasonable to assume that a cantor, occupying a central position in church, would alternate with antiphonal choirs in the delivery. In a likely distribution of roles, the main narrative portion of each strophe would be chanted by a virtuoso cantor, while the choirs sang the refrains. From a glance at the metrical schemata in the Oxford or Bud editions, it is clear that the kontakia employed complex melody and rhythm. There can be little doubt that it was an important contribution on the part of Saint Romanos to depict the suffering of the Mother of God before the Crucifixion.
Inconsolable weeping emerges as the leading mood of the poem.
An important, if overlooked, aspect of Saint Romanos' teaching in this kontakion concerns proper mourning in a Christian context. Here, like many Church fathers before him, he connects a discourse on the Passion with a lesson on the Christian attitude towards death. Lay aside thy grief, Mother, lay it aside. Do not liken thyself to those who lack understanding, All-Wise Maiden. As in all kontakia, the theological program here is framed by the prooimion and concluding strophe.