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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..e40409f --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #54150 (https://www.gutenberg.org/ebooks/54150) diff --git a/old/54150-0.txt b/old/54150-0.txt deleted file mode 100644 index e022978..0000000 --- a/old/54150-0.txt +++ /dev/null @@ -1,6963 +0,0 @@ -Project Gutenberg's The Medieval Latin Hymn, by Ruth Ellis Messenger - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Medieval Latin Hymn - -Author: Ruth Ellis Messenger - -Release Date: February 10, 2017 [EBook #54150] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MEDIEVAL LATIN HYMN *** - - - - -Produced by Stephen Hutcheson, Dave Morgan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - The Medieval Latin Hymn - - - Ruth Ellis Messenger, Ph.D. - - - Te decet hymnus - Deus in Sion - - _Psalm 65:1_ - - - CAPITAL PRESS - 1731—14th St., N. W. - WASHINGTON, D. C. - - - Copyright, 1953 - _by_ - Ruth Ellis Messenger - - ALL RIGHTS RESERVED - LITHOGRAPHED IN THE UNITED STATES OF AMERICA - - - _To_ - J. Vincent Higginson - - - - - Contents - - - Chapter Page - Preface ix - I. Early Middle Ages: Latin Hymns of the Fourth Century 1 - II. Early Middle Ages: The Old Hymnal 9 - III. The Ninth Century Revival: Hymns 19 - IV. The Ninth Century Revival: Sequences 35 - V. Late Middle Ages: Hymns and Sequences 46 - VI. Late Middle Ages: Processional Hymns 61 - VII. Influence and Survival of Latin Hymns 74 - Illustrative Hymns 83 - Notes 113 - Bibliography 123 - Index 135 - - - - - Preface - - -The purpose of this volume is to trace the history of the medieval Latin -hymn from the point of view of usage. It must be evident to any student -of a subject which is spread over a thousand years of human experience -in the widening environment of an entire continent that a guiding thread -is needed to show the way. One must not, at the same time, ignore the -fact that a monumental religious literature in the poetic field is -involved. But the hymn is functional, having its greatest significance -as a lyric when employed in an act of worship. Latin hymnology, -moreover, is an aspect of ecclesiastical studies following the history -of the Church through the classical and medieval ages into modern times. - -A wider cultural background than the immediate interest of theology and -religion is reflected in the hymns of any age. Here often lie secrets of -interpretation which make possible an appreciation of contemporary -thought. - -As the study of the medieval hymn is followed from the standpoint of -life and usage, the antiquarian and the literary critic, who cannot -fully satisfy the quest of the student for reality, must give place to -the medieval worshiper himself who has revealed in its entirety each -successive phase of a hymnological history not yet ended. - -For information about the Christian hymn as it existed prior to the -medieval era, the author’s _Christian Hymns of the First Three -Centuries, Paper IX_, a publication of The Hymn Society of America, may -be consulted. This account of primitive Christian hymnody, although -pre-medieval, serves as an introduction to the subject matter of the -present volume. - -The pages which follow are intended for the general reader rather than -the specialist in medieval culture or in the classical languages. -Biographies of hymn writers have not been attempted since the literature -of this subject is already extensive. Documentation has been reduced to -a minimum. A bibliography has been provided for any who are interested -in specialized fields. - -It is hoped that this brief study will have a modest part in opening up -to the general reader a field which has never been fully explored in any -language, especially English. An inclusive treatment is not offered here -but one which represents the fruits of a generation of research. - -My grateful thanks are due to my friends and co-workers in the fields of -classical studies, hymnology and medieval history who have assisted me -in countless ways, particularly to Dr. Adelaide D. Simpson and Dr. Carl -Selmer, both of Hunter College of the City of New York, who have read -the entire manuscript and offered invaluable criticisms and suggestions. -Among the many librarians who have assisted me in varied centers of -study, I am most indebted to the staff of the Library of Union -Theological Seminary of New York, under Dr. William Walker Rockwell and -later under Dr. Lucy Markley. Finally, I wish to acknowledge my -obligation to those authors and publishers who have granted permission -to use certain translations of Latin hymns which appear in this volume. - - - - - CHAPTER ONE - Early Middle Ages: Latin Hymns of the Fourth Century - - - I. The Early Hymn Writers - -The first mention of Christian Latin hymns by a known author occurs in -the writings of St. Jerome who states that Hilary, Bishop of Poitiers -(c. 310-366), a noted author of commentaries and theological works, -wrote a _Liber Hymnorum_.[1] This collection has never been recovered in -its entirety. Hilary’s priority as a hymn writer is attested by Isidore -of Seville (d. 636) who says: - - Hilary, however, Bishop of Poitiers in Gaul, a man of unusual - eloquence, was the first prominent hymn writer.[2] - -More important than his prior claim is the motive which actuated him, -the defense of the Trinitarian doctrine, to which he was aroused by his -controversy with the Arians. A period of four years as an exile in -Phrygia for which his theological opponents were responsible, made him -familiar with the use of hymns in the oriental church to promote the -Arian heresy. Hilary wrested a sword, so to speak, from his adversaries -and carried to the west the hymn, now a weapon of the orthodox. His -authentic extant hymns, three in number, must have been a part of the -_Liber Hymnorum_. _Ante saecula qui manens_, “O Thou who dost exist -before time,” is a hymn of seventy verses in honor of the Trinity; -_Fefellit saevam verbum factum te, caro_, “The Incarnate Word hath -deceived thee (Death)” is an Easter hymn; and _Adae carnis gloriosae_, -“In the person of the Heavenly Adam” is a hymn on the theme of the -temptation of Jesus.[3] They are ponderous in style and expression and -perhaps too lengthy for congregational use since they were destined to -be superseded. - -In addition to these the hymn _Hymnum dicat turba fratrum_, “Let your -hymn be sung, ye faithful,” has been most persistently associated with -Hilary’s name. The earliest text occurs in a seventh century manuscript. -It is a metrical version of the life of Jesus in seventy-four lines, -written in the same meter as that of _Adae carnis gloriosae_.[4] - -Pope Damasus, a Spaniard by birth (c. 304-384), is believed to have -written hymns in addition to the _Epigrams_ on the martyrs which -constitute his authentic poetry. It would seem probable that his -activities in identifying and marking the sites associated with the -Roman martyrs might have been supplemented by the production of hymns in -their honor. Two hymns bearing his name are extant, one in praise of St. -Andrew the Apostle and one for St. Agatha. Upon internal evidence the -ascription is dubious for they bear the mark of authorship too late to -be considered among the poems of this famous Pope. - -As a matter of fact, Ambrose, Bishop of Milan (340-397), remains the -uncontested originator of the medieval Latin hymn as it becomes familiar -to us in a uniform series of metrical stanzas adapted to congregational -use. Like Hilary, Ambrose was born in Gaul.[5] He was the son of -Ambrose, Prefect of the Gauls, and like his father he attained official -appointment under the Roman government as Consular of Liguria and -Aemilia, with Milan as place of residence. Theological controversy -between the Arians and the orthodox was raging at Milan, the Bishop -himself, Auxentius, having adopted the Arian position. Ambrose at this -time was a catechumen but at the death of Auxentius was obliged to -preserve order when the election of his successor took place. At that -very moment the popular mandate created Ambrose Bishop of Milan at the -age of thirty-four years. The period immediately following his election -found him constantly battling for orthodoxy in a contest which passed -beyond the limits of theological debate to the actual siege of orthodox -churches by the Arian forces. - -Ambrose was acquainted with the Syrian practice of hymn singing, and -like Hilary, he recognized the effective use of the hymn by the -proponents of the Arian heresy. It was not long before the congregations -in the basilica at Milan were chanting antiphonally the praises of the -Trinity in a similar form. Ambrose himself recorded his achievement, his -biographer Paulinus mentions the event and Augustine in his -_Confessions_ describes the congregational singing which he himself had -heard. - - We, though as yet unmelted by the heat of Thy Spirit, were - nevertheless excited by the alarm and tumult of the city. Then it was - first instituted that according to the custom of the eastern regions, - hymns and psalms should be sung, lest the people should faint through - the fatigue of sorrow.[6] - -Ambrose wrote hymns appropriate for morning and evening worship, four of -which now extant, can be proved to be of his authorship, _Aeterne rerum -conditor_, “Maker of all, eternal King,” _Deus creator omnium_, “Creator -of the earth and sky,” _Iam surgit hora tertia_, “Now the third hour -draws nigh,” and _Veni redemptor gentium_, “Come Redeemer of the -earth.”[7] Many others in keeping with his style and inspiration have -been preserved and subjected to critical study with the result that -eighteen hymns on varied themes are generally conceded to be Ambrosian. -Had Ambrose never conferred upon the church his gift of hymnody he would -still remain one of the great Latin Fathers of the fourth century, in -his functions as statesman, organizer and scholar. His contribution to -ecclesiastical poetry and music have made him influential century after -century. In this role he has spoken directly to multitudes of Christians -throughout the world, many of whom have been unacquainted with his name -or unaware that they were following the Ambrosian tradition of -congregational song. (See Illustrative Hymns, I. _Splendor paternae -gloriae_, “O Splendor of God’s glory bright.”) - -Spain shares the honors with Gaul as the birthplace of the earliest hymn -writers, claiming first Damasus and then Prudentius, (348-413?), a -lawyer, judge and poet of his era. Little is known of his life aside -from his literary work which includes two collections of hymns, the -_Cathemerinon_, a series for the hours of the day and the ecclesiastical -seasons and the _Peristephanon_, a series of much longer poems in praise -of the great martyrs of the early church. In his effort to learn more of -the circumstances attending their martyrdom, Prudentius went to Rome to -visit the scenes made sacred by their death and sufferings. Neither of -these collections was written for liturgical use but for devotional -reading. Both were destined to be appropriated by compilers of -hymnaries, especially in Spain. Hymns from the _Cathemerinon_, either in -their original form or in centos, spread throughout the Christian church -while the martyr hymns were also drawn upon but to a lesser extent. The -hymns selected for festival use are perhaps most familiar today, for -example, for Advent, _Corde natus ex parentis ante mundi exordium_, of -which the translation “Of the Father’s love begotten,” suggests the -original meter. The Epiphany hymn, _O sola magnarum urbium_, “Earth hath -many a noble city,” is also well known.[8] - -Considered merely as Latin poetry, the hymns of Hilary, Ambrose and -Prudentius are transitional in their literary character. They belong -neither to the poetry of the Silver Age of Latin literature nor do they -represent the medieval literary tradition. Of the metrical aspect -something will be said presently. By some the Ambrosian hymn is regarded -as a daring innovation and the model from which vernacular European -verse was later to develop. In that case, it constitutes a class by -itself. For evidence of the continuity of Latin poetry from the -classical to the medieval age we must turn to the _Carmina_ of Venantius -Fortunatus. - -Fortunatus (c. 530-600) was born near Treviso and lived as a youth in -northern Italy, studying at Ravenna. The greater part of his life, -however, was spent in Gaul which he visited first as a pilgrim to the -shrine of St. Martin at Tours, who, he believed, had been instrumental -in restoring his eyesight. At Poitiers he met Queen Rhadegunda, wife of -Clothair, King of Neustria. She had founded a convent at Poitiers and -there lived in retirement. This was his introduction to a life of travel -and of intercourse with the great. He was acquainted with bishops, -noblemen and kings whose praises he sang in many graceful tributes, -occasional poems and epitaphs. Through the influence of Rhadegunda, his -lifelong patron and friend, he was ordained, and after her death he -became Bishop of Poitiers, 597, where he lived until his death. As a -churchman he was an admirer and biographer of the saints of Gaul, -preeminently St. Martin whose life and miracles he recounted in poetic -form. - -Fortunatus seems to have carried with him from the Italian scenes -associated with the poetry of Virgil—an inspiration which was never -entirely lost. His poems suggest a familiarity with the literary -background of classical verse. During his mature life he lived in the -environment of sixth century Gallic society which was already assuming -its medieval Frankish outlines. Natural beauty and human companionship -were alike important to him. He was acquainted with men and women of -every degree from the monarch to the slave. - -Although the spirit of religious devotion and of orthodox belief is -evident in many of the hundreds of lyrics which he composed, four only -may be classed as hymns. Three of these are concerned with the theme of -the Holy Cross, _Pange lingua, gloriosi proelium certaminis_, “Sing, my -tongue, the glorious battle,” _Vexilla regis prodeunt_, “The banners of -the king advance,” and _Crux benedicta nitet_, “Radiant is the blessed -cross.” The fourth, _Tempora florigero rutilant distincta sereno_, -“Season of luminous days, marked bright with the birth of the flowers,” -is a Resurrection hymn.[9] It is impossible to indicate here the -extraordinary influence which this group of hymns has exerted in the -evolution of Christian hymnody, continuing in Gaul the tradition, as it -were, which Hilary first established. The circumstances of their origin -and their lasting values will be considered in connection with -processional hymns in Chapter VI. - -(See Illustrative Hymns, II. _Vexilla regis prodeunt_, “The banners of -the king advance.”) - - - II. Metrical Forms - -The problem of metrical forms and the prosody of the earliest Latin -hymns, in general, is a phase of the same problem affecting Latin poetry -as a whole. The subject is both complicated and obscure, entangled with -that of Latin rhetorical prose style, the transition from the -quantitative accent of ancient classical poetry to the stress accent of -medieval and modern verse and with the origin of rhyme. It is a problem -for specialists among whom opinions are now divergent. Toward a -practical understanding of the metrical values of the hymns of Hilary, -Prudentius, Ambrose and Fortunatus, the pragmatic test of what is -singable may be applied. The ancient balanced rhythms of Semitic poetry -as illustrated in the Hebrew psalms had been sung for generations. The -metrical lyrics of ancient Greece were sung to an instrumental -accompaniment as were the Latin lyrics of the Golden Age of Rome. These -highly polished classical forms were for the elite. Of popular poetry -which was sung in the period immediately preceding the appearance of the -Latin hymn, very little is known. The early writers were experimenters. -Hilary used classical meters with alterations, of which the trochaic -tetrameter catalectic proved most acceptable.[10] It is illustrated in -_Adae carnis gloriosae_ and also in hymns by Prudentius and Fortunatus. -Prudentius used a variety of meters in addition to the trochaic which -proved adaptable in actual liturgical practice but by that time stress -accent was beginning to obscure the original quantitative values. -Ambrose used the unrhymed iambic dimeter, a simple and singable form -which has been in vogue ever since, at first unrhymed after the original -models and later rhymed. The popular trochaic meter familiarized by -Hilary, Prudentius and Fortunatus, when transformed by stress accent and -rhyme, is easily recognized both in Latin and the vernaculars. -Fortunatus popularized the elegiac meter in hymns for a thousand years -by demonstrating its use in _Tempora florigero_. Prior to the ninth -century revival of hymnody, the Ambrosian hymn, considered as a metrical -model, in comparison with all other existing models, dominates the field -equally with its prestige as an expression of Christian theology and -devotion. - - - III. Hymns in Worship - -It is evident that the fourth century was one of innovation in the -custom of congregational singing as the Ambrosian hymn was more widely -diffused. Our knowledge of what actually took place is very incomplete, -based first upon the writing of Ambrose and his contemporaries and later -upon the hints derived from monastic usage. That morning and evening -services of prayer and praise were common is well known. That the -singing of the new fourth century hymns was an integral part of such -services is largely assumed. Prudentius wrote hymns for the evening -ceremony of the lucernare or lighting of the candles, a Christian -practice adopted from the Greek church, to which many references are -found. The fact that the hymns of Prudentius were in existence long -before they appeared in the records of formal worship points to early -Christian usage, however dimly perceived. - -Concerning music we learn from the most recent researches that “nothing -definite is known of the melodies that were actually applied to the -hymns of St. Ambrose.”[11] The traditional liturgical music of Milan is -known as the Ambrosian Chant. It cannot be traced to Ambrose himself but -is supposed to have existed in a simpler form than that which appears in -available manuscripts beginning with the twelfth century. At least it -may be said to have existed prior to the Roman Chant and perhaps have -influenced the latter. With a frank acknowledgement of ignorance as to -the antiphonal melodies which thrilled St. Augustine at Milan, the -possibility must be admitted that they reflected to some extent the -formal music of the synagogue or the music of the Greeks or the elements -of contemporary folk music because these were the musical materials of -which the Christians had experience. All three may have been -represented, but for a hymn of the Ambrosian type, the chant as evolved -in rendering the Gospels or the Psalms may have given place to a form of -song more characteristic of the lyric. - - - IV. Themes - -The tradition of Christian hymnology which upholds a way of life is -fundamental in Ambrosian and contemporary hymns. The “way” is the first -term by which Christianity was designated in the Scriptures. Thus to the -Scriptures the hymn writers turned for the living characterization of -their themes. The call to a virtuous life is sounded in _Splendor -paternae gloriae_ quoted above. Similarly throughout these hymns, the -high ideal of faith, purity, hope, patience, humility and love and the -ethical teachings derived from the words of Jesus and from the early -exemplars of the Christian religion are clearly expressed and enjoined. -Not alone for contemporaries in a period of crisis and controversy were -these hymns effective. They have continued to speak the same words in -the same spirit of joy and devotion derived from contact with the -earlier springs of faith to every succeeding century. - -The writings of men familiar with Roman civilization and trained in -classical culture would naturally be presumed to retain the flavor of a -non-Christian literature. Christianity had already appropriated from the -pagan philosophers those teachings which were congenial to its own. -Ambrose reveals both in his poetic and prose writings his acquaintance -with classical thought and literary models. Prudentius mingles the -classical and the Christian. Fortunatus was inspired by classical poetry -to a Christian expression of beauty in form and content. But in every -case, these characteristics are marginal. The core of their hymns is the -scriptural narrative. Not only is the subject matter faithfully -reproduced but the actual text is sometimes embedded in the verse. The -result is a rare objectivity and a lack of embellishment especially in -the works of Ambrose which became the preferred standard for later -writers.[12] - -The life of Jesus is a favorite theme particularly in those episodes -which were described and expanded in hymns for the Nativity, Epiphany, -Passion, Easter and Pentecost. From the episode of the Nativity the -praise of the Virgin was developed. The doctrine of the Trinity was -everywhere upheld in hymns, even as its defense had been influential in -their creation. - -The group of hymns which praise the early Christian leaders, either -directly or by incidental mention, form a nucleus for the impressive -medieval hymnology of the saints. The Apostles have first place both in -chronology and importance. Prudentius praised the Roman martyrs and -Ambrose those of Rome and Milan as well. Both honored Laurence the -Deacon and Agnes the Virgin. To the praise of the whole group “the noble -army of martyrs,” the hymn _Aeterna Christi munera_, “The eternal gifts -of Christ the King,” was written, unrivalled as a martyr hymn in any -period of Latin hymnology. - -(See Illustrative Hymns, III. _Aeterna Christi munera_, “The eternal -gifts of Christ the King.”) - - - - - CHAPTER TWO - Early Middle Ages: The Old Hymnal - - - I. The Hymn Cycles - -We owe the preservation of the earliest Latin hymns to monastic -practice. When the founders of monasticism in the west, Caesarius and -Aurelian who were famous bishops of Arles (6th C.), and Benedict (d. -543), founder of the Benedictine Order, organized the regulations and -routine for the communities under their charge, they incorporated Latin -hymns already existing into the daily worship of the monastery.[1] These -were sung at the services of the canonical hours and were known as hour -hymns or office hymns. - -A continuity can be traced, although faintly, from primitive Christian -observances. Beginning with the vigil of Saturday night in preparation -for the following Sunday, the first three centuries of Christian history -developed public services for prayer at candlelight, night time, and -dawn. By the fourth century, the tide of devotional practice had set in, -bringing with it daily worship in the church at the third, sixth and -ninth hours. At the end of the fourth and during the fifth century the -cycle was completed with new offices at sunrise and nightfall. The full -series, therefore, included the nocturnal cursus; vespers, compline, -matins (nocturns and lauds), and the diurnal cursus; prime, terce, sext -and nones.[2] An opportunity was afforded to unify the services and at -the same time to make use of the symbolic number seven by reference to -_Psalm 119: 164 (Ps. 118, Vulgate)_, “Seven times a day do I praise thee -because of thy righteous ordinances.” From the simple assemblies of -early Christianity, therefore, and the daily offices of prayer, a fully -elaborated cycle of hymns in time developed, appropriate to the -symbolism of the seven hours and to the needs of the annual feasts. -Constantly increasing in number and variety, these cycles were preserved -in psalters together with the psalms or in a hymnary by themselves. In -fact, the word _hymn_ came to mean specifically an office hymn later to -be associated with the breviary, and the word _hymnal_, a cycle or -collection of office hymns. - -At first the cycles were brief. Five extant manuscripts reveal the sixth -century group of hymns of which the best representative, the so-called -Psalter of the Queen from the famous collection of Queen Christine of -Sweden, probably dates from the time of Charles Martel (d. 741).[3] This -group of hymns is usually referred to as the _Old Hymnal_, the initial -version of which numbers thirty-four hymns but at the close of the sixth -century had increased to perhaps sixty hymns in actual use.[4] The -thirty-four original hymns of the _Old Hymnal_ are listed in the -Appendix to this chapter where the appropriate location of each is -indicated, whether for daily or seasonal worship. - -Due to the influence of Benedict who had enjoined the use of the -Ambrosian hymn, the authentic verse of Ambrose was preserved and -extensively imitated among the regular clergy. What had become of the -hymn in secular worship? - -The old prejudice against non-scriptural hymns and in favor of the -Psalms had never died out. By a canon of the Council of Laodicea (c. -364), _psalmi idiotici_ or “private hymns” were forbidden, a mandate -which was valid during the lifetime of Ambrose who, nevertheless, -ignored a restriction intended to safeguard orthodoxy but hardly -applicable in his case. In the sixth century the secular clergy of Spain -were forbidden to use hymns by the Council of Braga, 563.[5] The paradox -of encouraging non-scriptural hymns in the monastery and forbidding -their use in the church at large has been explained by reference to the -contemporary appearance of early forms of vernacular speech in western -Europe. Latin, the language of the church, its liturgy and its clergy, -was now threatened by a possible inroad of the vernacular.[6] Hymn -writing was regarded, perhaps, as a prerogative of the clergy to be kept -within bounds. To throw open to the church everywhere these privileges -might be dangerous alike for theology and worship. Learning in the Latin -tongue tended to be concentrated in the monastery, for other centers of -scholarship were few and far between; hymnology became largely a -function of the monastic group. - -It should be remembered that these centuries embraced a period of the -greatest political, economic and social confusion in western Europe -during which we know relatively little about Christian worship in -widespread congregations except for the rite of the mass. Yet in the -sixth century the opposite tendency toward greater freedom in writing -and singing hymns was apparent. The Council of Tours, 567, permitted the -secular clergy to use Ambrosian and other hymns.[7] If viewed in this -light, the religious verse of Fortunatus takes on a new significance, -illustrative of the freedom which the Church in Gaul, always highly -individual, now experienced in the realm of hymnology. - -Gaul, then, was the scene of a conflict in which the Latin hymn was -contending, and that successfully, for its very life. On the monastic -side, anonymous clerics, using the Ambrosian model, gradually provided -the full complement of hymns for the annual festivals in harmony with -the liturgical year which began to emerge and resemble somewhat its -present form. Wherever the Benedictine Order penetrated into the -territories of western Europe, the use of hymns likewise increased. -Their diffusion must be regarded as comparable with that of an -organization which within two hundred years of the death of its founder -boasted hundreds of monasteries and convents throughout western -Christendom, augmented by Irish and other foundations which had adopted -the Benedictine Rule. Missionary zeal had played a significant role in -this expansion. Fulda, for instance, a community with 400 monks and many -missionaries at its disposal, was able under Willibald to extend its -influence through numerous subordinate monasteries and convents. Royal -favor, already enjoyed by St. Gall and now conferred upon new -establishments, rivalled that of popes and synods, which at the time of -Pippin’s coronation in 750 or 752, combined to insure the success of the -Benedictine program.[8] - -On the side of secular worship, the hymnal used by Benedict and his -successors gradually gained a foothold in the church through diocesan -centers which adopted the monastic cycles. Or perhaps it may be said, -with the reservation that we are in the realm of theory and not of fact, -that the ancient hymns written prior to the sixth century had been -circulated and continued to be circulated in the west in a way not at -present understood, in connection with the Gallican or ancient liturgy -of Gaul. If so, the _Old Hymnal_ is the Gallican hymnal which Benedict -appropriated and his followers maintained to its acknowledged prestige -by the year 750. - -An episode of significance for hymnology during the period under -consideration in this chapter is the activity of Gregory the Great who -occupied the papal throne from 590 to 604. A member of the Benedictine -Order, he is noted for his enthusiastic support of its missionary -program and for his interest in ecclesiastical music and poetry. His -role in the extension of the Roman Rite and of the Benedictine Order to -Britain is familiar to all.[9] His authority in the western church is a -matter not of controversy but of fact. That he was deeply interested -both in hymn writing and singing may be safely assumed for there are too -many reports of his activity to be ignored. His actual role in the -development of the chant which bears his name and the authorship of -eight to eleven hymns attributed to him, have not been determined. For -Gregory’s contribution to the ritual music of the church the reader is -referred to the discussion of this subject by specialists in the field -of liturgical music. For his contribution to the hymn cycles, modern -hymnologists have judged even the eight hymns singled out as Gregorian -by Benedictine editors, to be doubtful although the nocturn and vesper -hymns may be authentic.[10] Aside from critical research the fact -remains that all these hymns appear in the cycles of the day and several -have been in liturgical use to the present time. They are representative -of the hymnology of the transition between the _Old Hymnal_ and the -later cycles whose hidden origins Gregory may have influenced. - -(See Illustrative Hymns, IV. _Nocte surgentes vigilemus omnes_, “Father -we praise Thee, now the night is over.”) - - - II. Mozarabic Contributions - -The list of hymns in the _Old Hymnal_ (See Appendix) reveals at a glance -the presence of nine Mozarabic hymns. Mozarabic is a term applied to the -Christian inhabitants of Spain under Moslem rule and also to the rites -of the Christian Church prevailing throughout the Visigothic and Moslem -periods. It is the former or Visigothic period extending from the -foundation of the Kingdom by Euric, 466, to the entry of the Moslems in -711, which claims our attention here. Connections between Spain and Gaul -at this time were very close for the Visigoths ruled a large part of -what is now southern France from the Atlantic to the Maritime Alps. The -great churchmen of Spain, especially Isidore, Archbishop of Seville (d. -636), performed the same service for Christian hymns in Spain which the -monastic leaders performed in Gaul. In his _Etymologiae_ and his _De -officiis ecclesiasticis_, Isidore considers the subject of music and -liturgy. His _Regula monachorum_, built partly on older rules observed -in Spain, is an evidence of his interest in monastic reform. As -presiding bishop of the IV Council of Toledo, 633, he was at the height -of his reputation.[11] Braulio, Bishop of Saragossa, (631-651), his -pupil and literary executor, bears witness to his fame.[12] He himself -maintained the liturgical tradition which was continued with great -success by Eugenius II, Primate of Toledo, (646-657), Ildefonsus who -held the same rank, (659-667), and others. As the result of the literary -and liturgical movement initiated by these leaders, supported by the -councils and schools, the Mozarabic hymnology was rapidly developed. The -canons of the IV Council of Toledo, for which Isidore may have been -personally responsible, require uniformity of the rites and offices -throughout Spain and Gaul. The thirteenth canon upholds the validity and -appropriateness of hymns by Christian authors against those who would -restrict the hymnody of the Church to the Psalms of the Old Testament. -After a discussion of the old prohibitions and the reasons for approving -the new compositions, Canon 13 reads: - - “As with prayers, so also with hymns written for the praise of God, - let no one of you disapprove of them but publish them abroad both in - Gaul and Spain. Let those be punished with excommunication who have - ventured to repudiate hymns.”[13] - -Building upon the work of Ambrose, Sedulius and notably Prudentius, -their own countryman; adapting ancient traditions of congregational -worship and monastic usage, the liturgists of the seventh century must -have collated for the use of the clergy approximately sixty-five hymns -from sources originating prior to their own day. These ancient hymns -form the nucleus of the Mozarabic Hymnal, the earliest manuscript of -which dates from the tenth century. They reveal interrelations between -the Spanish and Gallican churches and they indicate a continuity of hymn -singing from primitive congregational usage like the Ambrosian to the -seventh century revival and extension of non-scriptural hymns.[14] - -(See Illustrative Hymns, V. _Alleluia piis edite laudibus_, “Sing -alleluia forth in duteous praise.”) - - - III. Celtic Hymns - -The Celtic inhabitants of the British Isles from the period of the -introduction of Christianity maintained individual features of liturgy -and organization, especially in their monastic groups. The contemporary -Saxon Church of the seventh century, however, had been drawn into the -Roman sphere of influence by Gregory the Great who was also in touch -with Celtic leadership. The ancient record of the interchange of hymns -written respectively by St. Columba of Iona and by Gregory preserves -more than a report incapable of proof.[15] It points to reciprocal -interest in the evolving hymnology of the sixth and seventh centuries in -Celtic and continental regions. - -The so-called Bangor Antiphonary of the seventh century is the earliest -manuscript containing hymns, twelve in number.[16] Its contents are -otherwise miscellaneous, including a list of the abbots of Bangor. -Hilary’s supposed hymn from this collection, _Hymnum dicat turba -fratrum_, has already been cited. An ancient communion hymn, _Sancti -venite Christi corpus sumite_, “Draw nigh and take the body of the -Lord,” is included and _Mediae noctis tempus est_, “It is the midnight -hour,” an office hymn common to the hymnals of Spain and Gaul. Among -other important sources is the Irish _Liber hymnorum_, preserved in an -eleventh century manuscript of Dublin which contains Columba’s hymn, -_Altus prosator_, “Ancient of days,” honoring God the creator, and the -_Lorica_ or _Breastplate Hymn_ of St. Gildas (6th C.), _Suffragare -trinitatis unitas, unitatis miserere trinitas_, “Grant me thy favor, -Three in One, have mercy on me, One in Three.”[17] - -On the whole Celtic hymns exhibit great variety in subject matter and -purpose with many departures from the type of hymn cycle in use on the -continent. Indeed, the group of from fifteen to twenty hymns produced in -the centuries under consideration are highly distinctive. The Ambrosian -tradition is not apparent. Non-Ambrosian meters are illustrated in all -three hymns cited above while alliteration, the _abcd_ form, repetition -of initial words and other metrical devices are found throughout the -collection. There are hymns for the offices and communion, metrical -prayers and a group of hymns for saints, some bearing witness to local -cults. Poetic individuality marks them all.[18] Contemporaneous with the -flowering of Celtic hymnology, the seventh century saw the beginning of -the cultural invasion of the continent by Celtic scholars, teachers and -missionaries whereby two streams of culture, previously isolated, united -with significant results for the hymnology of the future. - -(See Illustrative Hymns, VI. _Sancti venite Christi corpus sumite_, -“Draw nigh and take the body of the Lord.”) - - - IV. Summary - -The account of the Christian hymns of necessity accompanies that of the -Christian organization, moving from the shores of the Mediterranean and -the Christian centers in Roman provincial areas into the “regions -beyond” of missionary effort. Although congregational singing in the -Ambrosian sense appears to have been submerged in this process, the -traditional hymnody was preserved, new hymns added and the foundation -laid for the ninth century revival. - -Anonymity is the rule and known authorship the exception for the hymns -produced in the fifth, sixth, seventh and eighth centuries. This -continued to be the rule during the whole medieval period since the -names of those who wrote the non-scriptural parts of religious rites -were lost or unknown or perhaps of little importance in communal -worship. The fact that the hymns which survive have been gathered from -liturgical manuscripts and not from the work of individual authors -except in rare cases, should make anonymity more intelligible. - -Hymn sources are scanty and interconnections, dimly perceived, can -rarely be established. Continuity of evolution is often broken or -replaced by new poetical inspiration. However, the fourth century appeal -to the objective, the direct, the simple, is seldom varied by the -subjective theme. The biblical narratives and the symbolism connected -with the various offices and feasts add substance and character to the -cycles and to the concept of the liturgical year. - -In the heart of the Dark Ages, popularly considered, western European -civilization was in confusion and its fate problematical. One could -scarcely expect the fruits of peace and security to flourish. Yet in -these very centuries there were created and circulated many of the best -loved hymns of Christianity, a number of which have been in unbroken use -to the present day. Among them are the illustrations inserted above and -_Lucis Creator optime_, “O blest creator of the light;” the Advent -hymns, _Verbum supernum prodiens_, “High Word of God who once didst -come,” and _Conditor alme siderum_, “Creator of the stars of night;” the -Easter hymn, _Claro paschali gaudio_, “That Easter day with joy was -bright;” for the dedication of a church, _Urbs beata Jerusalem_, -“Blessed city, heavenly Salem” with the more familiar second part, -“Christ is made the sure foundation.” Two hymns honoring the Virgin date -from this period: _Ave maris stella_, “Hail, Sea-Star we name Thee,” and -_Quem terra pontus aethera_, “The God whom earth and sea and sky,” -initiating the Marian hymnology of the Middle Ages.[19] - -(See Illustrative Hymns, VII. _Ave maris stella_, “Hail, Sea-Star we -name Thee.”) - -Created and preserved in a clerical and for the most part a monastic -environment these hymns express the Christian thought and faith of the -era which was thus treasured up for wider circulation and influence in a -later and more settled society. The words of the late Canon Douglas, a -great American hymnologist, are memorable in this connection: - - “What does have a practical bearing on our subject is, that whatever - may have been the older cycle, it was enriched to an extraordinary - degree in the early medieval centuries. What began in Milan, and - achieved its permanent recognition at Monte Cassino, was soon to bring - about a Mozarabic Hymnal in Spain, a Gallican hymnal in northern - Europe, an Anglo-Irish cycle in Britain: and from all these various - increments not only enlarged the growing Hymnal but also richly - diversified it.”[20] - - - Appendix - _Old Hymnal_ (_See Anal. Hymn., 51, Introduction_ p. xx). - - _Ad nocturnas horas_ - _Mediae noctis tempus est_ (Mozarabic; in Bangor Antiphonary) - _Rex aeterne Domine_ - _Magna et mirabilia_ - _Aeterne rerum conditor_ - _Tempus noctis surgentibus_ - - _Ad matutinas laudes_ - _Deus qui caeli lumen es_ - _Splendor paternae gloriae_ - _Aeternae lucis conditor_ (Mozarabic) - _Fulgentis auctor aetheris_ (Mozarabic) - _Deus aeterni luminis_ (Mozarabic) - _Christe caeli Domine_ - _Diei luce reddita_ - - _Ad parvas horas_ - _Postmatutinis laudibus_ - _Certum tenentes ordinem_ (Mozarabic) - _Dicamus laudes Domino_ (Mozarabic) - _Perfectum trinum numerum_ (Mozarabic) - - _Ad vesperas_ - _Deus creator omnium_ - _Deus qui certis legibus_ (Mozarabic) - _Deus qui claro lumine_ - _Sator princepsque temporum_ - - _Ad completorium_ - _Christe qui lux es et dies_ (Mozarabic) - _Christe precamur adnue_ - - _Proprii de tempore_ - _Intende qui regis_ - _Illuminans altissimus_ - _Dei fide qua vivimus_ - _Meridie orandum es_ - _Sic ter quaternis trahitur_ - _Hic est dies verus Dei_ - _Iam surgit hora tertia_ - _Iam sexta sensim volvitur_ - _Ter hora trina volvitur_ - _Ad cenam agni providi_ - _Aurora lucis rutilat_ - - _De communi martyrum_ - _Aeterna Christi munera_ - - - - - CHAPTER THREE - The Ninth Century Revival: Hymns - - - I. Background of Carolingian Culture - -To explain fully the origin of a great literary movement must always be -difficult, for the subtle influences affecting its beginnings elude a -scientific analysis of facts. One observes the revival of Latin -hymnology between 750 and 900 A.D. with amazement. The voices of -Ambrose, his contemporaries and his immediate imitators had been -silenced for centuries. Venantius Fortunatus had stood forth, a solitary -survival of the old Latin poetic genius or, perhaps more accurately, a -solitary herald of the new medieval awakening. Then a flowering of -religious poetry spread over western Europe, not to be withered by new -barbarian invasions but to be the permanent possession of the Christian -Church. - -In this period the older cycles of office hymns were revised and -expanded and fresh cycles created in such numbers as to justify the new -terminology of the _Later Hymnal_ or _Ninth Century Hymnal_. The -sequence arose in the formal worship of the mass, affording a new -inspirational to clerical poets and resulting in a body of sacred verse -of increasing influence. The processional hymn and its related forms -appeared in response to the new impulse toward a hymnic accompaniment to -ceremonial acts. In effect, the hymn during the period under -consideration, was well established in every aspect of formal worship. - -In the background of the age which created this literature must be -sought the trends and motivation which make intelligible the voices of -its interpreters. Accordingly, in the years from 750 to 900 A.D. when -the Carolingian rulers, Pippin, Charlemagne, Louis the Pious and Charles -the Bald were guiding the destinies of the Franks, the various -influences affecting public worship must be surveyed. The most important -were the liturgical reforms undertaken or sponsored by the Carolingian -rulers; their promotion of ecclesiastical music and singing; their -interest in the reform and expansion of the Benedictine Order; the -literary activity of members of the Carolingian court circles who -devoted themselves to liturgical studies or poetic expression; the part -played by Celtic culture; the infiltration of Byzantine ideas and arts -and the rise of Germanic genius. - -The introduction and permanent establishment of the Roman liturgy in -Frankish realms form the background of public worship in the Carolingian -era. When Pippin ascended the throne in 752, the Gallican Rite -prevailed. When the reign of Charles the Bald came to a close in 877, -the Roman Rite was supreme.[1] Charlemagne received the Gregorian -Sacramentary from Pope Hadrian I.[2] Stimulated by his desire to unify -the Germanic peoples under papal as well as imperial authority, he -brought about by royal edicts or capitularies a widespread reform in the -western continental church. Those features of his program which affected -hymnology include requirements that priests must be educated, that monks -observe their monastic rule, that the singing of the psalms and the -_gloria_ be improved, that schools of singing and grammar be founded in -monastic and diocesan centers, that both regular and secular clergy be -urged to acquire knowledge and skill in singing, that the Roman Chant be -ordained, that a singing school be established at Aix-la-Chapelle, that -the clergy read and sing well.[3] Charlemagne’s successors, Louis the -Pious and Charles the Bald continued his reforming policy. - -In the legislation cited above, Charlemagne had followed his father’s -example which favored a training in Gregorian music under Roman -teachers, as developed in the schools of Rome.[4] Pippin’s interest had -resulted in the establishment of a musical center of great repute at -Metz[5] which also possessed a cathedral school representative of the -finest institutions which flourished at this time side by side with -monastic centers of learning. - -Charlemagne was presented with a copy of the Benedictine Rule with choir -rules, office and festival hymns, by Theodomar, Abbot of Monte Cassino, -sometime between 787 and 797.[6] It became his chosen duty to promulgate -the Rule, to require its observance everywhere within his realms and -further to extend the influence of the Order in general. Consequently, -monastic centers of music arose, for example, at St. Gall where the -hymnody of the offices was fostered and gradually made available for the -bishoprics as well. Louis the Pious, (814-840), and Charles the Bald, -(843-877), in their turn continued the patronage of the Benedictine -Order. Already fortified by the efforts of Charlemagne, the Benedictines -entered a period of religious and cultural influence which was later -merged into the age of the universities. Linked directly with the -program for monastic reform, the impulse to write new hymns and the -encouragement to finer musical performance together created the annual -cycles of this period in which the older hymns were retained and -supplemented by the new. - -The writers and literary leaders of the Carolingian period were by -virtue of their clerical profession actively engaged in liturgical -studies. Alcuin compiled the missal which established the Gregorian -Sacramentary in Frankish realms and constituted a recension acceptable -to the Roman Church.[7] A significant innovation for hymnology was the -decorative procession.[8] Alcuin was also influential through his -devotional works which supplemented the public worship of the mass and -offices. Paulus Diaconus and Angilbert were second to Alcuin in -promoting liturgical studies. The works of the great writers were -accompanied by numerous writings of lesser importance which bear -witness, as will be evident below, to the increasing practice of -hymn-singing. The influence of the Roman Rite, largely barren of hymns, -was at the same period, in contact with the influence of Benedictine -precedent in hymn singing which in the end prevailed. - -The Latin poetry associated with the Carolingian era has been edited and -published in a monumental form under the title _Poetae Latini Aevi -Carolini_.[9] The collection, produced in the spirit of a classical -revival by a circle of court poets, includes secular as well as -religious verse. - -Carolingian culture not only in the specific field of literature but in -the broader sense afforded a medium for the spread of Celtic, Byzantine -and Germanic genius. The Celtic portion of the poetry in the early -monastic cycles has already been described in connection with the _Old -Hymnal_. Prior to the eighth century, a transfer of Celtic scholarship -to the continent began to take place. The missionaries, Columbanus, -Gall, Foilan, Disibod and others, came first, during the seventh and -eighth centuries. Refugees, fleeing before the Norse invasions of the -late eighth and ninth centuries, followed. Wanderers and pilgrims -crossed the Channel, among them _peregrini_ who left their homeland to -live in new countries as a means of spiritual satisfaction and reward. -Scholars came also who hoped for a more sympathetic reception for their -teachings among the continentals.[10] On the whole, Celtic immigrants -found a welcome. Charlemagne himself favored them.[11] Celtic teachers -were proficient in orthography, grammar, Greek, scriptural and -liturgical subjects and the arts.[12] They brought with them -manuscripts, the influence of which was felt, not only in their subject -matter but in musical notation and characteristic scripts.[13] The -Bangor Antiphonary, the hymns of which have already been considered, -came to the continent at this time. Among the famous teachers of music -was Marcellus[14] who, at St. Gall, instructed Notker, Tutilo, Waltram -and Hartmann, a fraternity devoted to finer ecclesiastical music and -hymnody. - -The role of Byzantine influence cannot be ignored in any account of the -cultural and historical background of ninth century literature. One -should recall that the Carolingian period was an era of general European -intercourse which could not fail to have an effect upon society. The -foreign relations of the Frankish Empire necessitated much traveling, -visiting and correspondence. Warlike as well as peaceful movement, -commercial or cultural, increased the interchange of ideas. There was an -overlapping of boundary lines, too, which amalgated populations. The -infiltration of Byzantine influence might be conceived as a by-product -of European intercourse. - -Insofar as hymnology is concerned, musical contacts between the -Byzantine and Frankish realms were frequent. As early as Pippin’s reign, -Byzantine musicians appeared at the Frankish court with a gift of an -organ from the Emperor Constantinus Copronymus.[15] Many refugee monks -who fled to the west during the iconoclastic controversy remained there -even after its close in 787, enjoying monastic hospitality and imperial -favor. Charlemagne permitted them to use the Greek language in worship -and was so much impressed by the music employed in chanting the psalms -that he caused it to be adopted for the Latin version also.[16] The -paramount influence of Byzantine music upon liturgical practice in the -west will be considered more fully in connection with the sequence. - -Verifiable traces of Byzantine influence had already appeared with the -activities of Gregory the Great and are entirely comprehensible, so far -as he is concerned, in view of his residence at Constantinople, 579-585, -as papal envoy of Pelagius II.[17] The importation of litanies into the -west illustrates this type of influence. When Charlemagne received the -Sacramentary from Pope Hadrian I, it was labelled “Gregorian.” But in -the interval between the lives of Gregory and Charlemagne, popes of -eastern origin, ruling at the end of the seventh and the beginning of -the eighth century were responsible for western practice.[18] The -influence of the Eastern upon the Western Church seems to have been -cumulative, with Charlemagne in his day acting as the agent for its -diffusion throughout the Frankish Church. - -In matters concerning the church and its worship the Greeks were an -acquisition not only as musicians but as scholars and as experts in the -fine arts. Their scholarship was in demand in New Testament studies. -Illustrations of Greek and of oriental inspiration in general are -numerous in architecture, painting, sculpture, ivories, work in precious -metals and the decoration of manuscripts.[19] Perhaps it was a natural -desire to emulate the splendor and ornament of eastern rites which led -Charlemagne to favor Greek elements in western observance at the expense -of the Gallican. - -In the midst of Gallic, Celtic, Italian, Byzantine and oriental -influences mingled in Carolingian culture, the presence of native genius -is strongly felt. Charlemagne has been criticized for his devotion to -classical rather than Germanic culture. Sacred poetry as produced in the -Carolingian literary circles, was written in Latin and clothed in -classical garb. It could hardly have been otherwise since Latin was -demanded by the Church and the vernacular languages of western Europe -were then in their early infancy. But in spite of the studied -artificiality of this verse, a note is sometimes heard in harmony with -the poetry of later centuries which emanates from Germanic sources. - -Such in brief is the background of that revival of hymnody which appears -in the Carolingian period. It remains to trace, in detail, the evolution -of the monastic hymnal known as the _Later_ or _Ninth Century Hymnal_. - - - II. The Later Hymnal - -The enlargement and diversification of the Hymnal to which Canon Douglas -referred in the words quoted at the close of Chapter Two, occurred -within the general historical limits of the Carolingian era and with the -exception of Spain and the British Isles, within the general -geographical limits of Carolingian political influence. The hymn cycles -of the period, recorded in manuscripts which reflect the numerical -increase in hymns as well as their diffusion upon the continent, are -associated with religious centers, for example, St. Martial, Laon, -Douai, Moissac, St. Germain-des-Prés, Corbie, Jumièges, Reichenau, -Treves, Schäftlarn near Munich, Murbach, Rheinau, St. Gall, Einsiedeln, -Bobbio, Monte Cassino, Benevento, Padua, Toledo, Canterbury, Naples and -many other places. The nucleus of the _Later Hymnal_ has been identified -with the hymn cycle found partly in a _hymnarium_ of the ninth century -from St. Paul’s in Lavantthal, Carinthia, and partly in a similar -manuscript from Karlsruh, both manuscripts being associated with -Reichenau.[20] The basic hymns from this group of sources current in the -Carolingian period are listed in the appendix to this chapter. A -complete list of the manuscript sources (prior to 1100), including the -above and others, with an index of the hymns which they contain, -approximately 800 in number, was provided by James Mearns, the English -hymnologist, in his _Early Latin Hymnaries_.[21] - -So much for the evidence as to the actual hymns in use from sources -available at the period when the _Later Hymnal_ flourished. The origin -of the _Later Hymnal_, however, is far from clear. It has been defined -as a collection arising about the seventh century which superseded the -_Old Hymnal_ and has since prevailed.[22] This opinion advanced by Blume -and affirmed by Walpole, depends upon the theory that the later cycle -had been in use in the British Isles since the period of Gregory the -Great. An Anglo-Irish cycle therefore, was posited which took possession -of the continent, usurping the original Benedictine hymnal. As early as -1911, Blume’s theory was questioned by Wilmart, the Benedictine scholar, -who asserted that the early cycle constituted a Gallican hymnal only,—a -possibility mentioned above. He thought that the _Later Hymnal_ was a -new version of the Benedictine cycle representing a normal growth -through the centuries. Other critics of note have adopted one or the -other viewpoint, Frere following that of Blume; and Raby, that of -Wilmart.[23] A final solution is obviously impossible for lack of -manuscript evidence. - -At the accession of Charlemagne, 768, the future of liturgical hymnody -was uncertain as the forces of Roman usage and Benedictine practice were -in conflict and the possibility of transferring the Benedictine heritage -to the church extremely doubtful, as the preceding survey has already -made clear. Secondary forces, however, were at work to achieve this very -end. First, the early gains made in compiling the Gallican Hymnal and -extending it to the secular clergy were never entirely lost. A precedent -had been set. Second, the Benedictine cycle was enjoined wherever the -Rule was effective and its use was further stimulated by royal -capitularies upon the subject of music and singing. Third, the -establishment of monastic centers of music in the leading Benedictine -abbeys was productive of literary as well as musical effort, attested by -the very manuscripts of hymn collections gathered there. The manuscripts -of St. Gall, for example, cover every department of contemporary -medieval hymnology. - -Charlemagne was particularly interested in St. Gall but was also -concerned with the monastic centers at Mainz, Fulda, Treves, Cologne, -Bamberg, Hersfeld, Lorsch, Würzburg and Reichenau.[24] He founded -Neustadt and endowed twelve monasteries in Germany. Meanwhile missionary -zeal had guided Benedictine pioneers beyond the old boundaries, and -Bavaria and Frisia had already been opened to missions and incidentally -to the full round of Benedictine activities. Louis the Pious was active -in monastic reform through his association with Benedict of Aniane; he -was a special patron of St. Gall and he stimulated the efforts of -leaders from Corbie to found New Corbie. Charles the Bald was a -benefactor of Marchiennes, Compiègne, Prum and St. Denis.[25] Prior to -this period, the numerous and influential foundations established on the -continent by Irish monks had adopted the Benedictine Rule, swelling the -total number of centers devoted to religious and educational activities. - -The numerical increase in the Benedictine abbeys offers in itself -presumptive evidence of a greater use of hymns. What is known of the -monastic centers and their store of hymnaries offers direct proof. A -closer bond between the Order and the cultural activities of the age is -found in the great personalities drawn from Benedictine ranks to serve -the imperial designs. Of particular interest here are the statements -regarding hymns and hymn singing which appear in contemporary writings. - -Alcuin was chiefly interested in the Roman liturgy as such but he wrote -_De psalmorum usu_, _Officia per ferias_ and the _Epistolae_, the last -of which shows a special interest in music. Rabanus Maurus testifies to -the general use of hymns by secular as well as regular clergy. Amalarius -of Metz mentions the use of hymns outside the monasteries. Walafrid -Strabo traces the use of hymns from the time of Ambrose and repeats the -Canon of Toledo recommending hymns. He says that churches which do not -use hymns are exceptional.[26] The testimony is scattered but it points -to the adoption of the hymnal by the secular clergy. It should also be -recalled that the Ambrosian tradition of musical independence was -constantly maintained at Milan. - -As the Latin language became more and more an exclusive clerical -possession, the old safeguards provided by monastic walls were no longer -necessary. The whole body of clergy whether regular or secular became -the custodians of the hymnaries used in monastic and diocesan centers of -music and scholarship.[27] The Christian laity of Europe at this period -may have been largely ignorant of their hymnic heritage because the -Carolingian extension of hymn writing and hymn singing occurred within -clerical ranks. There was at this time scant indication of the future -course of Latin hymnology which would ultimately restore to the layman -his original possession handed down from the Early Christian Church. - -The poetical writings of the era included a substantial body of -religious verse from which hymns are attributed to the following -authors: Paulus Diaconus, 1; Paulinus of Aquileia, 7; Alcuin, 3; -Theodulphus, 1; Rabanus Maurus, 2; Walafrid Strabo, 5; Florus of Lyons, -2; Wandelbert of Prum, 1; Paulus Albarus of Cordova, 1; Cyprian and -Samson, 2; Sedulius Scottus, 2; Milo, 2; Ratbod, 2; Hucbald, 1; -Hartmann, 4; Ratpert, 4; Eugenius Vulgarius, 1; these with 73 of -doubtful authorship make a total contribution of 114 hymns. - -(See Illustrative Hymns, VIII. _Ut queant laxis resonare fibris_, “In -flowing measures worthily to sing,” Paulus Diaconus.) - -Ambrosian meters are set aside in favor of the classical meters of the -Greeks, the Sapphic and elegiac meters proving to be the most popular -thereafter. To what extent this influence is actually observable in hymn -cycles may be determined by a comparison of the list of Carolingian -hymns with the lists of hymns provided by Blume, Julian or Mearns. -Batiffol selected thirteen as found in later breviary lists[28] but the -actual direct contribution is much larger if other than breviary hymns -are admitted. Moreover, the literary and liturgical studies of the time -broadened the original Benedictine concept that the hymns of the -monastic cycle should be Ambrosian in style. The hymns of Sedulius and -particularly of Prudentius and Fortunatus were recognized, introduced or -freely adapted to ecclesiastical usage. - -The direct influence of Celtic culture upon the new hymn cycles must be -associated with the introduction of biblical and liturgical works -containing hymns into Frankish territory. Later, hymns were written by -Celtic scholars, for instance, Samson, Sedulius Scottus (enumerated -above) and possibly others who are anonymous. Blume’s theory of the -Anglo-Irish hymn cycle, originally sponsored by Gregory the Great and -finally transferred to the continent, illustrates the most decisive form -which Celtic influence has so far been presumed to have exerted. The -list of hymns (see Appendix) bears, on the contrary, no resemblance to -the group of contemporary Celtic hymns.[29] It seems much more probable -that Gregory, the Benedictine Pope, approved the use in Anglo-Irish -lands, of the continental hymn cycle which the Order was responsible for -carrying northward with it when it entered Britain. In any case, the -Benedictine cycles from the ninth century onward are enriched from every -aspect of the diverse culture of the age, in which the Celtic -contribution, both direct and indirect, is important. - -At this period hymnology in the Greek-speaking world was at its height. -Yet proof is sought in vain that Greek hymns were used in the west, -either in the Greek language or in translation. The hymnal of the -Western Church received from Greek sources its recorded tunes, not its -words. Although the earliest liturgical manuscript with musical notation -dates from the ninth century, the Greeks had already given their neumes -to the west. As for the hymn melodies which are crystallized in these -manuscripts when they do appear, theories of origin abound. A definite -system of notation was in existence from the seventh century but hymns -had been sung from the fourth century. - -In modern times through the consecrated efforts of Benedictine students -of the chant, working chiefly at Solesmes, a collation of the existing -musical manuscripts produced in the Middle Ages, has been made. Their -object has been to determine the authentic melodies of the Benedictine -cycle throughout its long history. Today the results of their -scholarship are available to the public and the great hymns which they -have fostered may be heard as well as read in their medieval form. - -The assimilation by the Franks, of alien cultures whether through -conquest or peaceful interchange, may have been to a certain extent -inevitable and involuntary. Such phenomena occur in every period of -history. It is the conscious appropriation by the Carolingian leaders of -a cultural heritage and its organization through existing institutions -which reveals their true genius. This same process had taken place when -Roman genius secured and conserved the achievement of the Greeks. In the -field of religious culture with which this volume is concerned, an -unbroken continuity had been maintained from the days of the primitive -church. Even in the minor category of Christian hymnology, the hymnal as -such, created in the fourth century, was to flourish all the way into -our own times and might have done so without any special intervention. -Historically speaking, in the ninth century and under Frankish auspices, -a transformation took place which must be attributed to the conscious -effort of Frankish churchmen who, receiving the old hymnology, restored -it to formal worship with a much larger content and a greatly -diversified form. Herein lies the fundamental contribution of Germanic -genius to the _Later Hymnal_. - -Individual hymn writers of the Carolingian age have been named above as -far as they are known, of whom Theodulphus of Orleans, Rabanus Maurus -and Walafrid Strabo are perhaps the most notable. - -A Goth by race, a Spaniard by birth, Theodulphus, (c. 760-c. 821), -belonged to that population dwelling north and south of the Pyrenees -which the Franks had amalgamated into their kingdom. He was learned in -all the wisdom of that age and a man of action in a sense understandable -in any age. Bishop of Orleans, courtier, officer in the administration -of Charlemagne, he served the church and the state with equal -distinction. Theodulphus as a poet of sacred verse is best known for his -Palm Sunday processional hymn, _Gloria, laus et honor tibi sit_, “All -glory, laud and honor,”[30] which he wrote during the period of his fall -from royal favor under Louis the Pious. This beautiful processional -hymn, a triumph of Carolingian verse, invested with all the attraction -of legend and religious pageantry, has been a favorite in every period -of Christian history. Theodulphus was not a member of the regular clergy -and he did not, as far as we know, write hymns for the monastic cycle. -He represents the contemporary trend which brought the hymn into new -areas of worship in the offices and ceremonies of the cathedral. - -Rabanus Maurus, (780-856), of Germanic origin, was primarily a -theologian. His boyhood studies were completed at Fulda. As a young man -he became a pupil of Alcuin at Tours. In his maturity he returned to -Fulda reaching the climax of his career as Abbot of Fulda and later, as -Archbishop of Mainz. As a writer, Rabanus undertook to hand on, through -excerpts, the knowledge of his predecessors. He wrote commentaries on -the Bible, discussed ecclesiastical organization and discipline, -theology, liturgy and worship and the liberal arts. He made translations -into German with the collaboration of Walafrid and a Latin-German -glossary for the Scriptures. In connection with worship he became -interested in the Latin hymns which were rapidly spreading through the -west. He discussed the Psalms as hymns and then the hymns of Hilary and -Ambrose, saying of the Ambrosian hymns, how widespread had become their -prestige in his day. We know from other evidence that he was acquainted -also with the hymns of Sedulius, Columba and Bede. It seems almost -certain that he practiced the art of poetry although we are restricted -to a very small remnant of verse conceded to be his. The poems include a -number of hymns for the festivals of the seasons and of the saints, -illustrating the vogue for the classic in metrical forms. Like -Theodulphus, he wrote for processional ceremonies. The Pentecostal hymn, -_Veni, creator spiritus_, has been persistently associated with the name -of Rabanus but without adequate proof. It is a lasting hymn of the ninth -century. - -(See Illustrative Hymns, IX. _Veni, creator spiritus_, “Creator-Spirit, -all-Divine.”) - -Walafrid Strabo, (809-c. 849), was like Rabanus of Germanic origin and -like him a member of the regular clergy. At Reichenau he received his -early education and at Fulda his theological training under Rabanus. -Walafrid was drawn into the courtly circle of Louis the Pious whose son -Charles he tutored and whose wife Judith became his literary patron. His -life was one of scholarship, prosperity and contentment almost to the -end of his career. Louis had appointed him Abbot of Reichenau, a place -dear to him from boyhood. From these happy surroundings and from his -garden which he immortalized in careful and loving description, he was -ousted during the civil conflict following the death of the emperor. At -the end he was restored to Reichenau and there he died. His hymns like -those of Theodulphus and Rabanus, although few in number, were written -in the spirit of the classical revival. Some were intended for festivals -and others which will be described in connection with processional -hymnody, were written to honor royal patrons. - -In reviewing the basic hymns of the _Later Hymnal_ (see Appendix), one -finds only two of Mozarabic origin whereas nine were duplicated in the -_Old Hymnal_ in Spain and Gaul. The new cycles in areas under Frankish -influence appear to diverge from the Mozarabic as they become more -diversified. At the same time, Mozarabic sources reveal a parallel -evolution of the hymnal in the Iberian peninsula. The existing -manuscripts were collated and edited in 1897 by Blume in volume -twenty-seven of the _Analecta Hymnica_ under the title _Hymnodia -Gotica_, comprising 312 hymns of which 210 were identified by him as -Mozarabic in origin. - -The hymns of Spain, first assembled under the auspices of Gothic -churchmen as recounted in Chapter Two, continued to increase with the -encouragement and participation of Mozarabic liturgists, scholars and -prelates. The generation that supported Isidore of Seville was succeeded -two hundred years later by the group associated with Eulogius, -Archbishop of Cordova (d. 859), who fostered the old traditions under -Moslem control.[31] In spite of a ruling power alien in every aspect of -culture, Christian hymnology held its own. After the Moorish invasions, -it is estimated that between thirty and forty hymns were written, -several of which contain references to the yoke of the oppressor and -petitions for its removal.[32] When the movement toward the expulsion of -the Moors had been successfully initiated and the Roman Rite introduced -(1089) the Mozarabic hymnals were comparable to the finest of the -continental cycles. In certain instances the contacts between Spain and -Gaul were close and direct even under the rule of the Moslems. -Theodulphus of Orleans combined the Gothic and Carolingian trends. -Alcuin was indebted to Mozarabic sources in his reform of the Frankish -rites.[33] Hymns of Mozarabic origin appeared in other parts of western -Europe and vice versa. - -(See Illustrative Hymns, X. _Deus immensa trinitas_, “O glorious -immensity.”) - -The possible influence of Arabian music and poetry upon the Christian -hymn has been a tempting idea and one most elusive of pursuit. Studies -of medieval Spanish music and musical instruments have failed to -demonstrate that the ecclesiastical chant in Spain was thereby affected. -Such novelties as it may have possessed have been traced to influences -similar to those which had long before affected the Ambrosian chant and -been transmitted to the west. As for the tentative assumption that -Arabian lyric poetry influenced contemporary hymn writers in Spain, the -evidence narrows to the mono-rhyme or repeated end-rhyme common to -Arabian poetry and to several Mozarabic hymns.[34] The whole subject of -the Arabian impact, highly controversial as it is, appears to be -concerned with influences, which when scrutinized, are observed to -spring from cultures prior both to Christianity and to Islam. - -The Mozarabic Hymnal in its fully developed version possessed an -unusually large number of hymns honoring local saints. This feature must -be referred to the history of the Roman persecution in the Iberian -peninsula where the complete destruction of the Church was intended and -martyrdom was the rule. Again the Hymnal is unique in its hymns for -public occasions either of mourning and intercession in time of war, -pestilence, drought and flood or of joy, in festivals of the -consecration of bishops, the coronation of kings and thanksgiving for -full harvests. - - - III. Characteristics - -For the most part the hymn writers of the later hymn cycles are -anonymous, like their predecessors in this field. Anonymity is then the -first characteristic to be noted concerning the hymnal in this period, -which makes it necessary to survey the whole as an objective achievement -of the age, not of a few individuals. - -Next to the anonymity of its authorship, possibly the most conspicuous -feature of the new hymnal is the enlargement of each of its general -divisions, the Common and the Proper of the Season and the Common and -the Proper of Saints. The old hymn cycle, it will be recalled, comprised -thirty-four hymns as listed by Blume. The later cycle in its nucleus -numbers thirty-seven hymns of which seven are repeated from the old -cycle. In ten representative tenth century hymnals, the hymns number -from about fifty to about one hundred, many of them common to several -lists.[35] - -Not only is the total number of hymns increased but festival hymns are -multiplied, the ecclesiastical year as it was later known being fully -established in hymnology. Advent, Nativity, Epiphany, Lent, the Passion, -Easter, Ascension, Pentecost and Trinity have their own groups of hymns. -The various feasts of the Virgin and that of All Saints are honored. -Among the Apostles, Sts. Peter, John and Andrew are praised; of other -biblical saints, Sts. John the Baptist, Stephen, Paul; of the angels, -St. Michael; of martyrs, the Innocents and St. Laurence; of local -saints, Sts. Martin of Tours, Gall, Germanus, Martial, and a number of -others. So stands the record of manuscripts of the tenth century when -hymnal gains had been consolidated. The process went steadily onward as -Latin hymns for the offices continued to be written to the end of the -Middle Ages. A few have been added since the sixteenth century but, with -certain exceptions, the great body of office hymns of the medieval -church was permanently established by 1100, the date which Mearns -selected as a boundary line. The same sources enriched the present-day -Roman breviary which by a paradox of history, has preserved to modern -times the representative hymns to which the Roman liturgy of that early -period was so inhospitable. - -As a matter of fact, in the interval between and including the fourth -and the eleventh centuries, the Latin hymn, considered in its literary -implications and in its liturgical usage, was founded for the ages. -Attaching to the word _hymn_ its strictest sense and narrowest function, -that of the office hymn, the student perceives the great significance of -this department of medieval hymnology as compared with the sequence, -processional and extra-liturgical hymns of the Middle Ages. It becomes -more evident that here is the core and heart of Latin hymnody. The -Church could and did in the event, dispense with much of its medieval -collection, but never with the hymnal. Here was preserved the ethics of -the Christian life, the intimacy of the scriptural narrative, the -presentment of the Christian feasts and the praise of God and of his -saints. - - - Appendix - _Later Hymnal_ (See _Anal. Hymn., 51, Introduction_ p. xx-xxi) - - _Ad parvas horas_ - _Iam lucis orto sidere_ - _Nunc sancte nobis spiritus_ - _Rector potens verax Deus_ - _Rerum Deus tenax vigor_ - - _Ad vesperas_ - _Lucis creator optime_ - _Immense caeli conditor_ - _Telluris ingens conditor_ - _Caeli Deus sanctissime_ - _Magnae Deus potentiae_ - _Plasmator hominis Deus_ - _Deus creator omnium_ (In Old Hymnal) - _O lux beata trinitas_ (Mozarabic) - - _Ad nocturnas horas_ - _Primo dierum omnium_ - _Somno refectis artubus_ - _Consors paterni luminis_ - _Rerum creator optime_ - _Nox atra rerum contegit_ - _Tu trinitatis unitas_ - _Summae Deus clementiae_ - - _Ad matutinas laudes_ - _Aeterne rerum conditor_ (In Old Hymnal) - _Splendor paternae gloriae_ (In Old Hymnal) - _Ales diei nuntius_ - _Nox et tenebrae et nubila_ - _Lux ecce surgit aurea_ - _Aeterna caeli gloria_ - _Aurora iam spargit polum_ - - _Ad completorium_ - _Christe qui lux es et dies_ (In Old Hymnal; Mozarabic) - _Te lucis ante terminum_ - - _Proprii de tempore_ - _Ad cenam agni providi_ (In Old Hymnal) - _Aurora lucis rutilat_ (In Old Hymnal) - - _De communi sanctorum_ - _Martyr Dei qui unicum_ - _Rex gloriose martyrum_ - _Aeterna Christi munera_ (In Old Hymnal) - _Sanctorum meritis inclita gaudia_ - _Virginis proles opifexque_ - _Iesu corona virginum_ - _Summe confessor sacer_ - - - - - CHAPTER FOUR - The Ninth Century Revival: Sequences - - - I. Origin - -The problem presented by the origin of the sequence is perhaps the most -difficult of all those connected with the evolution of medieval -hymnology. So far the available information on the subject has never -been brought together in one place. To do so is a baffling task which -has by no means been completed here nor is that which follows either -exhaustive or conclusive. It is merely an attempt to trace the origin -and early development as far as the evidence at hand makes it possible, -at the same time referring the reader to those scholars who have -investigated special topics in detail. - -The _alleluia_ of the mass is the starting-point of the sequence. -Inherited from the synagogue and incorporated in the Byzantine rite, it -was nevertheless brought independently to Rome. The extension of the -final _a_ constituted a musical phrase, called a _iubilus_ or -_iubilatio_. This elaborated _alleluia_ with _iubilus_ is Gregorian.[1] -It became necessary for the sake of breathing, to divide the extended -_iubilus_ into musical phrases, each a _sequentia_ and the whole -_sequentiae_. Some _iubili_ however, remained single while others were -sung by two choirs with a repetition of phrases. The next step was the -composition of a text for some of the _iubili_, which text was written -below the musical notation. Finally a text was supplied for every such -melody, which resulted in the _sequentia cum prosa_.[2] - -It is one thing to note the preceding succession of steps as objective -phenomena. It is quite another to explain the origin of the idea which -transformed the _alleluia_ into the larger _iubilus_. This is the most -obscure point in the musical development of the sequence, which, for -lack of manuscript evidence cannot at present be clarified. At least -three hypotheses have been offered. Arguing from the appearance of the -trope, some have suggested that the _iubilus_ is a musical interpolation -just as the trope is a textual interpolation. This is quite possible but -perhaps too simple for an adequate solution. A much more tempting -hypothesis has appealed to a variety of scholars,—that of the -introduction of Greek melodies.[3] To these students it has seemed more -than probable that the intercourse between western Europe and the -Byzantine realms in the reign of Charlemagne constitutes a sufficient -explanation for the appearance of fresh musical themes. Again, a -possibility only has been suggested. So far manuscript evidence for the -Greek melodies from which the Gregorian _alleluiae_ and their _iubili_ -are derived, has not appeared. Blume, whose treatment of the subject -forms the basis of this chapter, not only questions the hypothesis of -Greek melodies but he offers a third suggestion and that tentatively; -Gregory, he thinks, shortened the _alleluia_ brought over by the Greeks. -When, later, a tendency was felt to elaborate the forms of worship, the -longer melodies were once more revived in the sequence. This very -interesting suggestion, if one day capable of proof, would harmonize the -Byzantine and Gregorian influences which produced the initial extension -of the final _a_ of the _alleluia_. - -For purposes of clearness a differentiation should be made between the -musical and poetical development of the sequence as soon as the -_sequentia cum prosa_ is reached. Manifestly it is impossible to do so, -in any complete fashion, where words and music are so inextricably -interwoven in a common development. It is better, however, to attempt -the impossible and for the present, to ignore overlappings.[4] - -The origin of the word _sequentia_ itself, in the phrase _sequentia cum -prosa_ has often been discussed because of its significance in tracing -the musical development of the forms in question. To some scholars -_sequentia_ means merely _sequela_, _i.e._ notes following the _a_ of -the _alleluia_, a simple and tenable theory. To the great majority, -however, _sequentia_ is a translation of the Greek _akoulouthia_. In -fact it has been generally accepted as such, although _sequentia_ -conveys the idea of continuation in the Greek word rather than its -technical meaning of a continuation specifically of songs, etc. If this -is valid, Greek influence upon the origin of the sequence is -inferred.[5] Another form of the theory of Greek influence is evident in -the suggestion that _sequentia_ means _hirmos_, that is, a regular -continuation of tones. _Hirmos_ may refer to poetry also.[6] A -derivation of _sequentia_ from Greek terms, if proven, would of course, -buttress the theory of Byzantine influence upon the whole development; -but the weakness of the derivation from _akoulouthia_, for example, is -its dependence upon a misunderstanding of the Greek form of worship to -which the word applies.[7] An entirely different suggestion as to origin -arises from the formula used in the liturgy to announce the Gospel, -_Sequentia Sancti Evangelii secundum_ _etc._[8] Often some practical -consideration, extraneous condition or unrelated incidental circumstance -has affected liturgical change or development. Consequently, even a -slight suggestion like this provokes thought. - -Whatever may be the correct origin of the word _sequentia_ the place of -origin of the sequence is generally conceded to have been France -sometime in the eighth century. The part played by other lands in the -origin of the _sequentia cum prosa_ cannot be wholly determined at -present. It must suffice to study the evidence available. It has been -demonstrated how the early French sequences have a closer tie with the -_alleluia_ and how the word is sometimes retained to introduce the -_prosae_ which accompany the music. There is considerable evidence -supporting French priority over the Germans in the creation of these new -musical forms, the chief centers of composition being St. Martial, -Luxeuil, Fleury-sur-Loire, and Moissac, the outstanding rival of St. -Martial. An origin for the sequence in France is independently probable -due to the interest in liturgical music stimulated by Charlemagne, who, -as shown in the preceding chapter, favored Gregorian and Byzantine -innovations at the expense of Gallican forms. - -One of the suggestions mentioned to account for the original lengthening -of the _alleluia_ in the _iubilus_ is connected with the trope. The word -has long been defined as a textual interpolation.[9] Gastoué, however, -contends that it was originally and primarily musical, a vocalization in -the existing chant and that it was created in the music school. The -ancient form of trope is a _neuma triplex_ added to the response _In -medio_ _etc._ for the Feast of St. John the Apostle, or to _Descendit de -caelis_ for Christmas. This vocalism is described by Amalarius of Metz -and indeed Metz may be its place of origin. Alcuin has been named as the -possible originator, a theory strengthened by the fact that Amalarius -was one of his pupils.[10] At any rate Amalarius seems to have been the -first to call the melody following the _alleluia_, a _sequentia_,[11] -from which it is evident that the _iubili_ must have been regarded in -some other light prior to his writing. The _sequentia_ in connection -with the _alleluia_ may very reasonably have been considered a trope, -since vocalisms like these had already appeared elsewhere in rites of -worship, and sequences in addition to those which belong to the -_alleluia_ of the mass have been found in antiphonaries. To repeat, -Gastoué describes a musical interpolation or trope originating in the -music schools of the Franks and appearing in various liturgical -settings. He likens the _iubilus_ to a trope which Amalarius called a -_sequentia_. The original divisions created by the musical phrases in -the _iubilus_ now appear in a series, each repeated a certain number of -times with introduction and conclusion and thus the completed sequence -structure comes into being. The germ of its formal construction, Gastoué -finds in certain Gregorian sources. The ancient _alleluia_, _Justus ut -palma florebit_, shows such characteristics and reveals the liturgical -Latin origin of the sequence, its melody going back to the _versus -alleluiaticus_. - -In spite of the evidence which would make the sequence a native musical -product of western Europe, the theory of Greek origin is still -persistently held by certain scholars. For that reason it must be -considered in greater detail. Gregory’s adoption of Greek novelties -forms the starting point of this theory, while Charlemagne’s well-known -enthusiasm for Greek innovations carries its proponents still further. -The fact that the original Greek melodies which are assumed to have been -used in the west, have never been produced in evidence, is not a proof -of their non-existence. An extensive study of certain sequence melodies -has been made in order to determine whether they are modeled upon Greek -originals, since the Greek names for these melodies and features of -notation point to such an origin.[12] But such names are secondary, the -original and natural name being the first phrase of the Latin words -accompanying the melodies and the Greek word a suggested title. A Greek -melody, called _Organa_, for instance, might be assumed to retain its -name in Latin. The opposite is the case for the name _Filia matris_ is -original and _Organa_ the suggested title. - -Regarding the argument from notation it is a matter of common knowledge -that the _neume_ is native to Greek-speaking lands and may have existed -as early as the sixth century.[13] _Neumes_ took firm root at St. Gall, -the great German center for the propagation of the sequence, so much so, -that they persisted until the twelfth century even after the invention -of the staff and in the interval were spread by teaching. Moreover, -_neumes_ were written in the manner of the eastern church, _i.e._ in a -straight line, not at different levels to indicate pitch.[14] It is -unfortunate that the dearth of manuscripts showing _neumes_ makes a gap -in the evidence just where support is most needed, for the earliest -musical manuscripts with this notation date from the ninth century;[15] -but the assumption in favor of Greek originals is at least strong enough -to forbid its being ignored. - -An additional circumstance which supports the theory of Greek origin is -the fact of musical parallelism in the structure of the sequence. This -is an important point of contact between the sequence and Byzantine -musical forms, although it has not been universally convincing. On the -contrary, some have traced this phenomenon of musical parallelism to one -of those extraneous conditions, affecting liturgical practice, namely, -the use of antiphonal choirs.[16] - -Nothing can be more unsatisfactory to the student who is trying to force -the sequence into any particular theory of musical origin than the -contemplation of what is actually known on this subject, for the -question seems destined to remain undecided. A better perspective may be -reached by examining the poetical development of the sequence which -began with the _sequentia cum prosa_ and ended in a new form of Latin -hymn for which melodies were in turn composed. - -The text written below the _alleluia_ melody is generally accepted as of -French origin and likewise the naming of that text. As the text became -important the melody too was named so that the melody and text were -differentiated from each other, the latter as a _prosa_. It is unknown -whether the name _sequentia_ instead of _prosa_ was chosen deliberately -as differing from the French usage. Amalarius was apparently the first -to use the word _sequentia_ in connection with the music. Later the term -was destined to supersede the name _prosa_ for the poetical text. - -We owe to Notker, whose part in creating the sequence will be considered -in greater detail below, an account of his invention of words as an aid -to memorizing the elaborate melody of the _alleluia_ trope. Whether -Notker was the first to see the value of this device and to employ it, -is unknown.[17] As a theory of origin it has always been popular, being -held by Frere and many others. For the present it may be acknowledged -that it is a reasonable theory for, of course, only the choir leader had -a musical codex to refer to and the musical ability of the average monk -was unequal to the difficulties of memorization by ear alone. Moreover, -this theory can always be accepted with others, although it seems -inadequate by itself. - -A second explanation of origin arises from the possibility that sequence -poetry originated in the imitation of Greek hymn models. The statement -has been made definitely that sequence poetry shows the transference of -the Byzantine structure of hymnody to Latin church poetry, especially -Notker’s.[18] With every circumstance favoring such a transfer it is -amazing that the Franks who heard so much of Greek hymns and could have -translated them into Latin and sung them to the same tunes, evidently -did nothing of the kind. Some other explanation of similarity must be -found. Metrical parallelism, which is characteristic of the Latin -sequence and contemporary Greek hymns, in Gastoué’s opinion, can be -accounted for only by reference to Hebrew poetry as the ultimate -inspiration of liturgical poetry.[19] Thus a Byzantine theory of origin -breaks down when metrical sources are subjected to closer scrutiny. -After all, the sequence is unknown in the Byzantine ritual and therefore -the Byzantine influence could never have been direct. - -A third theory emphasizes the metrical form of the _alleluia_ melody as -the determining factor in creating a new poetical rhythm.[20] Here, the -desire to create fitting expressions of praise is not explained so much -as the form in which the praises are cast. Von Winterfeld thought that -rhythmical prose was inseparable from the liturgical music which had -already been composed, just as the Greek chorus and the Wagnerian music -drama found their complement in a dignified and sonorous prose -rhythm.[21] This theory may well be called the liturgical. It is most -significant for the lyrical movement in general since a new metrical -form is created differing from the Ambrosian meter or the revived -classical meters popular among Carolingian poets. The lyric is born -again, as Meyer expresses it, in the music of the church.[22] A poem -arises consisting of a series of parallel strophes with introduction and -conclusion, a lyric counterpart to the musical phrases of the -_sequentia_. - - - II. Sequences of the German School - -The importance played by St. Gall in the development of the sequence has -given rise to the theory that it originated there. Present-day opinion, -as indicated above, concedes that sequences arose in France and that St. -Gall is not a place of origin but like St. Martial, a prominent center -for their composition and diffusion. Other centers were Metz, Murbach, -Fulda, Echternach, Kremünster and St. Florian. Reichenau, too, was -important in music and in the spread of sequence poetry.[23] - -Notker Balbulus, (840?-912), was largely responsible for the enviable -reputation enjoyed by St. Gall. Born in Switzerland, Notker had entered -the Benedictine monastery at St. Gall as a child to be educated and -there he continued as a member of the Order until his death. A pupil and -later a teacher of the music school in the period of Louis the Pious and -Louis the German, he shared the life of the Abbey during the height of -its reputation, when its doors were open to travelers from every land -and every rank of society. Notker himself tells of the refugee from the -French monastery of Jumièges who brought with him his famous -Antiphonary. Tradition has it that Notker composed words to fit the -forms of the _alleluia-iubilus_, note for note, already in use in his -monastery, and thus originated the sequence, finding his inspiration, -not in the Ambrosian hymns but in the liturgy.[24] The Jumièges -Antiphonary reached St. Gall about 860, by which time _prosae_ were -already known in France. There is evidence, moreover, from manuscripts, -that texts existed before Notker’s time in St. Gall. He is not their -first composer nor are the sequences emanating from St. Gall necessarily -all Notker’s work. “Notkerian” means for sequences what “Ambrosian” -means for hymns. - -The problem of the authentic Notkerian sequences was subjected to -critical study and variously solved by Schubiger in 1858, Wilmanns in -1872, and Werner in 1901. More recent students have re-examined the -evidence and expressed their critical opinions as to Notker’s poetical -and musical prestige: Singer in 1922, Van Doren in 1925 and Clark in -1926. Of more than 100 sequences attributed to Notker, 47 were judged to -be authentic and edited in volume 53 of the _Analecta Hymnica_. Notker’s -ability as a musician appears to be a matter of controversy. A new -review of the Notkerian problem and its literature has been offered by -the Swiss scholar, Wolfram von den Steinen, together with an edition of -the sequences of the St. Gall school.[25] What scholars in general have -taken away from Notker with one hand they return with the other, for if -not an originator he is conceded to be the leading agent in introducing -the sequence into Germany and setting a standard for this type of poetry -which included from Notker’s pen a notable group of sequences for the -festivals of the whole year. His sequence for Pentecost is -representative of the achievements of the German school. - -(See Illustrative Hymns, XI. _Sancti spiritus adsit nobis gratia_, “The -grace of the Holy Ghost be present with us.”) - -It is not surprising that scholars interested in the theory of Greek -influence upon sequence poetry should seek confirmation of their views -in Notker’s work. There is a majestic quality and a vigorous resounding -praise in these poems which has been thought a reflection of Byzantine -hymns. Reference has already been made to the Byzantine strophic system -and its probable influence upon Notker’s poetical technique. When one -considers that the monastery of St. Gall was always a port of call for -refugees and travelers from the east and in the preceding century may -have harbored many of them, it is reasonable to suppose that Notker was -acquainted with contemporary Greek hymnody. Whatever may be the -explanation of the metrical system employed by Notker, he undoubtedly -named his melodies in such a way as to suggest a Greek -identification.[26] - -There remains another line of research, which is relatively unimportant, -yet should be noted when the question of Greek influence is raised. It -has been stated that Greek words are used in Latin sequences, thereby -proving contact with Greek-speaking contemporaries on the part of their -authors, or with Greek literary sources. Whenever this test is applied -to any medieval writing produced by churchmen it should not be forgotten -that the Vulgate was the one great continuous source, inspiration and -standard of the Latin language as employed in the Middle Ages. -Throughout the period, all Latin hymns which include a narrative element -or refer in any other way to biblical statements are greatly indebted to -the Vulgate. A considerable number of Greek words, naturally, appear in -the Vulgate. Applying the criterion of Greek words to Notker’s -sequences, one reaches no definitive results whatever. In the forty-one -sequences attributed to Notker by Wilmanns, some seven Greek words -appear which are not in the Vulgate.[27] If this proves anything in -Notker’s case, it is significant only in connection with other evidence -from Greek originals which has not been advanced. - -Having considered the separate development of the musical and poetical -aspects of the sequence, as far as they can be sundered, it remains to -view certain factors which may have affected that development but have -not as yet been stated. - -The history of medieval music, quite apart from the creation of the -_iubilus_ and the _sequentia_, should not be overlooked by the student -who is trying to understand liturgical music in this general period. -Perhaps during the eighth and certainly from the ninth century, -polyphonic and harmonic forms began to appear. New melodies for -sequences were in demand and were produced, which in turn were -influenced by popular and secular music, with an interaction of words -and music taking place, sometimes with words, sometimes with music -leading the way.[28] The history of the sequence, when complete, will -owe much to the studies of medieval music now in progress by -musicologists, some of whose conclusions have been noted above. The -history of musical instruments is relevant here but in any case it must -always be remembered that the church possessed the musical notation and -was able to dominate the field. - -If the course of secular and ecclesiastical music accompanying the -sequence remains uncertain, so are the currents of medieval religious -and secular verse in Latin still uncharted. Which is the original -stream? Latin secular poetry existed contemporary with the early -sequence, the secular form of which was known as a _modus_,[29] which, -like the sequence, was inseparable from its musical accompaniment for -the minstrel both sang and played his unrhymed lay. Some have taken the -extreme point of view of the part played by secular influence and have -regarded the sequence as a popular lyric in worship, perhaps even a -_Volkslied_.[30] But the question as to the predominance of influence -whether religious or secular, remains open. - -The argument for influence from vernacular verse upon the sequence is -equally weak. Prior to the ninth century vernacular lyrics in the -Germanic tongues are so rare as to be valueless in this discussion. -Celtic lyrics from the seventh and eighth centuries are also rare. It is -possible that they were known to Celtic teachers on the continent but -too much should not be assumed from this possibility or from the fact -that the oldest form of Celtic lyric exhibits rhythmic parallelism.[31] -French, Spanish and early English vernacular lyrics appear too late to -be significant in the problem of origins. In any case, the question -hinges upon metrical technique which can be adequately explained without -recourse to vernacular lyrics, which, insofar as they do exist, may be -regarded as themselves imitations of earlier Latin forms. - -The evidence offered by secular lyrics, Latin or vernacular, in the -early Middles Ages points to an outstanding growth from the sequence -rather than a creative source for the sequence. As a matter of fact the -sequence breaks away from the church and itself becomes secular, as the -history of poetry in the later Middle Ages bears witness. - -The above presentation of what is known as to the origin of the sequence -can scarcely be satisfactory to the scientific historian of medieval -culture. Full of inconvenient gaps and baffling inconsistencies the -evidence remains totally inadequate. One conclusion alone may be -advanced and that tentatively; the sequence appears to have been created -wholly within the liturgy of the mass. The _troparium_ or _tropary_, -later the gradual and missal contained the sequences for the annual -feasts just as the _hymnarium_ or _hymnary_, later the breviary had -contained the hymn cycles of the offices. - -The appearance of the sequence in the history of medieval hymnody was an -episode of the greatest importance not only in the evolution of Latin -religious and secular poetry but in their vernacular counterparts. In -order to understand the extraordinary popularity and wide diffusion of -the sequence it must be emphasized that it is not just another hymn, but -an ornament to the mass, individually created for each and every -festival with a particular theme in mind. The seasons of Advent, -Nativity, the Passion, Easter, Ascension, Pentecost, Trinity, the Virgin -festivals of the Nativity, Annunciation, Visitation, Purification and -Assumption, the feasts of the Apostles and other biblical Saints, the -Martyrs, Confessors and Virgins formed a great series which challenged -the finest efforts of the clerical poets. Herein lies the essential -interest of this hymnody. The original Latin hymn was associated with -daily secular worship and then with the canonical hours of the -monastery. The sequence was associated with the celebration of the -divine sacrifice. - -As a closing illustration for this chapter the Alleluiatic sequence has -been selected. Based upon the canticle, _Benedicite omnia opera_, and -often attributed to Notker, this superb sequence reaches a height of -expression comparable to the noblest hymns of the ninth century revival. - -(See Illustrative Hymns, XII. _Cantemus cuncti melodum nunc Alleluia_, -“The strain upraise of joy and praise.”) - - - - - CHAPTER FIVE - Late Middle Ages: Hymns and Sequences - - -Beginning with the twelfth century the large number of new hymns and -sequences produced point to a degree of creative activity that continued -through the High Middle Ages. A recent historian of medieval literature, -De Ghellinck, sees the religious poetry of the twelfth century rivalling -the secular, and points out that ten thousand specimens of every type of -religious verse, from 1060 to 1220, are edited in the _Analecta -Hymnica_.[1] Maurice Hélin, whose attractive volume is available in -English translation, considers the poetic product of the twelfth century -the peak of Latin poetry and “its most original contribution to the -intellectual patrimony of the west.”[2] - -It is easier to repeat such a statement than to present acceptably the -relevant evidence in the field with which this chapter is concerned. One -might expect a larger proportion of known authors but anonymity remains -the rule. The exceptions command recognition among the most notable -writers of hymns and sequences in any period of their production. - - - I. Sequences of the French School - -The sequence, originally a product of France, already perfected as a -poetical form by Notker and the German school of ecclesiastical hymn -writers, attained a greater influence and popularity under Adam of St. -Victor. In 1130 Adam entered the Augustinian Abbey of St. Victor on the -outskirts of Paris and there he remained until his death. Whether a -native of France or England is unknown. Like Notker, he followed in his -poetic themes the annual festivals. To him have been attributed more -than 100 sequences which appear in the manuscripts of St. Victor. They -were published first by Leon Gautier in 1858 and in the later nineteenth -century were subjected to critical analysis by Misset who regarded 45 -sequences as authentic.[3] Blume, who edited the Victorine sequences in -volumes 54 and 55 of the _Analecta Hymnica_, attributed 48 to Adam’s -authorship. - -Adam’s poetical concepts are centered in the mystical interpretation of -biblical narratives and of Christian theology as it was taught in the -schools of Paris. Hugh and Richard of St. Victor were his contemporaries -but Adam was poet as well as theologian. Praise was to him an essential -harmony of voice and life. His verse departed from the earlier prose -rhythms of the German poets and was cast in a metrical form already -popularized in the hymn. A group of rhymed trochaic lines of eight -syllables with a caesura after the fourth syllable at the end of a word, -closes with a seven syllable line. This scheme with its many variants -characterizes the work of Adam and his imitators in countless Latin and -later, vernacular lyrics. Adam’s sequence for the Feast of St. Stephen -has been selected as illustrative of his finest work. - -(See Illustrative Hymns, XIII. _Heri mundus exultavit_, “Yesterday with -exultation.”) - -To appreciate fully the function of the sequence in worship at this time -as well as its appeal to popular imagination, one should isolate a -single theme for more intimate enjoyment. For this purpose, the -sequences written for the five feasts of the Virgin are best suited. -While manifold saints were honored in the hymnology of the day, the -veneration of the Virgin reached at this time, its pinnacle of -expression. Notker had provided sequences for her Nativity, Purification -and Assumption. Adam of St. Victor, poet of the Virgin, drew upon all -the resources of medieval symbolism in his _Salve, redemptoris mater_, -“Hail, mother of the Redeemer,” a masterpiece of medieval religious -verse. Clerical poets everywhere met the challenge of his example. The -result was indicative not only of their devotion and their poetic skill -which was at times indifferent, but of the actual use of the Virgin -sequences in the numerous feasts which honored her and their familiarity -to wide congregations of clergy and laity. - -During this period great sequence writers appeared, some known and -distinguished, the majority anonymous. To the latter group belongs the -author of the Easter sequence, _Victimae paschali laudes_, “Christians, -to the Paschal Victim,” which represents the transition between the -Notkerian and Victorine styles. The growing relationship between Latin -hymnology and the arts becomes obvious in this sequence which was of -importance in building the liturgical drama for Easter. The dialogue -embedded in the poem, - - “Speak, Mary, declaring - What thou sawest wayfaring?” - -and her reply, ending - - “Yea, Christ my hope is arisen: - To Galilee he goes before you.” - -contributed, with other sources, to the fully developed Easter Play. - -The so-called Golden Sequence for Pentecost, _Veni sancte spiritus_, -“Come, thou Holy Spirit, come,”[4] also of undetermined authorship, -attained perhaps the greatest prestige, having now been heard in -Christian worship for more than eight hundred years. - -The activities of the French school are largely responsible for the -popularity of sequences in the twelfth century and for their -multiplication in every part of western Europe. Other factors played a -part. Just as the Latin hymn can best be understood in the historical -setting of the late Roman Empire or of the early Germanic kingdoms, so -the development of the sequence must be interpreted in connection with -the social and cultural environment of the age. The universities, -notably that of Paris, were dominating intellectual life. Economic -opportunity offered by the revival and expansion of craftsmanship, -commerce, urban life and geographical knowledge resembled the -achievement of Roman days. The European centralized states had emerged -and were assuming the national features which mark them today. The -modern languages of Europe were highly developed in their literary -treasures and in everyday speech. Under reforming popes such as Innocent -III, the church was entering an era of unity and spiritual renewal. Side -by side with the reformed Benedictine Order, the Augustinian canons with -their ancient prestige, the Franciscan, Dominican and other religious -orders were taking their part in the work for the regeneration of -society and the triumph of the Faith. Pilgrimages and crusades were in -vogue for two hundred years from 1095. The hymnody of the church took on -new vitality in an era of European awakening. - - - II. Later Hymns - -Although the sequence had apparently occupied the center of attention, -the writing of office and festival hymns had never been interrupted and -certainly had never ceased. Gathering up the sources after the period of -ninth century influence described in Chapter Three, one pauses at the -verse of Peter Damian, (988-1072), Cardinal Bishop of Ostia and Superior -of the monks of the Holy Cross. His theme was the joys of paradise in -the hymn _Ad perennis vitae fontem_, “To the fount of life eternal,” a -topic about which a distinguished hymnody was ultimately created. - -(See Illustrative Hymns, XIV. _Ad perennis vitae fontem_, “To the fount -of life eternal.”) - -Fulbert, Bishop of Chartres (d. 1028), is best known for his Easter -hymn, _Chorus novae Ierusalem_, “The chorus of the New Jerusalem,”[5] in -which the militant ideal in its knightly form finds expression as the -warriors of the faith acclaim the victory of their royal and divine -leader. - -In the twelfth century, a complete new hymnary in all its parts was -written by Abelard, (1079-1142), for the Convent of the Paraclete of -which Heloise was the abbess.[6] A collection of 91 hymns, it has never -been highly praised by critics, yet it has provided the hymn, _O quanta -qualia_, “How mighty are the Sabbaths,” in praise of the Sabbath and the -Good Friday hymn, _Solus ad victimam procedis, Domine_, “Alone to -sacrifice Thou goest, Lord,” both of which have found a place in recent -hymnals. Helen Waddell’s translations of the two illustrate modern -renderings at their best. The same century saw the achievement of -Bernard of Cluny or Morlaix, (fl. 1122), whose long poem, _De contemptu -mundi_ furnished the selections on the heavenly country, _Hora -novissima_, popularized by the translations of John Mason Neale. Perhaps -the best-known of these, _Urbs Sion aurea_, “Jerusalem the Golden,” in -its English rendering has attained a vernacular status independently of -its Latin original. The great anonymous hymn, _Jesu dulcis memoria_, -“Jesu, the very thought of Thee,” is also of the twelfth century. Its -authorship has been variously ascribed but never certainly determined. - -The thirteenth century was marked by the rise of hymn writing in the new -religious orders founded by St. Francis of Assisi and St. Dominic. The -Franciscan Bonaventura (1221-74), wrote _Recordare sanctae crucis_, “Be -mindful of the Holy Cross,” on the theme of the Cross. To read this hymn -side by side with the _Vexilla regis prodeunt_ of Fortunatus, is to -apprehend more fully the increasing subjectivity of the Latin hymn in -500 years of its history. The passion of Christ is, moreover, a favorite -theme and object of devotion of the friars, ever present to their -thinking. Thomas Aquinas, (1227-74), greatest of the Dominicans, wrote -the hymns for the Feast of Corpus Christi, established by Pope Urban IV -in 1265. Of these, _Pange lingua, gloriosi corporis mysterium_, “Sing my -tongue, the Saviour’s glory,”[7] modeled after the form of the _Pange -lingua_ of Fortunatus, is in its subject matter a poetic version of the -mystical subtleties implicit in the dogma of the feast. John Peckham, -Archbishop of Canterbury, (1240-92), wrote _Ave vivens hostia_, “Hail, -true Victim,” a fine hymn upon the same theme which suggests the -inspiration of Aquinas. - - - III. Later Sequences - -From the sequences of the later Middle Ages only a few have gained -eminence but in certain cases as high a place as any in the whole range -of their composition. Thomas Aquinas shows himself master of the -sequence as well as the hymn in his _Lauda Sion Salvatorem_, “Praise, O -Sion, praise thy Saviour,” a model of the Victorine technique. - -(See Illustrative Hymns, XV. _Lauda Sion Salvatorem_, “Praise, O Sion, -praise thy Saviour.”) - -_Dies irae_, “Day of wrath,” most majestic of all sequences, universally -acknowledged as the greatest achievement of Latin hymnology, was -probably written by the Franciscan Thomas of Celano. It was originally -used at Advent, later for All Souls’ Day and for requiem masses. The -Judgment theme is obviously inspired by the words of the Prophet -Zephaniah (1:15) from which the opening line _Dies irae, dies illa_ is -taken. A special literature, together with a multitude of translations, -has grown up around this hymn which deserves consideration impossible -here. It should be read not only with reference to its biblical sources -but with the great Judgment portals of the medieval cathedrals in mind, -since the sculpture and literature of the age here find a meeting -place.[8] No less significant for its interpretation is the prevalence -of the Black Death in the ages which produced it.[9] The thought of a -period in which pain and death were so tragically familiar and before -which the medieval man stood helpless, is faithfully reflected in -contemporary hymns. - -The lament in its poetic form is associated with the Marian hymnology of -the fourteenth century. The _Stabat mater dolorosa_, “By the Cross her -vigil keeping,”[10] its finest expression, like the _Dies irae_, needs -little comment in these pages. - -(See Illustrative Hymns, XVI. _Stabat mater dolorosa_, “By the Cross her -vigil keeping.”) - -In this period it seems, at least to the present writer, that the -Italian-born poets of the religious lyric come into their rightful -heritage. The poets of England and of the French, German and -Spanish-speaking lands had at one time or another held the palm in the -field of hymnody. At the very moment, so to speak, when the genius of -Dante and Petrarch had established the fame of Italian letters, the -Christian hymn found new spokesmen in a literary medium which had -originated in the same environment a thousand years before. - -What has already been said of the multiplication of new feasts as the -medieval ages progressed, is true in an even greater degree in the later -centuries. The Feast of Corpus Christi is only one of many which marked -this period of religious devotion, and incidentally required new -sequences. If the collection of liturgical proses edited by Daniel in -his _Thesaurus Hymnologicus_ and reprinted in volumes 54 and 55 of the -_Analecta Hymnica_ be accepted as a guide, the new demands become clear. -From the period of Adam of St. Victor, 174 feasts were furnished with -sequences, many times over in the case of the more important festivals. -The actual liturgical collections from which the _Analecta Hymnica_ was -compiled constitute a more specific source of information. If the -attention of the student is fixed upon the sequences used in well-known -missals and troparies from the thirteenth century and later, in the -leading ecclesiastical centers of Europe, a wealth of material is -revealed. Many of these sequences in the great collections are -unfamiliar to the modern student, some have never been translated into -English, but as a whole they are truly representative of this body of -poetry in the period of its greatest interest. A tropary of St. Martial -of the thirteenth century contains an anonymous Easter sequence, _Morte -Christi celebrata_ (_A. H._ 8. 33), “Christ’s passion now is o’er,”[11] -which bears comparison with the better-known sequences which have been -named above. - - - IV. Liturgical Collections - -To determine the actual usage of the hymn or sequence rather than its -mere existence as a specimen of religious verse, the liturgical -collection is indispensable. The old hymnaries and psalters and other -books used in the offices were examined by liturgists of the period who -compiled the breviaries of the later Middle Ages. Working under -episcopal or monastic authority they subjected the hymnic material at -their disposal to a selective process which necessarily discarded many -hymns in favor of those rendered sacred by their inclusion in the old -cycles, or of hymns of recognized merit. The Mozarabic Breviary had been -compiled and its hymns determined by this process in an earlier century. -After the re-conquest of the Spanish peninsula and the introduction of -the Roman Rite in 1089, a version of the Roman Breviary was introduced. -Episcopal centers in England, such as Hereford, York and primarily -Salisbury, compiled their service books and developed them continuously -to the close of the Middle Ages. The process was repeated throughout -Christian Europe. - -From the troparies and local collections of sequences the selections for -the gradual and missal were made, just as the hymns had been for the -breviary. These liturgical sources offer to the modern student the range -of medieval hymnody at its best. The episcopal rites are, perhaps, more -official and authoritative in their selection of hymns and sequences but -the monastic rites often reveal the legends of local saints or the more -intimate flavor of traditional piety. It should be understood that in -countries where the Roman Rite prevailed there was no departure from its -authority in the matter of hymnody. At the same time the greatest -latitude was observable. A fine illustration is provided by the books of -the Rite of Salisbury, England, or the Sarum Rite, which were compiled -and developed by great liturgists from the time of Bishop Osmund in the -eleventh century to the close of the Middle Ages. The Sarum Breviary -contains 119 hymns, 25 of which were written after 1100 and the Missal -contains 101 sequences, 54 of which were written about 1100.[12] The -figures are revealing in the case of hymns, of the influence of the -older cycles and in the case of sequences, of the multiplication of -feasts in the later centuries of the Middle Ages. - -The Processional book as a bearer of hymns will be treated in the -following chapter. It remains here, to mention the Books of Hours or -medieval Primers which also contained their quota of hymns. The _Horae_ -may be defined as a series of devotions, at first additional to the -Seven Hours of the daily office but in the twelfth century elaborated in -a separate book. Specifically the additions consisted of the penitential -psalms, the Office of the Dead, the Cursus of All Saints, that of the -Holy Cross, and that of the Blessed Virgin. Even before its separation -from the Canonical Hours, the Cursus of the Blessed Virgin had assumed -an importance which gave to the new collection its characteristic title -of _Horae_ or _Hours of the Blessed Virgin Mary_. In the fourteenth -century the single volume came to be known in England as _Primarius -Liber_ or _Primarium_ from which the more familiar name Prymer or Primer -is derived.[13] Its popularity may be judged by the fact that 265 -printed editions were later known in England and 1582 on the -continent.[14] Hymns are interspersed throughout the _Horae_. In the -York Hours there are eighteen hymns and sequences of varied periods of -which thirteen are centered in devotion to the Virgin.[15] In other -words, the hymns which were chosen for these books of popular devotion -are representative of later medieval favorites in hymnody, indicating to -what extent the older hymns were known and loved and to what extent -later poems had been accepted by lay folk as well as clergy. The _Horae_ -are primarily valuable as a source for the later Marian hymns upon the -themes of the Joys and of the Sorrows of the Virgin. The appearance of -the beloved _Stabat mater dolorosa_, without doubt the finest expression -of the poetry of sorrow, bears witness to the discriminative process by -which the _Horae_ were compiled. It seems remarkable that the liturgists -of the later period, in which the Latin hymn was beginning to show signs -of deterioration, were able to skirt as successfully as they did, the -limits of trashy sentimentality and worse poetry which were passing -current under the name of hymnody. - -To those who are interested in the relations between literature and the -fine arts an examination of the Virgin hymns, as of the _Dies irae_, -will yield similar interrelations. The hymns which were written from the -twelfth century onwards upon the Virgin theme may be closely correlated -with the sculptured forms which portray the Mother apart from the Son in -her Sorrows and more particularly in her Joys, laden with her -distinctive honors and regnant as the Queen of Heaven. - - - V. Influences affecting Hymnody - -Once the typical hymns and sequences of the later period have been -reviewed, it remains to trace the influences operating from the -contemporary environment upon their evolution. The problem of possible -influence of an ultimately oriental origin has already arisen in -connection with earlier hymns. It has been considered in the relation of -Byzantine culture to the origin of the sequence, and also in the form of -Arabian influence upon the Mozarabic hymnody. In both fields the -evidence is tenuous and especially in the latter where the imprint of -Arabian cultural forms would seem to be most probable. In the centuries -which produced the troubadours, the problem takes the form of a possible -indirect influence from Arabian origins through the Provençal singers -upon the evolution of the sequence.[16] It is true that the twelfth and -thirteenth centuries boasted at least four hundred troubadours whose -poetry is extant. The names of others are known but not their poems. As -the popularity of their songs is unquestioned, an appreciable affect -upon religious lyrics might be presumed. Granted that the influence of -Arabian poetry may be demonstrated upon the metrical aspects of -troubadour lyrics, it must still be demonstrated that the impact of the -latter was felt upon the Latin hymn. Future studies may throw light upon -these problems of medieval literature where obscurity now prevails. -Metrical similarities undoubtedly exist between Arabian and Latin verse, -as already illustrated in the field of late Mozarabic hymns. Perhaps the -most convincing evidence, aside from these, is found in processional -hymns, the subject of a later chapter. - -Much more obvious and one distinctly to be traced is the all-pervading -influence of the new religious orders upon medieval society and culture -in general. Hymn writers belonging, as cited above, to the Franciscan, -Dominican and other orders of friars, to say nothing of the Cistercians, -played a leading role among contemporary poets; their names and themes -have already been mentioned. Many others must be numbered with the -anonymous majority. The veneration of the Virgin reflected so faithfully -in contemporary hymns may be largely attributed to their devotion. As -itinerant preachers, moreover, the friars translated hymns into the -vernacular and brought them directly to their hearers, thus imparting -the lessons of faith and morals.[17] It might be asserted, at least -tentatively, that the friars were responsible for one of the earliest -attempts to bridge the gap between the ritual and the popular use of -hymns. - -A less tangible influence was at work emanating from schoolmen. This was -the age of the universities in which thousands of students were pursuing -the studies of theology, law and medicine. Early theological discussion -in the schools of Paris, prior to the founding of the universities, is -implicit in the sequences of Adam of St. Victor. Later, Thomas Aquinas, -Professor of Theology at the University of Paris, created a poetical -counterpart in his hymns, to the prose exposition of dogma. No one else -reached his stature in this particular but hundreds of European clerics -having theological degrees or a partial preparation for them, were -active in the church and in secular life. It is only fair to suppose -that they must be included in the great anonymous group which assisted -in making that unique contribution to medieval literature which was -preserved in contemporary liturgical collections. Without the -university-trained cleric how is it explicable that in the very age in -which the vernacular languages came to their full development in speech -and in literature, Latin religious verse was at a peak of expression? In -the High Middle Ages the alumni of the great universities were -influential in every phase of society. It is conceivable, if not -demonstrable, that the clerics among their ranks played an important -although hitherto unrecognized role in the evolution of Latin hymnody. - -Contemporary pilgrimages take the student far afield from the centers of -learning. The crusading enterprise of two centuries which carried the -knightly companies of Europe and their entourage to the East was a -pilgrimage of continental proportions. Local shrines favored by pilgrims -abounded in the West from Canterbury and Walsingham to Campostella. What -effect, if any, had this wave of religious zeal or of adventurous -self-seeking upon the hymnology of the age? We know that the familiar -Latin hymns of the breviary were sung by the clerics who conducted the -services of religion in the crusading armies. We possess the texts of a -variety of vernacular hymns and songs heard among the wandering bands -who traversed the highways of Europe or traveled by sea to distant -shrines. We are told of the singing of Latin hymns at the destination of -pilgrimage but their texts are rare. A formal collection of Latin hymns -associated with the shrine of St. James of Campostella, the _Carmina -Campostellana_, has been edited in the seventeenth volume of the -_Analecta Hymnica_. As might be supposed, they voice the praises of St. -James, _Ad honorem regis summi_, “To the honor of the King,” (_A. H._ -17. 210) being a favorite in both Latin and vernacular versions.[18] As -a matter of fact, the hymnody of pilgrimage must have been largely -patronal, a conclusion supported by existing Latin texts. Unfortunately -we possess no great body of Latin hymns arising from the religious -impulse which animated the crusader or the devotee of local shrines. It -is possible, however, that the multiplication of hymns for saints at -this time may be attributed in part to the multiplication of shrines of -pilgrimage. If true, an influence is seen at work, which, from the time -when Ambrose built a church in Milan to receive the relics of St. -Gervasius and St. Protasius and wrote a hymn in their honor, never -ceased to operate in the intervening centuries.[19] - -With the pilgrim we come face to face with the layman and are once more -confronted with the question of lay participation in the singing of -Latin hymns, which hinges upon the further question of the degree to -which the layman could sing or even understand the Latin hymn, from the -twelfth century onward. The pious injunctions of Alexander of Hales and -Henricus de Gorichen (15th C.) to sing hymns, merely repeat a dictum of -St. Apollonius regarding the observance of the Lord’s Day in the second -century and must not be taken too seriously by the modern student.[20] -It is indeed slight evidence for the singing of Latin hymns by the -laity. The problem is in reality linguistic and revolves about the -question of who was acquainted with Latin at this time. Setting aside -the clergy in their numerous ranks, who are often said to have had the -complete monopoly of the hymn in an age when congregational singing was -unknown, one must consider the remaining classes of society from the -point of view of contemporary education. - -Beginning with the university it should be recalled that the text books -and other sources of information were in Latin and that Latin was the -medium of instruction. In this respect the aspirant for a degree in law -or medicine was on a par with the would-be clergyman. Many students took -degrees in two and occasionally in all three disciplines, and the -majority were destined for the church if only in minor orders. On the -other hand, it is certain that, as in our own day, a large number of -students never attained any degree although they had the Latin -qualification. In any case, the lay alumnus or former student of the -universities, with a Latin training, was a familiar figure in secular -affairs. - -The degree and extent of elementary and secondary education upon which -the university instruction was necessarily founded, have been the -subject of several recent studies. It seems certain that schools for -children and youth existed from the ninth century onward in cathedral -and other centers and that, as Lynn Thorndike says, “in the period of -developed medieval culture elementary education was fairly wide-spread -and general.”[21] Without entering into the details of this program, -illuminating as they are, we note that the curriculum was founded upon -the Latin language and Latin studies. The contemporary growth of towns -involved an expansion of education which was marked by the appearance of -schools sponsored by municipal authority. The Latin school flourished -everywhere. There is evidence that every social class participated to -some extent in the new education although illiteracy must at the same -time have been common. It seems clear that the layman who had received -these early educational advantages could understand Latin hymns or read -them if the texts were available. Both sexes shared elementary education -and lay women as well as nuns occasionally had access to advanced -instruction. Such considerations as the above presuppose a degree of -familiarity especially with the breviary hymns, on the part of laymen, -even if singing or chanting was restricted to the choirs and clergy. - -The university movement was accompanied by the rise of the wandering -scholars and poets whose verses, for example, from the _Carmina Burana_, -are familiar today in translation. Popular entertainers, they sang their -Latin lyrics at ale house doors and in the market places. They must have -been at least partially understood by the populace. Other municipal -entertainment was provided by the religious drama of the times which -made considerable demand upon the Latin resources of the spectator who -had to be somewhat bilingual if he were to enjoy the public presentation -of the mystery plays. - -Again, the bilingual or macaronic poetry which sprang up in the period -of rivalry between Latin and the vernacular may be viewed both as a -means and a result of understanding Latin hymns. Macaronic verse was -both secular and religious in its forms, favorite phrases from -well-known Latin hymns often being combined with the vernacular tongue. -The practice might even have spread to the ritual of the Church had it -not been forbidden by ecclesiastical decree.[22] The _cantio_ of the -later medieval centuries and the familiar carol offer a wealth of -evidence that macaronic religious verse was extremely popular. Indeed, -this may have been the earliest manifestation of actual hymn singing on -the part of medieval laymen. - -Even if congregational singing was not practiced, the use of Latin hymns -in private devotion is well authenticated. The _Horae_ which were -included in the liturgical collections listed above, were circulated -among laymen from the fourteenth century onward, and often used as text -books or Primers from which children were taught to read. The variant -title, _Lay Folks Prayer Book_, also bespeaks its popular availability. - -While it would be unsound to infer a universal knowledge of Latin -hymnody among the laity of Europe upon any or all of the evidence here -assembled, it is logical to suppose that this treasury of verse lay -within the boundaries of average education and cultural ability. -Combined with the effectiveness of visual means of conveying religious -truths through architecture, sculpture and stained glass, popular -acquaintance with the teachings of Christian hymnody must be supposed to -have overflowed the limits of clerical restriction, if indeed, any such -existed. - - - VI. Characteristics - -To close this somewhat rambling account of the Latin hymn and sequence -in the later medieval centuries, which is necessarily discursive even as -the civilization itself was everywhere expanding, the characteristics of -this poetry should be reviewed in comparison with those of earlier Latin -hymns. - -An increasing variety of subject matter is first to be noted, to -accompany the diversification of worship brought about by new feasts and -the appearance of new religious agencies. Hymns for the festivals of -saints provide the best illustrations of this tendency which has been -amply treated above. - -A marked trend toward the compilation of local liturgical collections -and the differentiation of service books accompanies the unification of -rites in various European lands. This tendency was observed in earlier -centuries, particularly in Spain where the Mozarabic hymnal prevailed. -St. Gall had provided a monastic center of influence in German-speaking -lands in its day. Now, the great diocesan and monastic centers, on a -much larger scale, are furnished with a full complement of ritual books -and guides to hymnody. In England, the Sarum collection achieved great -prominence, acquiring national rather than diocesan proportions. - -Within the hymnic poetry itself changes are seen both in form and -spirit. A full development of metrical forms takes place, some of which -had appeared much earlier in isolated examples and were now widely -accepted; others were characteristic of late medieval literary art. The -meters and rhythm of sequence poetry were popularly favored. Subjective -qualities and attitudes which had been infrequent in the earlier hymns -devoted to biblical themes and theological expression are much more -obvious in later hymns. The personal petition and the direct address to -deity and the saints are frequent. It has been suggested above in -considering hymns upon the theme of the Cross, that a comparison of -hymns from the earlier and later groups is instructive. But any of the -great themes may be selected for this purpose, for example, the -Pentecostal theme, with a group of hymns in which the earlier ones are -simple narratives following the biblical account of the descent of the -Holy Spirit; the later ones are exemplified by _Veni, sancte spiritus_, -“Come, Thou Holy Spirit, come,” already cited, in which the Spirit is -addressed and invoked for personal blessings and the sevenfold gifts. - -With the waning of the medieval centuries came a characteristic -decadence in the poetical quality of Latin hymns and in their spiritual -vitality. This was true of the sequence and most obvious, perhaps, in -those which were devoted to the praise of the saints. Reference to this -phenomenon will be made in a later chapter in connection with the -possible reason for the loss of religious significance which must be -admitted although deplored by students of the subject. - -Finally, one observes that certain hymns of these later centuries rival, -if not surpass, the representative hymns of the first half of the Middle -Ages. Four of the five sequences retained in the present-day Roman -Missal were all selected from this group, namely: _Lauda Sion -Salvatorem_, _Veni sancte spiritus_, _Dies irae_, and _Stabat mater -dolorosa_. Other illustrative hymns and sequences mentioned above prove -to be almost as familiar. - -On the contrary, decadent hymns have tended to disappear. Unworthy of -their theme and purpose, a multitude of examples may be unearthed from -their present burial places in the _Analecta Hymnica_ or other -collections by the curious investigator. So far as actual usage is -concerned they have been gradually discarded and forgotten in the -process of time. Similarly those of greater merit have possessed a -survival value sufficient to insure recognition in every succeeding -century. - - - - - CHAPTER SIX - Late Middle Ages: Processional Hymns - - - I. Origins - -The procession as a practice of the Christian Church originates in the -triumphal entry of Jesus into Jerusalem. All four evangelists record the -event and all four make mention of the hosannas and acclamations of the -people which accompanied it.[1] True, the procession is older than -Christianity and wider in observance. It seems to be a natural impulse -of humanity in all ages and in all lands to make orderly progress from -one place to another for the expression of communal joy or lamentation -or to seek the aid and blessing of supernatural power in the activities -and vicissitudes of life. - -Processional ceremonies as they were observed in ancient oriental -civilizations or in the culture of Greece and Rome are not considered -here, except as they may have affected Christian origins. The purpose of -this chapter is to describe the background and setting of processional -forms which, in their evolution, gave rise to a continuity of hymns; to -trace the origin, development and distinguishing features of such -processional hymns in the Middle Ages and to display processional -hymnody in its distinctive character as a separate category of medieval -Latin hymnology. - -Prior to the fourth century the record is obscure. Miscellaneous notices -begin to appear in the last quarter of the century. Basil notes a -procession in the form of a litany (c. 375). Ambrose mentions a -procession of monks (c. 388) and also refers to a procession in Rome -honoring Sts. Peter and Paul, in his hymn, _Apostolorum passio_, “The -passion of the Apostles,” (A. H. 50. 17). Chrysostom was active in -organizing processions in Constantinople to offset Arian influence -(390-400).[2] At the same period, 379-388, Aetheria (St. Sylvia of -Aquitania?) made her pilgrimage to the holy places of Palestine, -describing in her journal in detail, the ceremonies enacted in the -worship of the Christian Church at Jerusalem.[3] - -Remarkable in all respects, Aetheria’s narrative is obviously written in -a spirit of devotion with eager curiosity and joyful appreciation. She -describes, among other observances, the Hour services, especially the -_lucernare_ when hymns were sung, the Sunday procession to the Anastasis -or Church of the Resurrection which marked the tomb of Jesus and the -procession and rites for the Feasts of the Epiphany, Ypapanti or -Presentation of Christ in the temple, Palm Sunday and Easter.[4] Hymns -in which the laity as well as the clergy participated are mentioned in -connection with these ceremonies but no specific hymn is named. The -immediate purpose of the processions at Jerusalem appears to have been -the enactment of scenes in the life of Jesus in the places where they -occurred, introducing a dramatic element which pervades medieval -processional observances throughout their history. - -Aetheria uses the words psalm, antiphon and hymn in connection with the -musical parts of the worship she observed, but not indiscriminately. She -was probably familiar with hymns as they had developed in the fourth -century both in the eastern and western churches. It has been assumed -that the hymn sung at the daily lighting of the candles was _Phos -hilaron_, “O gladsome light.”[5] The hymns she heard at the Good Friday -observance have been tentatively identified as the _Idiomela_ for Good -Friday, traditional in Byzantine ritual.[6] In any case they were true -hymns, perhaps of a metrical, or more probably of a rhythmical type. It -is impossible to identify the processional hymns of which she speaks. -All that can be asserted is that non-scriptural, as well as scriptural -hymns, were sung in the processions at Jerusalem. - -In Constantinople, contemporary processions have already been mentioned. -The practice of Jerusalem was also adopted there. In the sixth century -under Justinian, the Feast of Ypapanti was introduced.[7] However, the -history of Byzantine processions must be omitted from this study which -is devoted primarily to the Latin West. - -In Rome, the Christian procession had an independent origin, being -derived in part from the memorial honors paid to the Christian martyrs -and in part from the Christianization of pagan ceremonies. When the -period of persecution of Christianity had come to a close and the -triumphant Church was able to assert publicly her influence and -authority at Rome, processions were made as early as the fifth century -to the places where martyrs had suffered. This is the origin of the -later station procession, followed by the celebration of mass in the -various churches where the remains of martyrs removed from the catacombs -were buried. A century earlier in Milan, Ambrose had discovered and -removed the bodies of St. Protasius and of St. Gervasius from their -original burial place to a church newly erected in their honor.[8] Pope -Gregory the Great (590-604) observed the Roman stations and Pope Sergius -(687-701) completed their organization.[9] The processions were -accompanied by the chanting of psalms but there is no record of -non-scriptural hymns. The symbolism of the procession, however, was -enriched by the idea of pilgrimage to a spot made sacred by martyrdom, a -continuing processional motive throughout the Middle Ages. - -While the station processions developed in the vicinity of Rome, the -litany processions arose in Gaul. Mametus, the Bishop of Vienne, 474, -inaugurated the _litania minor_ or the public blessing of the fields and -crops in the spring season. In 511, the Council of Orleans ordained the -observance for Gaul, and the Council of Girona, in 517, for Spain. The -_litaniae minores_ or rogations, perpetuate in their intent, processions -of the Roman era. The _litaniae maiores_ which were prescribed by -Gregory the Great, 598, and Leo III (795-816), were of similar origin -and purpose. A _litania septiformis_ was also organized by Gregory on -the occasion of a pestilence at Rome.[10] The _litania maior_ came to be -observed on April 25, St. Mark’s day, and the _litaniae minores_ in the -three days preceding Ascension. Psalms but not hymns in the sense of -non-scriptural compositions were heard in the litanies. The procession -of supplication common alike to pagan and Christian practice is -illustrated in the litanies, a constant motive and a constant observance -in medieval rites. - -It seems clear, therefore, that primitive Christian processions in Rome -consisted of stations and litanies. Festival processions were introduced -into the west gradually. Ascension is spoken of as an ancient feast but -there is no specific evidence of its observance before the middle of the -fourth century. The Ascension procession, implied by Aetheria in her -journal, is unknown in Rome at this time.[11] Pope Sergius imported into -Rome the festival procession for Candlemas or the Feast of the -Purification of the Virgin. The Feast of Ypapanti or Presentation, -originally observed in Jerusalem and later adopted in Constantinople, as -noted above, gained in the transfer a new feature. The carrying of -lighted candles, not mentioned by Aetheria, seems to have been added in -Byzantine practice. The words spoken by Simeon of the infant Jesus, “a -light to lighten the Gentiles” (Luke 2. 32) made the symbolic use of -lights almost inevitable. The date of the Feast of the Purification, -February 2, was approximately that of the pagan _Amburbium_ or -_Amburbale_, an early Roman procession of lustration which had taken -place in that month. Possibly the procession for the Feast is -reminiscent of this pagan practice.[12] It might be of interest to -follow in closer detail the origin of the medieval Candlemas, but -attention must be directed to the Candlemas hymns later to be written -and sung in procession at this Feast. - -The period of Christian processional origins which may be considered to -close with the seventh century, saw the development of the processions -at Jerusalem, their adoption in Constantinople and the evolution of the -stations and litanies in the west. Festival processions also, were -slowly making their way into the Western Church.[13] - - - II. Evolution in the Early Middle Ages - -That the Latin processional hymn appeared first in Gaul should surprise -no one. It has already been suggested that the hymns among the _Carmina_ -of Fortunatus were created in the atmosphere of freedom enjoyed by -Gallic hymn writers in accordance with contemporary canons. Always a -poet of the occasion, Fortunatus wrote three hymns for the reception of -a relic believed to be of the true Cross, which was presented to -Rhadegunda, his patron, by the Byzantine Emperor, Justin II and his wife -Sophia, for the convent at Poitiers. As a final stage in the journey -from Constantinople, the relic was borne in procession from Migné to -Poitiers, accompanied by Euphronius, Bishop of Tours. On this day the -hymn, _Vexilla regis prodeunt_, was first heard.[14] Two others, _Pange -lingua_ and _Crux benedicta_ (see Chapter One) were devoted by -Fortunatus to the same theme of the Holy Cross, although it cannot be -proved that they were sung in the same procession. - -The Resurrection hymn, _Tempora florigero rutilant distincta sereno_, -“Season of luminous days, marked bright with the birth of flowers,” -(_Carm._ 3. 9), was originally written for the Easter baptismal rites -celebrated by Felix, Bishop of Nantes (d. 582). It was a poem of 110 -lines or 55 elegiac couplets, from which the cento of 28 lines beginning -_Salve festa dies_, “Hail thee, festival day,” was later selected for an -Easter processional.[15] - -The metrical models provided by _Pange lingua_ of the trochaic pattern -and _Salve festa dies_, the elegiac, continued to be employed throughout -the Middle Ages for processional hymnody, the elegiac excelling in -popularity. First in the original hymn, then in centos and finally in -imitative verse adapted to a multitude of feasts, _Salve festa dies_ was -never superseded but maintained the influence of Fortunatus for -centuries. - -Spain must have known the processional hymn soon after its appearance in -Gaul, perhaps in the seventh century. Here, the Palm Sunday festival -seems to have been the source of inspiration for the procession and -blessing of palms is mentioned by Isidore of Seville as an observance of -his day.[16] Contemporary evidence indicates a similar procession in -Italy.[17] The use of a processional hymn, however, is not as clearly -indicated. - -It seems probable that the seventh century hymn, _Magnum salutis -gaudium_ (_A. H._ 51. 73), “O great joy of salvation,” is one of the -earliest to be assigned for Palm Sunday. It is a simple rendering in the -Ambrosian style, of the events recounted in the biblical narrative.[18] -In the early centuries when the concept of a specific processional hymn -for a particular festival was almost unheard of, a familiar hymn from -the old hymnals might be used in the new ceremonies. It has been -suggested that _Magnum salutis gaudium_ was known to Theodulphus, who in -the ninth century wrote the Palm Sunday processional hymn, _Gloria laus -et honor_, for all the ages. - -Processions, thus far, have been thought of chiefly, as wholly or in -part outside the church edifice. Processions within the edifice were -also frequently observed. A procession of the clergy, in connection with -which psalms and antiphons were sung, preceded the Sunday high mass; -another took place as the Gospel codex was carried to its place for -reading. Other ceremonies within the church, aside from the liturgy -proper, were sometimes accompanied by hymns.[19] - -Perhaps the earliest hymn in use at a special ceremony, once more a -selection from the hymnal, was _Audi, iudex mortuorum_ (_A. H._ 51. 80), -“Hear Thou Judge of the dead,” sung on Holy Thursday at the consecration -of the chrism.[20] The words _O redemptor, sume carmen temet -concinentium_, “O Redeemer, accept the hymn of Thy people magnifying -Thee,”[21] formed a refrain, a metrical feature which came to be the -unmistakable mark of the processional hymn. - -In this early period from the sixth to the tenth century, a new idea and -a new practice came into being, the use of hymns apart from those of the -canonical hours and the sequences of the mass. The ninth century revival -of hymnody in all its branches was taking place in western Europe just -as this period came to a close, in connection with which the -processional hymn was inevitably affected as the office hymn and the -sequence had been by a fresh inspiration to poetry and worship. The -movement came to fruition at St. Gall where the musical and ceremonial -aspects of that great monastic center were so highly developed, a center -which had contributed so heavily to the Carolingian revival of -literature and the arts. - -The French liturgical scholar, Leon Gautier, whose contributions to the -study of medieval hymnology have already been mentioned, was the first -to identify the processional hymn as a trope or liturgical -interpolation. In a study of the St. Gall processional hymns he observed -that they were classified by the name _versus_ which in itself points to -a separate hymnic category. Other earlier hymns used in processions were -there called _versus_. Gautier discovered that musical notation always -appeared with the _versus_, an indication that these hymns were -invariably chanted and he noted that the _versus_, in the manner of the -hymn _O redemptor, sume carmen_, cited above, was without exception, -accompanied by a refrain.[22] - -The processional hymns of St. Gall, like the sequences, bore the -characteristic marks of the hymnic group to which they belonged. From -this stage in their evolution they were set apart by their music, -classification and refrain. - -The wider circle of Carolingian liturgical interest included hymn -writers other than those of St. Gall: Theodulphus of Orleans, Walafrid -Strabo of Reichenau, Rabanus Maurus of Fulda, Radbert of Corbie, who -with Waldram and Hartmann of St. Gall wrote processional hymns. The -hymns of Theodulphus and of Rabanus Maurus have been considered above. - -Other great festivals of the ecclesiastical year and of the saints were -now observed with processional honors for which new hymns were written; -special ceremonies also, were thus recognized. Hartmann wrote the -elegiac hymn _Salve, lacteolo decoratum sanguine festum_ (_A. H._ 50. -251), “Hail festival, graced with the blood of the Innocents,” for the -Feast of the Holy Innocents. The processional hymns of Rabanus Maurus -were heard at Nativity, Easter and possibly the Feast of the -Purification. The dramatic spirit, always present in the true -processional is felt in all these hymns while the refrain reiterates the -message of the feast: - -for Easter, - -R. Surrexit quia Christus a sepulcro, - Collaetetur homo choro angelorum. (_A. H._ 50. 190) - - Since Christ has risen from the tomb, - Let man rejoice with the choir of angels. - -for the Nativity, - -R. Christo nato, rege magno - totus orbis gaudeat. (_A. H._ 50. 186) - - Since Christ is born, the mighty king, - let the whole earth rejoice. - -Processional hymns for saints are represented by Radbert’s hymn honoring -St. Gall, - -R. Annua, sancte Dei, celebramus festa diei, - Qua, pater, e terris sidera, Galle, petis. (_A. H._ 50. 241) - - We celebrate, O Saint of God, our yearly feast on this day - When thou, father Gallus, dost leave the earth for heaven. - -To celebrate the life and miracles of a patron saint was frequently the -inspiration of a medieval procession, which, in the case of St. Gall, -passed beyond the precincts of the monastery into the streets of the -town.[23] It is no wonder that the tradition of these processions, -furnished with all the splendor of festival vestments, of robed choirs, -of monastic treasures and sacred banners should have made St. Gall -unique. - -The Sunday processions were sometimes accompanied by imposing hymns in -the form of litanies. It should not be forgotten that the ancient -Christian processions were, in great part, of this nature. Waldram, -Hartmann and Radbert wrote such hymns but Hartmann’s was evidently a -favorite, _Summus et omnipotens genitor, qui cuncta creasti_, “Mighty -and omnipotent father, who hast created all things,” with the refrain, - -R. Humili prece et sincera devotione - Ad te clamantes semper exaudi nos. (_A. H._ 50. 253) - - With humble prayer and pure devotion, - Ever hear us as we cry to Thee. - -It seems probable that the custom of singing a hymn in the procession -before the reading of the Gospel originated at St. Gall. Hartmann -provided a beautiful _versus_ for this purpose, - - Sacrata libri dogmata - Portantur evangelici. (_A. H._ 50. 250) - - The sacred words of the - Gospel are borne. - -A _versus_ for the reception of the Eucharist was written by Radbert, -_Laudes omnipotens, ferimus tibi dona colentes_ (_A. H._ 50. 239), “In -reverence, Almighty, we bring our praises as gifts to Thee.” The -Blessing of the Font on Holy Saturday inspired his _Versus ad Descensum -fontis_ (_A. H._ 50. 242-3). Among the ceremonies most characteristic of -medieval piety was that of _Mandatum_ or foot-washing, commemorating the -act of Jesus in washing his disciples’ feet, (_John_ 13; 1-15). The name -“Maundy Thursday” is a modern survival of the ancient terminology.[24] -The hymn associated with this rite appears first in Gaul in the eighth -or ninth century and may have been current in Italy in monastic centers. -The antiphon, _Ubi caritas et amor, Deus ibi est_, “Where charity is and -love, God is there,” is at once the motive and refrain of this hymn, -_Congregavit nos in unum Christi amor_ (_A. H._ 12. 24), “The love of -Christ has united us,” which follows the scriptural account.[25] - -The student must turn once more to the great monastic centers of the -Germanic world for processional hymns honoring royalty. Visits of kings -and emperors to St. Gall and other noted monasteries were by no means -uncommon; that colorful processions and demonstrations of loyalty were a -part of their reception cannot be doubted. Walafrid Strabo celebrates -the visit of Lothair to Reichenau with the hymn, - -R. Imperator magne, vivas - semper et feliciter. (_A. H._ 50. 176) - - Live, O mighty emperor - ever in felicity. - -Walafrid Strabo praised Charles, son of Louis the Pious, and Radbert, -the Empress Richgard. Other processionals could be used on the occasion -of the coming of any royal visitor. - -Vatican manuscripts offer evidence of contemporary processions in Italy -and Rome, the city of their origin. From this source is derived the -processional hymn _Sancta Maria, quid est?_ (_A. H._ 23. 74), “Sancta -Maria, what meaneth this?” written for the procession which marked the -eve of the Feast of the Assumption, about the year 1000. Specific -directions for the route, the order of precedence and every detail of -the ceremonial are available, while the hymn itself depicts the devotion -and human appeal attending this night time scene in Rome.[26] - - - III. Evolution in the Later Middle Ages - -For the evolution of the processional hymn from this point to the close -of the Middle Ages, we have in addition to hymnic manuscripts, the -service books and manuals devoted to, or including, processional -practice. The _Ritual_ or _Roman Pontifical_ was the earliest to include -directions for processions, an illustration of which has been presented -above in the case of _Sancta Maria, quid est?_ In the course of time, -since so many medieval processions were not thus provided for, the -_Processional_ came into existence, containing the order of processions -for a particular diocese or monastery.[27] The St. Gall _Processionals_, -for instance, are informative as to customs already described above. The -specific name _versus_ gave rise to the title _Versarius_ for a book of -processional hymns.[28] - -In addition to the collections, liturgical writers discussed the -procession. Of these, none was more influential than Durandus, Bishop of -Mende, who, about 1286, produced his _Rationale divinorum officiorum_ -which among many other liturgical subjects, included processional -rites.[29] Durandus was a leading authority upon ecclesiastical -symbolism. Accordingly, he dwells upon every minute detail of the great -processions for Easter, Ascension, Palm Sunday and the Purification as -well as the Sunday procession and others of lesser importance, ascribing -to each act a wealth of symbolic meaning. Much of this figurative -interpretation is obvious and inherent in the feast to be celebrated but -in other cases he gives full play to his sense of the symbolic, a phase -of contemporary thought already so characteristic of Adam of St. Victor -and other writers on religious themes. Finally he declares that whatever -else is suggested, “the true procession is a progress to the celestial -country.” (_Ipsa vero processio, est via ad coelestem patriam._)[30] If -the fundamental concepts which entered into their origins be reviewed, -medieval processions apparently carried with them the familiar ideas of -supplication, of dramatic representation or of pilgrimage to sacred -places. Durandus reiterates and sublimates these concepts, giving them -an added significance. - -The processional manuals, especially of the English rites observed at -Salisbury, York, Canterbury and other cathedral centers, offer -descriptions and sometimes illustrations showing the order and vestments -of the clergy, the position and functions of the choir, the appropriate -acts involved, together with the complete text of the antiphons, psalms, -other scriptural passages, hymns, prayers and rubrics. Turning to the -processional hymns which were rendered in these centuries, one is -impressed by the gradual disappearance of hymns typical of the efforts -of the St. Gall school and its contemporaries. A tremendous vogue of the -original _Salve festa dies_ of Fortunatus which had never been lost -sight of, together with its centos, variants and copies, takes -possession of the field. There were in all, perhaps, from one hundred to -one hundred and fifty true processional hymns in circulation throughout -the whole medieval period, if one enumerates those which are edited in -the _Analecta Hymnica_. One half of these may be considered to be of the -_Salve festa dies_ type while similar elegiac metrical forms are found -in half of the remainder. - -What has been said of the cultural background in which the sequence -developed and multiplied is equally true for the processional hymn. The -same influences which created new seasonal feasts and additional feasts -for the saints, produced new processional hymns to accompany them. There -is, however, a great disparity between the number of sequences and -processional hymns that were written. The sequence was regnant in sacred -and secular verse, both in Latin and the vernaculars. Office hymns, too, -far outnumbered processionals. This may be another way of saying that -the office hymns and the sequences had a liturgical function and -setting, while the processional was always extra-liturgical and either -superfluous or purely ornamental from this point of view. The antiphons -and psalms were sufficient to satisfy the essential choral demands of -any procession. - -Unfortunately Thomas Aquinas did not include a processional hymn when he -furnished the hymnody for the Feast of Corpus Christi. He could hardly -have envisaged the thousands of Corpus Christi processions throughout -Catholic Christendom which have marked the Feast even to this day. Nor -could he have foreseen that his hymn _Pange lingua gloriosi corporis -mysterium_, written in the tradition of Fortunatus, would be widely -appropriated for that purpose. Other processionals for Corpus Christi -appeared almost at once, especially of the _Salve_ type. - -Contemporary devotion to the Virgin Mother and her festivals was felt in -the expansion of the Marian hymnology for processions. The establishment -of St. Osyth in Essex was a center in which new hymns were used for the -Visitation, - - Salve festa dies, toto venerabilis aevo, - Qua Christi mater visitat Elizabeth. (_A. H._ 11. 51) - - Hail thee, festival day, blest day that is hallowed forever, - On which Christ’s mother visits Elizabeth. - -and the Assumption, - - Salve festa dies, toto venerabilis aevo, - Qua fuit assumpta virgo Maria pia. (_A. H._ 11. 55) - - Hail thee, festival day, blest day that is hallowed forever, - On which the holy Virgin Mary was assumed. - -A lengthy hymn of twenty stanzas for the Feast of the Purification which -had been observed for so many centuries, appears in a twelfth or -thirteenth century manuscript from Kremsmünster, _Laetetur omne -saeculum_ (_A. H._ 4. 54), “Let every age rejoice.” The biblical scene -of the Presentation in the Temple is described and reference is made to -the carrying of lighted candles. - -Later medieval practice perpetuated other earlier customs. From the -original station processions at Rome had developed the ceremonies to -celebrate the translation of relics of saints in western European lands. -Pope Callistus II (d. 1124) wrote a processional hymn honoring St. James -of Campostella, _Versus Calixti Papae, cantandi ad processionem sancti -Jacobi in solemnitate passionis ipsius et translationis ejusdem_ (_A. -H._ 17. 194), or _Versus of Pope Callistus, to be sung at the procession -of St. James in the celebration of his passion and translation_. A hymn -for St. Kyneburga (d. 680) commemorated the restoration of her relics to -their original burial place in Peterborough Minster from which they had -been removed during the Danish invasions.[31] (_A. H._ 43. 218) - -A procession in which the relics were carried for the veneration of the -worshipers was familiar in many places. Records from St. Gall testify -that St. Magnus was honored with such a procession and an appropriate -hymn of praise (_A. H._ 50. 261). The relics of saints treasured at -Exeter were borne in procession with the singing of a hymn which -mentions their miraculous powers. (_A. H._ 43. 277) - -In an era marked by municipal drama and civic display as well as -religious festivals, the pageantry of the procession was understandably -popular. Rome always had its great processions. Accounts are extant of -ceremonies accompanied by hymns, in Tournai, Strasburg, Nuremberg and -other medieval towns, aside from those prescribed by episcopal and -monastic manuals of the day for the great cathedrals and abbeys. - -The music to which the processional hymn was sung is, in some cases, -available. The St. Gall manuscripts, as Gautier noted, were furnished -with musical notation. This is occasionally true of later manuscripts, -especially as we enter the closing medieval centuries. The traditional -melodies of certain hymns, like the _Salve festa dies_ and _Gloria laus -et honor_ are known to-day. Musicologists and students of liturgical -music are currently engaged in bringing this music to present-day -knowledge. For example, the hymn used in procession before the reading -of the Gospel appears in the twelfth and thirteenth centuries as a -_conductus_ or _conductum_ which, in turn, is related to the -_cantio_.[32] A _conductus_ for the festival of St. James of Campostella -(_A. H._ 17. 199), illustrates the evolution of a minor type of -processional hymn from Hartmann’s solemn _versus_, mentioned above, to -the festive style of the late medieval period. The recent study of the -_conductus_ by Leonard Ellinwood reflects the growing interest of -musicians in these forms, both secular and religious, which preceded the -Renaissance.[33] - -To summarize the characteristic marks of the processional hymn which are -constant and quite independent of the date of their appearance, the -student must recall the underlying motives: 1) supplication in the -litanies, 2) re-enactment of biblical scenes and 3) religious -pilgrimage. Respecting usage, the special interest of a ceremony devoted -to a particular occasion is present in processional hymns, additional to -other rites. Lastly, a group of hymns has come into existence, not to be -classified with the more formal categories of the office hymn and the -sequence but dedicated to an extra-liturgical purpose. - -As a group, the processional hymns are not well-known or frequently used -in translation with the exception of the ageless hymns of Theodulphus -and especially of Fortunatus whose processionals usurped the medieval -field for over one thousand years and are still current to-day. - -(See Illustrative Hymns, XVII. _Salve festa dies_, “Hail thee, festival -day.”) - - - - - CHAPTER SEVEN - Influence and Survival of Latin Hymns - - - I. Late Medieval Influence - -From the creation of the Latin hymn in the fourth century by the -earliest writers to the efforts of poets heralding the Renaissance, -Christian hymnody left its imprint upon contemporary verse both secular -and religious. The field of inquiry suggested by this thesis has never -been fully explored although it abounds in fascinating possibilities for -the student of medieval culture. The subject, of course, cannot be -treated within the limits of this chapter but such hints may be offered -as have resulted from a partial study of particular areas or fall within -the bounds of reasonable assumption. - -Perhaps the most pervading influence and the simplest to trace is the -metrical. The iambic dimeter of Ambrose, both in its quantitative and in -its rhythmical form, became a standard for poetry of all types, -appearing even in the modern age as the long meter of the metrical -versions of the Psalms. Trochaic verse, initiated in hymns by Hilary, -employed most effectively by Fortunatus and always a favorite, rivalled -the iambic in the vernaculars. As the metrical features of the Victorine -sequence became increasingly popular, they were taken over bodily by -secular poets writing both in Latin and in the modern European -languages. Classical meters fostered by Prudentius and later by the -Carolingian poets showed less vitality as poetical models. The -liturgical hymn and the sequence are of prime importance in their -metrical aspects but the meters of the _piae cantiones_ and other -religious lyrics were also widely appropriated. The origin of rhyme is a -related problem which in the opinion of W. B. Sedgwick “centers around -the Christian hymn.”[1] Numerous publications by scholars who, like -Sedgwick, have spoken with authority, bear witness to the general -linguistic and literary interest attaching to these subjects of -research. - -Aside from aspects of meter and rhyme, medieval secular verse in Latin -borrowed generously from the hymn; witness the songs of the wandering -scholars as recorded in the collection edited under the title _Cambridge -Songs_ and also the goliardic poetry of the _Carmina Burana_.[2] -Well-known hymns are frequently parodied and, in general, the liturgical -models are employed to create humorous allusion or pungent satire. The -student song _Gaudeamus igitur_ is a familiar illustration of this -general group. - -The adaptation of the sequence to secular purposes resulted in a novel -type of verse, the _modus_, already cited in connection with the origin -of the sequence, illustrated by the _Modus florum_ of which many -examples have been preserved varying in beauty and poetic conceit. -Reference has been made in an earlier chapter to the deeper problems -underlying sequence origins on the poetical side. Discussion among -scholars as to the priority of the religious or secular Latin lyric is -still active.[3] Some would say that popular Latin verse arose by virtue -of the hymnodic influence. Others would posit a vernacular impulse which -eventuated in the Latin lyric both secular and religious.[4] - -Apart from the lyric, there are in the general field of Latin verse many -resemblances to hymnic models. The lengthy narrative poems of the -_Peristephanon_ in which Prudentius recounted the sufferings of the -martyrs, St. Laurence, St. Vincent, St. Agnes, St. Eulalia and others, -and celebrated their spiritual victories, have been called hymns. It has -been argued that they were actually sung,[5] in full, upon the festival -days of the saints in question although the praises of St. Vincent, for -example, are expanded to 576 lines, other hymns varying from 66 to 1140 -lines. It may have been possible in the more leisurely tempo of medieval -life to render the martyr hymns of Prudentius in their entirety. A far -more provocative suggestion makes them the starting point for the -medieval saints’ legend of which illustrations exist in lengthy Latin -poems and later, in vernacular verse. - -The contribution of hymns to the liturgical drama of the Church has been -noted in connection with the sequence, _Victimae paschali laudes_. It is -nowhere contended that the hymn created the drama but that the dramatic -phraseology is often reminiscent of the hymn and that the role of the -singers in the _schola cantorum_ and the choir, as actors in the -liturgical play, becomes significant in connection with the hymnic -origins of these productions within the church.[6] - -Finally, an interesting group of Latin poems having an interrelation -with the hymn is illustrated by _O Roma nobilis_, a tenth century lyric -praising the apostles and martyrs of the Eternal City (_A. H._ 51. -219).[7] - -The transition from Latin to vernacular languages took place as soon as -the latter were sufficiently developed to produce Christian verse. The -Gospels were rendered into Germanic rhymed verse in the ninth century by -Otfried the Frank who inserted a hymn of ten stanzas as a poetic version -of the opening of St. John’s Gospel. It is written in seven-syllable -couplets with four or six to a stanza.[8] Otfried is said to have been -influenced by Rabanus Maurus and with good reason since the latter was a -recognized leader in mediating Latin patristic and other writings to the -Germanic world of his day. - -Otfried was the first of many medieval poets whose religious lyrics in -the vernacular, often revealing the inspiration of the Latin hymn, have -been preserved. Their verse appears in Wackernagel’s great collection in -which he has edited 1448 specimens from the time of Otfried to that of -Hans Sachs.[9] - -Celtic churchmen were pioneers among medieval Latin hymnists, their -earliest contribution dating from the sixth century. Religious lyrics in -the Celtic tongue must have been produced and recorded before the Danish -invasions although the destruction of these manuscripts delayed the -compiling of new vernacular collections until the eleventh century. The -hymn _Hymnum dicat turba fratrum_, written in trochaic tetrameter, and -preserved in the Bangor Antiphonary, to which reference has been made in -Chapter One, apparently influenced the metrical system of Celtic poetry. -The metrical pattern used by Otfried, a quatrain of seven-syllable lines -with rhymed couplets, is commonly found.[10] Latin influence is at least -tentatively acknowledged by scholars in the rhyme and stanza structure -of Celtic poetry prior to the eleventh century.[11] - -After the creation of the Latin sequence, vernacular poetry is -overwhelmingly affected by this new type of hymn. Germanic poets -followed the leadership of Notker. The Victorine school, rejecting the -strophic system and rhythmic model of the Germans, built the couplet and -rhyme, already existing in hymns, into a characteristic structure which -proved to be easily transferable to vernacular uses. It has been -asserted that the lyric poetry of the Middle Ages, in German, French, -Provençal and English was reborn in this conquest of the vernacular by -the Latin sequence.[12] At the same time, the possible influence of the -vernacular over the Latin must not be ignored. There is a resemblance, -for instance, between the narrative elements of sequences written in -honor of saints and the ballads of secular poetry.[13] Whatever the -conflicting currents may have been in the period of origins, the -smooth-flowing stream of the vernacular religious lyric with its many -tributaries, refreshed the spirit of medieval man and recalled to memory -his religious heritage. - -The vitality of this new religious poetry which flourishes in the later -centuries, in which the Latin hymn suffered so marked a deterioration, -suggests that the future of the hymn, like other media of Latin -literature, was to be realized in a new linguistic environment. It was -not the verity but the language that was destined to change. - -In order to appreciate the variety and interest of that vernacular lyric -poetry which arose within the sphere of influence of the Latin hymn, -illustrations may be culled from many parts of Europe. _Mary-Verse in -Meistergesang_ is the title chosen by Sister Mary Schroeder for her -study of one aspect of the German lyric.[14] A very large proportion, -perhaps two-thirds of the songs are religious in content, showing to a -degree, their dependence upon hymnal poetry, while nearly one-fourth of -them are devoted to the praise of the Virgin. Occasionally, a Latin -sequence has been freely translated, paraphrased or elaborated. - -The Swedish vernacular is represented by the patriotic poem of Bishop -Thomas of Strängnäs, who, in the fourteenth century, wrote in praise of -the national hero, Engelbrekt. Metrical and stanza form are both of the -hymnal type.[15] - -The Romance languages afford myriad examples of the sequence form. St. -Martial, near Limoges, already cited as a center in the production of -the sequence, and Paris, the home of the Victorine school, are both -places of origin for vernacular lyrics. A close connection has been -traced between the sequence and the French romantic lyric, especially -the _lai_, a connection amply illustrated and tabulated for the -convenience of the student.[16] More familiar, perhaps, than the _lais_ -are the appealing lines of François Villon, “Dame des cieulx, regente -terrienne,” which possesses all the charm of the Marian lyric at its -best. - -About the year 1270, Alfonso X of Castile made a collection of 400 poems -in the Galician-Portuguese dialect, the _Cántigas de Santa María_ around -which a considerable literature has grown up. All are devotional in -subject matter. Alfonso X was a literary patron. Ramon Lull (c. 1315) -was himself a poet who wrote in the Catalan tongue although his mystical -writings are better known than his poetry. His _Hours of our Lady St. -Mary_ was modeled upon the hymn and set to a hymn tune.[17] - -The Italian poets of religious verse flourished as writers both in the -vernacular and in Latin. St. Francis of Assisi, (1181-1226), whose -_Cantico di fratre sole_[18] is known and loved by countless persons in -our own day, was among the earliest poets of the _Laudi spirituali_. The -origin of the _laudi_ has been traced in part to the ejaculations of the -flagellants of northern Italy where bands of these penitents were -commonly seen in the thirteenth century. A century earlier, religious -societies of singers, the _laudisti_, were in existence in Venice and -Florence. Arezzo knew such a group as early as 1068.[19] Included among -the known writers of _laudi_ are Jacopone da Todi, (1230-1306), and -Bianco da Siena, (c. 1307), both classified today as writers of hymns. - -The movement represented by the _laudisti_ spread to France, -German-speaking lands, the Low Countries and Poland. Everywhere the -vernacular was used with popular unison melodies. As we approach the -Renaissance, Florence is still conspicuous for her authors of the -religious vernacular lyric, among them Lorenzo di Medici and Savonarola, -(1452-1498), better known as the Florentine preacher whose passionate -denunciations of the evils of his day brought him into conflict with the -Church and resulted in his execution. His _Laude al crucifisso_ has been -translated in part by Jane F. Wilde as a hymn, “Jesus, refuge of the -weary.” - -The English religious lyrics of the thirteenth, fourteenth and fifteenth -centuries may be read with enjoyment in the collections of Carleton -Brown whose appraisement of this poetry was the fruit of great learning -and a sympathetic discernment of human values.[20] Here the Latin hymn -may be found as it was translated, adapted and imitated in English -verse. The Latin sequence, as it increased in popularity, was taken over -by English poets with great success. Some of these writers who -appropriated the Latin models, like William Herebert, Jacob Ryman and -John Lydgate, are known to us by name while others are anonymous. Their -poetic themes are varied but Marian verse appears in many forms: hymns, -laments, and rhymed petition. Incidentally, a knowledge of the Latin -original must be presupposed on the part of the English laity of this -period. Chaucer wrote for the layman who must have understood his use of -the sequence _Angelus ad Virginem_ in the “Miller’s Tale” and the -sequence _Alma redemptoris mater_ in the “Prioress’ Tale.” - -English macaronic verse best reveals the Latin hymn. Over and over -again, Latin quotations are used, sometimes embedded in the text, -sometimes added as refrains, an understanding of which is always vital -to the appreciation of the poem. - -The carol, although extraneous to true hymnody, because of its -non-liturgical character and usage, was related to Latin origins; to -some extent, to the _cantio_ and the _conductus_. A form of vernacular -lyric, the carol often shares the macaronic features which were common -in the blended phraseology of the European languages with Latin in this -popular type of late medieval verse. It is relevant here as a religious -lyric which bears the unmistakable mark of the hymnic inheritance. -Whatever is true of the English carol is equally true of the carol in -other lands. To-day these lyrics are of great interest and of increasing -usage in the Christian Church at large. Their musical and poetic aspects -are both subjects of enthusiastic research. Many persons in our modern -society who have never studied the classical languages are able to sing -the Latin words and phrases they contain, with understanding, as did -their medieval predecessors. - - - II. Influence and Survival of Latin Hymns since the Middle Ages - -The writing of Latin hymns by no means died out with the medieval era in -the sixteenth century. The great prestige of Latin studies fostered by -the Renaissance alone would have been sufficient to perpetuate the -practice. The Church, too, was engaged in a movement to standardize and -improve the Latinity of the breviary hymns which resulted in the -Trentine cycle as we know it today. A concurrent movement toward -uniformity of rites appreciably reduced the number of breviaries and the -variety of their hymns, but those breviaries which maintained an -independent existence had their own complete cycles. Such were the -Cluniac Breviary of 1686 and the Paris Breviary of 1736 for which new -hymns were written and sung side by side with those of medieval origin. -Among post-Renaissance poets represented in these collections were the -Frenchmen Jean-Baptiste de Santuil and his brothers Claude and Baptiste. -Freshly inspired by classical studies, the new hymn writers repudiated -medieval ruggedness and stylistic neglect in favor of the smooth and -finished Latinity affected by contemporary poets. From the substantial -body of verse produced in these centuries, _Adeste fideles_, “O come, -all ye faithful,” has proved a favorite. Sometimes classified as a hymn, -sometimes as a carol, it originated in the English colony at Douay about -the year 1740, from the pen of John Francis Wade.[21] - -The continuity of the Roman Use, however, was not disturbed. The Roman -Breviary had acquired its cycle of hymns in the processes of evolution -which have been traced in the preceding chapters. Trentine revisions -under the guidance of Pope Urban VIII, (1623-1644), made with the -highest motives but often deplored by later scholars, transformed the -medieval originals into products of the Renaissance. The Trentine -Breviary contains many of the finest medieval hymns which, although they -have suffered alterations, have carried the traditional heritage into -modern times.[22] - -By virtue of its prestige and its world-wide circulation, the Roman -Breviary has been the vehicle by which the Latin hymn has penetrated -into the modern vernacular languages in translations. It is a subject of -frequent comment that the full treasury of hymns has not been drawn upon -by the Catholic Church since the hymns of the Roman Breviary have -monopolized the field. The historical reason for this is clear and also -for the fact that in the Roman Missal only five sequences, each of -recognized superiority, have been retained. - -The restriction of Latin hymns in Roman Catholic liturgical usage to a -relatively small number allows certain exceptions. The Benedictine and -other religious orders use their own cycle of breviary hymns and -present-day Catholic hymnals in popular use often contain translations -of hymns and sequences additional to those of the Roman Breviary and -Missal. - -Protestant Churches are not limited in their selection of Latin hymns -for translation, making their choices from the entire medieval store. -The revival of Latin hymns in a translated form, which marked the Oxford -Movement in the Anglican Church in the mid-nineteenth century, drew upon -the Sarum Breviary as one native to English soil and therefore -appropriate to the English Church. That these hymns were largely -represented in the Roman Breviary, was well-known but the earlier and -unrevised texts were preferred. In his function as a translator, John -Mason Neale was preeminently a leader in the task of making known to the -adherents of the Church of England their heritage of hymns. - -An attempt was made at this time to perpetuate not only the words but -the Gregorian Chant as a suitable musical setting for the vernacular. -Here the innovators were only partly successful and the chant, although -enthusiastically employed at first was gradually abandoned in the -English Church as the sole musical vehicle for the Latin hymn in -translation. Similarly Latin hymns have been taken over into other -modern languages by translators of Protestant as well as Catholic -allegiance. - -In the seventeenth and eighteenth centuries the influence of Latin hymn -meters continued to be felt in vernacular hymnody. Metrical versions of -the Psalms made by Isaac Watts are often illustrative of old Latin forms -which may also be recognized in his own hymns. This may not have been a -conscious imitation of Latin originals for by this time hymn meters were -ingrained in English poetry, but merely an indirect reflection, for -example, of the Ambrosian model. - -More subtle has been the influence in modern times of the most ancient -canons of hymnic expression; objective presentation of scriptural -narrative, doctrinal emphasis and a certain joyful austerity in the -praise of God. During the three and a half centuries which have passed -since the era of the Protestant Reformation, the Christian hymn has -experienced a succession of literary movements, reflecting, for example, -the spirit of the Age of Reason and of the Romantic Era. Contemporary -musical evolution has, in turn, been vitally important to the growth of -the hymn as it has been mated with the melodies of the Genevan Psalter, -the chorales of Bach, the musical novelties of instrumental origin, the -folk song and latterly the native music of regions open to missionary -enterprise. - -Throughout this varied experience the stream of medieval Latin hymnody -has continued its course. As an accompaniment of Roman Catholic worship -this was only to be expected. The conquest by the Latin hymn of areas -beyond the limits of the Roman Church is more significant. The most -recent hymnals of leading Protestant denominations, to which the Latin -hymn in translation has made a modest but genuine contribution, bear -witness to the ageless character of this hymnody. Modern investigation -of hymn sources, their origins, authorship and influence, has created -the study of documentary hymnology as it is known today. In the -processes of this inquiry the medieval Latin hymn has been invested with -new interest in the minds of a multitude of worshipers, both Catholic -and Protestant, who have hitherto been unaware of, or indifferent to, -their common heritage. - - - - - Illustrative Hymns - - - I. _Splendor paternae gloriae_ - -1. Splendor paternae gloriae, - De luce lucem proferens, - Lux lucis et fons luminis, - Dies dierum illuminans, - -1. O Splendor of God’s glory bright, - O Thou that bringest light from light, - O Light of light, light’s living spring, - O Day, all days illumining; - -2. Verusque sol illabere, - Micans nitore perpeti, - Iubarque sancti Spiritus - Infunde nostris sensibus. - -2. O Thou true Sun, on us thy glance - Let fall in royal radiance, - The Spirit’s sanctifying beam - Upon our earthly senses stream. - -3. Votis vocemus et Patrem— - Patrem perennis gloriae, - Patrem potentis gratiae— - Culpam releget lubricam, - -3. The Father, too, our prayers implore, - Father of glory evermore, - The Father of all grace and might, - To banish sin from our delight: - -4. Informet actus strenuos, - Dentem retundat invidi, - Casus secundet asperos, - Donet gerendi gratiam. - -4. To guide whate’er we nobly do, - With love all envy to subdue, - To make all-fortune turn to fair, - And give us grace our wrongs to bear. - -5. Mentem gubernet et regat, - Casto fideli corpore; - Fides calore ferveat, - Fraudis venena nesciat. - -5. Our mind be in his keeping placed, - Our body true to him and chaste, - Where only Faith her fire shall feed - To burn the tares of Satan’s seed. - -6. Christusque nobis sit cibus, - Potusque noster sit fides; - Laeti bibamus sobriam - Ebrietatem Spiritus. - -6. And Christ to us for food shall be, - From him our drink that welleth free, - The Spirit’s wine, that maketh whole, - And mocking not, exalts the soul. - -7. Laetus dies hic transeat, - Pudor sit ut diluculum, - Fides velut meridies, - Crepusculum mens nesciat. - -7. Rejoicing may this day go hence, - Like virgin dawn our innocence. - Like fiery noon our faith appear, - Nor know the gloom of twilight drear. - -8. Aurora cursus provehit, - Aurora totus prodeat, - In Patre totus Filius, - Et totus in Verbo Pater. - -8. Morn in her rosy car is borne; - Let Him come forth our perfect Morn, - The Word in God the Father one, - The Father perfect in the Son. - - Tr. Robert Bridges, from _The Yattendon Hymnal_ (edited by Robert - Bridges & H. Ellis Wooldridge) by permission of the Clarendon Press, - Oxford. - - - II. _Vexilla regis prodeunt_ - -1. Vexilla regis prodeunt, - Fulget crucis mysterium, - Quo carne carnis conditor - Suspensus est patibulo. - -1. The banners of the king advance, - The cross with mystery doth flame, - And from the tree the Flesh of flesh, - Word Incarnate, hangs in shame. - -2. Quo vulneratus insuper - Mucrone dirae lanceae, - Ut nos lavaret crimine, - Manavit unda, sanguine. - -2. The lance’s edge hath pierced His side, - O look on Him that for our good - Cleansed us of the stain of sin, - Washed out with water and with blood. - -3. Inpleta sunt quae concinit - David fideli carmine, - Dicendo nationibus: - Regnavit a ligno Deus. - -3. Now is fulfilled what was foretold - By David in prophetic song: - Suspended from the rood Our God - Will rule. To Him shall nations throng. - -4. Arbor decora et fulgida, - Ornata regis purpura, - Electa digno stipite - Tam sancta membra tangere. - -4. O glorious and radiant tree - In royal crimson richly decked, - His sacred limbs to touch and hold - Thee did our Lord, fair rood, elect. - -5. Beata, cuius bracchiis - Pretium pependit saeculi. - Statera facta est corporis - Praedam tulitque tartari. - -5. Thou blessed cross upon whose arms - The body of the Savior fell; - As with a balance thou didst weigh - The Christ that bore us out of Hell. - -6. Fundis aroma cortice, - Vincis sapore nectare, - Iocunda fructu fertili - Plaudis triumpho nobili. - -6. Thy wood is all a sweet perfume, - Thou art like nectar very sweet; - Rejoicing in thy fruit thou mak’st - A perfect triumph more complete. - -7. Salve ara, salve victima - De passionis gloria, - Qua vita mortem pertulit - Et morte vitam reddidit. - -7. Altar and sacred victim, hail! - In thy passion is our glory. - Life from death thou bringest back, - Life in death shall be our story. - -8. O crux ave, spes unica, - Hoc passionis tempore, - Auge piis iustitiam, - Reisque dona veniam. - -8. Hail thou cross, O hail thou only - Hope that agony may win; - To believers bring salvation, - Take the sinner from his sin! - - The 8th stanza is a later addition. Stanza 2 omitted. - - Tr. Howard M. Jones (Allen, P. S., _The Romanesque Lyric_. Chapel - Hill, Un. of N. C. Press, 1928, p. 146-7. Quoted by permission of - publishers.) - - - III. _Aeterna Christi munera_ - -1. Aeterna Christi munera - Et martyrum victorias, - Laudes ferentes debitas - Laetis canamus mentibus. - -1. The eternal gifts of Christ the King, - The Martyrs’ glorious deeds we sing; - And while due hymns of praise we pay, - Our thankful hearts cast grief away. - -2. Ecclesiarum principes, - Belli triumphales duces, - Caelestis aulae milites, - Et vera mundi lumina; - -2. The Church in these her princes boasts, - These victor chiefs of warrior hosts; - The soldiers of the heavenly hall, - The lights that rose on earth for all. - -3. Terrore victo saeculi, - Poenisque spretis corporis, - Mortis sacrae compendio - Vitam beatam possident. - -3. The terrors of the world despised, - The body’s torments lightly prized, - By one brief space of death and pain - Life everlasting they obtain. - -4. Traduntur igni martyres - Et bestiarum dentibus; - Armata saevit ungulis - Tortoris insani manus. - -4. To flames the Martyr Saints are hailed: - By teeth of savage beasts assailed; - Against them, armed with ruthless brand - And hooks of steel, their torturers stand. - -5. Nudata pendent viscera, - Sanguis sacratus funditur, - Sed permanent immobiles - Vitae perennis gratia. - -5. The mangled frame is tortured sore, - The holy life-drops freshly pour: - They stand unmoved amidst the strife, - By grace of everlasting life. - -6. Devota sanctorum fides, - Invicta spes credentium, - Perfecta Christi caritas - Mundi triumphat principem. - -6. ’Twas thus the yearning faith of saints, - The unconquered hope that never faints, - The love of Christ that knows not shame, - The Prince of this world overcame. - -7. In his paterna gloria, - In his voluntas filii, - Exultat in his spiritus; - Caelum repletur gaudiis. - -7. In these the Father’s glory shone; - In these the will of God the Son; - In these exults the Holy Ghost; - Through these rejoice the heavenly host. - -8. Te nunc, Redemptor, quaesumus, - Ut ipsorum consortio - Iungas precantes servulos - In sempiterna saecula. - -8. Redeemer, hear us of thy love, - That, with the glorious band above, - Hereafter, of thine endless grace, - Thy servants also may have place. - - Tr. John Mason Neale, _Hymnal Noted_. - - - IV. _Nocte surgentes vigilemus omnes_ - -1. Nocte surgentes, vigilemus omnes, - Semper in psalmis meditemur, atque - Viribus totis Domino canamus - Dulciter hymnos. - -1. Father, we praise thee, now the night is over, - Active and watchful, stand we all before thee; - Singing we offer prayer and meditation: - Thus we adore thee. - -2. Ut pio regi pariter canentes - Cum suis sanctis mereamur aulam - Ingredi caeli, simul et beatam - Ducere vitam. - -2. Monarch of all things, fit us for thy mansions; - Banish our weakness, health and wholeness sending; - Bring us to heaven, where thy Saints united - Joy without ending. - -3. Praestet hoc nobis Deitas beata - Patris ac Nati pariterque sancti - Spiritus, cuius reboatur omni - Gloria mundo. - -3. All-holy Father, Son and equal Spirit, - Trinity blessed, send us thy salvation; - Thine is the glory, gleaming and resounding - Through all creation. - - Tr. Percy Dearmer, from _The English Hymnal_ by permission of the - Oxford University Press. - - - V. _Alleluia_ - -1. Alleluia piis edite laudibus, - Cives aetherei, psallite naviter - Alleluia perenne. - -1. Sing alleluia forth in duteous praise, - Ye citizens of heav’n; O sweetly raise - An endless alleluia. - -2. Hinc vos perpetui luminis accola, - Assumet resonans hymniferis choris, - Alleluia perenne. - -2. Ye powers who stand before th’ Eternal Light, - In hymning choirs re-echo to the height - An endless alleluia. - -3. Vos urbs eximia suscipiet Dei, - Quae laetis resonans cantibus excitat - Alleluia perenne. - -3. The Holy City shall take up your strain, - And with glad songs resounding wake again - An endless alleluia. - -4. Felici reditu gaudia sumite - Reddentes Domino glorificos melos, - Alleluia perenne. - -4. In blissful antiphons ye thus rejoice - To render to the Lord with thankful voice - An endless alleluia. - -5. Almum sidereae iam patriae decus - Victores capitis, quo canor est iugis - Alleluia perenne. - -5. Ye who have gained at length your palms in bliss, - Victorious ones, your chant shall still be this, - An endless alleluia. - -6. Illic regis honor vocibus inclitis - Iucunda reboat carmina perpetim - Alleluia perenne. - -6. There, in one glad acclaim, forever ring - The strains which tell the honour of your king, - An endless alleluia. - - Stanzas 7, 8, 9 omitted. - - Tr. John Ellerton - - - VI. _Sancti venite_ - -1. Sancti venite, Christi corpus sumite, - Sanctum bibentes, quo redempti sanguinem. - -1. Draw nigh, and take the Body of the Lord, - And drink the Holy Blood for you outpoured. - -2. Salvati Christi corpore et sanguine, - A quo refecti laudes dicamus Deo. - -2. Saved by that Body, hallowed by that Blood, - Whereby refreshed, we render thanks to God. - -3. Hoc sacramento corporis et sanguinis - Omnes exuti ab inferni faucibus. - -3. Salvation’s Giver, Christ the Only Son; - By that His Cross and Blood the victory won. - -4. Dator salutis, Christus filius Dei, - Mundum salvavit per crucem et sanguinem. - -4. Offered was He for greatest and for least: - Himself the Victim, and Himself the Priest. - -5. Pro universis immolatus Dominus - Ipse sacerdos exstitit et hostia. - -5. Victims were offered by the Law of old, - That, in a type, celestial mysteries told. - -6. Lege praeceptum immolari hostias, - Qua adumbrantur divina mysteria. - -6. He, Ransomer from death and Light from shade, - Giveth His holy grace His Saints to aid. - -7. Lucis indultor et salvator omnium - Praeclaram sanctis largitus est gratiam. - -7. Approach ye then with faithful hearts sincere, - And take the safeguard of salvation here. - -8. Accedant omnes pura mente creduli, - Sumant aeternam salutis custodiam. - -8. He That in this world rules His Saints, and shields, - To all believers Life Eternal yields: - -9. Sanctorum custos, rector quoque, Dominus, - Vitae perennis largitor credentibus. - -9. With Heavenly Bread makes them that hunger whole; - Gives Living Waters to the thirsty soul. - -10. Caelestem panem dat esurientibus, - De fonte vivo praebet sitientibus. - -11. Alpha et omega ipse Christus Dominus - Venit, venturus iudicare homines. - -10. Alpha and Omega, to Whom shall bow - All nations at the Doom, is with us now. - - Tr. John Mason Neale, _Mediaeval Hymns and Sequences_, London. - Masters, 1867, p. 13. - - Neale omits Latin stanza 3. - - - VII. _Ave maris stella_ - -1. Ave maris stella, - Dei mater alma - Atque semper virgo, - Felix caeli porta. - -1. Hail, Sea-star we name thee, - Ever-maid acclaim thee, - God His Mother, Portal - To the life immortal. - -2. Sumens illud Ave - Gabrielis ore - Funda nos in pace, - Mutans nomen Evae. - -2. Ave was the token - By the Angel spoken: - Peace on earth it telleth, - Eva’s name re-spelleth. - -3. Solve vincla reis, - Profer lumen caecis, - Mala nostra pelle, - Bona cuncta posce. - -3. Free the worldly-minded - Luminate the blinded, - Every ill repressing, - Win us every blessing. - -4. Monstra te esse matrem, - Sumat per te preces, - Qui pro nobis natus - Tulit esse tuus. - -4. Plead, and play the Mother! - He will, and no other, - Born for our salvation, - Hear thy supplication. - -5. Virgo singularis, - Inter omnes mitis, - Nos culpis solutos - Mites fac et castos. - -5. Maiden meek and lowly, - Singularly holy, - Loose the sins that chain us; - Sanctify, sustain us. - -6. Vitam praesta puram, - Iter para tutum, - Ut videntes Iesum - Semper collaetemur. - -6. Help us live in pureness, - Smooth our way with sureness, - Till we also eye Thee, - Jesu, ever nigh Thee. - -7. Sit laus Deo Patri, - Summo Christo decus, - Spiritui Sancto: - Tribus honor unus. - -7. Doxology. - - Tr. G. R. Woodward - - - VIII. _Ut queant laxis resonare fibris_ - (St. John the Baptist) - -1. Ut queant laxis resonare fibris - Mira gestorum famuli tuorum, - Solve polluti labii reatum, - Sancte Ioannes. - -1. In flowing measures worthily to sing - The wonders which of old by thee were done, - To lips unclean let Heaven remission bring, - O Holy John! - -2. Nuntius celso veniens Olympo, - Te patri magnum fore nasciturum, - Nomen et vitae seriem gerendae - Ordine promit. - -2. From highest Heaven a herald sent to earth - Thy future greatness to thy father told; - Thy name and life in order from thy birth - Entire unrolled. - -3. Ille promissi dubius superni, - Perdidit promptae modulos loquelae, - Sed reformasti genitus peremptae - Organa vocis. - -3. Yet doubting of the promise of his Lord - His palsied tongue of language lost the power; - By thee was all his faltering speech restored - Thy natal hour. - -4. Ventris obtruso recubans cubili, - Senseras regem thalamo manentem, - Hinc parens nati meritis uterque - Abdita pandit. - -4. Thou didst within the narrow womb discern - The King in that his chamber lie concealed; - Each parent her Son’s dignity in turn - To each revealed. - -5. Sit decus Patri, genitaeque Proli, - Et tibi, compar utriusque virtus, - Spiritus semper, Deus unus, omni - Temporis aevo. - -5. Now whilst Heaven’s citizens proclaim thy praise - God ever One and yet coequal Three - For pardon we our suppliant voices raise - Redeemed by Thee! - - Tr. J. D. Chambers. Stanzas 6-13 omitted. - - - IX. _Veni creator spiritus_ - -1. Veni creator Spiritus - Mentes tuorum visita, - Imple superna gratia, - Quae tu creasti pectora. - -1. Creator-spirit, all-Divine, - Come, visit every soul of thine, - And fill with thy celestial flame - The hearts which thou thyself didst frame. - -2. Qui Paraclitus diceris, - Donum Dei altissimi, - Fons vivus, ignis, caritas, - Et spiritalis unctio. - -2. O gift of God, thine is the sweet - Consoling name of Paraclete— - And spring of life and fire and love - And unction flowing from above. - -3. Tu septiformis munere, - Dextrae Dei tu digitus, - Tu rite promisso Patris - Sermone ditas guttura. - -3. The mystic sevenfold gifts are thine, - Finger of God’s right hand divine; - The Father’s promise sent to teach - The tongue a rich and heavenly speech. - -4. Accende lumen sensibus, - Infunde amorem cordibus, - Infirma nostri corporis - Virtute firmans perpeti. - -4. Kindle with fire brought from above - Each sense, and fill our hearts with love; - And grant our flesh, so weak and frail, - The strength of thine which cannot fail. - -5. Hostem repellas longius, - Pacemque dones protinus, - Ductore sic te praevio - Vitemus omne noxium. - -5. Drive far away our deadly foe, - And grant us thy true peace to know; - So we, led by thy guidance still, - May safely pass through every ill. - -6. Da gaudiorum praemia, - Da gratiarum munera, - Dissolve litis vincula, - Adstringe pacis foedera. - -6. To us, through Thee, the grace be shown - To know the Father and the Son; - And Spirit of them both, may we - Forever rest our faith in Thee. - -7. Per te sciamus, da, Patrem, - Noscamus atque Filium, - Te utriusque Spiritum - Credamus omni tempore. - -7. To Sire and Son be praises meet, - And to the Holy Paraclete; - And may Christ send us from above - That Holy Spirit’s gift of love. - -8. Sit laus Patri cum Filio, - Sancto simul Paraclito, - Nobisque mittat Filius - Charisma sancti Spiritus. - - Tr. J. A. Aylward - - - X. _Deus immensa trinitas_ - (Mozarabic, Common of Saints) - -1. Deus, immensa trinitas, - Unita semper gloria, - Pater, Christe, Paraclite, - Rerum invicte Domine. - -1. O glorious immensity - And one eternal Trinity, - Father and Comforter and Word, - Of all that is, unconquered Lord, - -2. Qui largitatem muneris - Quo praestasti martyri, - Cuius festa votissima, - Quam celebramus hodie. - -2. The saint for whom our chants of praise - Consenting on this feast we raise, - With princely guerdons thou didst bless: - Thy crown, thy palm, thy happiness. - -3. Tormenta qui saevissima - Ac varia supplicia - Victrice tua dextera - Mente robusta pertulit. - -3. In tortures, great and cruel pain - Thou didst with thy right hand sustain - Thy servant, who with steadfast heart - Bore the tormentor’s every art. - -4. Huius, adclines, Domine, - Te deprecamur, precibus, - Aetherea consortia, - Celsa dona fastigia. - -4. Thy gracious ear, O Christ divine, - Unto thy servant’s prayer incline, - To whom thy fairest gifts are given - Within the gracious halls of heaven. - -5. Qui princeps esse principum - Rex mysticus agnosceris, - Agnita nostra crimina - Large dele clementia. - -5. Thee Prince of Princes, we proclaim, - The King that bears the mystic name: - Blot out in thy great love, we pray, - The sins that mar this holy day. - -6. Adventus ut cum fulgidus - Tuus, Christe, patuerit, - Tuo ducante martyre - Laeti pergamus obviam. - -6. That so when Thou shalt come again, - O Christ, in light, on earth to reign, - Led by thy martyr, we may dare - To rise to meet thee in the air. - -7. (added) - Deo Patri sit gloria - Eiusque soli Filio - Cum Spiritu Paraclito - Et nunc et omne saeculum. - -7. (added) - To God the Father glory be, - And God the Son eternally, - With God the Holy Paraclete - Through endless ages, as is meet. - - Tr. Alan G. Mcdougall (_Pange Lingua_ _etc._, Burns, Oates & - Washbourne, London, 1916. p. 71. Quoted by permission of publishers.) - - - XI. _Sancti spiritus assit nobis gratia_ - -1. Sancti spiritus assit nobis gratia, - -1. The grace of the Holy Ghost be present with us; - -2. Quae corda nostra sibi faciat habitaculum - -2. And make our hearts a dwelling place to itself; - -3. Expulsis inde cunctis vitiis spiritalibus. - -3. And expel from them all spiritual wickedness. - -4. Spiritus alme, illustrator hominum, - -4. Merciful Spirit, Illuminator of men, - -5. Horridas nostrae mentis purga tenebras. - -5. Purge the fearful shades of our mind. - -6. Amator sancte sensatorum semper cogitatuum, - -6. O holy Lover of thoughts that are ever wise, - -7. Infunde unctionem tuam clemens nostris sensibus. - -7. Of Thy mercy pour forth Thine Anointing into our senses. - -8. Tu purificator omnium flagitiorum spiritus, - -8. Thou purifier of all iniquities, O Spirit, - -9. Purifica nostri oculum interioris hominis, - -9. Purify the eye of our inner man, - -10. Ut videri supremus genitor possit a nobis, - -10. To the end that the Father of all things may be seen by us, - -11. Mundi cordis quem soli cernere possunt oculi. - -11. He, Whom the eyes of none save the pure in heart can behold. - -12. Prophetas tu inspirasti, ut praeconia Christi praecinuissent - inclita; - -12. Thou didst inspire the Prophets to chant aforehand their glorious - heralding of Christ. - -13. Apostolos confortasti, uti tropaeum Christi per totum mundum - veherent. - -13. Thou didst confirm the Apostles, so that they shall bear Christ’s - glorious trophy through the whole world. - -14. Quando machinam per verbum suum fecit Deus caeli, terrae, marium, - -14. When by His Word, God made the system of heaven, earth, seas, - -15. Tu super aquas foturus eas numen tuum expandisti, spiritus. - -15. Thou didst stretch out Thy Godhead over the waters, and didst - cherish them, O Spirit! - -16. Tu animabus vivificandis aquas fecundas; - -16. Thou didst give virtue to the waters to quicken souls; - -17. Tu aspirando das spiritales esse homines. - -17. Thou, by Thine Inspiration, grantest to men to be spiritual. - -18. Tu divisum per linguas mundum et ritus adunasti, Domine; - -18. Thou didst unite the world, divided into tongues and rites, O - Lord! - -19. Idolatras ad cultum Dei revocas, magistrorum optime. - -19. Thou recallest idolaters to the worship of God, best of Masters! - -20. Ergo nos supplicantes tibi exaudi propitius, sancte spiritus, - -20. Wherefore of Thy mercy hear us who call upon Thee, Holy Ghost: - -21. Sine quo preces omnes cassae creduntur et indignae Dei auribus. - -21. Without Whom, as the faith teaches, all our prayers are in vain, - and unworthy of the ears of God, - -22. Tu, qui omnium saeculorum sanctos Tui numinis docuisti instinctu - amplectendo, spiritus, - -22. Thou, O Spirit, who by embracing the Saints of all ages, dost - teach them by the impulse of Thy Divinity; - -23. Ipse hodie apostolos Christi donans munere insolito et cunctis - inaudito saeculis - -23. Thyself, by bestowing upon the Apostles of Christ a gift immortal, - and unheard of from all ages, - -24. Hunc diem gloriosum fecisti. - -24. Hast made this day glorious. - - Tr. John Mason Neale, _Mediaeval Hymns and Sequences_, London. - Masters, 1867, p. 29. - - - XII. _Cantemus cuncti melodum nunc Alleluia_ - -1. Cantemus cuncti melodum nunc, - _Alleluia_. - -1. The strain upraise of joy and praise, - Alleluia. - -2. In laudibus aeterni regis - haec plebs resultet - _Alleluia_. - -2. To the glory of their King - Shall the ransomed people sing - Alleluia. - -3. Hoc denique caelestes chori - cantant in altum - _Alleluia_. - -3. And the Choirs that dwell on high - Shall re-echo through the sky - Alleluia. - -4. Hoc beatorum - per prata paradisiaca - psallat concentus - _Alleluia_. - -4. They through the fields of Paradise that roam, - The blessed ones, repeat that bright home - Alleluia. - -5. Quin et astrorum - micantia luminaria - iubilant altum - _Alleluia_. - -5. The planets glitt’ring on their heavenly way, - The shining constellations, join, and say - Alleluia. - -6. Nubium cursus, - ventorum volatus, - fulgurum coruscatio - et tonitruum sonitus - dulce consonent simul - _Alleluia_. - -6. Ye clouds that onward sweep! - Ye winds on pinions light! - Ye thunders, echoing loud and deep! - Ye lightnings, wildly bright! - In sweet consent unite your - Alleluia. - -7. Fluctus et undae, - imber et procellae, - tempestas et serenitas, - cauma, gelu, nix, pruinae, - saltus, nemora pangant - _Alleluia_. - -7. Ye floods and ocean billows! - Ye storms and winter snow! - Ye days of cloudless beauty! - Hoar frost and summer glow! - Ye groves that wave in spring, - And glorious forests, sing - Alleluia. - -8. Hinc, variae volucres, - creatorem - laudibus concinite cum - _Alleluia_. - -8. First let the birds, with painted plummage gay, - Exalt their great Creator’s praise, and say - Alleluia. - -9. Ast illinc respondeant - voces altae - diversarum bestiarum - _Alleluia_. - -9. Then let the beasts of earth, with varying strain, - Join in Creation’s Hymn, and cry again - Alleluia. - -10. Istinc montium - celsi vertices sonent - _Alleluia_. - -10. Here let the mountains thunder forth, sonorous, - Alleluia - There let the valleys sing in gentler chorus, - Alleluia. - -11. Illinc vallium - profunditates saltent - _Alleluia_. - -11. Thou jubilant abyss of ocean, cry - Alleluia. - Ye tracts of earth and continents, reply - Alleluia. - -12. Tu quoque, maris - iubilans abysse, dic - _Alleluia_. - -12. To God, Who all Creation made, - The frequent hymn be duly paid: - Alleluia. - -13. Necnon terrarum - molis immensitates: - _Alleluia_. - -13. This is the strain, the eternal strain, the Lord of all things - loves: - Alleluia. - This is the song, the heav’nly song, that Christ Himself approves: - Alleluia. - -14. Nunc omne genus - humanum laudans exsultet - _Alleluia_. - -14. Wherefore we sing, both heart and voice awaking, - Alleluia. - And children’s voices echo, answer making, - Alleluia. - -15. Et creatori - grates frequentans consonet - _Alleluia_. - -15. Now from all men be outpour’d - Alleluia to the Lord; - With Alleluia evermore - The Son and Spirit we adore. - -16. Hoc denique nomen audire - iugiter delectatur - _Alleluia_. - -16. Praise be done to Three in One. - Alleluia! Alleluia! Alleluia! Alleluia! - -17. Hoc etiam carmen caeleste - comprobat ipse Christus - _Alleluia_. - -18. Nunc vos, O socii, - cantate laetantes - _Alleluia_. - -19. Et vos, pueruli, - respondete semper - _Alleluia_. - -20. Nunc omnes canite simul - _Alleluia_ Domino, - _Alleluia_ Christo - Pneumatique _Alleluia_. - -21. Laus trinitati aeternae: - _Alleluia, Alleluia,_ - _Alleluia, Alleluia,_ - _Alleluia, Alleluia._ - - Tr. John Mason Neale, _Mediaeval Hymns and Sequences_, London. - Masters, 1867, p. 43. - - Stanzas 10-13 translate Latin 10-21. - - - XIII. _Heri mundus exultavit_ - -1. Heri mundus exultavit, - Et exultans celebravit - Christi natalitia: - Heri chorus angelorum - Prosecutus est caelorum - Regem cum laetitia. - -1. Yesterday, with exultation - Joined the world in celebration - Of her promis’d Saviour’s birth; - Yesterday the Angel nation - Pour’d the strains of jubilation - O’er the Monarch born on earth. - -2. Protomartyr et Levita, - Clarus fide, clarus vita, - Clarus et miraculis, - Sub hac luce triumphavit, - Et triumphans insultavit - Stephanus incredulis. - -2. But to-day, o’er death victorious, - By His faith and actions glorious, - By His miracles renown’d, - Dared the Deacon Protomartyr - Earthly life for Heav’n to barter, - Faithful midst the faithless found. - -3. Fremunt ergo tanquam ferae, - Quia victi defecere - Lucis victi adversarii: - Falsos testes statuunt, - Et linguas exacuunt - Viperarum filii. - -3. In a hopeless strife engaging, - They like savage beasts are raging, - Adversaries of the light; - False the witnesses they set; - Tongues like swords the rabble whet, - Viper brood of darkest night. - -4. Agonista, nulli cede; - Certa certus de mercede, - Perservera, Stephane: - Insta falsis testibus, - Confuta sermonibus - Synagogam Satanae. - -4. Forward, champion, in thy quarrel! - Certain of a certain laurel, - Holy Stephen, persevere! - Perjur’d witnesses confounding - Satan’s Synagogue astounding - By thy doctrine true and clear. - -5. Testis tuus est in caelis, - Testis verax et fidelis, - Testis innocentiae. - Nomen habes coronati, - Te tormenta decet pati - Pro corona gloriae. - -5. Lo! in Heaven thy Witness liveth: - Bright and faithful proof He giveth - Of His Martyr’s blamelessness: - Thou by name a Crown impliest; - Meetly then in pangs thou diest - For the Crown of Righteousness! - -6. Pro corona non marcenti - Perfer brevis vim tormenti, - Te manet victoria. - Tibi fiet mors, natalis, - Tibi poena terminalis - Dat vitae primordia. - -6. For a crown that fadeth never, - Bear the torturer’s brief endeavour; - Victory waits to end the strife: - Death shall be thy birth’s beginning, - And life’s losing be the winning - Of the true and better Life. - -7. Plenus Sancto Spiritu - Penetrat intuitu - Stephanus caelestia. - Videns Dei gloriam - Crescit ad victoriam, - Suspirat ad praemia. - -7. Whom the Holy Ghost endueth, - Whom celestial sight embueth, - Stephen penetrates the skies; - There God’s fullest glory viewing - There his victor strength renewing - For his near reward he sighs. - -8. En a dextris Dei stantem - Iesum, pro te dimicantem, - Stephane, considera. - Tibi caelos reserari, - Tibi Christum revelari - Clama voce libera. - -8. See, as Jewish foes invade thee, - See how Jesus stands to aid thee! - Stands to guard His champion’s death: - Cry that opened Heaven is shown thee: - Cry that Jesus waits to own thee: - Cry it with thy latest breath! - -9. Se commendat Salvatori, - Pro quo dulce ducit mori - Sub ipsis lapidibus. - Saulus servat omnium - Vestes lapidantium, - Lapidans in omnibus. - -9. On his Saviour’s aid relying, - Sweet to him the pain of dying, - ’Neath the fearful rain of stone: - Paul amidst the stoning throng, - Guarding garments, makes the wrong - Of the angry Jews his own. - -10. Ne peccatum statuatur - His, a quibus lapidatur, - Genu ponit et precatur, - Condolens insaniae: - In Christo sic obdormivit, - Qui Christo sic obedivit, - Et cum Christo semper vivit, - Martyrum primitiae. - -10. As the dying Martyr kneeleth, - For his murderers he appealeth, - And his prayer their pardon sealeth, - For their madness grieving sore; - Then in Christ he sleepeth sweetly, - Who His pattern kept completely, - Martyr first-fruits, evermore! - - Tr. John Mason Neale, _Mediaeval Hymns and Sequences_, London. - Masters, 1867, p. 134. - - St. 3, tr. Stephen A. Hurlbut. Quoted by permission of author. Stanzas - 11, 12 omitted. - - - XIV. _Ad perennis vitae fontem_ - -1. Ad perennis vitae fontem mens sitivit arida; - Claustra carnis praesto frangi clausa quaerit anima: - Gliscit, ambit, eluctatur exul frui patria. - -1. To the fount of life eternal cries the soul with longing thirst, - And the spirit, flesh-imprisoned, seeks the bars of flesh to burst; - Strives to gain that heavenly country, exiled now and sin-accurst. - -2. Dum pressuris ac aerumnis se gemit obnoxiam, - Quam amisit, dum deliquit, contemplatur gloriam, - Praesens malum auget boni perditi memoriam. - -2. Sore beset with care and danger, groans the spirit for release, - Still beholds, though lost in Eden, glory forfeited and peace; - Former good, in memory dwelling, doth the present ill increase. - -3. Nam quis promat summae pacis quanta sit laetitia, - Ubi vivis margaritis surgunt aedificia, - Auro celsa micant tecta, radiant triclinia? - -3. Who can tell how great the joy of that Peace surpassing all, - Where of living pearls constructed rise the stately buildings tall, - Where with gold the rooftree glitters, shines with gold the - banquet-hall. - -4. Solis gemmis pretiosis haec structura nectitur; - Auro mundo, tamquam vitro, urbis via sternitur; - Abest limus, deest fimus, lues nulla cernitur. - -4. All of precious stones compacted rise those structures of delight; - Purest gold as crystal shining paves the heavenly city bright; - Never mire nor filth defiling stains the streets of radiant light. - -5. Hiems horrens, aestas torrens illic numquam saeviunt; - Flos perpetuus rosarum ver agit perpetuum; - Candent lilia, rubescit crocus, sudat balsamum. - -5. Chilling winter, burning summer, neither rages in that land, - But the crimson bloom of roses doth an endless spring demand; - White the lilies, red the crocus, fragrant doth the balsam stand. - -6. Virent prata, vernant sata, rivi mellis influunt; - Pigmentorum spirat odor, liquor et aromatum; - Pendent poma floridorum non lapsura nemorum. - -6. Green the pastures, flower-besprinkled, fed by streams with honey - filled; - All the air is sweet with incense from the odorous herbs distilled; - Never fails the ripened fruitage, nor is bloom by winter chilled. - -7. Non alternat luna vices, sol, vel cursus siderum; - Agnus est felicis urbis lumen inocciduum; - Nox et tempus desunt ei, diem fert continuum. - -7. Waxeth not the moon nor waneth, need not sun or stars to be, - But the Lamb in that blest city shines a Sun eternally; - There the daylight is unbroken, night and time have ceased to be. - -8. Nam et sancti quique velut sol praeclarus rutilant; - Post triumphum coronati mutuo coniubilant, - Et prostrati pugnas hostis iam securi numerant. - -8. Shine the blessed with a splendor like the splendor of the sun; - Crowned in triumph stand they singing that the race of life is run; - Now secure, they count the glories of the contest they have won. - -9. Omni labe defaecati carnis bella nesciunt, - Caro facta spiritalis et mens unum sentiunt; - Pace multa perfruentes scandalum non perferunt. - -9. Cleansed from every stain of evil, they from carnal strife are - free; - Flesh made spirit, with the spirit doth for evermore agree, - There, released from all temptation, they shall Peace unbroken see. - -20. Probes vires inexhausto laboranti proelio, - Nec quietem post procinctum deneges emerito, - Te que merear potiri sine fine praemio! - -20. Strength supply, in heat or conflict, ceaseless struggle to - maintain; - Grant thy servant, warfare ended, well-deserved rest to gain; - Grant that I, Thyself deserving, may Thyself as prize attain! - - Tr. Stephen A. Hurlbut. Quoted by permission of author. - - - XV. _Lauda, Sion, Salvatorem_ - -1. Lauda, Sion, Salvatorem, - Lauda ducem et pastorem - In hymnis et canticis: - Quantum potes, tantum aude, - Quia maior omni laude, - Nec laudare sufficis. - -1. Praise, O Sion, praise thy Saviour, - Shepherd, Prince, with glad behavior, - Praise in hymn and canticle: - Sing His glory without measure, - For the merit of your treasure - Never shall your praises fill. - -2. Laudis thema specialis, - Panis vivus et vitalis - Hodie proponitur; - Quem in sacrae mensa cenae - Turbae fratrum duodenae - Datum non ambigitur. - -2. Wondrous theme of mortal singing, - Living bread and bread life-bringing, - Sing we on this joyful day: - At the Lord’s own table given - To the twelve as bread from heaven, - Doubting not we firmly say. - -3. Sit laus plena, sit sonora - Sit iucunda, sit decora - Mentis iubilatio: - Namque dies est sollemnis - Qua recolitur perennis - Mensae institutio. - -3. Sing His praise with voice sonorous; - Every heart shall hear the chorus - Swell in melody sublime: - For this day the Shepherd gave us - Flesh and blood to feed and save us, - Lasting to the end of time. - -4. In hac mensa novi Regis - Novum pascha novae legis - Phase vetus terminat: - Iam vetustas novitati, - Umbra cedit veritati, - Noctem lux eliminat. - -4. At the new King’s sacred table, - The new law’s new pasch is able - To succeed the ancient rite: - Old to new its place hath given, - Truth has far the shadows driven, - Darkness flees before the Light. - -5. Quod in cena Christus gessit, - Faciendum hoc expressit - In sui memoriam: - Docti sacris institutis, - Panem, vinum in salutis - Consecramus hostiam. - -5. And as He hath done and planned it— - “Do this”—hear His love command it, - “For a memory of me.” - Learnèd, Lord, in thy own science, - Bread and wine, in sweet compliance, - As a Host we offer Thee. - -6. Dogma datur Christianis, - Quod in carnem transit panis, - Et vinum in sanguinem: - Quod non capis, quod non vides, - Animosa firmat fides, - Praeter rerum ordinem. - -6. Thus in faith the Christian heareth: - That Christ’s flesh as bread appeareth, - And as wine His precious blood: - Though we feel it not nor see it, - Living faith that doth decree it - All defects of sense makes good. - -7. Sub diversis speciebus, - Signis tamen et non rebus, - Latent res eximiae: - Caro cibus, sanguis potus, - Manet tamen Christus totus - Sub utraque specie. - -7. Lo! beneath the species dual - (Signs not things), is hid a jewel - Far beyond creation’s reach! - Though His flesh as food abideth, - And His blood as drink—He hideth - Undivided under each. - -8. A sumente non concisus, - Non confractus, non divisus, - Integer accipitur: - Sumit unus, sumunt mille, - Quantum isti, tantum ille, - Nec sumptus consumitur. - -8. Whoso eateth it can never - Break the Body, rend or sever; - Christ entire our hearts doth fill: - Thousands eat the bread of heaven, - Yet as much to one is given: - Christ, though eaten, bideth still. - -9. Sumunt boni, sumunt mali, - Sorte tamen inaequali - Vitae, vel interitus: - Mors est malis, vita bonis: - Vide, paris sumptionis - Quam sit dispar exitus! - -9. Good and bad, they come to greet Him: - Unto life the former eat Him, - And the latter unto death; - These find death and those find heaven; - See, from the same life-seed given, - How the harvest differeth! - -10. Fracto demum sacramento - Ne vacilles, sed memento - Tantum esse sub fragmento, - Quantum toto tegitur; - Nulla rei fit scissura, - Signi tantum fit fractura, - Qua nec status, nec statura - Signati minuitur. - -10. When at last the bread is broken, - Doubt not what the Lord hath spoken: - In each part the same love-token, - The same Christ, our hearts adore: - For no power the thing divideth— - ’Tis the symbols He provideth, - While the Saviour still abideth - Undiminished as before. - -11. Ecce, panis angelorum - Factus cibus viatorum, - Vere panis filiorum, - Non mittendus canibus; - In figuris praesignatur, - Cum Isaac immolatur, - Agnus paschae deputatur, - Datur manna patribus. - -11. Hail, angelic bread of heaven, - Now the pilgrim’s hoping-leaven, - Yea, the bread to children given - That to dogs must not be thrown: - In the figures contemplated, - ’Twas with Isaac immolated, - By the Lamb ’twas antedated, - In the manna it was known. - -12. Bone pastor, panis vere, - Iesu, nostri miserere, - Tu nos pasce, nos tuere, - Tu nos bona fac videre - In terra viventium. - Tu qui cuncta scis et vales, - Qui nos pascis hic mortales, - Tuos ibi commensales, - Cohaeredes et sodales - Fac sanctorum civium. - - 12, O Good Shepherd, still confessing - Love, in spite of our transgressing,— - Here Thy blessed food possessing, - Make us share Thine every blessing - In the land of life and love: - Thou, whose power hath all completed - And Thy flesh as food hath meted, - Make us, at Thy table seated, - By Thy saints, as friends be greeted, - In Thy paradise above. - - Tr. H. T. Henry (_Eucharistica_, Dolphin Press, Phila., 1912, p. - 39-43. Quoted by permission of publishers.) - - - XVI. _Stabat mater dolorosa_ - -1. Stabat mater dolorosa - Iuxta crucem lacrimosa, - Dum pendebat filius, - Cuius animam gementem, - Contristantem et dolentem - Pertransivit gladius. - -1. By the Cross her vigil keeping - Stands the Queen of sorrows weeping, - While her son in torment hangs; - Now she feels—O heart afflicted - By the sword of old predicted!— - More than all a mother’s pangs. - -2. O quam tristis et afflicta - Fuit illa benedicta - Mater unigeniti, - Quae maerebat et dolebat - Et tremebat, dum videbat - Nati poenas inclyti. - -2. Sad and heavy stands beside him - She who once had magnified him - One—begotten, only—born; - While she sees that rich atoning, - Long the moaning, deep the groaning - Of her mother—heart forlorn. - -3. Quis est homo, qui non fleret, - Matrem Christi si videret, - In tanto supplicio? - Quis non posset contristari, - Piam matrem contemplari - Dolentem cum filio? - -3. Who Christ’s Mother contemplating - In such bitter anguish waiting, - Has no human tears to shed? - Who would leave Christ’s Mother, sharing - All the pain her Son is bearing, - By those tears uncomforted? - -4. Pro peccatis suae gentis - Vidit Iesum in tormentis - Et flagellis subditum; - Vidit suum dulcem natum - Morientem, desolatum, - Dum emisit spiritum. - -4. Victim-priest of Jewry’s nation, - There he hangs in expiation; - Scourge and nail have had their will; - Earth and heaven his cause forsaking, - Now his noble heart is breaking, - Now the labouring breath is still. - -5. Eia mater, fons amoris, - Me sentire vim doloris - Fac, ut tecum lugeam; - Fac, ut ardeat cor meum - In amando Christum Deum, - Ut sibi complaceam. - -5. Mother, fount whence love flows truest, - Let me know the pain thou knewest, - Let me weep as thou hast wept; - Love divine within me burning, - That diviner love returning, - May thy Son this heart accept. - -6. Sancta mater, istud agas, - Crucifixi fige plagas - Cordi meo valide; - Tui nati vulnerati, - Tam dignati pro me pati, - Poenas mecum divide. - -6. Mother, if my prayer be granted, - Those five wounds of his implanted - In my breast I fain would see; - Love exceeding hangs there bleeding, - My cause pleading, my love needing— - Bid him share his cross with me. - -7. Fac me vere tecum flere, - Crucifixo condolere, - Donec ego vixero; - Iuxta crucem tecum stare, - Te libenter sociare - In planctu desidero. - -7. Till life fails, I would not fail him, - Still remember, still bewail him, - Born thy Son, and crucified; - By the cross my vigil keeping - I would spend those hours of weeping, - Queen of sorrows, at thy side. - -8. Virgo virginum praeclara, - Mihi iam non sis amara, - Fac me tecum plangere; - Fac, ut portem Christi mortem, - Passionis fac consortem - Et plagas recolere. - -8. Virgin, boast of all creation, - Heed my tears, nor consolation - In thy bitterness repel; - At thy side his livery wearing, - His cross bearing, his death sharing, - Of these wounds the beads I’ll tell. - -9. Fac me plagis vulnerari, - Cruce hac inebriari, - Et cruore filii; - Inflammatus et accensus, - Per te, virgo, sim defensus - In die iudicii. - -9. Wounds of Christ, in spirit bruise me, - Chalice of his blood, bemuse me, - Cross of Christ, be thou my stay! - Lest I burn in fires unending, - Sinless Maid, my cause befriending, - Shield me at the judgement day! - -10. Fac me cruce custodiri, - Morte Christi praemuniri, - Confoveri gratia. - Quando corpus morietur, - Fac, ut animae donetur - Paradisi gloria. - -10. Jesus, when earth’s shadows leave me, - Through thy Mother’s prayers receive me - With the palm of victory; - When my body lies forsaken - Let my ransomed soul awaken - Safe, in Paradise, with thee. - - Tr. Ronald A. Knox (_Westminster Hymnal_, Burns, Oates & Washbourne, - London, 1940, no. 37. Quoted by permission of publishers.) - - - XVII. _Salve, festa dies_ - (Sarum Processional) - -1. Salve, festa dies, toto venerabilis aevo, - Qua Deus infernum vicit et astra tenet. - -1. Hail thee, Festival Day! blest day that art hallowed forever; - Day wherein Christ arose, breaking the kingdom of death. - -2. Ecce, renascentis testatur gratia mundi - omnia cum Domino dona redisse suo. - -2. Lo, the fair beauty of earth, from the death of winter arising, - Every good gift of the year now with its Master returns. - -3. Qui crucifixus erat, Deus ecce per omnia regnat, - Dantque creatori cuncta creata precem. - -3. He who was nailed to the cross is God and the ruler of all things; - All things created on earth worship the maker of all. - -4. Pollicitam sed redde diem, precor, alma potestas, - Tertia lux rediit; surge, sepulte Deus. - -4. God of all pity and power, let thy word be assured to the doubting; - Light on the third day returns: rise, Son of God, from the tomb! - -5. Non decet ut humili tumulo tua membra tegantur, - Neu pretium mundi vilia saxa premant. - -5. Ill doth it seem that thy limbs should linger in lowly dishonor, - Ransom and price of the world, veiled from the vision of men. - -6. Indignum est cuius clauduntur cuncta pugillo, - Ut tegat inclusum rupe vetante lapis. - -6. Ill it beseemeth that thou by whose hand all things are - encompassed, - Captive and bound shouldst remain, deep in the gloom of the rock. - -7. Lintea tolle, precor, sudaria linque sepulchro, - Tu satis es nobis, et sine te nihil est. - -7. Rise now, O Lord, from the grave and cast off the shroud that - enwrapped thee; - Thou art sufficient for us: nothing without thee exists. - -8. Funeris exsequias pateris vitae auctor et orbis, - Intras mortis iter dando salutis opem. - -8. Mourning they laid thee to rest, who art author of life and - creation; - Treading the pathway of death, life thou bestowedst on man. - -9. Redde tuam faciem, videant ut saecula lumen, - Redde diem, qui nos te moriente fugit. - -9. Show us thy face once more, that the ages may joy in thy - brightness; - Give us the light of day, darkened on earth at thy death. - -10. Eripis innumerum populum de carcere mortis, - Et sequitur liber, quo suus auctor adit. - -10. Out of the prison of death thou art rescuing numberless captives; - Freely they tread in the way whither their maker has gone. - -11. Tristia cesserunt infernae vincula legis, - Expavitque chaos luminis ore premi. - -11. Jesus has harrowed hell; he has led captivity captive: - Darkness and chaos and death flee from the face of the light. - - Tr. Maurice F. Bell, from _The English Hymnal_ by permission of the - Oxford University Press. - - - - - Notes - - - Chapter One - Early Middle Ages: Latin Hymns of The Fourth Century - - -[1.] Jerome, _Liber de viris illustribus_, 100 (_MPL_ 23, 699). - -[2.] _Hilarius autem, Gallus episcopus Pictaviensis, eloquentia - conspicuus, hymnorum carmine floruit primus. De ecclesiasticis - officiis 1_, 6 (_MPL_ 83, 743). - -[3.] W. N. Myers, _The Hymns of Saint Hilary of Poitiers in the Codex - Aretinus_ (Phila., Un. of Penn., 1928) 12, 29, 53, 67. For a - discussion of other hymns attributed to Hilary, see p. 14; also A. - S. Walpole, _Early Latin Hymns_ (Cambridge, 1922) 1-4. Translations - by W. N. Myers. - -[4.] _Antiphonary of Bangor_, edited by F. E. Warren, _Henry Bradshaw - Society Publications_, vols. 4, 10 (London, 1893, 1895). For - discussion of authorship see vol. 10, 36. - -[5.] Or perhaps Treves. - -[6.] Augustine, _Confessions_ 9, 7 (_MPL_ 32, 770). Translation from - _Confessions of S. Augustine, Ancient and Modern Library of Theol. - Literature_ (London, 1886). - -[7.] Translations of first lines: W. J. Copeland, C. Bigg, R. E. - Messenger, J. M. Neale. - -[8.] Translations of first lines: J. M. Neale, E. Caswall. - -[9.] Translations of first lines: J. M. Neale, H. M. Jones, R. E. - Messenger, S. Hurlbut. - -[10.] Myers, _op. cit._ (see note 3) 18-22. - -[11.] G. Reese_, Music in the Middle Ages_ (New York, 1940) 104. - -[12.] Caelius Sedulius, 5th C., an early imitator of Ambrose, wrote a - well-known alphabetic hymn, _A solis ortus cardine_. - - - Chapter Two - Early Middle Ages: The Old Hymnal - - -[1.] _Regula Sancti Benedicti_, IX. - -[2.] P. Batiffol, _Historie du Breviare romain_, translated by A. M. Y. - Bayley (London, 1912), chap. I. - -[3.] Dom A. Wilmart, “Le Psautier de la Reine,” (_Cod. Vat. Reg. II_), - _Revue Benedictine XXVIII_ (1911) 376 ff. - -[4.] Walpole, _Early Latin Hymns_, (ch. 1, note 3), xi-xiv. - -[5.] Laodicea, c. 364, Canon 59. See G. D. Mansi, _Sacrorum - conciliorum—collectio_ (Florence, Venet. et Par., 1763) ii, 573; - Braga, 563, Mansi ix, 778. - -[6.] H. F. Muller, “Pre-History of the Medieval Drama,” _Zeitschrift f. - romanische Philologie_ 44 (1924) 544-575. - -[7.] Tours, 567, Mansi xiv, 803. - -[8.] H. Heimbucher, _Die Orden und Kongregationen der katholischen - Kirche_, 3 vols. (Paderborn, 1907) vol. I, 224-236, _Ausbreitung der - Benediktinerregel_. - -[9.] F. H. Dudden, _Gregory the Great_ (London, 1905), 2 vols., II, - chap. 8. - -[10.] See _A. H._ (_Analecta Hymnica Medii Aevi_) 51.24-41, notes. The - hymns excepted are nos. 23-30; 34-40; J. Julian, _Dictionary of - Hymnology_. _Gregory I., St., Pope_; C. Blume, “Gregor der Grosse - als Hymnendichter,” _Stimmen aus Maria-Laach_, 1908, 269 ff. - -[11.] H. LeClercq, _L’Espagne chrétienne_ (Paris, 1906) 304-5. - -[12.] Migne, _PL_ 80, 642-700, Braulio’s Letters. - -[13.] IV Council of Toledo, 633, Canon 2, Mansi x, 616; Canon 13, Mansi - x, 622-3. _Sicut igitur orationes, ita et hymnos in laudem Dei - compositos, nullus vestrum ulterius improbet, sed pari modo Gallia, - Hispaniaque celebret: excommunicatione plectendi, qui hymnos - rejicere fuerint ausi._ - -[14.] See R. E. Messenger, “The Mozarabic Hymnal,” _TAPhA_ 75 (1944) - 103-126. - -[15.] _The Irish Liber Hymnorum_, edited by J. H. Bernard and R. - Atkinson, _Henry Bradshaw Soc. Pub._ 13, 14 (London, 1897, 1898), - 14, 23-6. - -[16.] _Antiphonary of Bangor_, chap. I, note 4; for history of the - manuscript now in the Ambrosian Library at Milan, p. xii-xiii. - -[17.] Translations of first lines, 1) J. M. Neale, 2), 3), 4) R. E. - Messenger. - -[18.] The Celtic hymns are edited in _A. H._ 51, Part II. See also J. F. - Kenney, _Sources for the Early History of Ireland_, 2 vols. (New - York, 1929) 252-3, 258-274, _Hymns_. - -[19.] Translations of first lines in Summary by J. M. Neale except 2) C. - Bigg, 7) G. R. Woodward. - -[20.] C. W. Douglas, _Church Music in History and Practice_ (New York, - 1937) 168. - - - Chapter Three - The Ninth Century Revival: Hymns - - -[1.] J. M. Neale and G. H. Forbes, _The Ancient Liturgies of the - Gallican Church_ (Burntisland, 1855) p. v. - -[2.] P. Jaffé, _Regesta Pontificum Romanorum_ (Lipsiae, 1885-8) 2473 - (1900). - -[3.] _Monumenta Germaniae Historica, Legum sectio_, II, _Capitularia - Regum Francorum_, I, _Capitulare primum_, 769; _Capitulare - Haristallense_, 779; _Admonitio generalis_, 789; _Synodus - Franconofurtensis_, 794; _Epistola de litteris colendis_, 780-800; - _Epistola generalis_, 786-800; _Capitulare missorum generale_, 802; - _Capitularia missorum specialia_, 802; _Synodus et conventus - aquisgrani habita_, 802; _Capitulare de examinandis ecclesiasticis_, - 802; _Capitulare missorum_, 803; _Capitulare de causis etc_., 811; - _Capitulare aquisgranense_, 801-813; _Capitulare cum episcopis - etc_., 780-790; _Capitulare mantuanum primum_, no date, p. 194; - _Pippini capitulare Italicum_, 801-810. - -[4.] _MGH, Legum sectio_, II, _Capitularia Regum Francorum_, I, - _Epistola generalis_, no. 30, p. 80; P. Jaffé, _Bibliotheca Rerum - Germanicarum_, vol. IV, _Monumenta Carolina_ (Berlin, 1867) 139, - 140. - -[5.] Dom R. Van Doren, _Étude sur l’influence musicale de l’abbaye de - Saint-Gall_ (Louvain, 1925) ch. vi, Metz. - -[6.] E. Mühlbacher, _Deutsche Geschichte unter den Karolingern_ - (Stuttgart, 1896) 211; Jaffé, _Monumenta Carolina_, 358ff. - -[7.] E. Bishop, _Liturgica Historica_ (Oxford, 1918) 49-55. - -[8.] A. Fortescue, _The Mass_ (London, 1914) 183. - -[9.] In _Monumenta Germaniae Historica—Poetarum latinorum medii aevi_, - vol. iv, edited by P. von Winterfeld (Berlin, 1923). - -[10.] W. Turner, “Irish Teachers in the Carolingian Revival of - Learning,” _Cath. Un. Bulletin_, XIII (Washington, 1907) 384-5; J. - J. O’Kelly, _Ireland: Elements of her Early Story_ (Dublin, 1921) - ch. viii, _Early Irish on the Continent_. - -[11.] Einhard, _Vita Caroli_, 21. - -[12.] L. Gougaud, _Gaelic Pioneers of Christianity, VI-XII Century_ - (Dublin, 1923) 60-3. Translated by Victor Collins. - -[13.] S. Singer, _Die Dichterschule von St. Gallen_ (Leipzig, 1922) - _Introd._ (by Peter Wagner) 11. - -[14.] Turner, _supra_, 570; J. M. Clark, _The Abbey of St. Gall as a - Center of Literature and Art_ (Cambridge, 1926) 31. - -[15.] _Annales Laurissenses, anno 757_ (_MGH, SS_, I, 140). - -[16.] _Jaffé, Regesta_, 2346 (1799); Notker Balbulus, _Epistolae_ - (_MPL_, 131, 1172); _Gesta Caroli_, II, 7. - -[17.] F. H. Dudden, _Gregory the Great_ (ch. 2, note 9) I, ch. _VI - Gregory at Constantinople_. - -[18.] P. Wagner, “Morgen- und Abendland in der Musikgeschichte,” - _Stimmen der Zeit_, Bd. 114 (1927) 138. - -[19.] Clark, _The Abbey of St. Gall etc._, 112; C. Diehl, _Manuel d’Art - Byzantin_ (Paris, 1910) 359-360, 362-3; M. Hauttmann, _Die Kunst des - frühen Mittelalters_ (Berlin, 1929) 51-62; J. Strzygowski, _Origin - of Christian Church Art_ (Oxford, 1923) 84. - -[20.] _Anal. Hymn._, 51, _Introduction_, xvii-xix; extended lists of the - later Latin hymns appear in J. Julian, _Dictionary of Hymnology_ - (London, 1925) 546, 547. - -[21.] J. Mearns, _Early Latin Hymnaries_ (Cambridge, 1913). - -[22.] Walpole, _Early Latin Hymns_, (ch. 1, note 3) xi. - -[23.] Walpole, _ibid_, xii; W. H. Frere, Introduction to _Hymns Ancient - and Modern Historical Edition_ (London, 1909); Wilmart, _Le Psautier - de la Reine etc_., 362-3; F. J. E. Raby, _Christian Latin Poetry_ - (Oxford, 1927) 38-41. See also R. E. Messenger, “Whence the Ninth - Century Hymnal?,” _TAPhA 69_ (1938) 446-464. - -[24.] Gesta Caroli, I, 10; Einhard, _Vita Caroli_, edited by Garrod and - Mowat (Oxford, 1915), Appendix, p. xxxvii. - -[25.] Heimbucher, _Die Orden und Congregationen_ etc., vol. I, 235, - 237-9; _Jahrbücher der deutschen Geschichte_ (Berlin & Leipzig, - 1866-1902), _Geschichte des Ostfrankischen Reichs_, vol. II, 39, 42, - 46. - -[26.] Alcuin, _De psalmorum usu_ (_MPL_, 101), _Officia per ferias MPL_, - 101, _Epistolae_ 84, 94, 164, 227 (_MPL_, 101): Rabanus Maurus, _De - clericis institutés_, II, 49 (_MPL_, 107, 362): Amalarius of Metz, - _De officiis divinis_ (continuation) in J. Mabillon, _Vetera - Analecta_ (Paris, 1723) 99; Walafrid Strabo, _De ecclesiasticarum - rerum exordiis_ etc., ch. xxv (_MPL_, 114, 952ff.). - -[27.] H. De Boor, _Die deutsche Literatur_ 770-1170 (München, 1949) 21. - -[28.] P. Batiffol, _History of the Roman Breviary_ (London, 1912) 143-4. - -[29.] _Anal. Hymn_. 51. - -[30.] Translation of first line, J. M. Neale. - -[31.] Dom P. B. Gams, _Die Kirchengeschichte von Spanien_ (Regensburg, - 1862-1879) II, Pt. 2, 302, 326-9; Z. García Villada, _Historia - eclesiástica de España_ (Madrid, 1929-36) V, 85. - -[32.] De Urbel, “Los himnos mozárabes,” _Revista ecles. Silos_ 58 (1927) - 56-61. - -[33.] E. Bishop, “Spanish Symptoms,” _Liturgica Historica_ (Oxford, - 1918) 168. - -[34.] L. Wiener, _Contributions toward a History of Arabico-Gothic - Culture_ (New York, 1917-21) 101; H. G. Farmer, _Historical Facts - for the Arabian Musical Influence_ (London, 1930) 23. - -[35.] _Anal. Hymn_. 51, _Introduction_. - - - Chapter Four - The Ninth Century Revival: Sequences - - -[1.] Fortescue, _The Mass_ (See ch. 3, note 8) 268-9. - -[2.] See _Introduction_ to _A. H._ 53, by C. Blume and H. M. Bannister. - This _Introduction_ has been used as the basis for the discussion of - sequence origins. Theories and opinions of others are noted from - time to time. - -[3.] W. H. Frere, Introduction to _Hymns Ancient and Modern_ (See ch. 3, - note 23) xxviii; P. Wagner, _Introduction to Gregorian Melodies_ - (London, 1907) 223, translation by Orme and Wyatt. - -[4.] G. Reese, _Music in the Middle Ages_ (ch. 1, note 11) _passim_. - This book contains an excellent standard account of the musical - aspect of the sequence. - -[5.] G. Schnürer, _Kirche und Kultur im Abendland_ (Paderborn, 1926) II, - 88. - -[6.] W. Christ, “Über die Bedeutung von Hirmos, etc.,” _Sitzungberichte - der kön. bay. Akad. der Wissenschaft zu München_, II (1870) 89f. - -[7.] A. Gastoué, “Les Types byzantins de la Sequence,” _Tribune de - Saint-Gervais_, Dec. 1922, 1, 2. - -[8.] Frere, _Introduction, supra_, xxiv. - -[9.] L. Gautier, _Histoire de la poésie liturgique au Moyen âge_ (Paris, - 1886) 1. - -[10.] A. Gastoué, “Les Origines liturgiques de la séquence,” _Tribune de - Saint-Gervais_, June, 1922. See also Wetzer and Welte, - _Kirchenlexicon, Sequenzen_: an important article. - -[11.] Amalarius, _De ecclesiasticis officiis_, III, 16 (_MPL_, 105, - 1123). - -[12.] J. Ottenwälder, “Griechisch-byzantinische Einflüsse,” _Theol. - Quartalschr_. XCVII (1915), 564-7. - -[13.] Reese, _Music in the Middle Ages, supra_, 133. - -[14.] S. Singer, _Die Dichterschule von St. Gallen_ (ch. 3, note 13), - _Introduction_, 14, 15. - -[15.] The earliest manuscript is _Antiphonale missarum S. Gregorii_, - codex 239 of Laon; see _Paléographie musicale_, X. A. Gastoué, _Les - Origines du Chant Romain_ (Paris, 1907) 250f. - -[16.] Wetzer und Welte, _supra, Sequenzen_. - -[17.] Frere, _Introduction, supra_, xxviii-xxix; Notker Balbulus, _Liber - sequentiarum, Praefatio_ (_MPL_, 131, 1003). - -[18.] P. Wagner, “Morgen- und Abendland in der Musikgeschichte,” (ch. 3, - note 18) 139; Schnürer, _supra_, II, 88. - -[19.] Gastoué, “Les Types byzantins de la Séquence,” _supra_, 2. - -[20.] W. Meyer, _Gesammelte Abhandlungen zur mittellateinischen Rythmik_ - (Berlin, 1908) 37. - -[21.] P. Von Winterfeld, _Stilfragen aus der lateinischen Dichtung des - Mittelalters_ in _Deutsche Dichter etc_. (München, 1922) 442. - -[22.] W. Meyer, _supra_, 41: “So ist die lyrische Dichtung des - Mittelalters durchaus dem Kirchengesang neu geboren worden.” - -[23.] E. Wellesz, _Eastern Elements in Western Chant. Studies in the - Early History of Ecclesiastical Music_ (Oxford, 1947) Pt. IV, ch. 1, - _Origin of sequences and tropes_, an excellent summary of the - subject as investigated to 1947. - -[24.] Notker, _supra_, note 17. - -[25.] P. A. Schubiger, _Die Sängerschule St. Gallens vom viii.-xii. - Jahrhundert_ (Einsiedeln, 1858); W. Wilmanns, “Welche Sequenzen hat - Notker verfasst?,” _Zeitschrift f. deutsches Altertum_, XV (1872) - 267f.; J. Werner, _Notkers Sequenzen. Beiträge zur Geschichte der - Lat. Sequenzendichtung_ (Aarau, 1901) III, IV; S. Singer, _supra_; - Van Doren, (ch. 3, note 5) ch. 9; Clark, (ch. 3, note 14) 175. W. - von den Steinen, _Notker der Dichter und seine geistliche Welt_, 2 - vols. (Bern. 1948). This author reviews previous literature. - -[26.] Ottenwälder, _supra_, 464-5. - -[27.] They are _Canopica_, _Styx_, _Phlegethon_, _sophia_, _herous_, - _Myrmidonas_, _spermologos_. - -[28.] P. S. Allen, _Romanesque Lyric_ (Un. of North Carolina Press, - 1928) 66, 221, 222; Schnürer, _supra_, 89; Wellesz. _supra_, 165; W. - B. Sedgwick, “Origin of Rhyme,” “_Revue Bénédictine_” XXXVI (1924), - 341. - -[29.] Several attractive illustrations of the _modus_ may be found in - Karl Breul’s edition of _The Cambridge Songs_ (Cambridge, 1915). - -[30.] Schnürer, _supra_, 89; R. Molitor, _Die Musik in der Reichnau_, - reviewed in _Jahrbuch f. Liturgiewissenschaft_ VI (1926) 331. - -[31.] See Chapter VII. - - - Chapter Five - Late Middle Ages: Hymns and Sequences - - -[1.] J. De Ghellinck, S. J., _L’Essor de la Littérature Latine au XIIe - Siècle_, 2 vols. (Brussels, 1946) II, 285. - -[2.] M. Hélin, History of _Medieval Latin Literature_ (New York, 1949), - translated by J. C. Snow from _Littérature d’occident: Histoire des - Lettres latines du Moyen Age_, 79. - -[3.] L. Gautier, _Oeuvres poétiques d’Adam de Saint-Victor_, 2 vols. - (Paris, 1858-9); E. Misset et P. Aubry, _Les Proses d’Adam de - Saint-Victor_ (Paris, 1900). - -[4.] Translations of first lines: R. Messenger, Anon, E. Caswall. - -[5.] Translations of first lines: S. A. Hurlbut, R. Messenger. - -[6.] _A. H._ 48. 141-232. - -[7.] Translations of first lines: 1 and 2, H. Waddell; 3 and 5, E. - Caswall; 4, R. Messenger. - -[8.] Hélin, _supra_, 117. - -[9.] P. Wagner, _Introduction to the Gregorian Melodies_ (ch. 4, note 3) - 241. - -[10.] Translations of first lines: 1 and 4, R. A. Knox; 2, H. T. Henry; - 3, W. J. Irons. - -[11.] Translation of first line: R. Messenger. - -[12.] R. E. Messenger, “Hymns and Sequences of the Sarum Use,” _TAPhA_, - 59 (1928) 99-129. - -[13.] E. Bishop, _Liturgica Historica_ (Oxford, 1918) 211-37. - -[14.] E. Hoskins, _Horae Beatae Mariae Virginis etc_. (London, 1901); H. - Bohatta, _Bibliographie des livres d’heures_ (Wien, 1924), 2nd - edition. - -[15.] R. E. Messenger, “Hymns in the Horae Eboracenses,” _Classical - Weekly_, 38 (Jan., 1945) 90-5. - -[16.] S. Singer, “Arabische und europäische Poesie im Mittelalter,” - _Zeitschrift f. deutsche Philologie_, LII (April, 1927); K. Burdach, - “Über den Ursprung des mittelalterichen Minnesangs, etc.” in - _Vorspiel_ I (Halle, 1925) 311; A. F. von Schack, _Poesie und Kunst - der Araber etc_., 2 vols. (Stuttgart, 1877) II, 101-5. - -[17.] C. F. Brown, _Religious Lyrics of the 14th Century_ (Oxford, - 1924). Translations of William Herebert (d. 1333) xiii. - -[18.] _Ad honorem Regis summi_, translation of first line: R. E. - Messenger. See C. Daux, _Les Chansons des Pèlerins de St. Jacques_ - (Montauban, 1899). - -[19.] A. S. Walpole, _Early Latin Hymns_, (ch. 1, note 3) 87-92. - -[20.] E. Rodgers, _Discussion of Holidays in the Later Middle Ages_ (New - York 1940) 33. Miss Rodgers sums up the evidence here, reaching an - affirmative conclusion. - -[21.] L. Thorndike, “Elementary and Secondary Education in the Middle - Ages,” _Speculum_, 15 (1940) 400-8, p. 401. - -[22.] W. O. Wehrle, _Macaronic Hymn Tradition etc_. (Washington, 1933). - - - Chapter Six - Late Middle Ages: Processional Hymns - - -[1.] _Matt_. 21: 4-ll; _Mark_ 11: 7-11; _Luke_ 19: 35-38; _John_ 12: - 12-5. - -[2.] Basil, _Ep_. 207, _Ad Neocaes, MPG_ 32. 765; Ambrose, _Ep._ 40. 16, - _Ad Theodosium, MPL_ 16. 1107; Sozomen, _Hist. Eccles._ VIII, 8; see - also Tertullian, _Ad uxorem_, II, 4, MPL 1. 1294. - -[3.] _S. Silviae, quae fertur, Peregrinatio ad loca sancta, in Itinera - Hierosolymitana, Saeculi III-VIII_, ed. P. Geyer (Vindobonae, 1898) - _CSEL_ 39. 35-101. - -[4.] _Ibid._ XXIV, 1-7, 8-12; XXV, 7; XXVI; XXXI; XL, 1-2. - -[5.] A. Bludau, _Die Pilgerreise der Aetheria, Studien zur Gesch. u. - Kultur d. Altertums XV_, 1/2, (Paderborn, 1927) 56. Translation, - Robert Bridges. - -[6.] A. Baumstark, _Die Idiomela der byzantinischen Karfreitagshoren - etc._ Reviewed in _Jahrbuch f. Liturgiewissenschaft_, 10 (1930) - 339-40. - -[7.] P. Batiffol, _Études de liturgie et d’archéologie chrétienne_, - (Paris, 1919) ch. VI, _La Chandeleur_, p. 200. - -[8.] Ambrose, _Ep_. 11(53), _MPL_ 17. 743-4; Augustine, _De Civ. Dei_ - 22. 8; _Conf._ 9. 7; See also the hymn _Grates tibi, Jesu, novas_, - attributed to Ambrose, _A. H._ 50. 17. - -[9.] G. H. Cobb, “Early Catholic Outdoor Processions,” _The Month_, 148 - (1926) 539-542. - -[10.] For Mamertus, see Greg. Turonen., _Hist. franc._ 2. 34, _MPL_ 71. - 230-32. _Councils_. Council of Orleans, 511, canon 17, Mansi VIII, - 355; Council of Girona, 517, _Capit._ 2 & 3, Mansi, VIII, 549; see - also 17th Council of Toledo, 694, _Capit._ 6, Mansi XII, 99-100. - _Litaniae maiores_, Greg. Magnus, _Ep._ V, 11, Litany on Feast of - St. John Baptist, _MPL_ 77, 732-3; _Litania septiformis_, Greg. - Turonen., _Hist. franc._ 10, 1, _MPL_ 71. 519-20; Joh. Diac., _Vita - Greg. Magn._, 1. 41, 42, MPL 75. 80. - -[11.] L. Duchesne, _Christian Worship_, (London, 1904) 240, 515. - -[12.] P. Batiffol, (note 7) 197-201; L. Eisenhofer, _Handbuch der - Katholischen Liturgik_, 2 vols. (Freiburg im Breisgau, 1923) I, - 582-6. - -[13.] At this point the definition of _processio_ in Canon Law is of - interest: _Nomine sacrarum processionum significantur solemnes - supplicationes quae a populi fideli, duce clero, fiunt eundo - ordinatim de loco sacro ad locum sacrum, ad excitandam fidelium - pietatem, ad commemoranda Dei beneficia eique gratias agendas, ad - divinum auxilium implorandum_. Can. 1290. ç I. - -[14.] B. M. Peebles, “Fortunatus, Poet of the Holy Cross,” _Amer. Church - Monthly_ 38 (1935, July-Sept.) 152-166. His account is based upon - Greg. Turonen., _Hist. franc._, IX, 40; Baudonovia, _Vita S. Rad._, - II. 16. - -[15.] R. E. Messenger, _Salve festa dies, TAPhA_, 78 (1947) 208-222. - Translation, S. A. Hurlbut; for _Salve festa dies_, traditional. - -[16.] Dom M. Férotin, _Liber ordinum_, in _Monumenta ecclesiae - liturgica_, 5 (Paris, 1904) 178-87; Isidore of Seville, _De - ecclesiasticis officiis_, 1. 38. - -[17.] Férotin, _supra_, 179. - -[18.] A. S. Walpole, _Early Latin Hymns_, (ch. 1, note 3) 337-340. - Translation, 1st line, Walpole. - -[19.] Duchesne, _supra_, 162-4. - -[20.] Walpole, _supra_, 342-4. - -[21.] Translations in this chapter, unless otherwise noted, are - furnished by the author. - -[22.] L. Gautier, _Histoire de la Poésie liturgique etc._ (ch. 4, note - 9) ch. VI, _Versus_. - -[23.] Von den Steinen, _Notker der Dichter etc._ (ch. 4, note 25) I, - 40-42. - -[24.] Eisenhofer (see note 12) I, 522-3. - -[25.] Dom A. Wilmart, _Auteurs spirituels etc._ (Paris, 1932) 26-36. - -[26.] R. E. Messenger, _Sancta Maria quid est?, Cath. Choirmaster_, - June, 1950. - -[27.] Eisenhofer, _supra_, I, 100-102. - -[28.] Du Cange, see _versarius_. - -[29.] Gulielmus Durandus, _Rationale divinorum officiorum_ (Lugdini, - 1612) Bk. IV, _De accessu sacerdotis ac pontificis ad altare et de - Processione_. - -[30.] _Ibid._ fol. 102. - -[31.] D. Attwater, _Dictionary of Saints_ (London, 1938) 180. - -[32.] G. Reese, _Music in the Middle Ages_ (ch. 1, note 11) 201. - -[33.] L. Ellinwood, “The Conductus,” _Musical Quarterly_, 27 (1941) 2. - 165-203. - - - Chapter Seven - Influence and Survival of Latin Hymns - - -[1.] W. B. Sedgwick, “The Origin of Rhyme,” (ch. 4, note 28) 333. - -[2.] For translations see Helen J. Waddell, _Medieval Latin Lyrics_ - (London, 1929); _The Wandering Scholars_ (New York, 1949), new - edition. - -[3.] P. S. Allen, _Romanesque Lyric_ (ch. 4, note 28), Ch. XII, - especially p. 223. - -[4.] F. J. E. Raby, _History of Secular Latin poetry in the Middle - Ages_, 2 vols. (Oxford, 1934) II, 332. - -[5.] E. M. Sanford, “Were the Hymns of Prudentius actually sung?” - _Classical Philology_ 31 (1936) 71. - -[6.] For the texts of liturgical plays, see K. Young, _The Drama of the - Medieval Church_, 2 vols. (Oxford, 1933). - -[7.] B. M. Peebles, “O Roma nobilis,” _Amer. Benedictine Review_, I - (1950) no. 1. - -[8.] R. Stroppel, _Liturgie und geistliche Dichtung_ (Frankfurt am Main, - 1927) 53-5: S. Singer, “Karolingische Renaissance,” - _Germanisch-Romanisch Monatschrift_, 13 (1925) 200-1. - -[9.] K. E. Wackernagel, _Das deutsche Kirchenlied etc._, 5 vols. - (Leipzig, 1864-77) vol. I. - -[10.] K. Meyer, Selections from _Ancient Irish Poetry_ (London, 1911) - _Introd._ 13. - -[11.] J. Pokorny, _Die älteste Lyrik der grünen Insel_ (Halle S., 1923) - 13, 14. - -[12.] W. Meyer, “Liturgie, Kunst und Dichtung in Mittelalter,” - _Gesammelte Abhandlungen_ (Berlin, 1905) 371. - -[13.] P. von Winterfeld, “Stilfragen der lateinischen Dichtung des - Mittelalters,” _Deutsche Dichter des lateinischen Mittelalters_ - (München, 1922) 440. - -[14.] Washington, D. C., Catholic Un. Press, 1942, especially p. 221, - 231, 248, 266. - -[15.] H. Koht, “Medieval Liberty Poems,” _Amer. Hist. Review_, 48 (1943) - no. 2, 281-290. - -[16.] H. Spanke, “Über das Fortleben der Sequenzenform in den - Romanischen Sprachens,” _Zeitschrift f. Rom. Philol._ 51 (1931) - 309-334. - -[17.] E. A. Peers. _Ramon Lull_ (London, 1929) 140. - -[18.] See translation by H. C. Robbins, 1939, “Most High, Omnipotent, - Good Lord.” - -[19.] For a brief account, see J. Pulver, “Laudi spirituali,” _Musical - Opinion_, March, 1938, 503-4; April, 1938, 602-3; May, 1938, 691-2. - -[20.] See Bibliography for these titles. - -[21.] Dom Jean Stéphan, _The Adeste fideles_, “Publications,” Buckfast - Abbey, South Devon, England, 1947. Translation, Frederick Oakeley. - -[22.] M. Britt, _Hymns of the Breviary and Missal_ (New York, 1922, - 1948), a standard and indispensable work. - - - - - Bibliography - - - I. Bibliographies - -Leclercq, L., Article “Hymnes”, _Dictionnaire d’archéologie chrétienne -et de liturgie_. Contains extensive bibliography upon the subject of -medieval hymnology. - -Farrar, C. P. and Evans, A. P., _Bibliography of English Translations -from medieval sources_. New York, 1946. Hymns, 2025-2045. - -Raby, F. J. E., _History of Christian-Latin poetry from the beginning to -the close of the Middle Ages_. Oxford, 1927. Bibliography classified by -authors and periods. - -Reese, G., _Music in the Middle Ages_. New York, 1941. Contains -extensive bibliography including many periodical articles. - - - II. Collections and Indices - -_Analecta hymnica medii aevi_, edited by C. Blume and G. M. Dreves, 55 -vols. Leipzig, 1886-1922. Introductions most informative. - -_Analecta liturgica_, part 2, vols. I, _Thesaurus hymnologicus_; II, -_Prosae_, edited by E. Misset and W. H. J. Weale. Insulis et Brugis, -1888-1902. - -Blume, C. and Dreves, G. M., _Hymnologische Beiträge_ (Quellen und -Forschungen zur Geschichte der lateinischen Hymnendichtungen, 2 vols.). -Leipzig, 1897-1901. - -Chevalier, C. U. J., _Repertorium hymnologicum_, catalogue des chants, -hymnes, proses, sequences, tropes, 6 vols. Louvain, Bruxelles, -1892-1920. Published as supplements to the _Analecta Bollandiana_. - -Daniel, H. A., _Thesaurus hymnologicus_, 5 vols. Lipsiae, 1855-1856, 2nd -edition. - -Gaselee, S., _The Oxford Book of medieval Latin verse_. Oxford, 1928. - -Germing, M., _Latin hymns_. Chicago, 1920. Text book. - -del Grande, C., _Liturgiae preces hymni Christianorum e papyris -collecti_. Neapel, 1934. - -Grenfell, B. and Hunt, A., _Oxyrhynchus papyri, Part XV_. London, 1922. - -Harris, R. and Mingana, A., _The odes and psalms of Solomon, I. Text, -II. Translation_. Manchester, 1916-1920. - -Hurlbut, S. A., _Hortus conclusus, Medieval Latin hymns with English -renderings_, 10 parts. Washington, D. C., 1930-1936. - -Kehrein, J., _Lateinische Sequenzen des Mittelalters_. Mainz, 1873. The -most extensive collection of sequences made up to that date. - -Mc Dougall, A. G., _Pange lingua: breviary hymns of old uses with an -English rendering_. London, 1916. - -Mearns, J., _Canticles of the Christian Church eastern and western in -early and medieval times. Cambridge_, 1914. - -Merrill, W. A., _Latin hymns_. New York, 1917. Text book. - -Mone, F. J., _Lateinische Hymnen des Mittelalters_, 3 vols. Freiburg im -Breisgau, 1853-1855. - -Morel, G., _Lateinische Hymnen des Mittelalters_, grösstentheils aus -Handschriften schweizerischen Kloster, als Nachtrag zu den -Hymnensammlungen von Mone, Daniel & Andern. Einsiedeln, 1866. - -Neale, J. M., _Hymni ecclesiae e breviariis quibusdam et missalibus -Gallicanis, Germanis, Hispanis, Lusitanis desumpti_. Oxford, 1851. - -——, _Sequentiae ex missalibus Germanis, Anglicis, Gallicis, aliisque -medii aevi, collectae_. London, 1852. - -Newman, J. H., _Hymni ecclesiae_, London, 1838, 1865. - -Phillimore, J. S., _The hundred best Latin hymns_. London, 1926. -Attractive anthology. - -_Poetae latini aevi Carolini in Monumenta Germaniae Historica.... -Poetarum latinorum medii aevi_, vol. iv, edited by P. von Winterfeld. -Berlin, 1923. - -Roth, F. W. E., _Lateinische Hymnen des Mittelalters_. Augsburg, 1887. -Intended as a supplement to larger collections. - -Wackernagel, K. E., _Das deutschen Kirchenlied_, 5 vols. Leipzig, -1864-1877. Vol. I contains Latin hymns. - -Walpole, A. S., _Early Latin hymns_. Cambridge, 1922. - -Weale, W. H. J., _Analecta liturgica_, Part II, vols. I, II, _Thesaurus -hymnologicus—Prosae_. Insulis et Brugis, 1888-1902. - - - III. History and Authors of Latin Hymns - -Allen, P. S., _Mediaeval Latin lyrics_. Chicago, 1931. - -Baldwin, C. S., _Medieval rhetoric and poetic_. New York, 1928. - -Bardenhewer, O., _Geschichte der altkirchlichen Literatur_, 5 vols. -Freiburg in Breisgau, 1912-1932. - -Beck, C., _Mittellateinische Dichtung_. Berlin, 1927. - -Benson, L. F., _Hymnody of the Christian church_. New York, 1927. - -Biraghi, L., _Inni sinceri e carmi di Sant’Ambrogio_. Milano, 1862. - -Blume, C., Articles “Hymn”, “Hymnody and Hymnology.” _Cath. Enc_. - -Coulter, C. C., “Latin hymns of the Middle Ages”, _Studies in -Philology_, 21 (1924) 571-585. - -DeGhellinck, J., S. J., _Littérature Latine au Moyen Age_, 2 vols. -Paris, 1939. - -——, _Littérature Latine au XIIe Siècle_, 2 vols. Brussels, 1946. - -De Labriolle, P., _Histoire de la Littérature latine chrétienne_. Paris, -1924. Translation by H. Wilson, _History and Literature of Christianity -from Tertullian to Boethius_. New York, 1925. - -Donahue, D. J., “The sacred songs of the Middle Ages”, _Cath. Hist. -Rev._, N. S. vol. 3 (1923) 217-235. - -Dreves, G. M., _Ein Jahrtausend lateinischer Hymnendichtung_, Eine -Blütenlese aus den Anal. hymn. mit literarhistorischen Erläuterungen, 2 -vols. Leipzig, 1909. - -Duckett, E. S., _Gateway to the Middle Ages_. New York, 1938. - -——, _Latin writers of the 5th century_. New York, 1930. - -Dudden, F. H., _Gregory the Great. His place in history and thought_, 2 -vols. New York, 1905. - -——, _The life and times of St. Ambrose_, 2 vols. Oxford, 1935. - -Duffield, S. W., _The Latin hymn-writers and their hymns_. New York, -1889. - -Ebert, A., _Allgemeine Geschichte der Literatur des Mittelalters im -Abendlande_, 3 vols. Leipzig, 1880-1889. 2nd edition of vol. I. - -Gastoué, A., “Proses et séquences”, _Tribune d. S. Gervais_ (1922), -69-72; “Les origines liturgiques latines de la séquence”, 153-158; “Les -types byzantins de la séquence”, (1923) 1-6. - -Gautier, L., _Oeuvres poétiques d’Adam de Saint-Victor_. Paris, 1881. - -Gillman, F. J., _Evolution of the English hymn_. New York, 1927. - -Heider, A. B., _The Blessed Virgin in early Christian Latin poetry_. -Washington, D. C., 1918. - -Hélin, M., _History of medieval Latin literature_. New York, 1949. -Translated by J. C. Snow from _Littérature d’occident: Histoire des -lettres Latines du Moyen Age_. - -Hughes, H. V., Dom Anselm, _Latin Hymnody_. London, 1922. - -Julian, J., _Dictionary of hymnology_. London, 1925. - -Kayser, J., _Beiträge zur Geschichte und Erklärung der ältesten -Kirchenhymnen_, 2 vols. Paderborn, 1881, 1886. - -Koebner, R., _Venantius Fortunatus_. Leipzig, 1915. - -Kroll, J., _Die christliche Hymnodik bis zu Klemens von Alexandreia_. -Königsburg: Prog. d. Ak. von Braunsberg, 1921-2. s. 47-98. - -——, “Die Hymnendichtung des frühen Christentums”, _Die Antike_, 2 (1926) -258-281. - -Kuhnmuench, O., S. J., _Early Christian Latin poets from the 4th-6th -century_. Chicago, 1929. - -Lynch, C. H., _St. Braulio, Bishop of Saragossa_. Washington, D. C., -1938. - -Mac Gilton, A. K., _Study of Latin hymns_. Boston, 1918. - -Manitius, M., _Geschichte der christlich-lateinischen Poesie bis zur -Mitte des 8. Jahrhunderts_. Stuttgart, 1891. - -——, _Geschichte der lateinischen Literatur des Mittelalters_, 3 vols. -München, 1911-1931. - -Maryosip, M., _The oldest Christian hymn-book_. Temple, Texas, 1948. - -Meyer, W., _Der Gelegenheitsdichter Venantius Fortunatus_. Berlin, 1901. - -Misset, E. et Aubry, P., _Les Proses d’Adam de Saint-Victor_, texte et -musique. Paris, 1900. - -Myers, W. N., _The hymns of Saint Hilary of Poitiers in the codex -Aretinus_. Phila., 1928. - -Peebles, B. M., “Fortunatus, poet of the Holy Cross”, _Amer. Church -Monthly_, 38 (1935) 152-166. - -——, _The Poet Prudentius_. Boston College Candlemas Lectures on -Christian Literature: no. 2. New York, 1951. - -Phillips, C. S., _Hymnody past and present_. London, 1937. - -Rand, E. K., _Founders of the Middle Ages_. Cambridge, 1928. - -Sage, C. M., _Paul Albar of Cordova: Studies on his life and writings_. -Washington, D. C., 1943. - -Tardi, D., _Fortunat. Étude sur un dernier représentant de la poésie -latine le Gaule merovingienne_. Paris, 1927. - -Trench, R. C., _Sacred Latin poetry_. London, 1874. - -Weyman, C., _Beiträge zur Geschichte der christlich-lateinischen -Poesie_. München, 1926. - -Wilmart, A. Dom, _Auteurs spirituels et textes dévots du moyen âge -Latin. Études d’histoire litteraire_. Paris, 1932. - -——, “Le Psautier de la reine, N. XI, sa provenance et sa date”, _Revue -Bénédictine_, July-Oct. 1911, 341 ff. - -Wrangham, D. S., _Liturgical poetry of Adam of St. Victor_. London, -1881. - - - IV. Hymns and Liturgy - -_Antiphonarium Hartkeri, saec._ XI, St. Gall MS, 390-391, p. 15-16. -_Paléographie Musicale_, Deuxième Série, Tome 1. - -_Antiphonary of Bangor_, An early Irish manuscript in the Ambrosian -Library at Milan, edited by F. E. Warren. Henry Bradshaw Society Pub. -vols. 4, 10. London, 1893, 1895. - -Batiffol, P., _Études de liturgie et d’archéologie chrétienne_, Ch. VI, -_La Chandeleur_, 193-215. Paris, 1919. - -——, _History of the Roman Breviary_. Translated from the 3rd French -edition by A. M. Baylay. London, 1912. - -Bishop, E., _Liturgica historica_, Oxford, 1918. - -——, “Spanish Symptoms”, _Theological Studies_, 8 (1907) 278-294. - -——, _The Mozarabic and Ambrosian Rites_. London, 1924. - -Blume, C., Der cursus S. _Benedicti Nursini und die liturgischen Hymnen -des 6.-9. Jahrhunderts_. Leipzig, 1908. - -——, _Unsere liturgischen Lieder_. Regensburg, 1932. - -Bohatta, H., _Bibliographie des livres d’heures_ etc. Wien, 1924, 2nd -ed. - -_Breviarium Gothicum_, edited by A. Lorenzana. Madrid, 1775. See Migne, -_P. L._, 86. - -Britt, M., _Hymns of the Breviary and Missal_. New York, 1922, 1948. - -Buchanan, E. S., _An early Latin song-book_. New York, 1930. 13th C. Ms. - -Burgess, H., _Select metrical hymns and homilies of Ephrem Syrus_. -London, 1855. - -Chambers, J. D., _Divine worship in England_ in the 13th and 14th, -contrasted with and adapted to that in the 19th C. London, 1877. - -Chatfield, A. W., _Songs and hymns of the earliest Greek Christian -poets_. London, 1876. - -Dowden, J., _Church year and kalendar_. Cambridge, 1910. - -Duchesne, L., _Origines du culte chrétien_. Translation _Christian -worship: origin and evolution_ from the 3rd French edition by M. L. -McClure. London, 1904. - -Durandus, Gulielmus, _Rationale divinorum officiorum_ (1286). Lugduni, -1612. - -Fisher, A. H., _Cathedral church of Hereford_. London, 1898. - -Fortescue, A., _Concerning Hymns_. See Introduction to A. G. McDougall, -_Pange lingua_, above. - -——, _The Mass: a study of the Roman liturgy_. London, 1914. - -Gautier, L., _Histoire de la Poésie liturgique au Moyen Age. Les -Tropes._ Paris, 1886. - -_Hereford Breviary_, edited by W. H. Frere and L. E. G. Brown. Henry -Bradshaw Society Pub. vols. 26, 40. London, 1904, 1911. - -_Horae Beatae Mariae Virginis or Sarum and York Primers_, edited by E. -Hoskins. London, 1901. - -_Horae Eboracenses, Prymer or Hours of the B. V. M._, edited by C. -Wordsworth. Surtees Society Pub. vol. 132. London, 1919. - -_Hymnale secundum usum ... ecclesiae Sarisburiensis_, edited by A. C. -Wilson and Dr. Stubbs. Littlemore, 1850. - -_Hymnarium Sarisburiense_. London, 1851. Incomplete. - -_The Hymner_, Translations of the hymns from the Sarum Breviary together -with sundry sequences and processions. London, 1905. - -_Hymns, Ancient and Modern_, historical edition. London, 1909. -Introduction by W. H. Frere on history of hymns, treats Latin hymns from -liturgical point of view. - -_Irish Liber Hymnorum_, edited by J. H. Bernard and R. Atkinson. Henry -Bradshaw Society Pub. vols. 13, 14. London, 1897, 1898. - -_Jahrbuch für Liturgiewissenschaft_, edited by O. Casel, O. S. B. -Münster i. W., 1921-1934. Vol. xiv (1934) was published in 1938. -Invaluable bibliography for every field of medieval hymnology. Many -reviews of articles otherwise unobtainable. - -Jones, W. H., _Diocesan histories: Salisbury_. London, 1880. - -_Latin hymns of the Anglo-Saxon church_, edited by J. Stevenson. Surtees -Society Pub. vol. 23. Durham, 1851. - -McClure, M. L. and Feltoe, E. L., _The Pilgrimage of Etheria_. -Translations of Christian literature, Series III, Liturgical texts. -London, 1919. - -_Manuale et processionale ad usum insignis ecclesiae Eboracensis_, -edited by W. G. Henderson. Surtees Society Pub. vol. 63. Durham, 1875. - -Maskell, W., _Ancient liturgy of the church of England_. Oxford, 1882. -3rd edition. - -——, _Monumenta ritualia ecclesiae Anglicanae_, 3 vols. Oxford, 1882. 2nd -edition. - -Mearns, J., _Early Latin hymnaries_, an index of hymns in hymnaries -before 1100, with an appendix from later sources. Cambridge, 1913. - -_Missale ad usum insignis ecclesiae Eboracensis_, edited by W. G. -Henderson. Surtees Society Pub. vols. 59, 60. Durham, 1874. - -_Missale ad usum percelebris ecclesiae Herfordensis_, edited by W. G. -Henderson. Leeds, 1874. - -_Missale mixtum_, edited by A. Lesley, S. J. Rome, 1755. See Migne, P. -L. 86. - -_Mozarabic Psalter_, edited by J. P. Gilson. Henry Bradshaw Society Pub. -vol. 30. London, 1905. - -Neale, J. M. and Forbes, G. H., _The ancient liturgies of the Gallican -church_. Burntisland, 1855. - -_Ordinale and customary of the Benedictine nuns of Barking abbey_, -edited by J. B. L. Tolhurst. Henry Bradshaw Society Pub. 2 vols. London, -1927, 1928. - -Ornsby, G., _York: diocesan histories_. London, no date. - -Phillott, H. W., _Hereford: diocesan histories_. London, no date. - -_Processional of the nuns of Chester_, edited by J. W. Legg. Henry -Bradshaw Society Pub. vol. 18. London, 1899. - -_Processionale ad usum ... Sarum_, edited by W. G. Henderson. Leeds, -1882. - -_Prymer_, edited by H. Littlehales. Early English Text Society, original -series 105, 109. London, 1895, 1897. - -Rock, D., _Church of our fathers as seen in St. Osmund’s rite for the -cathedral of Salisbury_, 4 vols. Edited by G. W. Hart and W. H. Frere. -London, 1903-1904. - -_Sarum Missal_, edited by J. W. Legg. Oxford, 1916. - -_Sarum missal_, done into English by A. H. Pearson. London, 1884. 2nd -edition. - -_Sarum missal_, translated by F. E. Warren. London, 1911. (Library of -liturgiology and ecclesiology for English readers, vols. 8 and 9.) - -_S. Silviae, quae fertur, Peregrinatio ad loca sancta, CSEL 39._ 35-101. -Vindobonae, 1898. - -Stroppel, R., _Liturgie und geistliche Dichtung 1050-1300_. Frankfurt am -Main, 1927. - -Swete, H. B., _Church services and service books before the -Reformation_. London, 1896. - -Thalhofer, V. and Eisenhofer, L., _Handbuch der katholischen Liturgik_, -2 vols. Freiburg im Breisgau, 1912. - -_Tropary of Ethelred_, published in _Missale ... Eboracensis_, above. - -_Winchester troper_, edited by W. H. Frere. Henry Bradshaw Society Pub. -London, 1894. - -Wordsworth, C., _Ceremonies and processions of the cathedral church of -Salisbury_. Cambridge, 1901. - -——, _Notes on mediaeval services in England_. London, 1898. - -——, and H. Littlehales, _The old service books of the English church_. -London, 1904. - -_York breviary_, edited by J. H. Srawley. Surtees Society Pub. vols. 71, -75. Durham, 1880, 1883. - - - V. Hymns and Medieval Culture, especially Art, Drama, Literature and - Music - -_Acta Sanctorum_ quotquot orbe coluntur ... collegit Joannes Bollandus -etc., 1643 et seq. - -Addison, J. T., _Medieval Missionary_. A study of the conversion of -northern Europe A. D. 500-1300. New York, 1936. This book supersedes -earlier works. - -Allen, P. S., _Romanesque lyric_. Chapel Hill, 1928. - -Altamira, R., _History of Spanish Civilization_, translated by P. -Volkov. London, 1930. - -_Ante-Nicene fathers_, vol. VIII. American Reprint. Buffalo, 1886. For -Apocryphal books of the N. T. - -_Antiphonale monasticum_ pro diurnis horis ordinis Sancti Benedicti a -solesmensibus monachis restitutum. Parisiis, Tornaci, Romae. 1935. For -Gregorian music. - -_Apocryphal New Testament_, edited by M. R. James. Oxford, 1924. - -Blume, C., “Hymnologie und Kulturgeschichte des Mittelalters”, in -_Festschrift f. Georg von Hertling_. Kempten, 1913. Pp. 117-130. - -Brehier, L., _L’art chrétien_. Paris, 1928. 2nd edition. - -Brown, C., _English lyrics of the 13th century_. London, 1932. - -——, _Religious lyrics of the 14th century_. Oxford, 1924. - -——, _Religious lyrics of the 15th century_. Oxford, 1939. - -——, _Register of Middle English religious and didactic verse_, Pt. II. -Oxford, 1920. - -Burdach, K., _Vorspiel_, Bd. I. Über den Ursprung des mittelalterlichen -Minnesangs, Liebesromans und Frauendienstes. Halle S., 1925. - -Chambers, E. K., _Mediaeval Stage_, 2 vols. Oxford, 1903. - -Clark, J. M., _The abbey of St. Gall as a center of literature and art_. -Cambridge, 1926. - -Cohen, G., _Histoire de la mise en scène dans le théatre religieux -français du moyen âge_. Paris, 1926. Fine bibliography. - -Creizenach, W., _Geschichte des neueren Dramas_, vol. I. Halle, 1911. - -Cutts, E. L., _Parish priests and their people in the Middle Ages_. -London, 1914. - -Delehaye, H., _Les legendes hagiographiques_. Bruxelles, 1905. - -Diehl, C., _Manuel d’art Byzantin_. 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Paris, 1911. - -Gourmont, R. de, _Le Latin mystique_; les poetes de l’antiphonaire et la -symbolique au moyen âge. Paris, 1913. - -Hauttmann, M., _Die Kunst des frühen Mittelalters_. Berlin, 1929. - -Higginson, J. V., _Revival of Gregorian chant_. Papers of the Hymn -Society of America, XV. New York, 1949. - -Jacopo de Voragine, _Golden legend_. Lives of the saints as Englished by -William Caxton, 7 vols. _Temple Classics_, edited by F. S. Ellis. -London, 1900. - -Jeanroy, A., _Le théatre religieux en France du XIe au XIIIe siècles_. -Paris, 1924. - -——, _Les origines de la poésie lyrique en France au moyen âge_. Paris, -1925. - -Kretzman, P. E., _The liturgical element in the earliest forms of the -medieval drama_. Un. of Minnesota Studies in Language and Literature, -no. 4, 1916. - -Künstle, K., _Ikonographie der Heiligen_. Freiburg im Breisgau, 1926. - -Lang, P. H., _Music in western civilization_. New York, 1941. - -Lévi-Provençal, E., _La civilization arabe en Espagne, vue general_. Le -Caire, 1938. - -Luchaire, A. (D.J.A.) _Social France at the time of Philip Augustus_, -translated from the 2nd French edition by E. B. Krehbiel. New York, -1912. - -Mâle, E., _L’art religieux du XIIe siècle en France_. Paris, 1922. - -——, _L’art religieux du XIIIe siècle en France_. Paris, 1923. - -——, _L’art religieux de la fin du moyen âge en France_. Paris, 1922. - -——, _L’art allemand et l’art français du moyen âge_. Paris, 1922. - -Meyer, K., _Selections from ancient Irish poetry_. London, 1911. - -Meyer, W., _Gesammelte Abhandlungen zur mittellateinischen Rythmik_, 2 -vols. in 1. Berlin, 1905. - -Müller, H. F., “Pre-history of the mediaeval drama”, _Zeitschrift für -romanische Philologie_, Bd. 44 (1924) 544-575. - -Nelson, P., _Ancient stained glass in England_. London, 1913. - -Owst, G. R., _Preaching in medieval England_. Cambridge, 1926. - -Prior, E. A. and Gardner, A., _An account of medieval figure-sculpture -in England_. Cambridge, 1912. - -Pokorny, J., _Die älteste Lyrik der grünen Insel_. Halle S., 1923. - -Quasten, J., _Musik und Gesang in den Kulten der heidnischen Antike und -christlichen Frühzeit_. Münster im W., 1930. - -Raby, F. J. E., _A history of secular Latin poetry in the M. A._, 2 -vols. Oxford, 1934. - -Riaño, J. F., _Critical and bibliographical notes on early Spanish -music_. London, 1887. - -Schroeder, Sister M. J., _Mary-Verse in Meistergesang_. Washington, D. -C., 1942. - -Sedgwick, W. B., “Origin of rhyme”, _Revue Bénédictine_, 36 (1924) -330-346. - -Singer, S., _Die Dichterschule von St. Gallen_. Leipzig, 1922. - -Spanke, H., _Deutsche und französische Dichtung des Mittelalters_. -Stuttgart, 1943. - -——, “Zur Geschichte der spanischen Musik des Mittelalters”, _Hist. -Vierteljahrschrift_, 28 (1934), 737-66. - -Steinen, W. von den, _Notker der Dichter und seine geistliche Welt_, 2 -vols., Bern, 1948. Reviews and supersedes earlier literature on Notker. -Vol. II contains complete works of Notker. - -Strzygowski, J., _Origin of Christian church art_, translated by Dalton -and Braunholtz. Oxford, 1923. - -Taylor, H. O., _The medieval mind_, 2 vols. New York, 1914. - -Trend, J. B., _The music of Spanish history to 1600_. London, 1926. - -Turner, W., “Irish teachers in the Carolingian revival of learning”, -_Cath. Un. Bulletin_, XIII, Washington, D. C., 1907, pp. 382, 562. - -Van Doren, Dom R., _Étude sur l’influence musicale de l’abbaye de -Saint-Gall_. Louvain, 1925. - -Wagner, P., _Einführung in die Gregorianischen Melodien_, London, 1907. - -——, “Morgen- und Abendland in der Musikgeschichte”, _Stimmen der Zeit_, -Bd. 114 (1927) 131-145. - -——, “Der mozarabische Kirchengesang und seiner Überlieferung”, in Finke, -H., _Gesammelte Aufsätze zur Kulturgeschichte Spaniens_, Reihe I, Bd. I, -p. 102-141. Münster, 1928. - -Ward, J. B., _Gregorian Chant II_. Belgium, 1949. - -Wehrle, W. O., _The macaronic hymn tradition in medieval English -literature_. Washington, D. C., 1933. - -Wells, J. E., _Manual of the writings in middle English 1050-1400_. New -Haven, 1916. - -Von Winterfeld, P., “Die Dichterschule St. Gallens und der Reichenau -unter der Karolingern und Ottonen”, “Stilfragen der lateinischen -Dichtung des Mittelalters”, _Deutsche Dichter_, p. 402-422, 423-444. -München, 1922. - -Woerdeman, Dom J., “The source of the Easter play”, _Orate Fratres_, 20 -(1946), Apr. 25, p. 262-272. - -Young, K., _The drama of the medieval church_, 2 vols. Oxford, 1933. - - - Ruth Ellis Messenger - Publications - -_Ethical Teachings in the Latin Hymns of Medieval England_, Columbia Un. -Studies in History, Economics and Public Law (New York, 1930) 210 p. - - - _Articles_ - - _Papers of the Hymn Society of America_, Editor, Carl F. Price, New - York. - No. III, “The Praise of the Virgin in Early Latin Hymns,” 1932, - reprinted 1944, 10 p. - No. IX, “Christian Hymns of the First Three Centuries,” 1942, - reprinted 1949, 25 p. - No. XIV, “Latin Hymns of the Middle Ages,” 1948, 14 p. - - _Transactions and Proceedings of the American Philological - Association_ - “Hymns and Sequences of the Sarum Use,” vol. 59 (1928) 99-129. - Abstract: “Origin of the Sequence,” vol. 64 (1933) lxv-lxvi. - “The Descent Theme in Medieval Latin Hymns,” vol. 67 (1936) 126-57. - “Whence the Ninth Century Hymnal?,” vol. 69 (1938) 446-64. - “Recent Studies in Medieval Latin Hymns,” vol. 71 (1940) 248-261. - “The Mozarabic Hymnal,” vol. 75 (1944) 103-126. - “Salve Festa Dies,” vol. 78 (1947) 208-222. - “Medieval Processional Hymns before 1100,” vol. 80 (1949) 375-392. - “Processional Hymns of the Later Middle Ages,” vol. 81 (1950) - 185-199. - - _Miscellaneous articles_ - _Catholic Choirmaster_ - “Notker Balbulus,” Sept. 1946, 101-5, 139. - “Sancta Maria quid est?,” June, 1950, 59-61, 81. - “Rabanus Maurus,” Summer, 1951, 55-57. - _Classical Outlook_ - “Medieval Easter Hymns,” April, 1944, 65-6. - “Adam of St. Victor,” Feb., 1947, 49-51. - “Greek Hymns of the Nativity,” Dec., 1948, 25-6. - “The Eighth Day,” May, 1950, 88-9. - _Classical Weekly_ - “The Legend of St. Agnes in Early Latin Hymns,” Nov. 29, 1943, 75. - “The Legend of St. Eulalia in Mozarabic Hymns,” Oct. 9, 1944, - 12-3. - “Hymns in the Horae Eboracenses,” Jan. 15, 1945, 90-5. - _Folia_ - “Sources of the Sequence Scalam ad Caelos,” May, 1947, 55-63. - “Classical Influence in the Hymns of St. Ambrose,” vol. 4, nos. - 1-3 (1949) 1-5. - “Aurelius Prudentius Clemens,” vol. 6, no. 2 (1952) 78-99. - _The Hymn_ - “John Mason Neale, Translator,” Oct., 1951, 5-10. - _Speculum_ - “Hymnista,” Jan., 1947, 83-4. - _Traditio_ - “Mozarabic Hymns in Relation to Contemporary Culture in Spain,” - vol. 4 (1946) 149-77. - - - - - Index - - - Index of Latin Hymns - - A - _Ad cenam agni providi_, 17, 34 - _Ad honorem regis summi_, 56 - _Ad perennis vitae fontem_, 49, 103 - _Adae carnis gloriosae_, 1, 6 - _Adeste fideles_, 80 - _Aeterna caeli gloria_, 34 - _Aeterna Christi munera_, 8, 17, 34, 86 - _Aeternae lucis conditor_, 17 - _Aeterne rerum conditor_, 3, 17, 33 - _Ales diei nuntius_, 34 - _Alleluia piis edite laudibus_, 14, 88 - _Alma redemptoris mater_, 79 - _Altus prosator_, 14 - _Angelus ad virginem_, 79 - _Annua, sancte Dei, celebramus festa diei_, 67 - _Ante saecula qui manens_, 1 - _Apostolorum passio_, 61 - _Audi, iudex mortuorum_, 66 - _Aurora iam spargit polum_, 34 - _Aurora lucis rutilat, 17_, 34 - _Ave maris stella_, 16, 91 - _Ave vivens hostia_, 50 - - C - _Caeli Deus sanctissime_, 33 - _Cantemus cuncti melodum nunc Alleluia_, 45, 98 - _Certum tenentes ordinem_, 17 - _Chorus novae Ierusalem_, 49 - _Christe caeli Domine_, 17 - _Christe precamur adnue_, 17 - _Christe qui lux es et dies_, 17, 34 - _Christo nato, rege magno_, 67 - _Claro paschali gaudio_, 16 - _Conditor alme siderum_, 16 - _Congregavit nos in unum Christi amor_, 69 - _Consors paterni luminis_, 33 - _Corde natus ex parentis_, 4 - _Crux benedicta nitet_, 5, 65 - - D - _Dei fide qua vivimus_, 17 - _Deus aeterni luminis_, 17 - _Deus creator omnium_, 3, 17, 33 - _Deus immensa trinitas_, 31, 94 - _Deus qui caeli lumen es_, 17 - _Deus qui certis legibus_, 17 - _Deus qui claro lumine_, 17 - _Dicamus laudes Domino_, 17 - _Diei luce reddita_, 17 - _Dies irae_, 50, 60 - - F - _Fefellit saevam verbum factum te, caro_, 1 - _Fulgentis auctor aetheris_, 17 - - G - _Gloria, laus et honor_, 29, 65 - - H - _Heri mundus exultavit_, 47, 101 - _Hic est dies verus Dei_, 17 - _Hymnum dicat turba fratrum_, 2, 14, 76 - - I - _Iam lucis orto sidere_, 33 - _Iam sexta sensim volvitur_, 17 - _Iam surgit hora tertia_, 3, 17 - _Illuminans altissimus_, 17 - _Immense caeli conditor_, 33 - _Imperator magne, vivas_, 69 - _Intende qui regis_, 17 - - J - _Jesu corona virginum_, 34 - _Jesu dulcis memoria_, 49 - - L - _Laetetur omne saeculum_, 72 - _Lauda Sion Salvatorem_, 50, 60, 105 - _Laudes omnipotens, ferimus tibi dona colentes_, 68 - _Lucis creator optime_, 16, 33 - _Lux ecce surgit aurea_, 34 - - M - _Magna et mirabilia_, 17 - _Magnae Deus potentiae_, 33 - _Magnum salutis gaudium_, 65 - _Martyr Dei qui unicum_, 34 - _Mediae noctis tempus est_, 14, 17 - _Meridie orandum est_, 17 - _Morte Christi celebrata_, 52 - - N - _Nocte surgentes vigilemus omnes_, 12, 87 - _Nox atra rerum contegit_, 33 - _Nox et tenebrae et nubila_, 34 - _Nunc sancte nobis spiritus_, 33 - - O - _O lux beata trinitas_, 33 - _O quanta qualia_, 49 - _O Roma nobilis_, 76 - _O sola magnarum urbium_, 4 - - P - _Pange lingua, gloriosi corporis mysterium_, 50, 71 - _Pange lingua, gloriosi proelium certaminis_, 5, 50, 64, 65 - _Perfectum trinum numerum_, 17 - _Plasmator hominis Deus_, 33 - _Postmatutinis laudibus_, 17 - _Primo dierum omnium_, 33 - - Q - _Quem terra pontus aethera_, 16 - - R - _Recordare sanctae crucis_, 50 - _Rector potens verax Deus_, 33 - _Rerum creator optime_, 33 - _Rerum Deus tenax vigor_, 33 - _Rex aeterne Domine_, 17 - _Rex gloriose martyrum_, 34 - - S - _Salve festa dies.... Qua deus infernum vicit_, 73, 110 - _Sacrata libri dogmata_, 68 - _Salve festa dies.... Qua Christi mater visitat_, 71 - _Salve festa dies.... Qua fuit assumpta Maria_, 72 - _Salve, lacteolo decoratum sanguine festum_, 67 - _Salve redemptoris mater_, 47 - _Sancta Maria, quid est?_, 69 - _Sancti spiritus assit nobis gratia_, 42, 95 - _Sancti venite Christi corpus sumite_, 14, 15, 89 - _Sanctorum meritis inclita gaudia_, 34 - _Sator princepsque temporum_, 17 - _Sic ter quaternis trahitur_, 17 - _Solus ad victimam procedis, Domine_, 49 - _Somno refectis artubus_, 33 - _Splendor paternae gloriae_, 3, 7, 17, 33, 84 - _Stabat mater dolorosa_, 51, 53, 60, 108 - _Suffragare trinitatis unitas_, 14 - _Summae Deus clementiae_, 33 - _Summe confessor sacer_, 34 - _Summus et omnipotens genitor_, 68 - _Surrexit quia Christus a sepulchro_, 67 - - T - _Te lucis ante terminum_, 34 - _Telluris ingens conditor_, 33 - _Tempora florigero rutilant_, 5, 6, 65 - _Tempus noctis surgentibus_, 17 - _Ter hora trina volvitur_, 17 - _Tu trinitatis unitas_, 33 - - U - _Urbs beata Jerusalem_, 16 - _Urbs Sion aurea_, 49 - _Ut queant laxis resonare fibris_, 26, 92 - - V - _Veni, creator spiritus_, 29, 93 - _Veni redemptor gentium_, 3 - _Veni sancte spiritus_, 48, 60 - _Verbum supernum prodiens_, 16 - _Versus ad descensum fontis_, 68 - _Vexilla regis prodeunt_, 5, 50, 64, 85 - _Victimae paschali laudes_, 47, 75 - _Virginis proles opifexque_, 34 - - - General Index - - A - Abelard, 49 - Adam of St. Victor, 46-7, 51, 55, 70 - Advent, 4, 16, 32, 44, 50 - Aetheria, 61-2 - Alcuin, 21, 26, 37 - Alfonso X of Castile, 78 - Amalarius of Metz, 26, 37, 38, 39 - Ambrose, B. of Milan, 2, 8, 56, 63 - Ambrosian chant, 7 - Arabian influences, 31, 54 - Ascension, 44, 63, 70 - Augustine, St., 3 - Aurelian, B. of Arles, 9 - - B - Bangor Antiphonary, 14, 76 - Benedict, St., 9, 11-2 - Benedictine Order, 9, 11, 20, 27 - Benedictine Rule, 11, 20, 25 - Bernard of Cluny (Morlaix), 49 - Bonaventura, 50 - Book of Hours, 53 - Braulio, B. of Saragossa, 13 - Breviary, Roman, 80, 81 - “By the Cross her vigil keeping,” 51, 108 - Byzantine influences, 22, 23, 36, 40, 42 - - C - Caesarius, B. of Arles, 9 - _Cambridge Songs_, 75 - Canonical Hours, 9 - _Cantico di fratre sole_, 78 - _Cántigas de Santa María_, 78 - _Carmina Burana_, 58, 75 - Carol, 79 - _Cathemerinon_, 3 - Celtic Hymns, 14-5 - Celtic influences, 21-2, 27, 44 - Charlemagne, 19, 20, 22, 23, 36, 37 - Charles the Bald, 19, 20, 21, 25 - Columba, St., of Iona, 14 - _Conductus_, 73 - Corpus Christi, 50, 51, 71 - Council of Braga (563), 10 - Council of Laodicea (364), 10 - Council of Orleans (511), 63 - Council of Toledo, IV, (633), 13 - Council of Tours (567), 11 - Council of Girona (517), 63 - “Creator-Spirit, all Divine,” 29, 93 - - D - Damasus, Pope St., 2 - “Draw nigh and take the body of the Lord,” 15, 89 - Durandus, B. of Mende, 70 - - E - Easter, 16, 32, 44, 47, 52, 65, 67, 70 - Epiphany, 4, 32 - Eugenius II, Primate of Toledo, 13 - Eulogius, Archb. of Cordova, 30 - - F - “Father we praise Thee,” 12, 87 - Fortunatus, Venantius, 4, 11, 27, 64 - Francis, St. of Assisi, 78 - Fulbert, B. of Chartres, 49 - Fulda, 11, 25, 29, 30 - - G - _Gaudeamus igitur_, 75 - Greek influences, 23, 27, 38, 42 - Gregorian chant, 12, 81 - Gregory the Gt., Pope St., 12, 14, 23, 27, 36, 63 - - H - “Hail, Sea-Star we name Thee,” 16, 91 - “Hail thee, festival day,” 73, 110 - Hartmann of St. Gall, 67 - Hilary B. of Poitiers, 1, 74 - _Horae_, 53, 58 - Hymn cycles, 9-10 - _Hymnarium or hymnary_, 24, 44 - - I - Ildefonsus, Primate of Toledo, 13 - “In flowing measures,” 26, 92 - Isidore of Seville, 1, 13, 30, 65 - - J - James, St., of Campostella, 56 - _Jumièges Antiphonary_, 41 - Jerome, St., 1 - - L - _Later Hymnal_, 19, 23, 24-5, 28, 30, 33 - _Laude al crucifisso_, 78 - Laudi spirituali, 78 - Lent, 32 - Louis the Pious, 19, 20, 21, 25, 30 - - M - Macaronic verse, 58 - Mary the Virgin, St., feasts of, 32, 44, 47, 64, 67, 69, 70, 71, - 72 - Metrical forms of Latin hymns, 5, 6, 26, 27, 65, 74, 76 - Metz, 20, 37, 41 - _Modus_, 43, 75 - Monte Cassino, 16, 20 - Mozarabic Hymns, 12-4, 30-1, 54, 59 - Music, 6-7, 12, 20, 22, 27-8, 35, 39, 43, 73, 81-2 - - N - Nativity, 8, 32, 44, 67 - Neumes, 27, 38-9 - _Ninth Century Hymnal_, see _Later Hymnal_ - Notker Balbulus, 22, 39, 41, 42, 43, 45, 46, 47, 77 - - O - “O glorious immensity,” 31, 94 - “O Splendor of God’s glory,” 3, 84 - _Old Hymnal_, 10, 12, 17, 30 - Osmund, B. of Salisbury, 52 - Otfried the Frank, 76 - - P - Palm Sunday, 65, 70 - Passion, 32, 44, 62 - Paulus Diaconus, 21, 26 - Peckham, John, Archb. of Canterbury, 50 - Pentecost, 32, 44, 48 - _Peristephanon_, 3, 75 - Peter Damian, 49 - _Phos hilaron_, 62 - Pilgrimage hymns, 56 - Pippin, 11, 19, 20, 22 - “Praise, O Sion, praise thy Saviour,” 50, 105 - _Processional_ (Book), 53, 70 - Processions (Litany), 63, 68 - Processions (Station), 63 - _Primer_, 53 - _Prosa_ or _prose_, 35, 37, 41 - Prudentius (Aurelius Prudentius Clemens), 3, 8, 27, 74, 75 - _Psalmi idiotici_, 10 - - R - Rabanus Maurus, 26, 29, 67 - Radbert of Corbie, 26, 67, 68 - Reichenau, 24, 25, 30, 69 - Roman chant, 7, 20 - Roman Rite, 12, 20, 52 - - S - St. Gall (monastery), 11, 22, 24, 25, 41, 42, 59, 66-70 (passim), - 72, 73 - St. Martial, 24, 37, 41, 77 - Saints, feasts of, 8, 32, 44, 47, 56, 61, 67, 72, 75 - Salisbury, 52, 53, 70 - Sarum, see Salisbury - Savonarola, 78 - Sedulius, 13, 27, 29 - Sergius, Pope (687-701), 63-4 - Sequence, origin of, 35-40 - “Sing alleluia forth,” 14, 88 - Solesmes, 28 - - T - “The grace of the Holy Ghost,” 42, 95 - “The strain upraise,” 45, 98 - “The banners of the king,” 5, 85 - “The eternal gifts of Christ the King,” 8, 86 - Theodulphus, B. of Orleans, 26, 28, 31, 67 - Thomas Aquinas, St., 50, 55, 71 - Thomas of Celano, 50 - “To the fount of life eternal,” 49, 103 - Trinity, 32, 44 - _Troparium_ or _tropary_, 44, 52 - _Trope_, 37 - - V - Vernacular religious lyrics, 77-9 - _Versus_, 66 - Villon, François, 78 - - W - Walafrid Strabo, 26, 30, 67, 69 - - Y - “Yesterday with exultation,” 47, 101 - - - - - Transcriber’s Notes - - ---Generated an original cover image for free and unrestricted use with - this eBook. - ---Copyright notice provided as in the original—this e-text is public - 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Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - diff --git a/old/54150-0.zip b/old/54150-0.zip Binary files differdeleted file mode 100644 index 806d496..0000000 --- a/old/54150-0.zip +++ /dev/null diff --git a/old/54150-8.txt b/old/54150-8.txt deleted file mode 100644 index 48d57ce..0000000 --- a/old/54150-8.txt +++ /dev/null @@ -1,6963 +0,0 @@ -Project Gutenberg's The Medieval Latin Hymn, by Ruth Ellis Messenger - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Medieval Latin Hymn - -Author: Ruth Ellis Messenger - -Release Date: February 10, 2017 [EBook #54150] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MEDIEVAL LATIN HYMN *** - - - - -Produced by Stephen Hutcheson, Dave Morgan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - The Medieval Latin Hymn - - - Ruth Ellis Messenger, Ph.D. - - - Te decet hymnus - Deus in Sion - - _Psalm 65:1_ - - - CAPITAL PRESS - 1731--14th St., N. W. - WASHINGTON, D. C. - - - Copyright, 1953 - _by_ - Ruth Ellis Messenger - - ALL RIGHTS RESERVED - LITHOGRAPHED IN THE UNITED STATES OF AMERICA - - - _To_ - J. Vincent Higginson - - - - - Contents - - - Chapter Page - Preface ix - I. Early Middle Ages: Latin Hymns of the Fourth Century 1 - II. Early Middle Ages: The Old Hymnal 9 - III. The Ninth Century Revival: Hymns 19 - IV. The Ninth Century Revival: Sequences 35 - V. Late Middle Ages: Hymns and Sequences 46 - VI. Late Middle Ages: Processional Hymns 61 - VII. Influence and Survival of Latin Hymns 74 - Illustrative Hymns 83 - Notes 113 - Bibliography 123 - Index 135 - - - - - Preface - - -The purpose of this volume is to trace the history of the medieval Latin -hymn from the point of view of usage. It must be evident to any student -of a subject which is spread over a thousand years of human experience -in the widening environment of an entire continent that a guiding thread -is needed to show the way. One must not, at the same time, ignore the -fact that a monumental religious literature in the poetic field is -involved. But the hymn is functional, having its greatest significance -as a lyric when employed in an act of worship. Latin hymnology, -moreover, is an aspect of ecclesiastical studies following the history -of the Church through the classical and medieval ages into modern times. - -A wider cultural background than the immediate interest of theology and -religion is reflected in the hymns of any age. Here often lie secrets of -interpretation which make possible an appreciation of contemporary -thought. - -As the study of the medieval hymn is followed from the standpoint of -life and usage, the antiquarian and the literary critic, who cannot -fully satisfy the quest of the student for reality, must give place to -the medieval worshiper himself who has revealed in its entirety each -successive phase of a hymnological history not yet ended. - -For information about the Christian hymn as it existed prior to the -medieval era, the author's _Christian Hymns of the First Three -Centuries, Paper IX_, a publication of The Hymn Society of America, may -be consulted. This account of primitive Christian hymnody, although -pre-medieval, serves as an introduction to the subject matter of the -present volume. - -The pages which follow are intended for the general reader rather than -the specialist in medieval culture or in the classical languages. -Biographies of hymn writers have not been attempted since the literature -of this subject is already extensive. Documentation has been reduced to -a minimum. A bibliography has been provided for any who are interested -in specialized fields. - -It is hoped that this brief study will have a modest part in opening up -to the general reader a field which has never been fully explored in any -language, especially English. An inclusive treatment is not offered here -but one which represents the fruits of a generation of research. - -My grateful thanks are due to my friends and co-workers in the fields of -classical studies, hymnology and medieval history who have assisted me -in countless ways, particularly to Dr. Adelaide D. Simpson and Dr. Carl -Selmer, both of Hunter College of the City of New York, who have read -the entire manuscript and offered invaluable criticisms and suggestions. -Among the many librarians who have assisted me in varied centers of -study, I am most indebted to the staff of the Library of Union -Theological Seminary of New York, under Dr. William Walker Rockwell and -later under Dr. Lucy Markley. Finally, I wish to acknowledge my -obligation to those authors and publishers who have granted permission -to use certain translations of Latin hymns which appear in this volume. - - - - - CHAPTER ONE - Early Middle Ages: Latin Hymns of the Fourth Century - - - I. The Early Hymn Writers - -The first mention of Christian Latin hymns by a known author occurs in -the writings of St. Jerome who states that Hilary, Bishop of Poitiers -(c. 310-366), a noted author of commentaries and theological works, -wrote a _Liber Hymnorum_.[1] This collection has never been recovered in -its entirety. Hilary's priority as a hymn writer is attested by Isidore -of Seville (d. 636) who says: - - Hilary, however, Bishop of Poitiers in Gaul, a man of unusual - eloquence, was the first prominent hymn writer.[2] - -More important than his prior claim is the motive which actuated him, -the defense of the Trinitarian doctrine, to which he was aroused by his -controversy with the Arians. A period of four years as an exile in -Phrygia for which his theological opponents were responsible, made him -familiar with the use of hymns in the oriental church to promote the -Arian heresy. Hilary wrested a sword, so to speak, from his adversaries -and carried to the west the hymn, now a weapon of the orthodox. His -authentic extant hymns, three in number, must have been a part of the -_Liber Hymnorum_. _Ante saecula qui manens_, "O Thou who dost exist -before time," is a hymn of seventy verses in honor of the Trinity; -_Fefellit saevam verbum factum te, caro_, "The Incarnate Word hath -deceived thee (Death)" is an Easter hymn; and _Adae carnis gloriosae_, -"In the person of the Heavenly Adam" is a hymn on the theme of the -temptation of Jesus.[3] They are ponderous in style and expression and -perhaps too lengthy for congregational use since they were destined to -be superseded. - -In addition to these the hymn _Hymnum dicat turba fratrum_, "Let your -hymn be sung, ye faithful," has been most persistently associated with -Hilary's name. The earliest text occurs in a seventh century manuscript. -It is a metrical version of the life of Jesus in seventy-four lines, -written in the same meter as that of _Adae carnis gloriosae_.[4] - -Pope Damasus, a Spaniard by birth (c. 304-384), is believed to have -written hymns in addition to the _Epigrams_ on the martyrs which -constitute his authentic poetry. It would seem probable that his -activities in identifying and marking the sites associated with the -Roman martyrs might have been supplemented by the production of hymns in -their honor. Two hymns bearing his name are extant, one in praise of St. -Andrew the Apostle and one for St. Agatha. Upon internal evidence the -ascription is dubious for they bear the mark of authorship too late to -be considered among the poems of this famous Pope. - -As a matter of fact, Ambrose, Bishop of Milan (340-397), remains the -uncontested originator of the medieval Latin hymn as it becomes familiar -to us in a uniform series of metrical stanzas adapted to congregational -use. Like Hilary, Ambrose was born in Gaul.[5] He was the son of -Ambrose, Prefect of the Gauls, and like his father he attained official -appointment under the Roman government as Consular of Liguria and -Aemilia, with Milan as place of residence. Theological controversy -between the Arians and the orthodox was raging at Milan, the Bishop -himself, Auxentius, having adopted the Arian position. Ambrose at this -time was a catechumen but at the death of Auxentius was obliged to -preserve order when the election of his successor took place. At that -very moment the popular mandate created Ambrose Bishop of Milan at the -age of thirty-four years. The period immediately following his election -found him constantly battling for orthodoxy in a contest which passed -beyond the limits of theological debate to the actual siege of orthodox -churches by the Arian forces. - -Ambrose was acquainted with the Syrian practice of hymn singing, and -like Hilary, he recognized the effective use of the hymn by the -proponents of the Arian heresy. It was not long before the congregations -in the basilica at Milan were chanting antiphonally the praises of the -Trinity in a similar form. Ambrose himself recorded his achievement, his -biographer Paulinus mentions the event and Augustine in his -_Confessions_ describes the congregational singing which he himself had -heard. - - We, though as yet unmelted by the heat of Thy Spirit, were - nevertheless excited by the alarm and tumult of the city. Then it was - first instituted that according to the custom of the eastern regions, - hymns and psalms should be sung, lest the people should faint through - the fatigue of sorrow.[6] - -Ambrose wrote hymns appropriate for morning and evening worship, four of -which now extant, can be proved to be of his authorship, _Aeterne rerum -conditor_, "Maker of all, eternal King," _Deus creator omnium_, "Creator -of the earth and sky," _Iam surgit hora tertia_, "Now the third hour -draws nigh," and _Veni redemptor gentium_, "Come Redeemer of the -earth."[7] Many others in keeping with his style and inspiration have -been preserved and subjected to critical study with the result that -eighteen hymns on varied themes are generally conceded to be Ambrosian. -Had Ambrose never conferred upon the church his gift of hymnody he would -still remain one of the great Latin Fathers of the fourth century, in -his functions as statesman, organizer and scholar. His contribution to -ecclesiastical poetry and music have made him influential century after -century. In this role he has spoken directly to multitudes of Christians -throughout the world, many of whom have been unacquainted with his name -or unaware that they were following the Ambrosian tradition of -congregational song. (See Illustrative Hymns, I. _Splendor paternae -gloriae_, "O Splendor of God's glory bright.") - -Spain shares the honors with Gaul as the birthplace of the earliest hymn -writers, claiming first Damasus and then Prudentius, (348-413?), a -lawyer, judge and poet of his era. Little is known of his life aside -from his literary work which includes two collections of hymns, the -_Cathemerinon_, a series for the hours of the day and the ecclesiastical -seasons and the _Peristephanon_, a series of much longer poems in praise -of the great martyrs of the early church. In his effort to learn more of -the circumstances attending their martyrdom, Prudentius went to Rome to -visit the scenes made sacred by their death and sufferings. Neither of -these collections was written for liturgical use but for devotional -reading. Both were destined to be appropriated by compilers of -hymnaries, especially in Spain. Hymns from the _Cathemerinon_, either in -their original form or in centos, spread throughout the Christian church -while the martyr hymns were also drawn upon but to a lesser extent. The -hymns selected for festival use are perhaps most familiar today, for -example, for Advent, _Corde natus ex parentis ante mundi exordium_, of -which the translation "Of the Father's love begotten," suggests the -original meter. The Epiphany hymn, _O sola magnarum urbium_, "Earth hath -many a noble city," is also well known.[8] - -Considered merely as Latin poetry, the hymns of Hilary, Ambrose and -Prudentius are transitional in their literary character. They belong -neither to the poetry of the Silver Age of Latin literature nor do they -represent the medieval literary tradition. Of the metrical aspect -something will be said presently. By some the Ambrosian hymn is regarded -as a daring innovation and the model from which vernacular European -verse was later to develop. In that case, it constitutes a class by -itself. For evidence of the continuity of Latin poetry from the -classical to the medieval age we must turn to the _Carmina_ of Venantius -Fortunatus. - -Fortunatus (c. 530-600) was born near Treviso and lived as a youth in -northern Italy, studying at Ravenna. The greater part of his life, -however, was spent in Gaul which he visited first as a pilgrim to the -shrine of St. Martin at Tours, who, he believed, had been instrumental -in restoring his eyesight. At Poitiers he met Queen Rhadegunda, wife of -Clothair, King of Neustria. She had founded a convent at Poitiers and -there lived in retirement. This was his introduction to a life of travel -and of intercourse with the great. He was acquainted with bishops, -noblemen and kings whose praises he sang in many graceful tributes, -occasional poems and epitaphs. Through the influence of Rhadegunda, his -lifelong patron and friend, he was ordained, and after her death he -became Bishop of Poitiers, 597, where he lived until his death. As a -churchman he was an admirer and biographer of the saints of Gaul, -preeminently St. Martin whose life and miracles he recounted in poetic -form. - -Fortunatus seems to have carried with him from the Italian scenes -associated with the poetry of Virgil--an inspiration which was never -entirely lost. His poems suggest a familiarity with the literary -background of classical verse. During his mature life he lived in the -environment of sixth century Gallic society which was already assuming -its medieval Frankish outlines. Natural beauty and human companionship -were alike important to him. He was acquainted with men and women of -every degree from the monarch to the slave. - -Although the spirit of religious devotion and of orthodox belief is -evident in many of the hundreds of lyrics which he composed, four only -may be classed as hymns. Three of these are concerned with the theme of -the Holy Cross, _Pange lingua, gloriosi proelium certaminis_, "Sing, my -tongue, the glorious battle," _Vexilla regis prodeunt_, "The banners of -the king advance," and _Crux benedicta nitet_, "Radiant is the blessed -cross." The fourth, _Tempora florigero rutilant distincta sereno_, -"Season of luminous days, marked bright with the birth of the flowers," -is a Resurrection hymn.[9] It is impossible to indicate here the -extraordinary influence which this group of hymns has exerted in the -evolution of Christian hymnody, continuing in Gaul the tradition, as it -were, which Hilary first established. The circumstances of their origin -and their lasting values will be considered in connection with -processional hymns in Chapter VI. - -(See Illustrative Hymns, II. _Vexilla regis prodeunt_, "The banners of -the king advance.") - - - II. Metrical Forms - -The problem of metrical forms and the prosody of the earliest Latin -hymns, in general, is a phase of the same problem affecting Latin poetry -as a whole. The subject is both complicated and obscure, entangled with -that of Latin rhetorical prose style, the transition from the -quantitative accent of ancient classical poetry to the stress accent of -medieval and modern verse and with the origin of rhyme. It is a problem -for specialists among whom opinions are now divergent. Toward a -practical understanding of the metrical values of the hymns of Hilary, -Prudentius, Ambrose and Fortunatus, the pragmatic test of what is -singable may be applied. The ancient balanced rhythms of Semitic poetry -as illustrated in the Hebrew psalms had been sung for generations. The -metrical lyrics of ancient Greece were sung to an instrumental -accompaniment as were the Latin lyrics of the Golden Age of Rome. These -highly polished classical forms were for the elite. Of popular poetry -which was sung in the period immediately preceding the appearance of the -Latin hymn, very little is known. The early writers were experimenters. -Hilary used classical meters with alterations, of which the trochaic -tetrameter catalectic proved most acceptable.[10] It is illustrated in -_Adae carnis gloriosae_ and also in hymns by Prudentius and Fortunatus. -Prudentius used a variety of meters in addition to the trochaic which -proved adaptable in actual liturgical practice but by that time stress -accent was beginning to obscure the original quantitative values. -Ambrose used the unrhymed iambic dimeter, a simple and singable form -which has been in vogue ever since, at first unrhymed after the original -models and later rhymed. The popular trochaic meter familiarized by -Hilary, Prudentius and Fortunatus, when transformed by stress accent and -rhyme, is easily recognized both in Latin and the vernaculars. -Fortunatus popularized the elegiac meter in hymns for a thousand years -by demonstrating its use in _Tempora florigero_. Prior to the ninth -century revival of hymnody, the Ambrosian hymn, considered as a metrical -model, in comparison with all other existing models, dominates the field -equally with its prestige as an expression of Christian theology and -devotion. - - - III. Hymns in Worship - -It is evident that the fourth century was one of innovation in the -custom of congregational singing as the Ambrosian hymn was more widely -diffused. Our knowledge of what actually took place is very incomplete, -based first upon the writing of Ambrose and his contemporaries and later -upon the hints derived from monastic usage. That morning and evening -services of prayer and praise were common is well known. That the -singing of the new fourth century hymns was an integral part of such -services is largely assumed. Prudentius wrote hymns for the evening -ceremony of the lucernare or lighting of the candles, a Christian -practice adopted from the Greek church, to which many references are -found. The fact that the hymns of Prudentius were in existence long -before they appeared in the records of formal worship points to early -Christian usage, however dimly perceived. - -Concerning music we learn from the most recent researches that "nothing -definite is known of the melodies that were actually applied to the -hymns of St. Ambrose."[11] The traditional liturgical music of Milan is -known as the Ambrosian Chant. It cannot be traced to Ambrose himself but -is supposed to have existed in a simpler form than that which appears in -available manuscripts beginning with the twelfth century. At least it -may be said to have existed prior to the Roman Chant and perhaps have -influenced the latter. With a frank acknowledgement of ignorance as to -the antiphonal melodies which thrilled St. Augustine at Milan, the -possibility must be admitted that they reflected to some extent the -formal music of the synagogue or the music of the Greeks or the elements -of contemporary folk music because these were the musical materials of -which the Christians had experience. All three may have been -represented, but for a hymn of the Ambrosian type, the chant as evolved -in rendering the Gospels or the Psalms may have given place to a form of -song more characteristic of the lyric. - - - IV. Themes - -The tradition of Christian hymnology which upholds a way of life is -fundamental in Ambrosian and contemporary hymns. The "way" is the first -term by which Christianity was designated in the Scriptures. Thus to the -Scriptures the hymn writers turned for the living characterization of -their themes. The call to a virtuous life is sounded in _Splendor -paternae gloriae_ quoted above. Similarly throughout these hymns, the -high ideal of faith, purity, hope, patience, humility and love and the -ethical teachings derived from the words of Jesus and from the early -exemplars of the Christian religion are clearly expressed and enjoined. -Not alone for contemporaries in a period of crisis and controversy were -these hymns effective. They have continued to speak the same words in -the same spirit of joy and devotion derived from contact with the -earlier springs of faith to every succeeding century. - -The writings of men familiar with Roman civilization and trained in -classical culture would naturally be presumed to retain the flavor of a -non-Christian literature. Christianity had already appropriated from the -pagan philosophers those teachings which were congenial to its own. -Ambrose reveals both in his poetic and prose writings his acquaintance -with classical thought and literary models. Prudentius mingles the -classical and the Christian. Fortunatus was inspired by classical poetry -to a Christian expression of beauty in form and content. But in every -case, these characteristics are marginal. The core of their hymns is the -scriptural narrative. Not only is the subject matter faithfully -reproduced but the actual text is sometimes embedded in the verse. The -result is a rare objectivity and a lack of embellishment especially in -the works of Ambrose which became the preferred standard for later -writers.[12] - -The life of Jesus is a favorite theme particularly in those episodes -which were described and expanded in hymns for the Nativity, Epiphany, -Passion, Easter and Pentecost. From the episode of the Nativity the -praise of the Virgin was developed. The doctrine of the Trinity was -everywhere upheld in hymns, even as its defense had been influential in -their creation. - -The group of hymns which praise the early Christian leaders, either -directly or by incidental mention, form a nucleus for the impressive -medieval hymnology of the saints. The Apostles have first place both in -chronology and importance. Prudentius praised the Roman martyrs and -Ambrose those of Rome and Milan as well. Both honored Laurence the -Deacon and Agnes the Virgin. To the praise of the whole group "the noble -army of martyrs," the hymn _Aeterna Christi munera_, "The eternal gifts -of Christ the King," was written, unrivalled as a martyr hymn in any -period of Latin hymnology. - -(See Illustrative Hymns, III. _Aeterna Christi munera_, "The eternal -gifts of Christ the King.") - - - - - CHAPTER TWO - Early Middle Ages: The Old Hymnal - - - I. The Hymn Cycles - -We owe the preservation of the earliest Latin hymns to monastic -practice. When the founders of monasticism in the west, Caesarius and -Aurelian who were famous bishops of Arles (6th C.), and Benedict (d. -543), founder of the Benedictine Order, organized the regulations and -routine for the communities under their charge, they incorporated Latin -hymns already existing into the daily worship of the monastery.[1] These -were sung at the services of the canonical hours and were known as hour -hymns or office hymns. - -A continuity can be traced, although faintly, from primitive Christian -observances. Beginning with the vigil of Saturday night in preparation -for the following Sunday, the first three centuries of Christian history -developed public services for prayer at candlelight, night time, and -dawn. By the fourth century, the tide of devotional practice had set in, -bringing with it daily worship in the church at the third, sixth and -ninth hours. At the end of the fourth and during the fifth century the -cycle was completed with new offices at sunrise and nightfall. The full -series, therefore, included the nocturnal cursus; vespers, compline, -matins (nocturns and lauds), and the diurnal cursus; prime, terce, sext -and nones.[2] An opportunity was afforded to unify the services and at -the same time to make use of the symbolic number seven by reference to -_Psalm 119: 164 (Ps. 118, Vulgate)_, "Seven times a day do I praise thee -because of thy righteous ordinances." From the simple assemblies of -early Christianity, therefore, and the daily offices of prayer, a fully -elaborated cycle of hymns in time developed, appropriate to the -symbolism of the seven hours and to the needs of the annual feasts. -Constantly increasing in number and variety, these cycles were preserved -in psalters together with the psalms or in a hymnary by themselves. In -fact, the word _hymn_ came to mean specifically an office hymn later to -be associated with the breviary, and the word _hymnal_, a cycle or -collection of office hymns. - -At first the cycles were brief. Five extant manuscripts reveal the sixth -century group of hymns of which the best representative, the so-called -Psalter of the Queen from the famous collection of Queen Christine of -Sweden, probably dates from the time of Charles Martel (d. 741).[3] This -group of hymns is usually referred to as the _Old Hymnal_, the initial -version of which numbers thirty-four hymns but at the close of the sixth -century had increased to perhaps sixty hymns in actual use.[4] The -thirty-four original hymns of the _Old Hymnal_ are listed in the -Appendix to this chapter where the appropriate location of each is -indicated, whether for daily or seasonal worship. - -Due to the influence of Benedict who had enjoined the use of the -Ambrosian hymn, the authentic verse of Ambrose was preserved and -extensively imitated among the regular clergy. What had become of the -hymn in secular worship? - -The old prejudice against non-scriptural hymns and in favor of the -Psalms had never died out. By a canon of the Council of Laodicea (c. -364), _psalmi idiotici_ or "private hymns" were forbidden, a mandate -which was valid during the lifetime of Ambrose who, nevertheless, -ignored a restriction intended to safeguard orthodoxy but hardly -applicable in his case. In the sixth century the secular clergy of Spain -were forbidden to use hymns by the Council of Braga, 563.[5] The paradox -of encouraging non-scriptural hymns in the monastery and forbidding -their use in the church at large has been explained by reference to the -contemporary appearance of early forms of vernacular speech in western -Europe. Latin, the language of the church, its liturgy and its clergy, -was now threatened by a possible inroad of the vernacular.[6] Hymn -writing was regarded, perhaps, as a prerogative of the clergy to be kept -within bounds. To throw open to the church everywhere these privileges -might be dangerous alike for theology and worship. Learning in the Latin -tongue tended to be concentrated in the monastery, for other centers of -scholarship were few and far between; hymnology became largely a -function of the monastic group. - -It should be remembered that these centuries embraced a period of the -greatest political, economic and social confusion in western Europe -during which we know relatively little about Christian worship in -widespread congregations except for the rite of the mass. Yet in the -sixth century the opposite tendency toward greater freedom in writing -and singing hymns was apparent. The Council of Tours, 567, permitted the -secular clergy to use Ambrosian and other hymns.[7] If viewed in this -light, the religious verse of Fortunatus takes on a new significance, -illustrative of the freedom which the Church in Gaul, always highly -individual, now experienced in the realm of hymnology. - -Gaul, then, was the scene of a conflict in which the Latin hymn was -contending, and that successfully, for its very life. On the monastic -side, anonymous clerics, using the Ambrosian model, gradually provided -the full complement of hymns for the annual festivals in harmony with -the liturgical year which began to emerge and resemble somewhat its -present form. Wherever the Benedictine Order penetrated into the -territories of western Europe, the use of hymns likewise increased. -Their diffusion must be regarded as comparable with that of an -organization which within two hundred years of the death of its founder -boasted hundreds of monasteries and convents throughout western -Christendom, augmented by Irish and other foundations which had adopted -the Benedictine Rule. Missionary zeal had played a significant role in -this expansion. Fulda, for instance, a community with 400 monks and many -missionaries at its disposal, was able under Willibald to extend its -influence through numerous subordinate monasteries and convents. Royal -favor, already enjoyed by St. Gall and now conferred upon new -establishments, rivalled that of popes and synods, which at the time of -Pippin's coronation in 750 or 752, combined to insure the success of the -Benedictine program.[8] - -On the side of secular worship, the hymnal used by Benedict and his -successors gradually gained a foothold in the church through diocesan -centers which adopted the monastic cycles. Or perhaps it may be said, -with the reservation that we are in the realm of theory and not of fact, -that the ancient hymns written prior to the sixth century had been -circulated and continued to be circulated in the west in a way not at -present understood, in connection with the Gallican or ancient liturgy -of Gaul. If so, the _Old Hymnal_ is the Gallican hymnal which Benedict -appropriated and his followers maintained to its acknowledged prestige -by the year 750. - -An episode of significance for hymnology during the period under -consideration in this chapter is the activity of Gregory the Great who -occupied the papal throne from 590 to 604. A member of the Benedictine -Order, he is noted for his enthusiastic support of its missionary -program and for his interest in ecclesiastical music and poetry. His -role in the extension of the Roman Rite and of the Benedictine Order to -Britain is familiar to all.[9] His authority in the western church is a -matter not of controversy but of fact. That he was deeply interested -both in hymn writing and singing may be safely assumed for there are too -many reports of his activity to be ignored. His actual role in the -development of the chant which bears his name and the authorship of -eight to eleven hymns attributed to him, have not been determined. For -Gregory's contribution to the ritual music of the church the reader is -referred to the discussion of this subject by specialists in the field -of liturgical music. For his contribution to the hymn cycles, modern -hymnologists have judged even the eight hymns singled out as Gregorian -by Benedictine editors, to be doubtful although the nocturn and vesper -hymns may be authentic.[10] Aside from critical research the fact -remains that all these hymns appear in the cycles of the day and several -have been in liturgical use to the present time. They are representative -of the hymnology of the transition between the _Old Hymnal_ and the -later cycles whose hidden origins Gregory may have influenced. - -(See Illustrative Hymns, IV. _Nocte surgentes vigilemus omnes_, "Father -we praise Thee, now the night is over.") - - - II. Mozarabic Contributions - -The list of hymns in the _Old Hymnal_ (See Appendix) reveals at a glance -the presence of nine Mozarabic hymns. Mozarabic is a term applied to the -Christian inhabitants of Spain under Moslem rule and also to the rites -of the Christian Church prevailing throughout the Visigothic and Moslem -periods. It is the former or Visigothic period extending from the -foundation of the Kingdom by Euric, 466, to the entry of the Moslems in -711, which claims our attention here. Connections between Spain and Gaul -at this time were very close for the Visigoths ruled a large part of -what is now southern France from the Atlantic to the Maritime Alps. The -great churchmen of Spain, especially Isidore, Archbishop of Seville (d. -636), performed the same service for Christian hymns in Spain which the -monastic leaders performed in Gaul. In his _Etymologiae_ and his _De -officiis ecclesiasticis_, Isidore considers the subject of music and -liturgy. His _Regula monachorum_, built partly on older rules observed -in Spain, is an evidence of his interest in monastic reform. As -presiding bishop of the IV Council of Toledo, 633, he was at the height -of his reputation.[11] Braulio, Bishop of Saragossa, (631-651), his -pupil and literary executor, bears witness to his fame.[12] He himself -maintained the liturgical tradition which was continued with great -success by Eugenius II, Primate of Toledo, (646-657), Ildefonsus who -held the same rank, (659-667), and others. As the result of the literary -and liturgical movement initiated by these leaders, supported by the -councils and schools, the Mozarabic hymnology was rapidly developed. The -canons of the IV Council of Toledo, for which Isidore may have been -personally responsible, require uniformity of the rites and offices -throughout Spain and Gaul. The thirteenth canon upholds the validity and -appropriateness of hymns by Christian authors against those who would -restrict the hymnody of the Church to the Psalms of the Old Testament. -After a discussion of the old prohibitions and the reasons for approving -the new compositions, Canon 13 reads: - - "As with prayers, so also with hymns written for the praise of God, - let no one of you disapprove of them but publish them abroad both in - Gaul and Spain. Let those be punished with excommunication who have - ventured to repudiate hymns."[13] - -Building upon the work of Ambrose, Sedulius and notably Prudentius, -their own countryman; adapting ancient traditions of congregational -worship and monastic usage, the liturgists of the seventh century must -have collated for the use of the clergy approximately sixty-five hymns -from sources originating prior to their own day. These ancient hymns -form the nucleus of the Mozarabic Hymnal, the earliest manuscript of -which dates from the tenth century. They reveal interrelations between -the Spanish and Gallican churches and they indicate a continuity of hymn -singing from primitive congregational usage like the Ambrosian to the -seventh century revival and extension of non-scriptural hymns.[14] - -(See Illustrative Hymns, V. _Alleluia piis edite laudibus_, "Sing -alleluia forth in duteous praise.") - - - III. Celtic Hymns - -The Celtic inhabitants of the British Isles from the period of the -introduction of Christianity maintained individual features of liturgy -and organization, especially in their monastic groups. The contemporary -Saxon Church of the seventh century, however, had been drawn into the -Roman sphere of influence by Gregory the Great who was also in touch -with Celtic leadership. The ancient record of the interchange of hymns -written respectively by St. Columba of Iona and by Gregory preserves -more than a report incapable of proof.[15] It points to reciprocal -interest in the evolving hymnology of the sixth and seventh centuries in -Celtic and continental regions. - -The so-called Bangor Antiphonary of the seventh century is the earliest -manuscript containing hymns, twelve in number.[16] Its contents are -otherwise miscellaneous, including a list of the abbots of Bangor. -Hilary's supposed hymn from this collection, _Hymnum dicat turba -fratrum_, has already been cited. An ancient communion hymn, _Sancti -venite Christi corpus sumite_, "Draw nigh and take the body of the -Lord," is included and _Mediae noctis tempus est_, "It is the midnight -hour," an office hymn common to the hymnals of Spain and Gaul. Among -other important sources is the Irish _Liber hymnorum_, preserved in an -eleventh century manuscript of Dublin which contains Columba's hymn, -_Altus prosator_, "Ancient of days," honoring God the creator, and the -_Lorica_ or _Breastplate Hymn_ of St. Gildas (6th C.), _Suffragare -trinitatis unitas, unitatis miserere trinitas_, "Grant me thy favor, -Three in One, have mercy on me, One in Three."[17] - -On the whole Celtic hymns exhibit great variety in subject matter and -purpose with many departures from the type of hymn cycle in use on the -continent. Indeed, the group of from fifteen to twenty hymns produced in -the centuries under consideration are highly distinctive. The Ambrosian -tradition is not apparent. Non-Ambrosian meters are illustrated in all -three hymns cited above while alliteration, the _abcd_ form, repetition -of initial words and other metrical devices are found throughout the -collection. There are hymns for the offices and communion, metrical -prayers and a group of hymns for saints, some bearing witness to local -cults. Poetic individuality marks them all.[18] Contemporaneous with the -flowering of Celtic hymnology, the seventh century saw the beginning of -the cultural invasion of the continent by Celtic scholars, teachers and -missionaries whereby two streams of culture, previously isolated, united -with significant results for the hymnology of the future. - -(See Illustrative Hymns, VI. _Sancti venite Christi corpus sumite_, -"Draw nigh and take the body of the Lord.") - - - IV. Summary - -The account of the Christian hymns of necessity accompanies that of the -Christian organization, moving from the shores of the Mediterranean and -the Christian centers in Roman provincial areas into the "regions -beyond" of missionary effort. Although congregational singing in the -Ambrosian sense appears to have been submerged in this process, the -traditional hymnody was preserved, new hymns added and the foundation -laid for the ninth century revival. - -Anonymity is the rule and known authorship the exception for the hymns -produced in the fifth, sixth, seventh and eighth centuries. This -continued to be the rule during the whole medieval period since the -names of those who wrote the non-scriptural parts of religious rites -were lost or unknown or perhaps of little importance in communal -worship. The fact that the hymns which survive have been gathered from -liturgical manuscripts and not from the work of individual authors -except in rare cases, should make anonymity more intelligible. - -Hymn sources are scanty and interconnections, dimly perceived, can -rarely be established. Continuity of evolution is often broken or -replaced by new poetical inspiration. However, the fourth century appeal -to the objective, the direct, the simple, is seldom varied by the -subjective theme. The biblical narratives and the symbolism connected -with the various offices and feasts add substance and character to the -cycles and to the concept of the liturgical year. - -In the heart of the Dark Ages, popularly considered, western European -civilization was in confusion and its fate problematical. One could -scarcely expect the fruits of peace and security to flourish. Yet in -these very centuries there were created and circulated many of the best -loved hymns of Christianity, a number of which have been in unbroken use -to the present day. Among them are the illustrations inserted above and -_Lucis Creator optime_, "O blest creator of the light;" the Advent -hymns, _Verbum supernum prodiens_, "High Word of God who once didst -come," and _Conditor alme siderum_, "Creator of the stars of night;" the -Easter hymn, _Claro paschali gaudio_, "That Easter day with joy was -bright;" for the dedication of a church, _Urbs beata Jerusalem_, -"Blessed city, heavenly Salem" with the more familiar second part, -"Christ is made the sure foundation." Two hymns honoring the Virgin date -from this period: _Ave maris stella_, "Hail, Sea-Star we name Thee," and -_Quem terra pontus aethera_, "The God whom earth and sea and sky," -initiating the Marian hymnology of the Middle Ages.[19] - -(See Illustrative Hymns, VII. _Ave maris stella_, "Hail, Sea-Star we -name Thee.") - -Created and preserved in a clerical and for the most part a monastic -environment these hymns express the Christian thought and faith of the -era which was thus treasured up for wider circulation and influence in a -later and more settled society. The words of the late Canon Douglas, a -great American hymnologist, are memorable in this connection: - - "What does have a practical bearing on our subject is, that whatever - may have been the older cycle, it was enriched to an extraordinary - degree in the early medieval centuries. What began in Milan, and - achieved its permanent recognition at Monte Cassino, was soon to bring - about a Mozarabic Hymnal in Spain, a Gallican hymnal in northern - Europe, an Anglo-Irish cycle in Britain: and from all these various - increments not only enlarged the growing Hymnal but also richly - diversified it."[20] - - - Appendix - _Old Hymnal_ (_See Anal. Hymn., 51, Introduction_ p. xx). - - _Ad nocturnas horas_ - _Mediae noctis tempus est_ (Mozarabic; in Bangor Antiphonary) - _Rex aeterne Domine_ - _Magna et mirabilia_ - _Aeterne rerum conditor_ - _Tempus noctis surgentibus_ - - _Ad matutinas laudes_ - _Deus qui caeli lumen es_ - _Splendor paternae gloriae_ - _Aeternae lucis conditor_ (Mozarabic) - _Fulgentis auctor aetheris_ (Mozarabic) - _Deus aeterni luminis_ (Mozarabic) - _Christe caeli Domine_ - _Diei luce reddita_ - - _Ad parvas horas_ - _Postmatutinis laudibus_ - _Certum tenentes ordinem_ (Mozarabic) - _Dicamus laudes Domino_ (Mozarabic) - _Perfectum trinum numerum_ (Mozarabic) - - _Ad vesperas_ - _Deus creator omnium_ - _Deus qui certis legibus_ (Mozarabic) - _Deus qui claro lumine_ - _Sator princepsque temporum_ - - _Ad completorium_ - _Christe qui lux es et dies_ (Mozarabic) - _Christe precamur adnue_ - - _Proprii de tempore_ - _Intende qui regis_ - _Illuminans altissimus_ - _Dei fide qua vivimus_ - _Meridie orandum es_ - _Sic ter quaternis trahitur_ - _Hic est dies verus Dei_ - _Iam surgit hora tertia_ - _Iam sexta sensim volvitur_ - _Ter hora trina volvitur_ - _Ad cenam agni providi_ - _Aurora lucis rutilat_ - - _De communi martyrum_ - _Aeterna Christi munera_ - - - - - CHAPTER THREE - The Ninth Century Revival: Hymns - - - I. Background of Carolingian Culture - -To explain fully the origin of a great literary movement must always be -difficult, for the subtle influences affecting its beginnings elude a -scientific analysis of facts. One observes the revival of Latin -hymnology between 750 and 900 A.D. with amazement. The voices of -Ambrose, his contemporaries and his immediate imitators had been -silenced for centuries. Venantius Fortunatus had stood forth, a solitary -survival of the old Latin poetic genius or, perhaps more accurately, a -solitary herald of the new medieval awakening. Then a flowering of -religious poetry spread over western Europe, not to be withered by new -barbarian invasions but to be the permanent possession of the Christian -Church. - -In this period the older cycles of office hymns were revised and -expanded and fresh cycles created in such numbers as to justify the new -terminology of the _Later Hymnal_ or _Ninth Century Hymnal_. The -sequence arose in the formal worship of the mass, affording a new -inspirational to clerical poets and resulting in a body of sacred verse -of increasing influence. The processional hymn and its related forms -appeared in response to the new impulse toward a hymnic accompaniment to -ceremonial acts. In effect, the hymn during the period under -consideration, was well established in every aspect of formal worship. - -In the background of the age which created this literature must be -sought the trends and motivation which make intelligible the voices of -its interpreters. Accordingly, in the years from 750 to 900 A.D. when -the Carolingian rulers, Pippin, Charlemagne, Louis the Pious and Charles -the Bald were guiding the destinies of the Franks, the various -influences affecting public worship must be surveyed. The most important -were the liturgical reforms undertaken or sponsored by the Carolingian -rulers; their promotion of ecclesiastical music and singing; their -interest in the reform and expansion of the Benedictine Order; the -literary activity of members of the Carolingian court circles who -devoted themselves to liturgical studies or poetic expression; the part -played by Celtic culture; the infiltration of Byzantine ideas and arts -and the rise of Germanic genius. - -The introduction and permanent establishment of the Roman liturgy in -Frankish realms form the background of public worship in the Carolingian -era. When Pippin ascended the throne in 752, the Gallican Rite -prevailed. When the reign of Charles the Bald came to a close in 877, -the Roman Rite was supreme.[1] Charlemagne received the Gregorian -Sacramentary from Pope Hadrian I.[2] Stimulated by his desire to unify -the Germanic peoples under papal as well as imperial authority, he -brought about by royal edicts or capitularies a widespread reform in the -western continental church. Those features of his program which affected -hymnology include requirements that priests must be educated, that monks -observe their monastic rule, that the singing of the psalms and the -_gloria_ be improved, that schools of singing and grammar be founded in -monastic and diocesan centers, that both regular and secular clergy be -urged to acquire knowledge and skill in singing, that the Roman Chant be -ordained, that a singing school be established at Aix-la-Chapelle, that -the clergy read and sing well.[3] Charlemagne's successors, Louis the -Pious and Charles the Bald continued his reforming policy. - -In the legislation cited above, Charlemagne had followed his father's -example which favored a training in Gregorian music under Roman -teachers, as developed in the schools of Rome.[4] Pippin's interest had -resulted in the establishment of a musical center of great repute at -Metz[5] which also possessed a cathedral school representative of the -finest institutions which flourished at this time side by side with -monastic centers of learning. - -Charlemagne was presented with a copy of the Benedictine Rule with choir -rules, office and festival hymns, by Theodomar, Abbot of Monte Cassino, -sometime between 787 and 797.[6] It became his chosen duty to promulgate -the Rule, to require its observance everywhere within his realms and -further to extend the influence of the Order in general. Consequently, -monastic centers of music arose, for example, at St. Gall where the -hymnody of the offices was fostered and gradually made available for the -bishoprics as well. Louis the Pious, (814-840), and Charles the Bald, -(843-877), in their turn continued the patronage of the Benedictine -Order. Already fortified by the efforts of Charlemagne, the Benedictines -entered a period of religious and cultural influence which was later -merged into the age of the universities. Linked directly with the -program for monastic reform, the impulse to write new hymns and the -encouragement to finer musical performance together created the annual -cycles of this period in which the older hymns were retained and -supplemented by the new. - -The writers and literary leaders of the Carolingian period were by -virtue of their clerical profession actively engaged in liturgical -studies. Alcuin compiled the missal which established the Gregorian -Sacramentary in Frankish realms and constituted a recension acceptable -to the Roman Church.[7] A significant innovation for hymnology was the -decorative procession.[8] Alcuin was also influential through his -devotional works which supplemented the public worship of the mass and -offices. Paulus Diaconus and Angilbert were second to Alcuin in -promoting liturgical studies. The works of the great writers were -accompanied by numerous writings of lesser importance which bear -witness, as will be evident below, to the increasing practice of -hymn-singing. The influence of the Roman Rite, largely barren of hymns, -was at the same period, in contact with the influence of Benedictine -precedent in hymn singing which in the end prevailed. - -The Latin poetry associated with the Carolingian era has been edited and -published in a monumental form under the title _Poetae Latini Aevi -Carolini_.[9] The collection, produced in the spirit of a classical -revival by a circle of court poets, includes secular as well as -religious verse. - -Carolingian culture not only in the specific field of literature but in -the broader sense afforded a medium for the spread of Celtic, Byzantine -and Germanic genius. The Celtic portion of the poetry in the early -monastic cycles has already been described in connection with the _Old -Hymnal_. Prior to the eighth century, a transfer of Celtic scholarship -to the continent began to take place. The missionaries, Columbanus, -Gall, Foilan, Disibod and others, came first, during the seventh and -eighth centuries. Refugees, fleeing before the Norse invasions of the -late eighth and ninth centuries, followed. Wanderers and pilgrims -crossed the Channel, among them _peregrini_ who left their homeland to -live in new countries as a means of spiritual satisfaction and reward. -Scholars came also who hoped for a more sympathetic reception for their -teachings among the continentals.[10] On the whole, Celtic immigrants -found a welcome. Charlemagne himself favored them.[11] Celtic teachers -were proficient in orthography, grammar, Greek, scriptural and -liturgical subjects and the arts.[12] They brought with them -manuscripts, the influence of which was felt, not only in their subject -matter but in musical notation and characteristic scripts.[13] The -Bangor Antiphonary, the hymns of which have already been considered, -came to the continent at this time. Among the famous teachers of music -was Marcellus[14] who, at St. Gall, instructed Notker, Tutilo, Waltram -and Hartmann, a fraternity devoted to finer ecclesiastical music and -hymnody. - -The role of Byzantine influence cannot be ignored in any account of the -cultural and historical background of ninth century literature. One -should recall that the Carolingian period was an era of general European -intercourse which could not fail to have an effect upon society. The -foreign relations of the Frankish Empire necessitated much traveling, -visiting and correspondence. Warlike as well as peaceful movement, -commercial or cultural, increased the interchange of ideas. There was an -overlapping of boundary lines, too, which amalgated populations. The -infiltration of Byzantine influence might be conceived as a by-product -of European intercourse. - -Insofar as hymnology is concerned, musical contacts between the -Byzantine and Frankish realms were frequent. As early as Pippin's reign, -Byzantine musicians appeared at the Frankish court with a gift of an -organ from the Emperor Constantinus Copronymus.[15] Many refugee monks -who fled to the west during the iconoclastic controversy remained there -even after its close in 787, enjoying monastic hospitality and imperial -favor. Charlemagne permitted them to use the Greek language in worship -and was so much impressed by the music employed in chanting the psalms -that he caused it to be adopted for the Latin version also.[16] The -paramount influence of Byzantine music upon liturgical practice in the -west will be considered more fully in connection with the sequence. - -Verifiable traces of Byzantine influence had already appeared with the -activities of Gregory the Great and are entirely comprehensible, so far -as he is concerned, in view of his residence at Constantinople, 579-585, -as papal envoy of Pelagius II.[17] The importation of litanies into the -west illustrates this type of influence. When Charlemagne received the -Sacramentary from Pope Hadrian I, it was labelled "Gregorian." But in -the interval between the lives of Gregory and Charlemagne, popes of -eastern origin, ruling at the end of the seventh and the beginning of -the eighth century were responsible for western practice.[18] The -influence of the Eastern upon the Western Church seems to have been -cumulative, with Charlemagne in his day acting as the agent for its -diffusion throughout the Frankish Church. - -In matters concerning the church and its worship the Greeks were an -acquisition not only as musicians but as scholars and as experts in the -fine arts. Their scholarship was in demand in New Testament studies. -Illustrations of Greek and of oriental inspiration in general are -numerous in architecture, painting, sculpture, ivories, work in precious -metals and the decoration of manuscripts.[19] Perhaps it was a natural -desire to emulate the splendor and ornament of eastern rites which led -Charlemagne to favor Greek elements in western observance at the expense -of the Gallican. - -In the midst of Gallic, Celtic, Italian, Byzantine and oriental -influences mingled in Carolingian culture, the presence of native genius -is strongly felt. Charlemagne has been criticized for his devotion to -classical rather than Germanic culture. Sacred poetry as produced in the -Carolingian literary circles, was written in Latin and clothed in -classical garb. It could hardly have been otherwise since Latin was -demanded by the Church and the vernacular languages of western Europe -were then in their early infancy. But in spite of the studied -artificiality of this verse, a note is sometimes heard in harmony with -the poetry of later centuries which emanates from Germanic sources. - -Such in brief is the background of that revival of hymnody which appears -in the Carolingian period. It remains to trace, in detail, the evolution -of the monastic hymnal known as the _Later_ or _Ninth Century Hymnal_. - - - II. The Later Hymnal - -The enlargement and diversification of the Hymnal to which Canon Douglas -referred in the words quoted at the close of Chapter Two, occurred -within the general historical limits of the Carolingian era and with the -exception of Spain and the British Isles, within the general -geographical limits of Carolingian political influence. The hymn cycles -of the period, recorded in manuscripts which reflect the numerical -increase in hymns as well as their diffusion upon the continent, are -associated with religious centers, for example, St. Martial, Laon, -Douai, Moissac, St. Germain-des-Prs, Corbie, Jumiges, Reichenau, -Treves, Schftlarn near Munich, Murbach, Rheinau, St. Gall, Einsiedeln, -Bobbio, Monte Cassino, Benevento, Padua, Toledo, Canterbury, Naples and -many other places. The nucleus of the _Later Hymnal_ has been identified -with the hymn cycle found partly in a _hymnarium_ of the ninth century -from St. Paul's in Lavantthal, Carinthia, and partly in a similar -manuscript from Karlsruh, both manuscripts being associated with -Reichenau.[20] The basic hymns from this group of sources current in the -Carolingian period are listed in the appendix to this chapter. A -complete list of the manuscript sources (prior to 1100), including the -above and others, with an index of the hymns which they contain, -approximately 800 in number, was provided by James Mearns, the English -hymnologist, in his _Early Latin Hymnaries_.[21] - -So much for the evidence as to the actual hymns in use from sources -available at the period when the _Later Hymnal_ flourished. The origin -of the _Later Hymnal_, however, is far from clear. It has been defined -as a collection arising about the seventh century which superseded the -_Old Hymnal_ and has since prevailed.[22] This opinion advanced by Blume -and affirmed by Walpole, depends upon the theory that the later cycle -had been in use in the British Isles since the period of Gregory the -Great. An Anglo-Irish cycle therefore, was posited which took possession -of the continent, usurping the original Benedictine hymnal. As early as -1911, Blume's theory was questioned by Wilmart, the Benedictine scholar, -who asserted that the early cycle constituted a Gallican hymnal only,--a -possibility mentioned above. He thought that the _Later Hymnal_ was a -new version of the Benedictine cycle representing a normal growth -through the centuries. Other critics of note have adopted one or the -other viewpoint, Frere following that of Blume; and Raby, that of -Wilmart.[23] A final solution is obviously impossible for lack of -manuscript evidence. - -At the accession of Charlemagne, 768, the future of liturgical hymnody -was uncertain as the forces of Roman usage and Benedictine practice were -in conflict and the possibility of transferring the Benedictine heritage -to the church extremely doubtful, as the preceding survey has already -made clear. Secondary forces, however, were at work to achieve this very -end. First, the early gains made in compiling the Gallican Hymnal and -extending it to the secular clergy were never entirely lost. A precedent -had been set. Second, the Benedictine cycle was enjoined wherever the -Rule was effective and its use was further stimulated by royal -capitularies upon the subject of music and singing. Third, the -establishment of monastic centers of music in the leading Benedictine -abbeys was productive of literary as well as musical effort, attested by -the very manuscripts of hymn collections gathered there. The manuscripts -of St. Gall, for example, cover every department of contemporary -medieval hymnology. - -Charlemagne was particularly interested in St. Gall but was also -concerned with the monastic centers at Mainz, Fulda, Treves, Cologne, -Bamberg, Hersfeld, Lorsch, Wrzburg and Reichenau.[24] He founded -Neustadt and endowed twelve monasteries in Germany. Meanwhile missionary -zeal had guided Benedictine pioneers beyond the old boundaries, and -Bavaria and Frisia had already been opened to missions and incidentally -to the full round of Benedictine activities. Louis the Pious was active -in monastic reform through his association with Benedict of Aniane; he -was a special patron of St. Gall and he stimulated the efforts of -leaders from Corbie to found New Corbie. Charles the Bald was a -benefactor of Marchiennes, Compigne, Prum and St. Denis.[25] Prior to -this period, the numerous and influential foundations established on the -continent by Irish monks had adopted the Benedictine Rule, swelling the -total number of centers devoted to religious and educational activities. - -The numerical increase in the Benedictine abbeys offers in itself -presumptive evidence of a greater use of hymns. What is known of the -monastic centers and their store of hymnaries offers direct proof. A -closer bond between the Order and the cultural activities of the age is -found in the great personalities drawn from Benedictine ranks to serve -the imperial designs. Of particular interest here are the statements -regarding hymns and hymn singing which appear in contemporary writings. - -Alcuin was chiefly interested in the Roman liturgy as such but he wrote -_De psalmorum usu_, _Officia per ferias_ and the _Epistolae_, the last -of which shows a special interest in music. Rabanus Maurus testifies to -the general use of hymns by secular as well as regular clergy. Amalarius -of Metz mentions the use of hymns outside the monasteries. Walafrid -Strabo traces the use of hymns from the time of Ambrose and repeats the -Canon of Toledo recommending hymns. He says that churches which do not -use hymns are exceptional.[26] The testimony is scattered but it points -to the adoption of the hymnal by the secular clergy. It should also be -recalled that the Ambrosian tradition of musical independence was -constantly maintained at Milan. - -As the Latin language became more and more an exclusive clerical -possession, the old safeguards provided by monastic walls were no longer -necessary. The whole body of clergy whether regular or secular became -the custodians of the hymnaries used in monastic and diocesan centers of -music and scholarship.[27] The Christian laity of Europe at this period -may have been largely ignorant of their hymnic heritage because the -Carolingian extension of hymn writing and hymn singing occurred within -clerical ranks. There was at this time scant indication of the future -course of Latin hymnology which would ultimately restore to the layman -his original possession handed down from the Early Christian Church. - -The poetical writings of the era included a substantial body of -religious verse from which hymns are attributed to the following -authors: Paulus Diaconus, 1; Paulinus of Aquileia, 7; Alcuin, 3; -Theodulphus, 1; Rabanus Maurus, 2; Walafrid Strabo, 5; Florus of Lyons, -2; Wandelbert of Prum, 1; Paulus Albarus of Cordova, 1; Cyprian and -Samson, 2; Sedulius Scottus, 2; Milo, 2; Ratbod, 2; Hucbald, 1; -Hartmann, 4; Ratpert, 4; Eugenius Vulgarius, 1; these with 73 of -doubtful authorship make a total contribution of 114 hymns. - -(See Illustrative Hymns, VIII. _Ut queant laxis resonare fibris_, "In -flowing measures worthily to sing," Paulus Diaconus.) - -Ambrosian meters are set aside in favor of the classical meters of the -Greeks, the Sapphic and elegiac meters proving to be the most popular -thereafter. To what extent this influence is actually observable in hymn -cycles may be determined by a comparison of the list of Carolingian -hymns with the lists of hymns provided by Blume, Julian or Mearns. -Batiffol selected thirteen as found in later breviary lists[28] but the -actual direct contribution is much larger if other than breviary hymns -are admitted. Moreover, the literary and liturgical studies of the time -broadened the original Benedictine concept that the hymns of the -monastic cycle should be Ambrosian in style. The hymns of Sedulius and -particularly of Prudentius and Fortunatus were recognized, introduced or -freely adapted to ecclesiastical usage. - -The direct influence of Celtic culture upon the new hymn cycles must be -associated with the introduction of biblical and liturgical works -containing hymns into Frankish territory. Later, hymns were written by -Celtic scholars, for instance, Samson, Sedulius Scottus (enumerated -above) and possibly others who are anonymous. Blume's theory of the -Anglo-Irish hymn cycle, originally sponsored by Gregory the Great and -finally transferred to the continent, illustrates the most decisive form -which Celtic influence has so far been presumed to have exerted. The -list of hymns (see Appendix) bears, on the contrary, no resemblance to -the group of contemporary Celtic hymns.[29] It seems much more probable -that Gregory, the Benedictine Pope, approved the use in Anglo-Irish -lands, of the continental hymn cycle which the Order was responsible for -carrying northward with it when it entered Britain. In any case, the -Benedictine cycles from the ninth century onward are enriched from every -aspect of the diverse culture of the age, in which the Celtic -contribution, both direct and indirect, is important. - -At this period hymnology in the Greek-speaking world was at its height. -Yet proof is sought in vain that Greek hymns were used in the west, -either in the Greek language or in translation. The hymnal of the -Western Church received from Greek sources its recorded tunes, not its -words. Although the earliest liturgical manuscript with musical notation -dates from the ninth century, the Greeks had already given their neumes -to the west. As for the hymn melodies which are crystallized in these -manuscripts when they do appear, theories of origin abound. A definite -system of notation was in existence from the seventh century but hymns -had been sung from the fourth century. - -In modern times through the consecrated efforts of Benedictine students -of the chant, working chiefly at Solesmes, a collation of the existing -musical manuscripts produced in the Middle Ages, has been made. Their -object has been to determine the authentic melodies of the Benedictine -cycle throughout its long history. Today the results of their -scholarship are available to the public and the great hymns which they -have fostered may be heard as well as read in their medieval form. - -The assimilation by the Franks, of alien cultures whether through -conquest or peaceful interchange, may have been to a certain extent -inevitable and involuntary. Such phenomena occur in every period of -history. It is the conscious appropriation by the Carolingian leaders of -a cultural heritage and its organization through existing institutions -which reveals their true genius. This same process had taken place when -Roman genius secured and conserved the achievement of the Greeks. In the -field of religious culture with which this volume is concerned, an -unbroken continuity had been maintained from the days of the primitive -church. Even in the minor category of Christian hymnology, the hymnal as -such, created in the fourth century, was to flourish all the way into -our own times and might have done so without any special intervention. -Historically speaking, in the ninth century and under Frankish auspices, -a transformation took place which must be attributed to the conscious -effort of Frankish churchmen who, receiving the old hymnology, restored -it to formal worship with a much larger content and a greatly -diversified form. Herein lies the fundamental contribution of Germanic -genius to the _Later Hymnal_. - -Individual hymn writers of the Carolingian age have been named above as -far as they are known, of whom Theodulphus of Orleans, Rabanus Maurus -and Walafrid Strabo are perhaps the most notable. - -A Goth by race, a Spaniard by birth, Theodulphus, (c. 760-c. 821), -belonged to that population dwelling north and south of the Pyrenees -which the Franks had amalgamated into their kingdom. He was learned in -all the wisdom of that age and a man of action in a sense understandable -in any age. Bishop of Orleans, courtier, officer in the administration -of Charlemagne, he served the church and the state with equal -distinction. Theodulphus as a poet of sacred verse is best known for his -Palm Sunday processional hymn, _Gloria, laus et honor tibi sit_, "All -glory, laud and honor,"[30] which he wrote during the period of his fall -from royal favor under Louis the Pious. This beautiful processional -hymn, a triumph of Carolingian verse, invested with all the attraction -of legend and religious pageantry, has been a favorite in every period -of Christian history. Theodulphus was not a member of the regular clergy -and he did not, as far as we know, write hymns for the monastic cycle. -He represents the contemporary trend which brought the hymn into new -areas of worship in the offices and ceremonies of the cathedral. - -Rabanus Maurus, (780-856), of Germanic origin, was primarily a -theologian. His boyhood studies were completed at Fulda. As a young man -he became a pupil of Alcuin at Tours. In his maturity he returned to -Fulda reaching the climax of his career as Abbot of Fulda and later, as -Archbishop of Mainz. As a writer, Rabanus undertook to hand on, through -excerpts, the knowledge of his predecessors. He wrote commentaries on -the Bible, discussed ecclesiastical organization and discipline, -theology, liturgy and worship and the liberal arts. He made translations -into German with the collaboration of Walafrid and a Latin-German -glossary for the Scriptures. In connection with worship he became -interested in the Latin hymns which were rapidly spreading through the -west. He discussed the Psalms as hymns and then the hymns of Hilary and -Ambrose, saying of the Ambrosian hymns, how widespread had become their -prestige in his day. We know from other evidence that he was acquainted -also with the hymns of Sedulius, Columba and Bede. It seems almost -certain that he practiced the art of poetry although we are restricted -to a very small remnant of verse conceded to be his. The poems include a -number of hymns for the festivals of the seasons and of the saints, -illustrating the vogue for the classic in metrical forms. Like -Theodulphus, he wrote for processional ceremonies. The Pentecostal hymn, -_Veni, creator spiritus_, has been persistently associated with the name -of Rabanus but without adequate proof. It is a lasting hymn of the ninth -century. - -(See Illustrative Hymns, IX. _Veni, creator spiritus_, "Creator-Spirit, -all-Divine.") - -Walafrid Strabo, (809-c. 849), was like Rabanus of Germanic origin and -like him a member of the regular clergy. At Reichenau he received his -early education and at Fulda his theological training under Rabanus. -Walafrid was drawn into the courtly circle of Louis the Pious whose son -Charles he tutored and whose wife Judith became his literary patron. His -life was one of scholarship, prosperity and contentment almost to the -end of his career. Louis had appointed him Abbot of Reichenau, a place -dear to him from boyhood. From these happy surroundings and from his -garden which he immortalized in careful and loving description, he was -ousted during the civil conflict following the death of the emperor. At -the end he was restored to Reichenau and there he died. His hymns like -those of Theodulphus and Rabanus, although few in number, were written -in the spirit of the classical revival. Some were intended for festivals -and others which will be described in connection with processional -hymnody, were written to honor royal patrons. - -In reviewing the basic hymns of the _Later Hymnal_ (see Appendix), one -finds only two of Mozarabic origin whereas nine were duplicated in the -_Old Hymnal_ in Spain and Gaul. The new cycles in areas under Frankish -influence appear to diverge from the Mozarabic as they become more -diversified. At the same time, Mozarabic sources reveal a parallel -evolution of the hymnal in the Iberian peninsula. The existing -manuscripts were collated and edited in 1897 by Blume in volume -twenty-seven of the _Analecta Hymnica_ under the title _Hymnodia -Gotica_, comprising 312 hymns of which 210 were identified by him as -Mozarabic in origin. - -The hymns of Spain, first assembled under the auspices of Gothic -churchmen as recounted in Chapter Two, continued to increase with the -encouragement and participation of Mozarabic liturgists, scholars and -prelates. The generation that supported Isidore of Seville was succeeded -two hundred years later by the group associated with Eulogius, -Archbishop of Cordova (d. 859), who fostered the old traditions under -Moslem control.[31] In spite of a ruling power alien in every aspect of -culture, Christian hymnology held its own. After the Moorish invasions, -it is estimated that between thirty and forty hymns were written, -several of which contain references to the yoke of the oppressor and -petitions for its removal.[32] When the movement toward the expulsion of -the Moors had been successfully initiated and the Roman Rite introduced -(1089) the Mozarabic hymnals were comparable to the finest of the -continental cycles. In certain instances the contacts between Spain and -Gaul were close and direct even under the rule of the Moslems. -Theodulphus of Orleans combined the Gothic and Carolingian trends. -Alcuin was indebted to Mozarabic sources in his reform of the Frankish -rites.[33] Hymns of Mozarabic origin appeared in other parts of western -Europe and vice versa. - -(See Illustrative Hymns, X. _Deus immensa trinitas_, "O glorious -immensity.") - -The possible influence of Arabian music and poetry upon the Christian -hymn has been a tempting idea and one most elusive of pursuit. Studies -of medieval Spanish music and musical instruments have failed to -demonstrate that the ecclesiastical chant in Spain was thereby affected. -Such novelties as it may have possessed have been traced to influences -similar to those which had long before affected the Ambrosian chant and -been transmitted to the west. As for the tentative assumption that -Arabian lyric poetry influenced contemporary hymn writers in Spain, the -evidence narrows to the mono-rhyme or repeated end-rhyme common to -Arabian poetry and to several Mozarabic hymns.[34] The whole subject of -the Arabian impact, highly controversial as it is, appears to be -concerned with influences, which when scrutinized, are observed to -spring from cultures prior both to Christianity and to Islam. - -The Mozarabic Hymnal in its fully developed version possessed an -unusually large number of hymns honoring local saints. This feature must -be referred to the history of the Roman persecution in the Iberian -peninsula where the complete destruction of the Church was intended and -martyrdom was the rule. Again the Hymnal is unique in its hymns for -public occasions either of mourning and intercession in time of war, -pestilence, drought and flood or of joy, in festivals of the -consecration of bishops, the coronation of kings and thanksgiving for -full harvests. - - - III. Characteristics - -For the most part the hymn writers of the later hymn cycles are -anonymous, like their predecessors in this field. Anonymity is then the -first characteristic to be noted concerning the hymnal in this period, -which makes it necessary to survey the whole as an objective achievement -of the age, not of a few individuals. - -Next to the anonymity of its authorship, possibly the most conspicuous -feature of the new hymnal is the enlargement of each of its general -divisions, the Common and the Proper of the Season and the Common and -the Proper of Saints. The old hymn cycle, it will be recalled, comprised -thirty-four hymns as listed by Blume. The later cycle in its nucleus -numbers thirty-seven hymns of which seven are repeated from the old -cycle. In ten representative tenth century hymnals, the hymns number -from about fifty to about one hundred, many of them common to several -lists.[35] - -Not only is the total number of hymns increased but festival hymns are -multiplied, the ecclesiastical year as it was later known being fully -established in hymnology. Advent, Nativity, Epiphany, Lent, the Passion, -Easter, Ascension, Pentecost and Trinity have their own groups of hymns. -The various feasts of the Virgin and that of All Saints are honored. -Among the Apostles, Sts. Peter, John and Andrew are praised; of other -biblical saints, Sts. John the Baptist, Stephen, Paul; of the angels, -St. Michael; of martyrs, the Innocents and St. Laurence; of local -saints, Sts. Martin of Tours, Gall, Germanus, Martial, and a number of -others. So stands the record of manuscripts of the tenth century when -hymnal gains had been consolidated. The process went steadily onward as -Latin hymns for the offices continued to be written to the end of the -Middle Ages. A few have been added since the sixteenth century but, with -certain exceptions, the great body of office hymns of the medieval -church was permanently established by 1100, the date which Mearns -selected as a boundary line. The same sources enriched the present-day -Roman breviary which by a paradox of history, has preserved to modern -times the representative hymns to which the Roman liturgy of that early -period was so inhospitable. - -As a matter of fact, in the interval between and including the fourth -and the eleventh centuries, the Latin hymn, considered in its literary -implications and in its liturgical usage, was founded for the ages. -Attaching to the word _hymn_ its strictest sense and narrowest function, -that of the office hymn, the student perceives the great significance of -this department of medieval hymnology as compared with the sequence, -processional and extra-liturgical hymns of the Middle Ages. It becomes -more evident that here is the core and heart of Latin hymnody. The -Church could and did in the event, dispense with much of its medieval -collection, but never with the hymnal. Here was preserved the ethics of -the Christian life, the intimacy of the scriptural narrative, the -presentment of the Christian feasts and the praise of God and of his -saints. - - - Appendix - _Later Hymnal_ (See _Anal. Hymn., 51, Introduction_ p. xx-xxi) - - _Ad parvas horas_ - _Iam lucis orto sidere_ - _Nunc sancte nobis spiritus_ - _Rector potens verax Deus_ - _Rerum Deus tenax vigor_ - - _Ad vesperas_ - _Lucis creator optime_ - _Immense caeli conditor_ - _Telluris ingens conditor_ - _Caeli Deus sanctissime_ - _Magnae Deus potentiae_ - _Plasmator hominis Deus_ - _Deus creator omnium_ (In Old Hymnal) - _O lux beata trinitas_ (Mozarabic) - - _Ad nocturnas horas_ - _Primo dierum omnium_ - _Somno refectis artubus_ - _Consors paterni luminis_ - _Rerum creator optime_ - _Nox atra rerum contegit_ - _Tu trinitatis unitas_ - _Summae Deus clementiae_ - - _Ad matutinas laudes_ - _Aeterne rerum conditor_ (In Old Hymnal) - _Splendor paternae gloriae_ (In Old Hymnal) - _Ales diei nuntius_ - _Nox et tenebrae et nubila_ - _Lux ecce surgit aurea_ - _Aeterna caeli gloria_ - _Aurora iam spargit polum_ - - _Ad completorium_ - _Christe qui lux es et dies_ (In Old Hymnal; Mozarabic) - _Te lucis ante terminum_ - - _Proprii de tempore_ - _Ad cenam agni providi_ (In Old Hymnal) - _Aurora lucis rutilat_ (In Old Hymnal) - - _De communi sanctorum_ - _Martyr Dei qui unicum_ - _Rex gloriose martyrum_ - _Aeterna Christi munera_ (In Old Hymnal) - _Sanctorum meritis inclita gaudia_ - _Virginis proles opifexque_ - _Iesu corona virginum_ - _Summe confessor sacer_ - - - - - CHAPTER FOUR - The Ninth Century Revival: Sequences - - - I. Origin - -The problem presented by the origin of the sequence is perhaps the most -difficult of all those connected with the evolution of medieval -hymnology. So far the available information on the subject has never -been brought together in one place. To do so is a baffling task which -has by no means been completed here nor is that which follows either -exhaustive or conclusive. It is merely an attempt to trace the origin -and early development as far as the evidence at hand makes it possible, -at the same time referring the reader to those scholars who have -investigated special topics in detail. - -The _alleluia_ of the mass is the starting-point of the sequence. -Inherited from the synagogue and incorporated in the Byzantine rite, it -was nevertheless brought independently to Rome. The extension of the -final _a_ constituted a musical phrase, called a _iubilus_ or -_iubilatio_. This elaborated _alleluia_ with _iubilus_ is Gregorian.[1] -It became necessary for the sake of breathing, to divide the extended -_iubilus_ into musical phrases, each a _sequentia_ and the whole -_sequentiae_. Some _iubili_ however, remained single while others were -sung by two choirs with a repetition of phrases. The next step was the -composition of a text for some of the _iubili_, which text was written -below the musical notation. Finally a text was supplied for every such -melody, which resulted in the _sequentia cum prosa_.[2] - -It is one thing to note the preceding succession of steps as objective -phenomena. It is quite another to explain the origin of the idea which -transformed the _alleluia_ into the larger _iubilus_. This is the most -obscure point in the musical development of the sequence, which, for -lack of manuscript evidence cannot at present be clarified. At least -three hypotheses have been offered. Arguing from the appearance of the -trope, some have suggested that the _iubilus_ is a musical interpolation -just as the trope is a textual interpolation. This is quite possible but -perhaps too simple for an adequate solution. A much more tempting -hypothesis has appealed to a variety of scholars,--that of the -introduction of Greek melodies.[3] To these students it has seemed more -than probable that the intercourse between western Europe and the -Byzantine realms in the reign of Charlemagne constitutes a sufficient -explanation for the appearance of fresh musical themes. Again, a -possibility only has been suggested. So far manuscript evidence for the -Greek melodies from which the Gregorian _alleluiae_ and their _iubili_ -are derived, has not appeared. Blume, whose treatment of the subject -forms the basis of this chapter, not only questions the hypothesis of -Greek melodies but he offers a third suggestion and that tentatively; -Gregory, he thinks, shortened the _alleluia_ brought over by the Greeks. -When, later, a tendency was felt to elaborate the forms of worship, the -longer melodies were once more revived in the sequence. This very -interesting suggestion, if one day capable of proof, would harmonize the -Byzantine and Gregorian influences which produced the initial extension -of the final _a_ of the _alleluia_. - -For purposes of clearness a differentiation should be made between the -musical and poetical development of the sequence as soon as the -_sequentia cum prosa_ is reached. Manifestly it is impossible to do so, -in any complete fashion, where words and music are so inextricably -interwoven in a common development. It is better, however, to attempt -the impossible and for the present, to ignore overlappings.[4] - -The origin of the word _sequentia_ itself, in the phrase _sequentia cum -prosa_ has often been discussed because of its significance in tracing -the musical development of the forms in question. To some scholars -_sequentia_ means merely _sequela_, _i.e._ notes following the _a_ of -the _alleluia_, a simple and tenable theory. To the great majority, -however, _sequentia_ is a translation of the Greek _akoulouthia_. In -fact it has been generally accepted as such, although _sequentia_ -conveys the idea of continuation in the Greek word rather than its -technical meaning of a continuation specifically of songs, etc. If this -is valid, Greek influence upon the origin of the sequence is -inferred.[5] Another form of the theory of Greek influence is evident in -the suggestion that _sequentia_ means _hirmos_, that is, a regular -continuation of tones. _Hirmos_ may refer to poetry also.[6] A -derivation of _sequentia_ from Greek terms, if proven, would of course, -buttress the theory of Byzantine influence upon the whole development; -but the weakness of the derivation from _akoulouthia_, for example, is -its dependence upon a misunderstanding of the Greek form of worship to -which the word applies.[7] An entirely different suggestion as to origin -arises from the formula used in the liturgy to announce the Gospel, -_Sequentia Sancti Evangelii secundum_ _etc._[8] Often some practical -consideration, extraneous condition or unrelated incidental circumstance -has affected liturgical change or development. Consequently, even a -slight suggestion like this provokes thought. - -Whatever may be the correct origin of the word _sequentia_ the place of -origin of the sequence is generally conceded to have been France -sometime in the eighth century. The part played by other lands in the -origin of the _sequentia cum prosa_ cannot be wholly determined at -present. It must suffice to study the evidence available. It has been -demonstrated how the early French sequences have a closer tie with the -_alleluia_ and how the word is sometimes retained to introduce the -_prosae_ which accompany the music. There is considerable evidence -supporting French priority over the Germans in the creation of these new -musical forms, the chief centers of composition being St. Martial, -Luxeuil, Fleury-sur-Loire, and Moissac, the outstanding rival of St. -Martial. An origin for the sequence in France is independently probable -due to the interest in liturgical music stimulated by Charlemagne, who, -as shown in the preceding chapter, favored Gregorian and Byzantine -innovations at the expense of Gallican forms. - -One of the suggestions mentioned to account for the original lengthening -of the _alleluia_ in the _iubilus_ is connected with the trope. The word -has long been defined as a textual interpolation.[9] Gastou, however, -contends that it was originally and primarily musical, a vocalization in -the existing chant and that it was created in the music school. The -ancient form of trope is a _neuma triplex_ added to the response _In -medio_ _etc._ for the Feast of St. John the Apostle, or to _Descendit de -caelis_ for Christmas. This vocalism is described by Amalarius of Metz -and indeed Metz may be its place of origin. Alcuin has been named as the -possible originator, a theory strengthened by the fact that Amalarius -was one of his pupils.[10] At any rate Amalarius seems to have been the -first to call the melody following the _alleluia_, a _sequentia_,[11] -from which it is evident that the _iubili_ must have been regarded in -some other light prior to his writing. The _sequentia_ in connection -with the _alleluia_ may very reasonably have been considered a trope, -since vocalisms like these had already appeared elsewhere in rites of -worship, and sequences in addition to those which belong to the -_alleluia_ of the mass have been found in antiphonaries. To repeat, -Gastou describes a musical interpolation or trope originating in the -music schools of the Franks and appearing in various liturgical -settings. He likens the _iubilus_ to a trope which Amalarius called a -_sequentia_. The original divisions created by the musical phrases in -the _iubilus_ now appear in a series, each repeated a certain number of -times with introduction and conclusion and thus the completed sequence -structure comes into being. The germ of its formal construction, Gastou -finds in certain Gregorian sources. The ancient _alleluia_, _Justus ut -palma florebit_, shows such characteristics and reveals the liturgical -Latin origin of the sequence, its melody going back to the _versus -alleluiaticus_. - -In spite of the evidence which would make the sequence a native musical -product of western Europe, the theory of Greek origin is still -persistently held by certain scholars. For that reason it must be -considered in greater detail. Gregory's adoption of Greek novelties -forms the starting point of this theory, while Charlemagne's well-known -enthusiasm for Greek innovations carries its proponents still further. -The fact that the original Greek melodies which are assumed to have been -used in the west, have never been produced in evidence, is not a proof -of their non-existence. An extensive study of certain sequence melodies -has been made in order to determine whether they are modeled upon Greek -originals, since the Greek names for these melodies and features of -notation point to such an origin.[12] But such names are secondary, the -original and natural name being the first phrase of the Latin words -accompanying the melodies and the Greek word a suggested title. A Greek -melody, called _Organa_, for instance, might be assumed to retain its -name in Latin. The opposite is the case for the name _Filia matris_ is -original and _Organa_ the suggested title. - -Regarding the argument from notation it is a matter of common knowledge -that the _neume_ is native to Greek-speaking lands and may have existed -as early as the sixth century.[13] _Neumes_ took firm root at St. Gall, -the great German center for the propagation of the sequence, so much so, -that they persisted until the twelfth century even after the invention -of the staff and in the interval were spread by teaching. Moreover, -_neumes_ were written in the manner of the eastern church, _i.e._ in a -straight line, not at different levels to indicate pitch.[14] It is -unfortunate that the dearth of manuscripts showing _neumes_ makes a gap -in the evidence just where support is most needed, for the earliest -musical manuscripts with this notation date from the ninth century;[15] -but the assumption in favor of Greek originals is at least strong enough -to forbid its being ignored. - -An additional circumstance which supports the theory of Greek origin is -the fact of musical parallelism in the structure of the sequence. This -is an important point of contact between the sequence and Byzantine -musical forms, although it has not been universally convincing. On the -contrary, some have traced this phenomenon of musical parallelism to one -of those extraneous conditions, affecting liturgical practice, namely, -the use of antiphonal choirs.[16] - -Nothing can be more unsatisfactory to the student who is trying to force -the sequence into any particular theory of musical origin than the -contemplation of what is actually known on this subject, for the -question seems destined to remain undecided. A better perspective may be -reached by examining the poetical development of the sequence which -began with the _sequentia cum prosa_ and ended in a new form of Latin -hymn for which melodies were in turn composed. - -The text written below the _alleluia_ melody is generally accepted as of -French origin and likewise the naming of that text. As the text became -important the melody too was named so that the melody and text were -differentiated from each other, the latter as a _prosa_. It is unknown -whether the name _sequentia_ instead of _prosa_ was chosen deliberately -as differing from the French usage. Amalarius was apparently the first -to use the word _sequentia_ in connection with the music. Later the term -was destined to supersede the name _prosa_ for the poetical text. - -We owe to Notker, whose part in creating the sequence will be considered -in greater detail below, an account of his invention of words as an aid -to memorizing the elaborate melody of the _alleluia_ trope. Whether -Notker was the first to see the value of this device and to employ it, -is unknown.[17] As a theory of origin it has always been popular, being -held by Frere and many others. For the present it may be acknowledged -that it is a reasonable theory for, of course, only the choir leader had -a musical codex to refer to and the musical ability of the average monk -was unequal to the difficulties of memorization by ear alone. Moreover, -this theory can always be accepted with others, although it seems -inadequate by itself. - -A second explanation of origin arises from the possibility that sequence -poetry originated in the imitation of Greek hymn models. The statement -has been made definitely that sequence poetry shows the transference of -the Byzantine structure of hymnody to Latin church poetry, especially -Notker's.[18] With every circumstance favoring such a transfer it is -amazing that the Franks who heard so much of Greek hymns and could have -translated them into Latin and sung them to the same tunes, evidently -did nothing of the kind. Some other explanation of similarity must be -found. Metrical parallelism, which is characteristic of the Latin -sequence and contemporary Greek hymns, in Gastou's opinion, can be -accounted for only by reference to Hebrew poetry as the ultimate -inspiration of liturgical poetry.[19] Thus a Byzantine theory of origin -breaks down when metrical sources are subjected to closer scrutiny. -After all, the sequence is unknown in the Byzantine ritual and therefore -the Byzantine influence could never have been direct. - -A third theory emphasizes the metrical form of the _alleluia_ melody as -the determining factor in creating a new poetical rhythm.[20] Here, the -desire to create fitting expressions of praise is not explained so much -as the form in which the praises are cast. Von Winterfeld thought that -rhythmical prose was inseparable from the liturgical music which had -already been composed, just as the Greek chorus and the Wagnerian music -drama found their complement in a dignified and sonorous prose -rhythm.[21] This theory may well be called the liturgical. It is most -significant for the lyrical movement in general since a new metrical -form is created differing from the Ambrosian meter or the revived -classical meters popular among Carolingian poets. The lyric is born -again, as Meyer expresses it, in the music of the church.[22] A poem -arises consisting of a series of parallel strophes with introduction and -conclusion, a lyric counterpart to the musical phrases of the -_sequentia_. - - - II. Sequences of the German School - -The importance played by St. Gall in the development of the sequence has -given rise to the theory that it originated there. Present-day opinion, -as indicated above, concedes that sequences arose in France and that St. -Gall is not a place of origin but like St. Martial, a prominent center -for their composition and diffusion. Other centers were Metz, Murbach, -Fulda, Echternach, Kremnster and St. Florian. Reichenau, too, was -important in music and in the spread of sequence poetry.[23] - -Notker Balbulus, (840?-912), was largely responsible for the enviable -reputation enjoyed by St. Gall. Born in Switzerland, Notker had entered -the Benedictine monastery at St. Gall as a child to be educated and -there he continued as a member of the Order until his death. A pupil and -later a teacher of the music school in the period of Louis the Pious and -Louis the German, he shared the life of the Abbey during the height of -its reputation, when its doors were open to travelers from every land -and every rank of society. Notker himself tells of the refugee from the -French monastery of Jumiges who brought with him his famous -Antiphonary. Tradition has it that Notker composed words to fit the -forms of the _alleluia-iubilus_, note for note, already in use in his -monastery, and thus originated the sequence, finding his inspiration, -not in the Ambrosian hymns but in the liturgy.[24] The Jumiges -Antiphonary reached St. Gall about 860, by which time _prosae_ were -already known in France. There is evidence, moreover, from manuscripts, -that texts existed before Notker's time in St. Gall. He is not their -first composer nor are the sequences emanating from St. Gall necessarily -all Notker's work. "Notkerian" means for sequences what "Ambrosian" -means for hymns. - -The problem of the authentic Notkerian sequences was subjected to -critical study and variously solved by Schubiger in 1858, Wilmanns in -1872, and Werner in 1901. More recent students have re-examined the -evidence and expressed their critical opinions as to Notker's poetical -and musical prestige: Singer in 1922, Van Doren in 1925 and Clark in -1926. Of more than 100 sequences attributed to Notker, 47 were judged to -be authentic and edited in volume 53 of the _Analecta Hymnica_. Notker's -ability as a musician appears to be a matter of controversy. A new -review of the Notkerian problem and its literature has been offered by -the Swiss scholar, Wolfram von den Steinen, together with an edition of -the sequences of the St. Gall school.[25] What scholars in general have -taken away from Notker with one hand they return with the other, for if -not an originator he is conceded to be the leading agent in introducing -the sequence into Germany and setting a standard for this type of poetry -which included from Notker's pen a notable group of sequences for the -festivals of the whole year. His sequence for Pentecost is -representative of the achievements of the German school. - -(See Illustrative Hymns, XI. _Sancti spiritus adsit nobis gratia_, "The -grace of the Holy Ghost be present with us.") - -It is not surprising that scholars interested in the theory of Greek -influence upon sequence poetry should seek confirmation of their views -in Notker's work. There is a majestic quality and a vigorous resounding -praise in these poems which has been thought a reflection of Byzantine -hymns. Reference has already been made to the Byzantine strophic system -and its probable influence upon Notker's poetical technique. When one -considers that the monastery of St. Gall was always a port of call for -refugees and travelers from the east and in the preceding century may -have harbored many of them, it is reasonable to suppose that Notker was -acquainted with contemporary Greek hymnody. Whatever may be the -explanation of the metrical system employed by Notker, he undoubtedly -named his melodies in such a way as to suggest a Greek -identification.[26] - -There remains another line of research, which is relatively unimportant, -yet should be noted when the question of Greek influence is raised. It -has been stated that Greek words are used in Latin sequences, thereby -proving contact with Greek-speaking contemporaries on the part of their -authors, or with Greek literary sources. Whenever this test is applied -to any medieval writing produced by churchmen it should not be forgotten -that the Vulgate was the one great continuous source, inspiration and -standard of the Latin language as employed in the Middle Ages. -Throughout the period, all Latin hymns which include a narrative element -or refer in any other way to biblical statements are greatly indebted to -the Vulgate. A considerable number of Greek words, naturally, appear in -the Vulgate. Applying the criterion of Greek words to Notker's -sequences, one reaches no definitive results whatever. In the forty-one -sequences attributed to Notker by Wilmanns, some seven Greek words -appear which are not in the Vulgate.[27] If this proves anything in -Notker's case, it is significant only in connection with other evidence -from Greek originals which has not been advanced. - -Having considered the separate development of the musical and poetical -aspects of the sequence, as far as they can be sundered, it remains to -view certain factors which may have affected that development but have -not as yet been stated. - -The history of medieval music, quite apart from the creation of the -_iubilus_ and the _sequentia_, should not be overlooked by the student -who is trying to understand liturgical music in this general period. -Perhaps during the eighth and certainly from the ninth century, -polyphonic and harmonic forms began to appear. New melodies for -sequences were in demand and were produced, which in turn were -influenced by popular and secular music, with an interaction of words -and music taking place, sometimes with words, sometimes with music -leading the way.[28] The history of the sequence, when complete, will -owe much to the studies of medieval music now in progress by -musicologists, some of whose conclusions have been noted above. The -history of musical instruments is relevant here but in any case it must -always be remembered that the church possessed the musical notation and -was able to dominate the field. - -If the course of secular and ecclesiastical music accompanying the -sequence remains uncertain, so are the currents of medieval religious -and secular verse in Latin still uncharted. Which is the original -stream? Latin secular poetry existed contemporary with the early -sequence, the secular form of which was known as a _modus_,[29] which, -like the sequence, was inseparable from its musical accompaniment for -the minstrel both sang and played his unrhymed lay. Some have taken the -extreme point of view of the part played by secular influence and have -regarded the sequence as a popular lyric in worship, perhaps even a -_Volkslied_.[30] But the question as to the predominance of influence -whether religious or secular, remains open. - -The argument for influence from vernacular verse upon the sequence is -equally weak. Prior to the ninth century vernacular lyrics in the -Germanic tongues are so rare as to be valueless in this discussion. -Celtic lyrics from the seventh and eighth centuries are also rare. It is -possible that they were known to Celtic teachers on the continent but -too much should not be assumed from this possibility or from the fact -that the oldest form of Celtic lyric exhibits rhythmic parallelism.[31] -French, Spanish and early English vernacular lyrics appear too late to -be significant in the problem of origins. In any case, the question -hinges upon metrical technique which can be adequately explained without -recourse to vernacular lyrics, which, insofar as they do exist, may be -regarded as themselves imitations of earlier Latin forms. - -The evidence offered by secular lyrics, Latin or vernacular, in the -early Middles Ages points to an outstanding growth from the sequence -rather than a creative source for the sequence. As a matter of fact the -sequence breaks away from the church and itself becomes secular, as the -history of poetry in the later Middle Ages bears witness. - -The above presentation of what is known as to the origin of the sequence -can scarcely be satisfactory to the scientific historian of medieval -culture. Full of inconvenient gaps and baffling inconsistencies the -evidence remains totally inadequate. One conclusion alone may be -advanced and that tentatively; the sequence appears to have been created -wholly within the liturgy of the mass. The _troparium_ or _tropary_, -later the gradual and missal contained the sequences for the annual -feasts just as the _hymnarium_ or _hymnary_, later the breviary had -contained the hymn cycles of the offices. - -The appearance of the sequence in the history of medieval hymnody was an -episode of the greatest importance not only in the evolution of Latin -religious and secular poetry but in their vernacular counterparts. In -order to understand the extraordinary popularity and wide diffusion of -the sequence it must be emphasized that it is not just another hymn, but -an ornament to the mass, individually created for each and every -festival with a particular theme in mind. The seasons of Advent, -Nativity, the Passion, Easter, Ascension, Pentecost, Trinity, the Virgin -festivals of the Nativity, Annunciation, Visitation, Purification and -Assumption, the feasts of the Apostles and other biblical Saints, the -Martyrs, Confessors and Virgins formed a great series which challenged -the finest efforts of the clerical poets. Herein lies the essential -interest of this hymnody. The original Latin hymn was associated with -daily secular worship and then with the canonical hours of the -monastery. The sequence was associated with the celebration of the -divine sacrifice. - -As a closing illustration for this chapter the Alleluiatic sequence has -been selected. Based upon the canticle, _Benedicite omnia opera_, and -often attributed to Notker, this superb sequence reaches a height of -expression comparable to the noblest hymns of the ninth century revival. - -(See Illustrative Hymns, XII. _Cantemus cuncti melodum nunc Alleluia_, -"The strain upraise of joy and praise.") - - - - - CHAPTER FIVE - Late Middle Ages: Hymns and Sequences - - -Beginning with the twelfth century the large number of new hymns and -sequences produced point to a degree of creative activity that continued -through the High Middle Ages. A recent historian of medieval literature, -De Ghellinck, sees the religious poetry of the twelfth century rivalling -the secular, and points out that ten thousand specimens of every type of -religious verse, from 1060 to 1220, are edited in the _Analecta -Hymnica_.[1] Maurice Hlin, whose attractive volume is available in -English translation, considers the poetic product of the twelfth century -the peak of Latin poetry and "its most original contribution to the -intellectual patrimony of the west."[2] - -It is easier to repeat such a statement than to present acceptably the -relevant evidence in the field with which this chapter is concerned. One -might expect a larger proportion of known authors but anonymity remains -the rule. The exceptions command recognition among the most notable -writers of hymns and sequences in any period of their production. - - - I. Sequences of the French School - -The sequence, originally a product of France, already perfected as a -poetical form by Notker and the German school of ecclesiastical hymn -writers, attained a greater influence and popularity under Adam of St. -Victor. In 1130 Adam entered the Augustinian Abbey of St. Victor on the -outskirts of Paris and there he remained until his death. Whether a -native of France or England is unknown. Like Notker, he followed in his -poetic themes the annual festivals. To him have been attributed more -than 100 sequences which appear in the manuscripts of St. Victor. They -were published first by Leon Gautier in 1858 and in the later nineteenth -century were subjected to critical analysis by Misset who regarded 45 -sequences as authentic.[3] Blume, who edited the Victorine sequences in -volumes 54 and 55 of the _Analecta Hymnica_, attributed 48 to Adam's -authorship. - -Adam's poetical concepts are centered in the mystical interpretation of -biblical narratives and of Christian theology as it was taught in the -schools of Paris. Hugh and Richard of St. Victor were his contemporaries -but Adam was poet as well as theologian. Praise was to him an essential -harmony of voice and life. His verse departed from the earlier prose -rhythms of the German poets and was cast in a metrical form already -popularized in the hymn. A group of rhymed trochaic lines of eight -syllables with a caesura after the fourth syllable at the end of a word, -closes with a seven syllable line. This scheme with its many variants -characterizes the work of Adam and his imitators in countless Latin and -later, vernacular lyrics. Adam's sequence for the Feast of St. Stephen -has been selected as illustrative of his finest work. - -(See Illustrative Hymns, XIII. _Heri mundus exultavit_, "Yesterday with -exultation.") - -To appreciate fully the function of the sequence in worship at this time -as well as its appeal to popular imagination, one should isolate a -single theme for more intimate enjoyment. For this purpose, the -sequences written for the five feasts of the Virgin are best suited. -While manifold saints were honored in the hymnology of the day, the -veneration of the Virgin reached at this time, its pinnacle of -expression. Notker had provided sequences for her Nativity, Purification -and Assumption. Adam of St. Victor, poet of the Virgin, drew upon all -the resources of medieval symbolism in his _Salve, redemptoris mater_, -"Hail, mother of the Redeemer," a masterpiece of medieval religious -verse. Clerical poets everywhere met the challenge of his example. The -result was indicative not only of their devotion and their poetic skill -which was at times indifferent, but of the actual use of the Virgin -sequences in the numerous feasts which honored her and their familiarity -to wide congregations of clergy and laity. - -During this period great sequence writers appeared, some known and -distinguished, the majority anonymous. To the latter group belongs the -author of the Easter sequence, _Victimae paschali laudes_, "Christians, -to the Paschal Victim," which represents the transition between the -Notkerian and Victorine styles. The growing relationship between Latin -hymnology and the arts becomes obvious in this sequence which was of -importance in building the liturgical drama for Easter. The dialogue -embedded in the poem, - - "Speak, Mary, declaring - What thou sawest wayfaring?" - -and her reply, ending - - "Yea, Christ my hope is arisen: - To Galilee he goes before you." - -contributed, with other sources, to the fully developed Easter Play. - -The so-called Golden Sequence for Pentecost, _Veni sancte spiritus_, -"Come, thou Holy Spirit, come,"[4] also of undetermined authorship, -attained perhaps the greatest prestige, having now been heard in -Christian worship for more than eight hundred years. - -The activities of the French school are largely responsible for the -popularity of sequences in the twelfth century and for their -multiplication in every part of western Europe. Other factors played a -part. Just as the Latin hymn can best be understood in the historical -setting of the late Roman Empire or of the early Germanic kingdoms, so -the development of the sequence must be interpreted in connection with -the social and cultural environment of the age. The universities, -notably that of Paris, were dominating intellectual life. Economic -opportunity offered by the revival and expansion of craftsmanship, -commerce, urban life and geographical knowledge resembled the -achievement of Roman days. The European centralized states had emerged -and were assuming the national features which mark them today. The -modern languages of Europe were highly developed in their literary -treasures and in everyday speech. Under reforming popes such as Innocent -III, the church was entering an era of unity and spiritual renewal. Side -by side with the reformed Benedictine Order, the Augustinian canons with -their ancient prestige, the Franciscan, Dominican and other religious -orders were taking their part in the work for the regeneration of -society and the triumph of the Faith. Pilgrimages and crusades were in -vogue for two hundred years from 1095. The hymnody of the church took on -new vitality in an era of European awakening. - - - II. Later Hymns - -Although the sequence had apparently occupied the center of attention, -the writing of office and festival hymns had never been interrupted and -certainly had never ceased. Gathering up the sources after the period of -ninth century influence described in Chapter Three, one pauses at the -verse of Peter Damian, (988-1072), Cardinal Bishop of Ostia and Superior -of the monks of the Holy Cross. His theme was the joys of paradise in -the hymn _Ad perennis vitae fontem_, "To the fount of life eternal," a -topic about which a distinguished hymnody was ultimately created. - -(See Illustrative Hymns, XIV. _Ad perennis vitae fontem_, "To the fount -of life eternal.") - -Fulbert, Bishop of Chartres (d. 1028), is best known for his Easter -hymn, _Chorus novae Ierusalem_, "The chorus of the New Jerusalem,"[5] in -which the militant ideal in its knightly form finds expression as the -warriors of the faith acclaim the victory of their royal and divine -leader. - -In the twelfth century, a complete new hymnary in all its parts was -written by Abelard, (1079-1142), for the Convent of the Paraclete of -which Heloise was the abbess.[6] A collection of 91 hymns, it has never -been highly praised by critics, yet it has provided the hymn, _O quanta -qualia_, "How mighty are the Sabbaths," in praise of the Sabbath and the -Good Friday hymn, _Solus ad victimam procedis, Domine_, "Alone to -sacrifice Thou goest, Lord," both of which have found a place in recent -hymnals. Helen Waddell's translations of the two illustrate modern -renderings at their best. The same century saw the achievement of -Bernard of Cluny or Morlaix, (fl. 1122), whose long poem, _De contemptu -mundi_ furnished the selections on the heavenly country, _Hora -novissima_, popularized by the translations of John Mason Neale. Perhaps -the best-known of these, _Urbs Sion aurea_, "Jerusalem the Golden," in -its English rendering has attained a vernacular status independently of -its Latin original. The great anonymous hymn, _Jesu dulcis memoria_, -"Jesu, the very thought of Thee," is also of the twelfth century. Its -authorship has been variously ascribed but never certainly determined. - -The thirteenth century was marked by the rise of hymn writing in the new -religious orders founded by St. Francis of Assisi and St. Dominic. The -Franciscan Bonaventura (1221-74), wrote _Recordare sanctae crucis_, "Be -mindful of the Holy Cross," on the theme of the Cross. To read this hymn -side by side with the _Vexilla regis prodeunt_ of Fortunatus, is to -apprehend more fully the increasing subjectivity of the Latin hymn in -500 years of its history. The passion of Christ is, moreover, a favorite -theme and object of devotion of the friars, ever present to their -thinking. Thomas Aquinas, (1227-74), greatest of the Dominicans, wrote -the hymns for the Feast of Corpus Christi, established by Pope Urban IV -in 1265. Of these, _Pange lingua, gloriosi corporis mysterium_, "Sing my -tongue, the Saviour's glory,"[7] modeled after the form of the _Pange -lingua_ of Fortunatus, is in its subject matter a poetic version of the -mystical subtleties implicit in the dogma of the feast. John Peckham, -Archbishop of Canterbury, (1240-92), wrote _Ave vivens hostia_, "Hail, -true Victim," a fine hymn upon the same theme which suggests the -inspiration of Aquinas. - - - III. Later Sequences - -From the sequences of the later Middle Ages only a few have gained -eminence but in certain cases as high a place as any in the whole range -of their composition. Thomas Aquinas shows himself master of the -sequence as well as the hymn in his _Lauda Sion Salvatorem_, "Praise, O -Sion, praise thy Saviour," a model of the Victorine technique. - -(See Illustrative Hymns, XV. _Lauda Sion Salvatorem_, "Praise, O Sion, -praise thy Saviour.") - -_Dies irae_, "Day of wrath," most majestic of all sequences, universally -acknowledged as the greatest achievement of Latin hymnology, was -probably written by the Franciscan Thomas of Celano. It was originally -used at Advent, later for All Souls' Day and for requiem masses. The -Judgment theme is obviously inspired by the words of the Prophet -Zephaniah (1:15) from which the opening line _Dies irae, dies illa_ is -taken. A special literature, together with a multitude of translations, -has grown up around this hymn which deserves consideration impossible -here. It should be read not only with reference to its biblical sources -but with the great Judgment portals of the medieval cathedrals in mind, -since the sculpture and literature of the age here find a meeting -place.[8] No less significant for its interpretation is the prevalence -of the Black Death in the ages which produced it.[9] The thought of a -period in which pain and death were so tragically familiar and before -which the medieval man stood helpless, is faithfully reflected in -contemporary hymns. - -The lament in its poetic form is associated with the Marian hymnology of -the fourteenth century. The _Stabat mater dolorosa_, "By the Cross her -vigil keeping,"[10] its finest expression, like the _Dies irae_, needs -little comment in these pages. - -(See Illustrative Hymns, XVI. _Stabat mater dolorosa_, "By the Cross her -vigil keeping.") - -In this period it seems, at least to the present writer, that the -Italian-born poets of the religious lyric come into their rightful -heritage. The poets of England and of the French, German and -Spanish-speaking lands had at one time or another held the palm in the -field of hymnody. At the very moment, so to speak, when the genius of -Dante and Petrarch had established the fame of Italian letters, the -Christian hymn found new spokesmen in a literary medium which had -originated in the same environment a thousand years before. - -What has already been said of the multiplication of new feasts as the -medieval ages progressed, is true in an even greater degree in the later -centuries. The Feast of Corpus Christi is only one of many which marked -this period of religious devotion, and incidentally required new -sequences. If the collection of liturgical proses edited by Daniel in -his _Thesaurus Hymnologicus_ and reprinted in volumes 54 and 55 of the -_Analecta Hymnica_ be accepted as a guide, the new demands become clear. -From the period of Adam of St. Victor, 174 feasts were furnished with -sequences, many times over in the case of the more important festivals. -The actual liturgical collections from which the _Analecta Hymnica_ was -compiled constitute a more specific source of information. If the -attention of the student is fixed upon the sequences used in well-known -missals and troparies from the thirteenth century and later, in the -leading ecclesiastical centers of Europe, a wealth of material is -revealed. Many of these sequences in the great collections are -unfamiliar to the modern student, some have never been translated into -English, but as a whole they are truly representative of this body of -poetry in the period of its greatest interest. A tropary of St. Martial -of the thirteenth century contains an anonymous Easter sequence, _Morte -Christi celebrata_ (_A. H._ 8. 33), "Christ's passion now is o'er,"[11] -which bears comparison with the better-known sequences which have been -named above. - - - IV. Liturgical Collections - -To determine the actual usage of the hymn or sequence rather than its -mere existence as a specimen of religious verse, the liturgical -collection is indispensable. The old hymnaries and psalters and other -books used in the offices were examined by liturgists of the period who -compiled the breviaries of the later Middle Ages. Working under -episcopal or monastic authority they subjected the hymnic material at -their disposal to a selective process which necessarily discarded many -hymns in favor of those rendered sacred by their inclusion in the old -cycles, or of hymns of recognized merit. The Mozarabic Breviary had been -compiled and its hymns determined by this process in an earlier century. -After the re-conquest of the Spanish peninsula and the introduction of -the Roman Rite in 1089, a version of the Roman Breviary was introduced. -Episcopal centers in England, such as Hereford, York and primarily -Salisbury, compiled their service books and developed them continuously -to the close of the Middle Ages. The process was repeated throughout -Christian Europe. - -From the troparies and local collections of sequences the selections for -the gradual and missal were made, just as the hymns had been for the -breviary. These liturgical sources offer to the modern student the range -of medieval hymnody at its best. The episcopal rites are, perhaps, more -official and authoritative in their selection of hymns and sequences but -the monastic rites often reveal the legends of local saints or the more -intimate flavor of traditional piety. It should be understood that in -countries where the Roman Rite prevailed there was no departure from its -authority in the matter of hymnody. At the same time the greatest -latitude was observable. A fine illustration is provided by the books of -the Rite of Salisbury, England, or the Sarum Rite, which were compiled -and developed by great liturgists from the time of Bishop Osmund in the -eleventh century to the close of the Middle Ages. The Sarum Breviary -contains 119 hymns, 25 of which were written after 1100 and the Missal -contains 101 sequences, 54 of which were written about 1100.[12] The -figures are revealing in the case of hymns, of the influence of the -older cycles and in the case of sequences, of the multiplication of -feasts in the later centuries of the Middle Ages. - -The Processional book as a bearer of hymns will be treated in the -following chapter. It remains here, to mention the Books of Hours or -medieval Primers which also contained their quota of hymns. The _Horae_ -may be defined as a series of devotions, at first additional to the -Seven Hours of the daily office but in the twelfth century elaborated in -a separate book. Specifically the additions consisted of the penitential -psalms, the Office of the Dead, the Cursus of All Saints, that of the -Holy Cross, and that of the Blessed Virgin. Even before its separation -from the Canonical Hours, the Cursus of the Blessed Virgin had assumed -an importance which gave to the new collection its characteristic title -of _Horae_ or _Hours of the Blessed Virgin Mary_. In the fourteenth -century the single volume came to be known in England as _Primarius -Liber_ or _Primarium_ from which the more familiar name Prymer or Primer -is derived.[13] Its popularity may be judged by the fact that 265 -printed editions were later known in England and 1582 on the -continent.[14] Hymns are interspersed throughout the _Horae_. In the -York Hours there are eighteen hymns and sequences of varied periods of -which thirteen are centered in devotion to the Virgin.[15] In other -words, the hymns which were chosen for these books of popular devotion -are representative of later medieval favorites in hymnody, indicating to -what extent the older hymns were known and loved and to what extent -later poems had been accepted by lay folk as well as clergy. The _Horae_ -are primarily valuable as a source for the later Marian hymns upon the -themes of the Joys and of the Sorrows of the Virgin. The appearance of -the beloved _Stabat mater dolorosa_, without doubt the finest expression -of the poetry of sorrow, bears witness to the discriminative process by -which the _Horae_ were compiled. It seems remarkable that the liturgists -of the later period, in which the Latin hymn was beginning to show signs -of deterioration, were able to skirt as successfully as they did, the -limits of trashy sentimentality and worse poetry which were passing -current under the name of hymnody. - -To those who are interested in the relations between literature and the -fine arts an examination of the Virgin hymns, as of the _Dies irae_, -will yield similar interrelations. The hymns which were written from the -twelfth century onwards upon the Virgin theme may be closely correlated -with the sculptured forms which portray the Mother apart from the Son in -her Sorrows and more particularly in her Joys, laden with her -distinctive honors and regnant as the Queen of Heaven. - - - V. Influences affecting Hymnody - -Once the typical hymns and sequences of the later period have been -reviewed, it remains to trace the influences operating from the -contemporary environment upon their evolution. The problem of possible -influence of an ultimately oriental origin has already arisen in -connection with earlier hymns. It has been considered in the relation of -Byzantine culture to the origin of the sequence, and also in the form of -Arabian influence upon the Mozarabic hymnody. In both fields the -evidence is tenuous and especially in the latter where the imprint of -Arabian cultural forms would seem to be most probable. In the centuries -which produced the troubadours, the problem takes the form of a possible -indirect influence from Arabian origins through the Provenal singers -upon the evolution of the sequence.[16] It is true that the twelfth and -thirteenth centuries boasted at least four hundred troubadours whose -poetry is extant. The names of others are known but not their poems. As -the popularity of their songs is unquestioned, an appreciable affect -upon religious lyrics might be presumed. Granted that the influence of -Arabian poetry may be demonstrated upon the metrical aspects of -troubadour lyrics, it must still be demonstrated that the impact of the -latter was felt upon the Latin hymn. Future studies may throw light upon -these problems of medieval literature where obscurity now prevails. -Metrical similarities undoubtedly exist between Arabian and Latin verse, -as already illustrated in the field of late Mozarabic hymns. Perhaps the -most convincing evidence, aside from these, is found in processional -hymns, the subject of a later chapter. - -Much more obvious and one distinctly to be traced is the all-pervading -influence of the new religious orders upon medieval society and culture -in general. Hymn writers belonging, as cited above, to the Franciscan, -Dominican and other orders of friars, to say nothing of the Cistercians, -played a leading role among contemporary poets; their names and themes -have already been mentioned. Many others must be numbered with the -anonymous majority. The veneration of the Virgin reflected so faithfully -in contemporary hymns may be largely attributed to their devotion. As -itinerant preachers, moreover, the friars translated hymns into the -vernacular and brought them directly to their hearers, thus imparting -the lessons of faith and morals.[17] It might be asserted, at least -tentatively, that the friars were responsible for one of the earliest -attempts to bridge the gap between the ritual and the popular use of -hymns. - -A less tangible influence was at work emanating from schoolmen. This was -the age of the universities in which thousands of students were pursuing -the studies of theology, law and medicine. Early theological discussion -in the schools of Paris, prior to the founding of the universities, is -implicit in the sequences of Adam of St. Victor. Later, Thomas Aquinas, -Professor of Theology at the University of Paris, created a poetical -counterpart in his hymns, to the prose exposition of dogma. No one else -reached his stature in this particular but hundreds of European clerics -having theological degrees or a partial preparation for them, were -active in the church and in secular life. It is only fair to suppose -that they must be included in the great anonymous group which assisted -in making that unique contribution to medieval literature which was -preserved in contemporary liturgical collections. Without the -university-trained cleric how is it explicable that in the very age in -which the vernacular languages came to their full development in speech -and in literature, Latin religious verse was at a peak of expression? In -the High Middle Ages the alumni of the great universities were -influential in every phase of society. It is conceivable, if not -demonstrable, that the clerics among their ranks played an important -although hitherto unrecognized role in the evolution of Latin hymnody. - -Contemporary pilgrimages take the student far afield from the centers of -learning. The crusading enterprise of two centuries which carried the -knightly companies of Europe and their entourage to the East was a -pilgrimage of continental proportions. Local shrines favored by pilgrims -abounded in the West from Canterbury and Walsingham to Campostella. What -effect, if any, had this wave of religious zeal or of adventurous -self-seeking upon the hymnology of the age? We know that the familiar -Latin hymns of the breviary were sung by the clerics who conducted the -services of religion in the crusading armies. We possess the texts of a -variety of vernacular hymns and songs heard among the wandering bands -who traversed the highways of Europe or traveled by sea to distant -shrines. We are told of the singing of Latin hymns at the destination of -pilgrimage but their texts are rare. A formal collection of Latin hymns -associated with the shrine of St. James of Campostella, the _Carmina -Campostellana_, has been edited in the seventeenth volume of the -_Analecta Hymnica_. As might be supposed, they voice the praises of St. -James, _Ad honorem regis summi_, "To the honor of the King," (_A. H._ -17. 210) being a favorite in both Latin and vernacular versions.[18] As -a matter of fact, the hymnody of pilgrimage must have been largely -patronal, a conclusion supported by existing Latin texts. Unfortunately -we possess no great body of Latin hymns arising from the religious -impulse which animated the crusader or the devotee of local shrines. It -is possible, however, that the multiplication of hymns for saints at -this time may be attributed in part to the multiplication of shrines of -pilgrimage. If true, an influence is seen at work, which, from the time -when Ambrose built a church in Milan to receive the relics of St. -Gervasius and St. Protasius and wrote a hymn in their honor, never -ceased to operate in the intervening centuries.[19] - -With the pilgrim we come face to face with the layman and are once more -confronted with the question of lay participation in the singing of -Latin hymns, which hinges upon the further question of the degree to -which the layman could sing or even understand the Latin hymn, from the -twelfth century onward. The pious injunctions of Alexander of Hales and -Henricus de Gorichen (15th C.) to sing hymns, merely repeat a dictum of -St. Apollonius regarding the observance of the Lord's Day in the second -century and must not be taken too seriously by the modern student.[20] -It is indeed slight evidence for the singing of Latin hymns by the -laity. The problem is in reality linguistic and revolves about the -question of who was acquainted with Latin at this time. Setting aside -the clergy in their numerous ranks, who are often said to have had the -complete monopoly of the hymn in an age when congregational singing was -unknown, one must consider the remaining classes of society from the -point of view of contemporary education. - -Beginning with the university it should be recalled that the text books -and other sources of information were in Latin and that Latin was the -medium of instruction. In this respect the aspirant for a degree in law -or medicine was on a par with the would-be clergyman. Many students took -degrees in two and occasionally in all three disciplines, and the -majority were destined for the church if only in minor orders. On the -other hand, it is certain that, as in our own day, a large number of -students never attained any degree although they had the Latin -qualification. In any case, the lay alumnus or former student of the -universities, with a Latin training, was a familiar figure in secular -affairs. - -The degree and extent of elementary and secondary education upon which -the university instruction was necessarily founded, have been the -subject of several recent studies. It seems certain that schools for -children and youth existed from the ninth century onward in cathedral -and other centers and that, as Lynn Thorndike says, "in the period of -developed medieval culture elementary education was fairly wide-spread -and general."[21] Without entering into the details of this program, -illuminating as they are, we note that the curriculum was founded upon -the Latin language and Latin studies. The contemporary growth of towns -involved an expansion of education which was marked by the appearance of -schools sponsored by municipal authority. The Latin school flourished -everywhere. There is evidence that every social class participated to -some extent in the new education although illiteracy must at the same -time have been common. It seems clear that the layman who had received -these early educational advantages could understand Latin hymns or read -them if the texts were available. Both sexes shared elementary education -and lay women as well as nuns occasionally had access to advanced -instruction. Such considerations as the above presuppose a degree of -familiarity especially with the breviary hymns, on the part of laymen, -even if singing or chanting was restricted to the choirs and clergy. - -The university movement was accompanied by the rise of the wandering -scholars and poets whose verses, for example, from the _Carmina Burana_, -are familiar today in translation. Popular entertainers, they sang their -Latin lyrics at ale house doors and in the market places. They must have -been at least partially understood by the populace. Other municipal -entertainment was provided by the religious drama of the times which -made considerable demand upon the Latin resources of the spectator who -had to be somewhat bilingual if he were to enjoy the public presentation -of the mystery plays. - -Again, the bilingual or macaronic poetry which sprang up in the period -of rivalry between Latin and the vernacular may be viewed both as a -means and a result of understanding Latin hymns. Macaronic verse was -both secular and religious in its forms, favorite phrases from -well-known Latin hymns often being combined with the vernacular tongue. -The practice might even have spread to the ritual of the Church had it -not been forbidden by ecclesiastical decree.[22] The _cantio_ of the -later medieval centuries and the familiar carol offer a wealth of -evidence that macaronic religious verse was extremely popular. Indeed, -this may have been the earliest manifestation of actual hymn singing on -the part of medieval laymen. - -Even if congregational singing was not practiced, the use of Latin hymns -in private devotion is well authenticated. The _Horae_ which were -included in the liturgical collections listed above, were circulated -among laymen from the fourteenth century onward, and often used as text -books or Primers from which children were taught to read. The variant -title, _Lay Folks Prayer Book_, also bespeaks its popular availability. - -While it would be unsound to infer a universal knowledge of Latin -hymnody among the laity of Europe upon any or all of the evidence here -assembled, it is logical to suppose that this treasury of verse lay -within the boundaries of average education and cultural ability. -Combined with the effectiveness of visual means of conveying religious -truths through architecture, sculpture and stained glass, popular -acquaintance with the teachings of Christian hymnody must be supposed to -have overflowed the limits of clerical restriction, if indeed, any such -existed. - - - VI. Characteristics - -To close this somewhat rambling account of the Latin hymn and sequence -in the later medieval centuries, which is necessarily discursive even as -the civilization itself was everywhere expanding, the characteristics of -this poetry should be reviewed in comparison with those of earlier Latin -hymns. - -An increasing variety of subject matter is first to be noted, to -accompany the diversification of worship brought about by new feasts and -the appearance of new religious agencies. Hymns for the festivals of -saints provide the best illustrations of this tendency which has been -amply treated above. - -A marked trend toward the compilation of local liturgical collections -and the differentiation of service books accompanies the unification of -rites in various European lands. This tendency was observed in earlier -centuries, particularly in Spain where the Mozarabic hymnal prevailed. -St. Gall had provided a monastic center of influence in German-speaking -lands in its day. Now, the great diocesan and monastic centers, on a -much larger scale, are furnished with a full complement of ritual books -and guides to hymnody. In England, the Sarum collection achieved great -prominence, acquiring national rather than diocesan proportions. - -Within the hymnic poetry itself changes are seen both in form and -spirit. A full development of metrical forms takes place, some of which -had appeared much earlier in isolated examples and were now widely -accepted; others were characteristic of late medieval literary art. The -meters and rhythm of sequence poetry were popularly favored. Subjective -qualities and attitudes which had been infrequent in the earlier hymns -devoted to biblical themes and theological expression are much more -obvious in later hymns. The personal petition and the direct address to -deity and the saints are frequent. It has been suggested above in -considering hymns upon the theme of the Cross, that a comparison of -hymns from the earlier and later groups is instructive. But any of the -great themes may be selected for this purpose, for example, the -Pentecostal theme, with a group of hymns in which the earlier ones are -simple narratives following the biblical account of the descent of the -Holy Spirit; the later ones are exemplified by _Veni, sancte spiritus_, -"Come, Thou Holy Spirit, come," already cited, in which the Spirit is -addressed and invoked for personal blessings and the sevenfold gifts. - -With the waning of the medieval centuries came a characteristic -decadence in the poetical quality of Latin hymns and in their spiritual -vitality. This was true of the sequence and most obvious, perhaps, in -those which were devoted to the praise of the saints. Reference to this -phenomenon will be made in a later chapter in connection with the -possible reason for the loss of religious significance which must be -admitted although deplored by students of the subject. - -Finally, one observes that certain hymns of these later centuries rival, -if not surpass, the representative hymns of the first half of the Middle -Ages. Four of the five sequences retained in the present-day Roman -Missal were all selected from this group, namely: _Lauda Sion -Salvatorem_, _Veni sancte spiritus_, _Dies irae_, and _Stabat mater -dolorosa_. Other illustrative hymns and sequences mentioned above prove -to be almost as familiar. - -On the contrary, decadent hymns have tended to disappear. Unworthy of -their theme and purpose, a multitude of examples may be unearthed from -their present burial places in the _Analecta Hymnica_ or other -collections by the curious investigator. So far as actual usage is -concerned they have been gradually discarded and forgotten in the -process of time. Similarly those of greater merit have possessed a -survival value sufficient to insure recognition in every succeeding -century. - - - - - CHAPTER SIX - Late Middle Ages: Processional Hymns - - - I. Origins - -The procession as a practice of the Christian Church originates in the -triumphal entry of Jesus into Jerusalem. All four evangelists record the -event and all four make mention of the hosannas and acclamations of the -people which accompanied it.[1] True, the procession is older than -Christianity and wider in observance. It seems to be a natural impulse -of humanity in all ages and in all lands to make orderly progress from -one place to another for the expression of communal joy or lamentation -or to seek the aid and blessing of supernatural power in the activities -and vicissitudes of life. - -Processional ceremonies as they were observed in ancient oriental -civilizations or in the culture of Greece and Rome are not considered -here, except as they may have affected Christian origins. The purpose of -this chapter is to describe the background and setting of processional -forms which, in their evolution, gave rise to a continuity of hymns; to -trace the origin, development and distinguishing features of such -processional hymns in the Middle Ages and to display processional -hymnody in its distinctive character as a separate category of medieval -Latin hymnology. - -Prior to the fourth century the record is obscure. Miscellaneous notices -begin to appear in the last quarter of the century. Basil notes a -procession in the form of a litany (c. 375). Ambrose mentions a -procession of monks (c. 388) and also refers to a procession in Rome -honoring Sts. Peter and Paul, in his hymn, _Apostolorum passio_, "The -passion of the Apostles," (A. H. 50. 17). Chrysostom was active in -organizing processions in Constantinople to offset Arian influence -(390-400).[2] At the same period, 379-388, Aetheria (St. Sylvia of -Aquitania?) made her pilgrimage to the holy places of Palestine, -describing in her journal in detail, the ceremonies enacted in the -worship of the Christian Church at Jerusalem.[3] - -Remarkable in all respects, Aetheria's narrative is obviously written in -a spirit of devotion with eager curiosity and joyful appreciation. She -describes, among other observances, the Hour services, especially the -_lucernare_ when hymns were sung, the Sunday procession to the Anastasis -or Church of the Resurrection which marked the tomb of Jesus and the -procession and rites for the Feasts of the Epiphany, Ypapanti or -Presentation of Christ in the temple, Palm Sunday and Easter.[4] Hymns -in which the laity as well as the clergy participated are mentioned in -connection with these ceremonies but no specific hymn is named. The -immediate purpose of the processions at Jerusalem appears to have been -the enactment of scenes in the life of Jesus in the places where they -occurred, introducing a dramatic element which pervades medieval -processional observances throughout their history. - -Aetheria uses the words psalm, antiphon and hymn in connection with the -musical parts of the worship she observed, but not indiscriminately. She -was probably familiar with hymns as they had developed in the fourth -century both in the eastern and western churches. It has been assumed -that the hymn sung at the daily lighting of the candles was _Phos -hilaron_, "O gladsome light."[5] The hymns she heard at the Good Friday -observance have been tentatively identified as the _Idiomela_ for Good -Friday, traditional in Byzantine ritual.[6] In any case they were true -hymns, perhaps of a metrical, or more probably of a rhythmical type. It -is impossible to identify the processional hymns of which she speaks. -All that can be asserted is that non-scriptural, as well as scriptural -hymns, were sung in the processions at Jerusalem. - -In Constantinople, contemporary processions have already been mentioned. -The practice of Jerusalem was also adopted there. In the sixth century -under Justinian, the Feast of Ypapanti was introduced.[7] However, the -history of Byzantine processions must be omitted from this study which -is devoted primarily to the Latin West. - -In Rome, the Christian procession had an independent origin, being -derived in part from the memorial honors paid to the Christian martyrs -and in part from the Christianization of pagan ceremonies. When the -period of persecution of Christianity had come to a close and the -triumphant Church was able to assert publicly her influence and -authority at Rome, processions were made as early as the fifth century -to the places where martyrs had suffered. This is the origin of the -later station procession, followed by the celebration of mass in the -various churches where the remains of martyrs removed from the catacombs -were buried. A century earlier in Milan, Ambrose had discovered and -removed the bodies of St. Protasius and of St. Gervasius from their -original burial place to a church newly erected in their honor.[8] Pope -Gregory the Great (590-604) observed the Roman stations and Pope Sergius -(687-701) completed their organization.[9] The processions were -accompanied by the chanting of psalms but there is no record of -non-scriptural hymns. The symbolism of the procession, however, was -enriched by the idea of pilgrimage to a spot made sacred by martyrdom, a -continuing processional motive throughout the Middle Ages. - -While the station processions developed in the vicinity of Rome, the -litany processions arose in Gaul. Mametus, the Bishop of Vienne, 474, -inaugurated the _litania minor_ or the public blessing of the fields and -crops in the spring season. In 511, the Council of Orleans ordained the -observance for Gaul, and the Council of Girona, in 517, for Spain. The -_litaniae minores_ or rogations, perpetuate in their intent, processions -of the Roman era. The _litaniae maiores_ which were prescribed by -Gregory the Great, 598, and Leo III (795-816), were of similar origin -and purpose. A _litania septiformis_ was also organized by Gregory on -the occasion of a pestilence at Rome.[10] The _litania maior_ came to be -observed on April 25, St. Mark's day, and the _litaniae minores_ in the -three days preceding Ascension. Psalms but not hymns in the sense of -non-scriptural compositions were heard in the litanies. The procession -of supplication common alike to pagan and Christian practice is -illustrated in the litanies, a constant motive and a constant observance -in medieval rites. - -It seems clear, therefore, that primitive Christian processions in Rome -consisted of stations and litanies. Festival processions were introduced -into the west gradually. Ascension is spoken of as an ancient feast but -there is no specific evidence of its observance before the middle of the -fourth century. The Ascension procession, implied by Aetheria in her -journal, is unknown in Rome at this time.[11] Pope Sergius imported into -Rome the festival procession for Candlemas or the Feast of the -Purification of the Virgin. The Feast of Ypapanti or Presentation, -originally observed in Jerusalem and later adopted in Constantinople, as -noted above, gained in the transfer a new feature. The carrying of -lighted candles, not mentioned by Aetheria, seems to have been added in -Byzantine practice. The words spoken by Simeon of the infant Jesus, "a -light to lighten the Gentiles" (Luke 2. 32) made the symbolic use of -lights almost inevitable. The date of the Feast of the Purification, -February 2, was approximately that of the pagan _Amburbium_ or -_Amburbale_, an early Roman procession of lustration which had taken -place in that month. Possibly the procession for the Feast is -reminiscent of this pagan practice.[12] It might be of interest to -follow in closer detail the origin of the medieval Candlemas, but -attention must be directed to the Candlemas hymns later to be written -and sung in procession at this Feast. - -The period of Christian processional origins which may be considered to -close with the seventh century, saw the development of the processions -at Jerusalem, their adoption in Constantinople and the evolution of the -stations and litanies in the west. Festival processions also, were -slowly making their way into the Western Church.[13] - - - II. Evolution in the Early Middle Ages - -That the Latin processional hymn appeared first in Gaul should surprise -no one. It has already been suggested that the hymns among the _Carmina_ -of Fortunatus were created in the atmosphere of freedom enjoyed by -Gallic hymn writers in accordance with contemporary canons. Always a -poet of the occasion, Fortunatus wrote three hymns for the reception of -a relic believed to be of the true Cross, which was presented to -Rhadegunda, his patron, by the Byzantine Emperor, Justin II and his wife -Sophia, for the convent at Poitiers. As a final stage in the journey -from Constantinople, the relic was borne in procession from Mign to -Poitiers, accompanied by Euphronius, Bishop of Tours. On this day the -hymn, _Vexilla regis prodeunt_, was first heard.[14] Two others, _Pange -lingua_ and _Crux benedicta_ (see Chapter One) were devoted by -Fortunatus to the same theme of the Holy Cross, although it cannot be -proved that they were sung in the same procession. - -The Resurrection hymn, _Tempora florigero rutilant distincta sereno_, -"Season of luminous days, marked bright with the birth of flowers," -(_Carm._ 3. 9), was originally written for the Easter baptismal rites -celebrated by Felix, Bishop of Nantes (d. 582). It was a poem of 110 -lines or 55 elegiac couplets, from which the cento of 28 lines beginning -_Salve festa dies_, "Hail thee, festival day," was later selected for an -Easter processional.[15] - -The metrical models provided by _Pange lingua_ of the trochaic pattern -and _Salve festa dies_, the elegiac, continued to be employed throughout -the Middle Ages for processional hymnody, the elegiac excelling in -popularity. First in the original hymn, then in centos and finally in -imitative verse adapted to a multitude of feasts, _Salve festa dies_ was -never superseded but maintained the influence of Fortunatus for -centuries. - -Spain must have known the processional hymn soon after its appearance in -Gaul, perhaps in the seventh century. Here, the Palm Sunday festival -seems to have been the source of inspiration for the procession and -blessing of palms is mentioned by Isidore of Seville as an observance of -his day.[16] Contemporary evidence indicates a similar procession in -Italy.[17] The use of a processional hymn, however, is not as clearly -indicated. - -It seems probable that the seventh century hymn, _Magnum salutis -gaudium_ (_A. H._ 51. 73), "O great joy of salvation," is one of the -earliest to be assigned for Palm Sunday. It is a simple rendering in the -Ambrosian style, of the events recounted in the biblical narrative.[18] -In the early centuries when the concept of a specific processional hymn -for a particular festival was almost unheard of, a familiar hymn from -the old hymnals might be used in the new ceremonies. It has been -suggested that _Magnum salutis gaudium_ was known to Theodulphus, who in -the ninth century wrote the Palm Sunday processional hymn, _Gloria laus -et honor_, for all the ages. - -Processions, thus far, have been thought of chiefly, as wholly or in -part outside the church edifice. Processions within the edifice were -also frequently observed. A procession of the clergy, in connection with -which psalms and antiphons were sung, preceded the Sunday high mass; -another took place as the Gospel codex was carried to its place for -reading. Other ceremonies within the church, aside from the liturgy -proper, were sometimes accompanied by hymns.[19] - -Perhaps the earliest hymn in use at a special ceremony, once more a -selection from the hymnal, was _Audi, iudex mortuorum_ (_A. H._ 51. 80), -"Hear Thou Judge of the dead," sung on Holy Thursday at the consecration -of the chrism.[20] The words _O redemptor, sume carmen temet -concinentium_, "O Redeemer, accept the hymn of Thy people magnifying -Thee,"[21] formed a refrain, a metrical feature which came to be the -unmistakable mark of the processional hymn. - -In this early period from the sixth to the tenth century, a new idea and -a new practice came into being, the use of hymns apart from those of the -canonical hours and the sequences of the mass. The ninth century revival -of hymnody in all its branches was taking place in western Europe just -as this period came to a close, in connection with which the -processional hymn was inevitably affected as the office hymn and the -sequence had been by a fresh inspiration to poetry and worship. The -movement came to fruition at St. Gall where the musical and ceremonial -aspects of that great monastic center were so highly developed, a center -which had contributed so heavily to the Carolingian revival of -literature and the arts. - -The French liturgical scholar, Leon Gautier, whose contributions to the -study of medieval hymnology have already been mentioned, was the first -to identify the processional hymn as a trope or liturgical -interpolation. In a study of the St. Gall processional hymns he observed -that they were classified by the name _versus_ which in itself points to -a separate hymnic category. Other earlier hymns used in processions were -there called _versus_. Gautier discovered that musical notation always -appeared with the _versus_, an indication that these hymns were -invariably chanted and he noted that the _versus_, in the manner of the -hymn _O redemptor, sume carmen_, cited above, was without exception, -accompanied by a refrain.[22] - -The processional hymns of St. Gall, like the sequences, bore the -characteristic marks of the hymnic group to which they belonged. From -this stage in their evolution they were set apart by their music, -classification and refrain. - -The wider circle of Carolingian liturgical interest included hymn -writers other than those of St. Gall: Theodulphus of Orleans, Walafrid -Strabo of Reichenau, Rabanus Maurus of Fulda, Radbert of Corbie, who -with Waldram and Hartmann of St. Gall wrote processional hymns. The -hymns of Theodulphus and of Rabanus Maurus have been considered above. - -Other great festivals of the ecclesiastical year and of the saints were -now observed with processional honors for which new hymns were written; -special ceremonies also, were thus recognized. Hartmann wrote the -elegiac hymn _Salve, lacteolo decoratum sanguine festum_ (_A. H._ 50. -251), "Hail festival, graced with the blood of the Innocents," for the -Feast of the Holy Innocents. The processional hymns of Rabanus Maurus -were heard at Nativity, Easter and possibly the Feast of the -Purification. The dramatic spirit, always present in the true -processional is felt in all these hymns while the refrain reiterates the -message of the feast: - -for Easter, - -R. Surrexit quia Christus a sepulcro, - Collaetetur homo choro angelorum. (_A. H._ 50. 190) - - Since Christ has risen from the tomb, - Let man rejoice with the choir of angels. - -for the Nativity, - -R. Christo nato, rege magno - totus orbis gaudeat. (_A. H._ 50. 186) - - Since Christ is born, the mighty king, - let the whole earth rejoice. - -Processional hymns for saints are represented by Radbert's hymn honoring -St. Gall, - -R. Annua, sancte Dei, celebramus festa diei, - Qua, pater, e terris sidera, Galle, petis. (_A. H._ 50. 241) - - We celebrate, O Saint of God, our yearly feast on this day - When thou, father Gallus, dost leave the earth for heaven. - -To celebrate the life and miracles of a patron saint was frequently the -inspiration of a medieval procession, which, in the case of St. Gall, -passed beyond the precincts of the monastery into the streets of the -town.[23] It is no wonder that the tradition of these processions, -furnished with all the splendor of festival vestments, of robed choirs, -of monastic treasures and sacred banners should have made St. Gall -unique. - -The Sunday processions were sometimes accompanied by imposing hymns in -the form of litanies. It should not be forgotten that the ancient -Christian processions were, in great part, of this nature. Waldram, -Hartmann and Radbert wrote such hymns but Hartmann's was evidently a -favorite, _Summus et omnipotens genitor, qui cuncta creasti_, "Mighty -and omnipotent father, who hast created all things," with the refrain, - -R. Humili prece et sincera devotione - Ad te clamantes semper exaudi nos. (_A. H._ 50. 253) - - With humble prayer and pure devotion, - Ever hear us as we cry to Thee. - -It seems probable that the custom of singing a hymn in the procession -before the reading of the Gospel originated at St. Gall. Hartmann -provided a beautiful _versus_ for this purpose, - - Sacrata libri dogmata - Portantur evangelici. (_A. H._ 50. 250) - - The sacred words of the - Gospel are borne. - -A _versus_ for the reception of the Eucharist was written by Radbert, -_Laudes omnipotens, ferimus tibi dona colentes_ (_A. H._ 50. 239), "In -reverence, Almighty, we bring our praises as gifts to Thee." The -Blessing of the Font on Holy Saturday inspired his _Versus ad Descensum -fontis_ (_A. H._ 50. 242-3). Among the ceremonies most characteristic of -medieval piety was that of _Mandatum_ or foot-washing, commemorating the -act of Jesus in washing his disciples' feet, (_John_ 13; 1-15). The name -"Maundy Thursday" is a modern survival of the ancient terminology.[24] -The hymn associated with this rite appears first in Gaul in the eighth -or ninth century and may have been current in Italy in monastic centers. -The antiphon, _Ubi caritas et amor, Deus ibi est_, "Where charity is and -love, God is there," is at once the motive and refrain of this hymn, -_Congregavit nos in unum Christi amor_ (_A. H._ 12. 24), "The love of -Christ has united us," which follows the scriptural account.[25] - -The student must turn once more to the great monastic centers of the -Germanic world for processional hymns honoring royalty. Visits of kings -and emperors to St. Gall and other noted monasteries were by no means -uncommon; that colorful processions and demonstrations of loyalty were a -part of their reception cannot be doubted. Walafrid Strabo celebrates -the visit of Lothair to Reichenau with the hymn, - -R. Imperator magne, vivas - semper et feliciter. (_A. H._ 50. 176) - - Live, O mighty emperor - ever in felicity. - -Walafrid Strabo praised Charles, son of Louis the Pious, and Radbert, -the Empress Richgard. Other processionals could be used on the occasion -of the coming of any royal visitor. - -Vatican manuscripts offer evidence of contemporary processions in Italy -and Rome, the city of their origin. From this source is derived the -processional hymn _Sancta Maria, quid est?_ (_A. H._ 23. 74), "Sancta -Maria, what meaneth this?" written for the procession which marked the -eve of the Feast of the Assumption, about the year 1000. Specific -directions for the route, the order of precedence and every detail of -the ceremonial are available, while the hymn itself depicts the devotion -and human appeal attending this night time scene in Rome.[26] - - - III. Evolution in the Later Middle Ages - -For the evolution of the processional hymn from this point to the close -of the Middle Ages, we have in addition to hymnic manuscripts, the -service books and manuals devoted to, or including, processional -practice. The _Ritual_ or _Roman Pontifical_ was the earliest to include -directions for processions, an illustration of which has been presented -above in the case of _Sancta Maria, quid est?_ In the course of time, -since so many medieval processions were not thus provided for, the -_Processional_ came into existence, containing the order of processions -for a particular diocese or monastery.[27] The St. Gall _Processionals_, -for instance, are informative as to customs already described above. The -specific name _versus_ gave rise to the title _Versarius_ for a book of -processional hymns.[28] - -In addition to the collections, liturgical writers discussed the -procession. Of these, none was more influential than Durandus, Bishop of -Mende, who, about 1286, produced his _Rationale divinorum officiorum_ -which among many other liturgical subjects, included processional -rites.[29] Durandus was a leading authority upon ecclesiastical -symbolism. Accordingly, he dwells upon every minute detail of the great -processions for Easter, Ascension, Palm Sunday and the Purification as -well as the Sunday procession and others of lesser importance, ascribing -to each act a wealth of symbolic meaning. Much of this figurative -interpretation is obvious and inherent in the feast to be celebrated but -in other cases he gives full play to his sense of the symbolic, a phase -of contemporary thought already so characteristic of Adam of St. Victor -and other writers on religious themes. Finally he declares that whatever -else is suggested, "the true procession is a progress to the celestial -country." (_Ipsa vero processio, est via ad coelestem patriam._)[30] If -the fundamental concepts which entered into their origins be reviewed, -medieval processions apparently carried with them the familiar ideas of -supplication, of dramatic representation or of pilgrimage to sacred -places. Durandus reiterates and sublimates these concepts, giving them -an added significance. - -The processional manuals, especially of the English rites observed at -Salisbury, York, Canterbury and other cathedral centers, offer -descriptions and sometimes illustrations showing the order and vestments -of the clergy, the position and functions of the choir, the appropriate -acts involved, together with the complete text of the antiphons, psalms, -other scriptural passages, hymns, prayers and rubrics. Turning to the -processional hymns which were rendered in these centuries, one is -impressed by the gradual disappearance of hymns typical of the efforts -of the St. Gall school and its contemporaries. A tremendous vogue of the -original _Salve festa dies_ of Fortunatus which had never been lost -sight of, together with its centos, variants and copies, takes -possession of the field. There were in all, perhaps, from one hundred to -one hundred and fifty true processional hymns in circulation throughout -the whole medieval period, if one enumerates those which are edited in -the _Analecta Hymnica_. One half of these may be considered to be of the -_Salve festa dies_ type while similar elegiac metrical forms are found -in half of the remainder. - -What has been said of the cultural background in which the sequence -developed and multiplied is equally true for the processional hymn. The -same influences which created new seasonal feasts and additional feasts -for the saints, produced new processional hymns to accompany them. There -is, however, a great disparity between the number of sequences and -processional hymns that were written. The sequence was regnant in sacred -and secular verse, both in Latin and the vernaculars. Office hymns, too, -far outnumbered processionals. This may be another way of saying that -the office hymns and the sequences had a liturgical function and -setting, while the processional was always extra-liturgical and either -superfluous or purely ornamental from this point of view. The antiphons -and psalms were sufficient to satisfy the essential choral demands of -any procession. - -Unfortunately Thomas Aquinas did not include a processional hymn when he -furnished the hymnody for the Feast of Corpus Christi. He could hardly -have envisaged the thousands of Corpus Christi processions throughout -Catholic Christendom which have marked the Feast even to this day. Nor -could he have foreseen that his hymn _Pange lingua gloriosi corporis -mysterium_, written in the tradition of Fortunatus, would be widely -appropriated for that purpose. Other processionals for Corpus Christi -appeared almost at once, especially of the _Salve_ type. - -Contemporary devotion to the Virgin Mother and her festivals was felt in -the expansion of the Marian hymnology for processions. The establishment -of St. Osyth in Essex was a center in which new hymns were used for the -Visitation, - - Salve festa dies, toto venerabilis aevo, - Qua Christi mater visitat Elizabeth. (_A. H._ 11. 51) - - Hail thee, festival day, blest day that is hallowed forever, - On which Christ's mother visits Elizabeth. - -and the Assumption, - - Salve festa dies, toto venerabilis aevo, - Qua fuit assumpta virgo Maria pia. (_A. H._ 11. 55) - - Hail thee, festival day, blest day that is hallowed forever, - On which the holy Virgin Mary was assumed. - -A lengthy hymn of twenty stanzas for the Feast of the Purification which -had been observed for so many centuries, appears in a twelfth or -thirteenth century manuscript from Kremsmnster, _Laetetur omne -saeculum_ (_A. H._ 4. 54), "Let every age rejoice." The biblical scene -of the Presentation in the Temple is described and reference is made to -the carrying of lighted candles. - -Later medieval practice perpetuated other earlier customs. From the -original station processions at Rome had developed the ceremonies to -celebrate the translation of relics of saints in western European lands. -Pope Callistus II (d. 1124) wrote a processional hymn honoring St. James -of Campostella, _Versus Calixti Papae, cantandi ad processionem sancti -Jacobi in solemnitate passionis ipsius et translationis ejusdem_ (_A. -H._ 17. 194), or _Versus of Pope Callistus, to be sung at the procession -of St. James in the celebration of his passion and translation_. A hymn -for St. Kyneburga (d. 680) commemorated the restoration of her relics to -their original burial place in Peterborough Minster from which they had -been removed during the Danish invasions.[31] (_A. H._ 43. 218) - -A procession in which the relics were carried for the veneration of the -worshipers was familiar in many places. Records from St. Gall testify -that St. Magnus was honored with such a procession and an appropriate -hymn of praise (_A. H._ 50. 261). The relics of saints treasured at -Exeter were borne in procession with the singing of a hymn which -mentions their miraculous powers. (_A. H._ 43. 277) - -In an era marked by municipal drama and civic display as well as -religious festivals, the pageantry of the procession was understandably -popular. Rome always had its great processions. Accounts are extant of -ceremonies accompanied by hymns, in Tournai, Strasburg, Nuremberg and -other medieval towns, aside from those prescribed by episcopal and -monastic manuals of the day for the great cathedrals and abbeys. - -The music to which the processional hymn was sung is, in some cases, -available. The St. Gall manuscripts, as Gautier noted, were furnished -with musical notation. This is occasionally true of later manuscripts, -especially as we enter the closing medieval centuries. The traditional -melodies of certain hymns, like the _Salve festa dies_ and _Gloria laus -et honor_ are known to-day. Musicologists and students of liturgical -music are currently engaged in bringing this music to present-day -knowledge. For example, the hymn used in procession before the reading -of the Gospel appears in the twelfth and thirteenth centuries as a -_conductus_ or _conductum_ which, in turn, is related to the -_cantio_.[32] A _conductus_ for the festival of St. James of Campostella -(_A. H._ 17. 199), illustrates the evolution of a minor type of -processional hymn from Hartmann's solemn _versus_, mentioned above, to -the festive style of the late medieval period. The recent study of the -_conductus_ by Leonard Ellinwood reflects the growing interest of -musicians in these forms, both secular and religious, which preceded the -Renaissance.[33] - -To summarize the characteristic marks of the processional hymn which are -constant and quite independent of the date of their appearance, the -student must recall the underlying motives: 1) supplication in the -litanies, 2) re-enactment of biblical scenes and 3) religious -pilgrimage. Respecting usage, the special interest of a ceremony devoted -to a particular occasion is present in processional hymns, additional to -other rites. Lastly, a group of hymns has come into existence, not to be -classified with the more formal categories of the office hymn and the -sequence but dedicated to an extra-liturgical purpose. - -As a group, the processional hymns are not well-known or frequently used -in translation with the exception of the ageless hymns of Theodulphus -and especially of Fortunatus whose processionals usurped the medieval -field for over one thousand years and are still current to-day. - -(See Illustrative Hymns, XVII. _Salve festa dies_, "Hail thee, festival -day.") - - - - - CHAPTER SEVEN - Influence and Survival of Latin Hymns - - - I. Late Medieval Influence - -From the creation of the Latin hymn in the fourth century by the -earliest writers to the efforts of poets heralding the Renaissance, -Christian hymnody left its imprint upon contemporary verse both secular -and religious. The field of inquiry suggested by this thesis has never -been fully explored although it abounds in fascinating possibilities for -the student of medieval culture. The subject, of course, cannot be -treated within the limits of this chapter but such hints may be offered -as have resulted from a partial study of particular areas or fall within -the bounds of reasonable assumption. - -Perhaps the most pervading influence and the simplest to trace is the -metrical. The iambic dimeter of Ambrose, both in its quantitative and in -its rhythmical form, became a standard for poetry of all types, -appearing even in the modern age as the long meter of the metrical -versions of the Psalms. Trochaic verse, initiated in hymns by Hilary, -employed most effectively by Fortunatus and always a favorite, rivalled -the iambic in the vernaculars. As the metrical features of the Victorine -sequence became increasingly popular, they were taken over bodily by -secular poets writing both in Latin and in the modern European -languages. Classical meters fostered by Prudentius and later by the -Carolingian poets showed less vitality as poetical models. The -liturgical hymn and the sequence are of prime importance in their -metrical aspects but the meters of the _piae cantiones_ and other -religious lyrics were also widely appropriated. The origin of rhyme is a -related problem which in the opinion of W. B. Sedgwick "centers around -the Christian hymn."[1] Numerous publications by scholars who, like -Sedgwick, have spoken with authority, bear witness to the general -linguistic and literary interest attaching to these subjects of -research. - -Aside from aspects of meter and rhyme, medieval secular verse in Latin -borrowed generously from the hymn; witness the songs of the wandering -scholars as recorded in the collection edited under the title _Cambridge -Songs_ and also the goliardic poetry of the _Carmina Burana_.[2] -Well-known hymns are frequently parodied and, in general, the liturgical -models are employed to create humorous allusion or pungent satire. The -student song _Gaudeamus igitur_ is a familiar illustration of this -general group. - -The adaptation of the sequence to secular purposes resulted in a novel -type of verse, the _modus_, already cited in connection with the origin -of the sequence, illustrated by the _Modus florum_ of which many -examples have been preserved varying in beauty and poetic conceit. -Reference has been made in an earlier chapter to the deeper problems -underlying sequence origins on the poetical side. Discussion among -scholars as to the priority of the religious or secular Latin lyric is -still active.[3] Some would say that popular Latin verse arose by virtue -of the hymnodic influence. Others would posit a vernacular impulse which -eventuated in the Latin lyric both secular and religious.[4] - -Apart from the lyric, there are in the general field of Latin verse many -resemblances to hymnic models. The lengthy narrative poems of the -_Peristephanon_ in which Prudentius recounted the sufferings of the -martyrs, St. Laurence, St. Vincent, St. Agnes, St. Eulalia and others, -and celebrated their spiritual victories, have been called hymns. It has -been argued that they were actually sung,[5] in full, upon the festival -days of the saints in question although the praises of St. Vincent, for -example, are expanded to 576 lines, other hymns varying from 66 to 1140 -lines. It may have been possible in the more leisurely tempo of medieval -life to render the martyr hymns of Prudentius in their entirety. A far -more provocative suggestion makes them the starting point for the -medieval saints' legend of which illustrations exist in lengthy Latin -poems and later, in vernacular verse. - -The contribution of hymns to the liturgical drama of the Church has been -noted in connection with the sequence, _Victimae paschali laudes_. It is -nowhere contended that the hymn created the drama but that the dramatic -phraseology is often reminiscent of the hymn and that the role of the -singers in the _schola cantorum_ and the choir, as actors in the -liturgical play, becomes significant in connection with the hymnic -origins of these productions within the church.[6] - -Finally, an interesting group of Latin poems having an interrelation -with the hymn is illustrated by _O Roma nobilis_, a tenth century lyric -praising the apostles and martyrs of the Eternal City (_A. H._ 51. -219).[7] - -The transition from Latin to vernacular languages took place as soon as -the latter were sufficiently developed to produce Christian verse. The -Gospels were rendered into Germanic rhymed verse in the ninth century by -Otfried the Frank who inserted a hymn of ten stanzas as a poetic version -of the opening of St. John's Gospel. It is written in seven-syllable -couplets with four or six to a stanza.[8] Otfried is said to have been -influenced by Rabanus Maurus and with good reason since the latter was a -recognized leader in mediating Latin patristic and other writings to the -Germanic world of his day. - -Otfried was the first of many medieval poets whose religious lyrics in -the vernacular, often revealing the inspiration of the Latin hymn, have -been preserved. Their verse appears in Wackernagel's great collection in -which he has edited 1448 specimens from the time of Otfried to that of -Hans Sachs.[9] - -Celtic churchmen were pioneers among medieval Latin hymnists, their -earliest contribution dating from the sixth century. Religious lyrics in -the Celtic tongue must have been produced and recorded before the Danish -invasions although the destruction of these manuscripts delayed the -compiling of new vernacular collections until the eleventh century. The -hymn _Hymnum dicat turba fratrum_, written in trochaic tetrameter, and -preserved in the Bangor Antiphonary, to which reference has been made in -Chapter One, apparently influenced the metrical system of Celtic poetry. -The metrical pattern used by Otfried, a quatrain of seven-syllable lines -with rhymed couplets, is commonly found.[10] Latin influence is at least -tentatively acknowledged by scholars in the rhyme and stanza structure -of Celtic poetry prior to the eleventh century.[11] - -After the creation of the Latin sequence, vernacular poetry is -overwhelmingly affected by this new type of hymn. Germanic poets -followed the leadership of Notker. The Victorine school, rejecting the -strophic system and rhythmic model of the Germans, built the couplet and -rhyme, already existing in hymns, into a characteristic structure which -proved to be easily transferable to vernacular uses. It has been -asserted that the lyric poetry of the Middle Ages, in German, French, -Provenal and English was reborn in this conquest of the vernacular by -the Latin sequence.[12] At the same time, the possible influence of the -vernacular over the Latin must not be ignored. There is a resemblance, -for instance, between the narrative elements of sequences written in -honor of saints and the ballads of secular poetry.[13] Whatever the -conflicting currents may have been in the period of origins, the -smooth-flowing stream of the vernacular religious lyric with its many -tributaries, refreshed the spirit of medieval man and recalled to memory -his religious heritage. - -The vitality of this new religious poetry which flourishes in the later -centuries, in which the Latin hymn suffered so marked a deterioration, -suggests that the future of the hymn, like other media of Latin -literature, was to be realized in a new linguistic environment. It was -not the verity but the language that was destined to change. - -In order to appreciate the variety and interest of that vernacular lyric -poetry which arose within the sphere of influence of the Latin hymn, -illustrations may be culled from many parts of Europe. _Mary-Verse in -Meistergesang_ is the title chosen by Sister Mary Schroeder for her -study of one aspect of the German lyric.[14] A very large proportion, -perhaps two-thirds of the songs are religious in content, showing to a -degree, their dependence upon hymnal poetry, while nearly one-fourth of -them are devoted to the praise of the Virgin. Occasionally, a Latin -sequence has been freely translated, paraphrased or elaborated. - -The Swedish vernacular is represented by the patriotic poem of Bishop -Thomas of Strngns, who, in the fourteenth century, wrote in praise of -the national hero, Engelbrekt. Metrical and stanza form are both of the -hymnal type.[15] - -The Romance languages afford myriad examples of the sequence form. St. -Martial, near Limoges, already cited as a center in the production of -the sequence, and Paris, the home of the Victorine school, are both -places of origin for vernacular lyrics. A close connection has been -traced between the sequence and the French romantic lyric, especially -the _lai_, a connection amply illustrated and tabulated for the -convenience of the student.[16] More familiar, perhaps, than the _lais_ -are the appealing lines of Franois Villon, "Dame des cieulx, regente -terrienne," which possesses all the charm of the Marian lyric at its -best. - -About the year 1270, Alfonso X of Castile made a collection of 400 poems -in the Galician-Portuguese dialect, the _Cntigas de Santa Mara_ around -which a considerable literature has grown up. All are devotional in -subject matter. Alfonso X was a literary patron. Ramon Lull (c. 1315) -was himself a poet who wrote in the Catalan tongue although his mystical -writings are better known than his poetry. His _Hours of our Lady St. -Mary_ was modeled upon the hymn and set to a hymn tune.[17] - -The Italian poets of religious verse flourished as writers both in the -vernacular and in Latin. St. Francis of Assisi, (1181-1226), whose -_Cantico di fratre sole_[18] is known and loved by countless persons in -our own day, was among the earliest poets of the _Laudi spirituali_. The -origin of the _laudi_ has been traced in part to the ejaculations of the -flagellants of northern Italy where bands of these penitents were -commonly seen in the thirteenth century. A century earlier, religious -societies of singers, the _laudisti_, were in existence in Venice and -Florence. Arezzo knew such a group as early as 1068.[19] Included among -the known writers of _laudi_ are Jacopone da Todi, (1230-1306), and -Bianco da Siena, (c. 1307), both classified today as writers of hymns. - -The movement represented by the _laudisti_ spread to France, -German-speaking lands, the Low Countries and Poland. Everywhere the -vernacular was used with popular unison melodies. As we approach the -Renaissance, Florence is still conspicuous for her authors of the -religious vernacular lyric, among them Lorenzo di Medici and Savonarola, -(1452-1498), better known as the Florentine preacher whose passionate -denunciations of the evils of his day brought him into conflict with the -Church and resulted in his execution. His _Laude al crucifisso_ has been -translated in part by Jane F. Wilde as a hymn, "Jesus, refuge of the -weary." - -The English religious lyrics of the thirteenth, fourteenth and fifteenth -centuries may be read with enjoyment in the collections of Carleton -Brown whose appraisement of this poetry was the fruit of great learning -and a sympathetic discernment of human values.[20] Here the Latin hymn -may be found as it was translated, adapted and imitated in English -verse. The Latin sequence, as it increased in popularity, was taken over -by English poets with great success. Some of these writers who -appropriated the Latin models, like William Herebert, Jacob Ryman and -John Lydgate, are known to us by name while others are anonymous. Their -poetic themes are varied but Marian verse appears in many forms: hymns, -laments, and rhymed petition. Incidentally, a knowledge of the Latin -original must be presupposed on the part of the English laity of this -period. Chaucer wrote for the layman who must have understood his use of -the sequence _Angelus ad Virginem_ in the "Miller's Tale" and the -sequence _Alma redemptoris mater_ in the "Prioress' Tale." - -English macaronic verse best reveals the Latin hymn. Over and over -again, Latin quotations are used, sometimes embedded in the text, -sometimes added as refrains, an understanding of which is always vital -to the appreciation of the poem. - -The carol, although extraneous to true hymnody, because of its -non-liturgical character and usage, was related to Latin origins; to -some extent, to the _cantio_ and the _conductus_. A form of vernacular -lyric, the carol often shares the macaronic features which were common -in the blended phraseology of the European languages with Latin in this -popular type of late medieval verse. It is relevant here as a religious -lyric which bears the unmistakable mark of the hymnic inheritance. -Whatever is true of the English carol is equally true of the carol in -other lands. To-day these lyrics are of great interest and of increasing -usage in the Christian Church at large. Their musical and poetic aspects -are both subjects of enthusiastic research. Many persons in our modern -society who have never studied the classical languages are able to sing -the Latin words and phrases they contain, with understanding, as did -their medieval predecessors. - - - II. Influence and Survival of Latin Hymns since the Middle Ages - -The writing of Latin hymns by no means died out with the medieval era in -the sixteenth century. The great prestige of Latin studies fostered by -the Renaissance alone would have been sufficient to perpetuate the -practice. The Church, too, was engaged in a movement to standardize and -improve the Latinity of the breviary hymns which resulted in the -Trentine cycle as we know it today. A concurrent movement toward -uniformity of rites appreciably reduced the number of breviaries and the -variety of their hymns, but those breviaries which maintained an -independent existence had their own complete cycles. Such were the -Cluniac Breviary of 1686 and the Paris Breviary of 1736 for which new -hymns were written and sung side by side with those of medieval origin. -Among post-Renaissance poets represented in these collections were the -Frenchmen Jean-Baptiste de Santuil and his brothers Claude and Baptiste. -Freshly inspired by classical studies, the new hymn writers repudiated -medieval ruggedness and stylistic neglect in favor of the smooth and -finished Latinity affected by contemporary poets. From the substantial -body of verse produced in these centuries, _Adeste fideles_, "O come, -all ye faithful," has proved a favorite. Sometimes classified as a hymn, -sometimes as a carol, it originated in the English colony at Douay about -the year 1740, from the pen of John Francis Wade.[21] - -The continuity of the Roman Use, however, was not disturbed. The Roman -Breviary had acquired its cycle of hymns in the processes of evolution -which have been traced in the preceding chapters. Trentine revisions -under the guidance of Pope Urban VIII, (1623-1644), made with the -highest motives but often deplored by later scholars, transformed the -medieval originals into products of the Renaissance. The Trentine -Breviary contains many of the finest medieval hymns which, although they -have suffered alterations, have carried the traditional heritage into -modern times.[22] - -By virtue of its prestige and its world-wide circulation, the Roman -Breviary has been the vehicle by which the Latin hymn has penetrated -into the modern vernacular languages in translations. It is a subject of -frequent comment that the full treasury of hymns has not been drawn upon -by the Catholic Church since the hymns of the Roman Breviary have -monopolized the field. The historical reason for this is clear and also -for the fact that in the Roman Missal only five sequences, each of -recognized superiority, have been retained. - -The restriction of Latin hymns in Roman Catholic liturgical usage to a -relatively small number allows certain exceptions. The Benedictine and -other religious orders use their own cycle of breviary hymns and -present-day Catholic hymnals in popular use often contain translations -of hymns and sequences additional to those of the Roman Breviary and -Missal. - -Protestant Churches are not limited in their selection of Latin hymns -for translation, making their choices from the entire medieval store. -The revival of Latin hymns in a translated form, which marked the Oxford -Movement in the Anglican Church in the mid-nineteenth century, drew upon -the Sarum Breviary as one native to English soil and therefore -appropriate to the English Church. That these hymns were largely -represented in the Roman Breviary, was well-known but the earlier and -unrevised texts were preferred. In his function as a translator, John -Mason Neale was preeminently a leader in the task of making known to the -adherents of the Church of England their heritage of hymns. - -An attempt was made at this time to perpetuate not only the words but -the Gregorian Chant as a suitable musical setting for the vernacular. -Here the innovators were only partly successful and the chant, although -enthusiastically employed at first was gradually abandoned in the -English Church as the sole musical vehicle for the Latin hymn in -translation. Similarly Latin hymns have been taken over into other -modern languages by translators of Protestant as well as Catholic -allegiance. - -In the seventeenth and eighteenth centuries the influence of Latin hymn -meters continued to be felt in vernacular hymnody. Metrical versions of -the Psalms made by Isaac Watts are often illustrative of old Latin forms -which may also be recognized in his own hymns. This may not have been a -conscious imitation of Latin originals for by this time hymn meters were -ingrained in English poetry, but merely an indirect reflection, for -example, of the Ambrosian model. - -More subtle has been the influence in modern times of the most ancient -canons of hymnic expression; objective presentation of scriptural -narrative, doctrinal emphasis and a certain joyful austerity in the -praise of God. During the three and a half centuries which have passed -since the era of the Protestant Reformation, the Christian hymn has -experienced a succession of literary movements, reflecting, for example, -the spirit of the Age of Reason and of the Romantic Era. Contemporary -musical evolution has, in turn, been vitally important to the growth of -the hymn as it has been mated with the melodies of the Genevan Psalter, -the chorales of Bach, the musical novelties of instrumental origin, the -folk song and latterly the native music of regions open to missionary -enterprise. - -Throughout this varied experience the stream of medieval Latin hymnody -has continued its course. As an accompaniment of Roman Catholic worship -this was only to be expected. The conquest by the Latin hymn of areas -beyond the limits of the Roman Church is more significant. The most -recent hymnals of leading Protestant denominations, to which the Latin -hymn in translation has made a modest but genuine contribution, bear -witness to the ageless character of this hymnody. Modern investigation -of hymn sources, their origins, authorship and influence, has created -the study of documentary hymnology as it is known today. In the -processes of this inquiry the medieval Latin hymn has been invested with -new interest in the minds of a multitude of worshipers, both Catholic -and Protestant, who have hitherto been unaware of, or indifferent to, -their common heritage. - - - - - Illustrative Hymns - - - I. _Splendor paternae gloriae_ - -1. Splendor paternae gloriae, - De luce lucem proferens, - Lux lucis et fons luminis, - Dies dierum illuminans, - -1. O Splendor of God's glory bright, - O Thou that bringest light from light, - O Light of light, light's living spring, - O Day, all days illumining; - -2. Verusque sol illabere, - Micans nitore perpeti, - Iubarque sancti Spiritus - Infunde nostris sensibus. - -2. O Thou true Sun, on us thy glance - Let fall in royal radiance, - The Spirit's sanctifying beam - Upon our earthly senses stream. - -3. Votis vocemus et Patrem-- - Patrem perennis gloriae, - Patrem potentis gratiae-- - Culpam releget lubricam, - -3. The Father, too, our prayers implore, - Father of glory evermore, - The Father of all grace and might, - To banish sin from our delight: - -4. Informet actus strenuos, - Dentem retundat invidi, - Casus secundet asperos, - Donet gerendi gratiam. - -4. To guide whate'er we nobly do, - With love all envy to subdue, - To make all-fortune turn to fair, - And give us grace our wrongs to bear. - -5. Mentem gubernet et regat, - Casto fideli corpore; - Fides calore ferveat, - Fraudis venena nesciat. - -5. Our mind be in his keeping placed, - Our body true to him and chaste, - Where only Faith her fire shall feed - To burn the tares of Satan's seed. - -6. Christusque nobis sit cibus, - Potusque noster sit fides; - Laeti bibamus sobriam - Ebrietatem Spiritus. - -6. And Christ to us for food shall be, - From him our drink that welleth free, - The Spirit's wine, that maketh whole, - And mocking not, exalts the soul. - -7. Laetus dies hic transeat, - Pudor sit ut diluculum, - Fides velut meridies, - Crepusculum mens nesciat. - -7. Rejoicing may this day go hence, - Like virgin dawn our innocence. - Like fiery noon our faith appear, - Nor know the gloom of twilight drear. - -8. Aurora cursus provehit, - Aurora totus prodeat, - In Patre totus Filius, - Et totus in Verbo Pater. - -8. Morn in her rosy car is borne; - Let Him come forth our perfect Morn, - The Word in God the Father one, - The Father perfect in the Son. - - Tr. Robert Bridges, from _The Yattendon Hymnal_ (edited by Robert - Bridges & H. Ellis Wooldridge) by permission of the Clarendon Press, - Oxford. - - - II. _Vexilla regis prodeunt_ - -1. Vexilla regis prodeunt, - Fulget crucis mysterium, - Quo carne carnis conditor - Suspensus est patibulo. - -1. The banners of the king advance, - The cross with mystery doth flame, - And from the tree the Flesh of flesh, - Word Incarnate, hangs in shame. - -2. Quo vulneratus insuper - Mucrone dirae lanceae, - Ut nos lavaret crimine, - Manavit unda, sanguine. - -2. The lance's edge hath pierced His side, - O look on Him that for our good - Cleansed us of the stain of sin, - Washed out with water and with blood. - -3. Inpleta sunt quae concinit - David fideli carmine, - Dicendo nationibus: - Regnavit a ligno Deus. - -3. Now is fulfilled what was foretold - By David in prophetic song: - Suspended from the rood Our God - Will rule. To Him shall nations throng. - -4. Arbor decora et fulgida, - Ornata regis purpura, - Electa digno stipite - Tam sancta membra tangere. - -4. O glorious and radiant tree - In royal crimson richly decked, - His sacred limbs to touch and hold - Thee did our Lord, fair rood, elect. - -5. Beata, cuius bracchiis - Pretium pependit saeculi. - Statera facta est corporis - Praedam tulitque tartari. - -5. Thou blessed cross upon whose arms - The body of the Savior fell; - As with a balance thou didst weigh - The Christ that bore us out of Hell. - -6. Fundis aroma cortice, - Vincis sapore nectare, - Iocunda fructu fertili - Plaudis triumpho nobili. - -6. Thy wood is all a sweet perfume, - Thou art like nectar very sweet; - Rejoicing in thy fruit thou mak'st - A perfect triumph more complete. - -7. Salve ara, salve victima - De passionis gloria, - Qua vita mortem pertulit - Et morte vitam reddidit. - -7. Altar and sacred victim, hail! - In thy passion is our glory. - Life from death thou bringest back, - Life in death shall be our story. - -8. O crux ave, spes unica, - Hoc passionis tempore, - Auge piis iustitiam, - Reisque dona veniam. - -8. Hail thou cross, O hail thou only - Hope that agony may win; - To believers bring salvation, - Take the sinner from his sin! - - The 8th stanza is a later addition. Stanza 2 omitted. - - Tr. Howard M. Jones (Allen, P. S., _The Romanesque Lyric_. Chapel - Hill, Un. of N. C. Press, 1928, p. 146-7. Quoted by permission of - publishers.) - - - III. _Aeterna Christi munera_ - -1. Aeterna Christi munera - Et martyrum victorias, - Laudes ferentes debitas - Laetis canamus mentibus. - -1. The eternal gifts of Christ the King, - The Martyrs' glorious deeds we sing; - And while due hymns of praise we pay, - Our thankful hearts cast grief away. - -2. Ecclesiarum principes, - Belli triumphales duces, - Caelestis aulae milites, - Et vera mundi lumina; - -2. The Church in these her princes boasts, - These victor chiefs of warrior hosts; - The soldiers of the heavenly hall, - The lights that rose on earth for all. - -3. Terrore victo saeculi, - Poenisque spretis corporis, - Mortis sacrae compendio - Vitam beatam possident. - -3. The terrors of the world despised, - The body's torments lightly prized, - By one brief space of death and pain - Life everlasting they obtain. - -4. Traduntur igni martyres - Et bestiarum dentibus; - Armata saevit ungulis - Tortoris insani manus. - -4. To flames the Martyr Saints are hailed: - By teeth of savage beasts assailed; - Against them, armed with ruthless brand - And hooks of steel, their torturers stand. - -5. Nudata pendent viscera, - Sanguis sacratus funditur, - Sed permanent immobiles - Vitae perennis gratia. - -5. The mangled frame is tortured sore, - The holy life-drops freshly pour: - They stand unmoved amidst the strife, - By grace of everlasting life. - -6. Devota sanctorum fides, - Invicta spes credentium, - Perfecta Christi caritas - Mundi triumphat principem. - -6. 'Twas thus the yearning faith of saints, - The unconquered hope that never faints, - The love of Christ that knows not shame, - The Prince of this world overcame. - -7. In his paterna gloria, - In his voluntas filii, - Exultat in his spiritus; - Caelum repletur gaudiis. - -7. In these the Father's glory shone; - In these the will of God the Son; - In these exults the Holy Ghost; - Through these rejoice the heavenly host. - -8. Te nunc, Redemptor, quaesumus, - Ut ipsorum consortio - Iungas precantes servulos - In sempiterna saecula. - -8. Redeemer, hear us of thy love, - That, with the glorious band above, - Hereafter, of thine endless grace, - Thy servants also may have place. - - Tr. John Mason Neale, _Hymnal Noted_. - - - IV. _Nocte surgentes vigilemus omnes_ - -1. Nocte surgentes, vigilemus omnes, - Semper in psalmis meditemur, atque - Viribus totis Domino canamus - Dulciter hymnos. - -1. Father, we praise thee, now the night is over, - Active and watchful, stand we all before thee; - Singing we offer prayer and meditation: - Thus we adore thee. - -2. Ut pio regi pariter canentes - Cum suis sanctis mereamur aulam - Ingredi caeli, simul et beatam - Ducere vitam. - -2. Monarch of all things, fit us for thy mansions; - Banish our weakness, health and wholeness sending; - Bring us to heaven, where thy Saints united - Joy without ending. - -3. Praestet hoc nobis Deitas beata - Patris ac Nati pariterque sancti - Spiritus, cuius reboatur omni - Gloria mundo. - -3. All-holy Father, Son and equal Spirit, - Trinity blessed, send us thy salvation; - Thine is the glory, gleaming and resounding - Through all creation. - - Tr. Percy Dearmer, from _The English Hymnal_ by permission of the - Oxford University Press. - - - V. _Alleluia_ - -1. Alleluia piis edite laudibus, - Cives aetherei, psallite naviter - Alleluia perenne. - -1. Sing alleluia forth in duteous praise, - Ye citizens of heav'n; O sweetly raise - An endless alleluia. - -2. Hinc vos perpetui luminis accola, - Assumet resonans hymniferis choris, - Alleluia perenne. - -2. Ye powers who stand before th' Eternal Light, - In hymning choirs re-echo to the height - An endless alleluia. - -3. Vos urbs eximia suscipiet Dei, - Quae laetis resonans cantibus excitat - Alleluia perenne. - -3. The Holy City shall take up your strain, - And with glad songs resounding wake again - An endless alleluia. - -4. Felici reditu gaudia sumite - Reddentes Domino glorificos melos, - Alleluia perenne. - -4. In blissful antiphons ye thus rejoice - To render to the Lord with thankful voice - An endless alleluia. - -5. Almum sidereae iam patriae decus - Victores capitis, quo canor est iugis - Alleluia perenne. - -5. Ye who have gained at length your palms in bliss, - Victorious ones, your chant shall still be this, - An endless alleluia. - -6. Illic regis honor vocibus inclitis - Iucunda reboat carmina perpetim - Alleluia perenne. - -6. There, in one glad acclaim, forever ring - The strains which tell the honour of your king, - An endless alleluia. - - Stanzas 7, 8, 9 omitted. - - Tr. John Ellerton - - - VI. _Sancti venite_ - -1. Sancti venite, Christi corpus sumite, - Sanctum bibentes, quo redempti sanguinem. - -1. Draw nigh, and take the Body of the Lord, - And drink the Holy Blood for you outpoured. - -2. Salvati Christi corpore et sanguine, - A quo refecti laudes dicamus Deo. - -2. Saved by that Body, hallowed by that Blood, - Whereby refreshed, we render thanks to God. - -3. Hoc sacramento corporis et sanguinis - Omnes exuti ab inferni faucibus. - -3. Salvation's Giver, Christ the Only Son; - By that His Cross and Blood the victory won. - -4. Dator salutis, Christus filius Dei, - Mundum salvavit per crucem et sanguinem. - -4. Offered was He for greatest and for least: - Himself the Victim, and Himself the Priest. - -5. Pro universis immolatus Dominus - Ipse sacerdos exstitit et hostia. - -5. Victims were offered by the Law of old, - That, in a type, celestial mysteries told. - -6. Lege praeceptum immolari hostias, - Qua adumbrantur divina mysteria. - -6. He, Ransomer from death and Light from shade, - Giveth His holy grace His Saints to aid. - -7. Lucis indultor et salvator omnium - Praeclaram sanctis largitus est gratiam. - -7. Approach ye then with faithful hearts sincere, - And take the safeguard of salvation here. - -8. Accedant omnes pura mente creduli, - Sumant aeternam salutis custodiam. - -8. He That in this world rules His Saints, and shields, - To all believers Life Eternal yields: - -9. Sanctorum custos, rector quoque, Dominus, - Vitae perennis largitor credentibus. - -9. With Heavenly Bread makes them that hunger whole; - Gives Living Waters to the thirsty soul. - -10. Caelestem panem dat esurientibus, - De fonte vivo praebet sitientibus. - -11. Alpha et omega ipse Christus Dominus - Venit, venturus iudicare homines. - -10. Alpha and Omega, to Whom shall bow - All nations at the Doom, is with us now. - - Tr. John Mason Neale, _Mediaeval Hymns and Sequences_, London. - Masters, 1867, p. 13. - - Neale omits Latin stanza 3. - - - VII. _Ave maris stella_ - -1. Ave maris stella, - Dei mater alma - Atque semper virgo, - Felix caeli porta. - -1. Hail, Sea-star we name thee, - Ever-maid acclaim thee, - God His Mother, Portal - To the life immortal. - -2. Sumens illud Ave - Gabrielis ore - Funda nos in pace, - Mutans nomen Evae. - -2. Ave was the token - By the Angel spoken: - Peace on earth it telleth, - Eva's name re-spelleth. - -3. Solve vincla reis, - Profer lumen caecis, - Mala nostra pelle, - Bona cuncta posce. - -3. Free the worldly-minded - Luminate the blinded, - Every ill repressing, - Win us every blessing. - -4. Monstra te esse matrem, - Sumat per te preces, - Qui pro nobis natus - Tulit esse tuus. - -4. Plead, and play the Mother! - He will, and no other, - Born for our salvation, - Hear thy supplication. - -5. Virgo singularis, - Inter omnes mitis, - Nos culpis solutos - Mites fac et castos. - -5. Maiden meek and lowly, - Singularly holy, - Loose the sins that chain us; - Sanctify, sustain us. - -6. Vitam praesta puram, - Iter para tutum, - Ut videntes Iesum - Semper collaetemur. - -6. Help us live in pureness, - Smooth our way with sureness, - Till we also eye Thee, - Jesu, ever nigh Thee. - -7. Sit laus Deo Patri, - Summo Christo decus, - Spiritui Sancto: - Tribus honor unus. - -7. Doxology. - - Tr. G. R. Woodward - - - VIII. _Ut queant laxis resonare fibris_ - (St. John the Baptist) - -1. Ut queant laxis resonare fibris - Mira gestorum famuli tuorum, - Solve polluti labii reatum, - Sancte Ioannes. - -1. In flowing measures worthily to sing - The wonders which of old by thee were done, - To lips unclean let Heaven remission bring, - O Holy John! - -2. Nuntius celso veniens Olympo, - Te patri magnum fore nasciturum, - Nomen et vitae seriem gerendae - Ordine promit. - -2. From highest Heaven a herald sent to earth - Thy future greatness to thy father told; - Thy name and life in order from thy birth - Entire unrolled. - -3. Ille promissi dubius superni, - Perdidit promptae modulos loquelae, - Sed reformasti genitus peremptae - Organa vocis. - -3. Yet doubting of the promise of his Lord - His palsied tongue of language lost the power; - By thee was all his faltering speech restored - Thy natal hour. - -4. Ventris obtruso recubans cubili, - Senseras regem thalamo manentem, - Hinc parens nati meritis uterque - Abdita pandit. - -4. Thou didst within the narrow womb discern - The King in that his chamber lie concealed; - Each parent her Son's dignity in turn - To each revealed. - -5. Sit decus Patri, genitaeque Proli, - Et tibi, compar utriusque virtus, - Spiritus semper, Deus unus, omni - Temporis aevo. - -5. Now whilst Heaven's citizens proclaim thy praise - God ever One and yet coequal Three - For pardon we our suppliant voices raise - Redeemed by Thee! - - Tr. J. D. Chambers. Stanzas 6-13 omitted. - - - IX. _Veni creator spiritus_ - -1. Veni creator Spiritus - Mentes tuorum visita, - Imple superna gratia, - Quae tu creasti pectora. - -1. Creator-spirit, all-Divine, - Come, visit every soul of thine, - And fill with thy celestial flame - The hearts which thou thyself didst frame. - -2. Qui Paraclitus diceris, - Donum Dei altissimi, - Fons vivus, ignis, caritas, - Et spiritalis unctio. - -2. O gift of God, thine is the sweet - Consoling name of Paraclete-- - And spring of life and fire and love - And unction flowing from above. - -3. Tu septiformis munere, - Dextrae Dei tu digitus, - Tu rite promisso Patris - Sermone ditas guttura. - -3. The mystic sevenfold gifts are thine, - Finger of God's right hand divine; - The Father's promise sent to teach - The tongue a rich and heavenly speech. - -4. Accende lumen sensibus, - Infunde amorem cordibus, - Infirma nostri corporis - Virtute firmans perpeti. - -4. Kindle with fire brought from above - Each sense, and fill our hearts with love; - And grant our flesh, so weak and frail, - The strength of thine which cannot fail. - -5. Hostem repellas longius, - Pacemque dones protinus, - Ductore sic te praevio - Vitemus omne noxium. - -5. Drive far away our deadly foe, - And grant us thy true peace to know; - So we, led by thy guidance still, - May safely pass through every ill. - -6. Da gaudiorum praemia, - Da gratiarum munera, - Dissolve litis vincula, - Adstringe pacis foedera. - -6. To us, through Thee, the grace be shown - To know the Father and the Son; - And Spirit of them both, may we - Forever rest our faith in Thee. - -7. Per te sciamus, da, Patrem, - Noscamus atque Filium, - Te utriusque Spiritum - Credamus omni tempore. - -7. To Sire and Son be praises meet, - And to the Holy Paraclete; - And may Christ send us from above - That Holy Spirit's gift of love. - -8. Sit laus Patri cum Filio, - Sancto simul Paraclito, - Nobisque mittat Filius - Charisma sancti Spiritus. - - Tr. J. A. Aylward - - - X. _Deus immensa trinitas_ - (Mozarabic, Common of Saints) - -1. Deus, immensa trinitas, - Unita semper gloria, - Pater, Christe, Paraclite, - Rerum invicte Domine. - -1. O glorious immensity - And one eternal Trinity, - Father and Comforter and Word, - Of all that is, unconquered Lord, - -2. Qui largitatem muneris - Quo praestasti martyri, - Cuius festa votissima, - Quam celebramus hodie. - -2. The saint for whom our chants of praise - Consenting on this feast we raise, - With princely guerdons thou didst bless: - Thy crown, thy palm, thy happiness. - -3. Tormenta qui saevissima - Ac varia supplicia - Victrice tua dextera - Mente robusta pertulit. - -3. In tortures, great and cruel pain - Thou didst with thy right hand sustain - Thy servant, who with steadfast heart - Bore the tormentor's every art. - -4. Huius, adclines, Domine, - Te deprecamur, precibus, - Aetherea consortia, - Celsa dona fastigia. - -4. Thy gracious ear, O Christ divine, - Unto thy servant's prayer incline, - To whom thy fairest gifts are given - Within the gracious halls of heaven. - -5. Qui princeps esse principum - Rex mysticus agnosceris, - Agnita nostra crimina - Large dele clementia. - -5. Thee Prince of Princes, we proclaim, - The King that bears the mystic name: - Blot out in thy great love, we pray, - The sins that mar this holy day. - -6. Adventus ut cum fulgidus - Tuus, Christe, patuerit, - Tuo ducante martyre - Laeti pergamus obviam. - -6. That so when Thou shalt come again, - O Christ, in light, on earth to reign, - Led by thy martyr, we may dare - To rise to meet thee in the air. - -7. (added) - Deo Patri sit gloria - Eiusque soli Filio - Cum Spiritu Paraclito - Et nunc et omne saeculum. - -7. (added) - To God the Father glory be, - And God the Son eternally, - With God the Holy Paraclete - Through endless ages, as is meet. - - Tr. Alan G. Mcdougall (_Pange Lingua_ _etc._, Burns, Oates & - Washbourne, London, 1916. p. 71. Quoted by permission of publishers.) - - - XI. _Sancti spiritus assit nobis gratia_ - -1. Sancti spiritus assit nobis gratia, - -1. The grace of the Holy Ghost be present with us; - -2. Quae corda nostra sibi faciat habitaculum - -2. And make our hearts a dwelling place to itself; - -3. Expulsis inde cunctis vitiis spiritalibus. - -3. And expel from them all spiritual wickedness. - -4. Spiritus alme, illustrator hominum, - -4. Merciful Spirit, Illuminator of men, - -5. Horridas nostrae mentis purga tenebras. - -5. Purge the fearful shades of our mind. - -6. Amator sancte sensatorum semper cogitatuum, - -6. O holy Lover of thoughts that are ever wise, - -7. Infunde unctionem tuam clemens nostris sensibus. - -7. Of Thy mercy pour forth Thine Anointing into our senses. - -8. Tu purificator omnium flagitiorum spiritus, - -8. Thou purifier of all iniquities, O Spirit, - -9. Purifica nostri oculum interioris hominis, - -9. Purify the eye of our inner man, - -10. Ut videri supremus genitor possit a nobis, - -10. To the end that the Father of all things may be seen by us, - -11. Mundi cordis quem soli cernere possunt oculi. - -11. He, Whom the eyes of none save the pure in heart can behold. - -12. Prophetas tu inspirasti, ut praeconia Christi praecinuissent - inclita; - -12. Thou didst inspire the Prophets to chant aforehand their glorious - heralding of Christ. - -13. Apostolos confortasti, uti tropaeum Christi per totum mundum - veherent. - -13. Thou didst confirm the Apostles, so that they shall bear Christ's - glorious trophy through the whole world. - -14. Quando machinam per verbum suum fecit Deus caeli, terrae, marium, - -14. When by His Word, God made the system of heaven, earth, seas, - -15. Tu super aquas foturus eas numen tuum expandisti, spiritus. - -15. Thou didst stretch out Thy Godhead over the waters, and didst - cherish them, O Spirit! - -16. Tu animabus vivificandis aquas fecundas; - -16. Thou didst give virtue to the waters to quicken souls; - -17. Tu aspirando das spiritales esse homines. - -17. Thou, by Thine Inspiration, grantest to men to be spiritual. - -18. Tu divisum per linguas mundum et ritus adunasti, Domine; - -18. Thou didst unite the world, divided into tongues and rites, O - Lord! - -19. Idolatras ad cultum Dei revocas, magistrorum optime. - -19. Thou recallest idolaters to the worship of God, best of Masters! - -20. Ergo nos supplicantes tibi exaudi propitius, sancte spiritus, - -20. Wherefore of Thy mercy hear us who call upon Thee, Holy Ghost: - -21. Sine quo preces omnes cassae creduntur et indignae Dei auribus. - -21. Without Whom, as the faith teaches, all our prayers are in vain, - and unworthy of the ears of God, - -22. Tu, qui omnium saeculorum sanctos Tui numinis docuisti instinctu - amplectendo, spiritus, - -22. Thou, O Spirit, who by embracing the Saints of all ages, dost - teach them by the impulse of Thy Divinity; - -23. Ipse hodie apostolos Christi donans munere insolito et cunctis - inaudito saeculis - -23. Thyself, by bestowing upon the Apostles of Christ a gift immortal, - and unheard of from all ages, - -24. Hunc diem gloriosum fecisti. - -24. Hast made this day glorious. - - Tr. John Mason Neale, _Mediaeval Hymns and Sequences_, London. - Masters, 1867, p. 29. - - - XII. _Cantemus cuncti melodum nunc Alleluia_ - -1. Cantemus cuncti melodum nunc, - _Alleluia_. - -1. The strain upraise of joy and praise, - Alleluia. - -2. In laudibus aeterni regis - haec plebs resultet - _Alleluia_. - -2. To the glory of their King - Shall the ransomed people sing - Alleluia. - -3. Hoc denique caelestes chori - cantant in altum - _Alleluia_. - -3. And the Choirs that dwell on high - Shall re-echo through the sky - Alleluia. - -4. Hoc beatorum - per prata paradisiaca - psallat concentus - _Alleluia_. - -4. They through the fields of Paradise that roam, - The blessed ones, repeat that bright home - Alleluia. - -5. Quin et astrorum - micantia luminaria - iubilant altum - _Alleluia_. - -5. The planets glitt'ring on their heavenly way, - The shining constellations, join, and say - Alleluia. - -6. Nubium cursus, - ventorum volatus, - fulgurum coruscatio - et tonitruum sonitus - dulce consonent simul - _Alleluia_. - -6. Ye clouds that onward sweep! - Ye winds on pinions light! - Ye thunders, echoing loud and deep! - Ye lightnings, wildly bright! - In sweet consent unite your - Alleluia. - -7. Fluctus et undae, - imber et procellae, - tempestas et serenitas, - cauma, gelu, nix, pruinae, - saltus, nemora pangant - _Alleluia_. - -7. Ye floods and ocean billows! - Ye storms and winter snow! - Ye days of cloudless beauty! - Hoar frost and summer glow! - Ye groves that wave in spring, - And glorious forests, sing - Alleluia. - -8. Hinc, variae volucres, - creatorem - laudibus concinite cum - _Alleluia_. - -8. First let the birds, with painted plummage gay, - Exalt their great Creator's praise, and say - Alleluia. - -9. Ast illinc respondeant - voces altae - diversarum bestiarum - _Alleluia_. - -9. Then let the beasts of earth, with varying strain, - Join in Creation's Hymn, and cry again - Alleluia. - -10. Istinc montium - celsi vertices sonent - _Alleluia_. - -10. Here let the mountains thunder forth, sonorous, - Alleluia - There let the valleys sing in gentler chorus, - Alleluia. - -11. Illinc vallium - profunditates saltent - _Alleluia_. - -11. Thou jubilant abyss of ocean, cry - Alleluia. - Ye tracts of earth and continents, reply - Alleluia. - -12. Tu quoque, maris - iubilans abysse, dic - _Alleluia_. - -12. To God, Who all Creation made, - The frequent hymn be duly paid: - Alleluia. - -13. Necnon terrarum - molis immensitates: - _Alleluia_. - -13. This is the strain, the eternal strain, the Lord of all things - loves: - Alleluia. - This is the song, the heav'nly song, that Christ Himself approves: - Alleluia. - -14. Nunc omne genus - humanum laudans exsultet - _Alleluia_. - -14. Wherefore we sing, both heart and voice awaking, - Alleluia. - And children's voices echo, answer making, - Alleluia. - -15. Et creatori - grates frequentans consonet - _Alleluia_. - -15. Now from all men be outpour'd - Alleluia to the Lord; - With Alleluia evermore - The Son and Spirit we adore. - -16. Hoc denique nomen audire - iugiter delectatur - _Alleluia_. - -16. Praise be done to Three in One. - Alleluia! Alleluia! Alleluia! Alleluia! - -17. Hoc etiam carmen caeleste - comprobat ipse Christus - _Alleluia_. - -18. Nunc vos, O socii, - cantate laetantes - _Alleluia_. - -19. Et vos, pueruli, - respondete semper - _Alleluia_. - -20. Nunc omnes canite simul - _Alleluia_ Domino, - _Alleluia_ Christo - Pneumatique _Alleluia_. - -21. Laus trinitati aeternae: - _Alleluia, Alleluia,_ - _Alleluia, Alleluia,_ - _Alleluia, Alleluia._ - - Tr. John Mason Neale, _Mediaeval Hymns and Sequences_, London. - Masters, 1867, p. 43. - - Stanzas 10-13 translate Latin 10-21. - - - XIII. _Heri mundus exultavit_ - -1. Heri mundus exultavit, - Et exultans celebravit - Christi natalitia: - Heri chorus angelorum - Prosecutus est caelorum - Regem cum laetitia. - -1. Yesterday, with exultation - Joined the world in celebration - Of her promis'd Saviour's birth; - Yesterday the Angel nation - Pour'd the strains of jubilation - O'er the Monarch born on earth. - -2. Protomartyr et Levita, - Clarus fide, clarus vita, - Clarus et miraculis, - Sub hac luce triumphavit, - Et triumphans insultavit - Stephanus incredulis. - -2. But to-day, o'er death victorious, - By His faith and actions glorious, - By His miracles renown'd, - Dared the Deacon Protomartyr - Earthly life for Heav'n to barter, - Faithful midst the faithless found. - -3. Fremunt ergo tanquam ferae, - Quia victi defecere - Lucis victi adversarii: - Falsos testes statuunt, - Et linguas exacuunt - Viperarum filii. - -3. In a hopeless strife engaging, - They like savage beasts are raging, - Adversaries of the light; - False the witnesses they set; - Tongues like swords the rabble whet, - Viper brood of darkest night. - -4. Agonista, nulli cede; - Certa certus de mercede, - Perservera, Stephane: - Insta falsis testibus, - Confuta sermonibus - Synagogam Satanae. - -4. Forward, champion, in thy quarrel! - Certain of a certain laurel, - Holy Stephen, persevere! - Perjur'd witnesses confounding - Satan's Synagogue astounding - By thy doctrine true and clear. - -5. Testis tuus est in caelis, - Testis verax et fidelis, - Testis innocentiae. - Nomen habes coronati, - Te tormenta decet pati - Pro corona gloriae. - -5. Lo! in Heaven thy Witness liveth: - Bright and faithful proof He giveth - Of His Martyr's blamelessness: - Thou by name a Crown impliest; - Meetly then in pangs thou diest - For the Crown of Righteousness! - -6. Pro corona non marcenti - Perfer brevis vim tormenti, - Te manet victoria. - Tibi fiet mors, natalis, - Tibi poena terminalis - Dat vitae primordia. - -6. For a crown that fadeth never, - Bear the torturer's brief endeavour; - Victory waits to end the strife: - Death shall be thy birth's beginning, - And life's losing be the winning - Of the true and better Life. - -7. Plenus Sancto Spiritu - Penetrat intuitu - Stephanus caelestia. - Videns Dei gloriam - Crescit ad victoriam, - Suspirat ad praemia. - -7. Whom the Holy Ghost endueth, - Whom celestial sight embueth, - Stephen penetrates the skies; - There God's fullest glory viewing - There his victor strength renewing - For his near reward he sighs. - -8. En a dextris Dei stantem - Iesum, pro te dimicantem, - Stephane, considera. - Tibi caelos reserari, - Tibi Christum revelari - Clama voce libera. - -8. See, as Jewish foes invade thee, - See how Jesus stands to aid thee! - Stands to guard His champion's death: - Cry that opened Heaven is shown thee: - Cry that Jesus waits to own thee: - Cry it with thy latest breath! - -9. Se commendat Salvatori, - Pro quo dulce ducit mori - Sub ipsis lapidibus. - Saulus servat omnium - Vestes lapidantium, - Lapidans in omnibus. - -9. On his Saviour's aid relying, - Sweet to him the pain of dying, - 'Neath the fearful rain of stone: - Paul amidst the stoning throng, - Guarding garments, makes the wrong - Of the angry Jews his own. - -10. Ne peccatum statuatur - His, a quibus lapidatur, - Genu ponit et precatur, - Condolens insaniae: - In Christo sic obdormivit, - Qui Christo sic obedivit, - Et cum Christo semper vivit, - Martyrum primitiae. - -10. As the dying Martyr kneeleth, - For his murderers he appealeth, - And his prayer their pardon sealeth, - For their madness grieving sore; - Then in Christ he sleepeth sweetly, - Who His pattern kept completely, - Martyr first-fruits, evermore! - - Tr. John Mason Neale, _Mediaeval Hymns and Sequences_, London. - Masters, 1867, p. 134. - - St. 3, tr. Stephen A. Hurlbut. Quoted by permission of author. Stanzas - 11, 12 omitted. - - - XIV. _Ad perennis vitae fontem_ - -1. Ad perennis vitae fontem mens sitivit arida; - Claustra carnis praesto frangi clausa quaerit anima: - Gliscit, ambit, eluctatur exul frui patria. - -1. To the fount of life eternal cries the soul with longing thirst, - And the spirit, flesh-imprisoned, seeks the bars of flesh to burst; - Strives to gain that heavenly country, exiled now and sin-accurst. - -2. Dum pressuris ac aerumnis se gemit obnoxiam, - Quam amisit, dum deliquit, contemplatur gloriam, - Praesens malum auget boni perditi memoriam. - -2. Sore beset with care and danger, groans the spirit for release, - Still beholds, though lost in Eden, glory forfeited and peace; - Former good, in memory dwelling, doth the present ill increase. - -3. Nam quis promat summae pacis quanta sit laetitia, - Ubi vivis margaritis surgunt aedificia, - Auro celsa micant tecta, radiant triclinia? - -3. Who can tell how great the joy of that Peace surpassing all, - Where of living pearls constructed rise the stately buildings tall, - Where with gold the rooftree glitters, shines with gold the - banquet-hall. - -4. Solis gemmis pretiosis haec structura nectitur; - Auro mundo, tamquam vitro, urbis via sternitur; - Abest limus, deest fimus, lues nulla cernitur. - -4. All of precious stones compacted rise those structures of delight; - Purest gold as crystal shining paves the heavenly city bright; - Never mire nor filth defiling stains the streets of radiant light. - -5. Hiems horrens, aestas torrens illic numquam saeviunt; - Flos perpetuus rosarum ver agit perpetuum; - Candent lilia, rubescit crocus, sudat balsamum. - -5. Chilling winter, burning summer, neither rages in that land, - But the crimson bloom of roses doth an endless spring demand; - White the lilies, red the crocus, fragrant doth the balsam stand. - -6. Virent prata, vernant sata, rivi mellis influunt; - Pigmentorum spirat odor, liquor et aromatum; - Pendent poma floridorum non lapsura nemorum. - -6. Green the pastures, flower-besprinkled, fed by streams with honey - filled; - All the air is sweet with incense from the odorous herbs distilled; - Never fails the ripened fruitage, nor is bloom by winter chilled. - -7. Non alternat luna vices, sol, vel cursus siderum; - Agnus est felicis urbis lumen inocciduum; - Nox et tempus desunt ei, diem fert continuum. - -7. Waxeth not the moon nor waneth, need not sun or stars to be, - But the Lamb in that blest city shines a Sun eternally; - There the daylight is unbroken, night and time have ceased to be. - -8. Nam et sancti quique velut sol praeclarus rutilant; - Post triumphum coronati mutuo coniubilant, - Et prostrati pugnas hostis iam securi numerant. - -8. Shine the blessed with a splendor like the splendor of the sun; - Crowned in triumph stand they singing that the race of life is run; - Now secure, they count the glories of the contest they have won. - -9. Omni labe defaecati carnis bella nesciunt, - Caro facta spiritalis et mens unum sentiunt; - Pace multa perfruentes scandalum non perferunt. - -9. Cleansed from every stain of evil, they from carnal strife are - free; - Flesh made spirit, with the spirit doth for evermore agree, - There, released from all temptation, they shall Peace unbroken see. - -20. Probes vires inexhausto laboranti proelio, - Nec quietem post procinctum deneges emerito, - Te que merear potiri sine fine praemio! - -20. Strength supply, in heat or conflict, ceaseless struggle to - maintain; - Grant thy servant, warfare ended, well-deserved rest to gain; - Grant that I, Thyself deserving, may Thyself as prize attain! - - Tr. Stephen A. Hurlbut. Quoted by permission of author. - - - XV. _Lauda, Sion, Salvatorem_ - -1. Lauda, Sion, Salvatorem, - Lauda ducem et pastorem - In hymnis et canticis: - Quantum potes, tantum aude, - Quia maior omni laude, - Nec laudare sufficis. - -1. Praise, O Sion, praise thy Saviour, - Shepherd, Prince, with glad behavior, - Praise in hymn and canticle: - Sing His glory without measure, - For the merit of your treasure - Never shall your praises fill. - -2. Laudis thema specialis, - Panis vivus et vitalis - Hodie proponitur; - Quem in sacrae mensa cenae - Turbae fratrum duodenae - Datum non ambigitur. - -2. Wondrous theme of mortal singing, - Living bread and bread life-bringing, - Sing we on this joyful day: - At the Lord's own table given - To the twelve as bread from heaven, - Doubting not we firmly say. - -3. Sit laus plena, sit sonora - Sit iucunda, sit decora - Mentis iubilatio: - Namque dies est sollemnis - Qua recolitur perennis - Mensae institutio. - -3. Sing His praise with voice sonorous; - Every heart shall hear the chorus - Swell in melody sublime: - For this day the Shepherd gave us - Flesh and blood to feed and save us, - Lasting to the end of time. - -4. In hac mensa novi Regis - Novum pascha novae legis - Phase vetus terminat: - Iam vetustas novitati, - Umbra cedit veritati, - Noctem lux eliminat. - -4. At the new King's sacred table, - The new law's new pasch is able - To succeed the ancient rite: - Old to new its place hath given, - Truth has far the shadows driven, - Darkness flees before the Light. - -5. Quod in cena Christus gessit, - Faciendum hoc expressit - In sui memoriam: - Docti sacris institutis, - Panem, vinum in salutis - Consecramus hostiam. - -5. And as He hath done and planned it-- - "Do this"--hear His love command it, - "For a memory of me." - Learnd, Lord, in thy own science, - Bread and wine, in sweet compliance, - As a Host we offer Thee. - -6. Dogma datur Christianis, - Quod in carnem transit panis, - Et vinum in sanguinem: - Quod non capis, quod non vides, - Animosa firmat fides, - Praeter rerum ordinem. - -6. Thus in faith the Christian heareth: - That Christ's flesh as bread appeareth, - And as wine His precious blood: - Though we feel it not nor see it, - Living faith that doth decree it - All defects of sense makes good. - -7. Sub diversis speciebus, - Signis tamen et non rebus, - Latent res eximiae: - Caro cibus, sanguis potus, - Manet tamen Christus totus - Sub utraque specie. - -7. Lo! beneath the species dual - (Signs not things), is hid a jewel - Far beyond creation's reach! - Though His flesh as food abideth, - And His blood as drink--He hideth - Undivided under each. - -8. A sumente non concisus, - Non confractus, non divisus, - Integer accipitur: - Sumit unus, sumunt mille, - Quantum isti, tantum ille, - Nec sumptus consumitur. - -8. Whoso eateth it can never - Break the Body, rend or sever; - Christ entire our hearts doth fill: - Thousands eat the bread of heaven, - Yet as much to one is given: - Christ, though eaten, bideth still. - -9. Sumunt boni, sumunt mali, - Sorte tamen inaequali - Vitae, vel interitus: - Mors est malis, vita bonis: - Vide, paris sumptionis - Quam sit dispar exitus! - -9. Good and bad, they come to greet Him: - Unto life the former eat Him, - And the latter unto death; - These find death and those find heaven; - See, from the same life-seed given, - How the harvest differeth! - -10. Fracto demum sacramento - Ne vacilles, sed memento - Tantum esse sub fragmento, - Quantum toto tegitur; - Nulla rei fit scissura, - Signi tantum fit fractura, - Qua nec status, nec statura - Signati minuitur. - -10. When at last the bread is broken, - Doubt not what the Lord hath spoken: - In each part the same love-token, - The same Christ, our hearts adore: - For no power the thing divideth-- - 'Tis the symbols He provideth, - While the Saviour still abideth - Undiminished as before. - -11. Ecce, panis angelorum - Factus cibus viatorum, - Vere panis filiorum, - Non mittendus canibus; - In figuris praesignatur, - Cum Isaac immolatur, - Agnus paschae deputatur, - Datur manna patribus. - -11. Hail, angelic bread of heaven, - Now the pilgrim's hoping-leaven, - Yea, the bread to children given - That to dogs must not be thrown: - In the figures contemplated, - 'Twas with Isaac immolated, - By the Lamb 'twas antedated, - In the manna it was known. - -12. Bone pastor, panis vere, - Iesu, nostri miserere, - Tu nos pasce, nos tuere, - Tu nos bona fac videre - In terra viventium. - Tu qui cuncta scis et vales, - Qui nos pascis hic mortales, - Tuos ibi commensales, - Cohaeredes et sodales - Fac sanctorum civium. - - 12, O Good Shepherd, still confessing - Love, in spite of our transgressing,-- - Here Thy blessed food possessing, - Make us share Thine every blessing - In the land of life and love: - Thou, whose power hath all completed - And Thy flesh as food hath meted, - Make us, at Thy table seated, - By Thy saints, as friends be greeted, - In Thy paradise above. - - Tr. H. T. Henry (_Eucharistica_, Dolphin Press, Phila., 1912, p. - 39-43. Quoted by permission of publishers.) - - - XVI. _Stabat mater dolorosa_ - -1. Stabat mater dolorosa - Iuxta crucem lacrimosa, - Dum pendebat filius, - Cuius animam gementem, - Contristantem et dolentem - Pertransivit gladius. - -1. By the Cross her vigil keeping - Stands the Queen of sorrows weeping, - While her son in torment hangs; - Now she feels--O heart afflicted - By the sword of old predicted!-- - More than all a mother's pangs. - -2. O quam tristis et afflicta - Fuit illa benedicta - Mater unigeniti, - Quae maerebat et dolebat - Et tremebat, dum videbat - Nati poenas inclyti. - -2. Sad and heavy stands beside him - She who once had magnified him - One--begotten, only--born; - While she sees that rich atoning, - Long the moaning, deep the groaning - Of her mother--heart forlorn. - -3. Quis est homo, qui non fleret, - Matrem Christi si videret, - In tanto supplicio? - Quis non posset contristari, - Piam matrem contemplari - Dolentem cum filio? - -3. Who Christ's Mother contemplating - In such bitter anguish waiting, - Has no human tears to shed? - Who would leave Christ's Mother, sharing - All the pain her Son is bearing, - By those tears uncomforted? - -4. Pro peccatis suae gentis - Vidit Iesum in tormentis - Et flagellis subditum; - Vidit suum dulcem natum - Morientem, desolatum, - Dum emisit spiritum. - -4. Victim-priest of Jewry's nation, - There he hangs in expiation; - Scourge and nail have had their will; - Earth and heaven his cause forsaking, - Now his noble heart is breaking, - Now the labouring breath is still. - -5. Eia mater, fons amoris, - Me sentire vim doloris - Fac, ut tecum lugeam; - Fac, ut ardeat cor meum - In amando Christum Deum, - Ut sibi complaceam. - -5. Mother, fount whence love flows truest, - Let me know the pain thou knewest, - Let me weep as thou hast wept; - Love divine within me burning, - That diviner love returning, - May thy Son this heart accept. - -6. Sancta mater, istud agas, - Crucifixi fige plagas - Cordi meo valide; - Tui nati vulnerati, - Tam dignati pro me pati, - Poenas mecum divide. - -6. Mother, if my prayer be granted, - Those five wounds of his implanted - In my breast I fain would see; - Love exceeding hangs there bleeding, - My cause pleading, my love needing-- - Bid him share his cross with me. - -7. Fac me vere tecum flere, - Crucifixo condolere, - Donec ego vixero; - Iuxta crucem tecum stare, - Te libenter sociare - In planctu desidero. - -7. Till life fails, I would not fail him, - Still remember, still bewail him, - Born thy Son, and crucified; - By the cross my vigil keeping - I would spend those hours of weeping, - Queen of sorrows, at thy side. - -8. Virgo virginum praeclara, - Mihi iam non sis amara, - Fac me tecum plangere; - Fac, ut portem Christi mortem, - Passionis fac consortem - Et plagas recolere. - -8. Virgin, boast of all creation, - Heed my tears, nor consolation - In thy bitterness repel; - At thy side his livery wearing, - His cross bearing, his death sharing, - Of these wounds the beads I'll tell. - -9. Fac me plagis vulnerari, - Cruce hac inebriari, - Et cruore filii; - Inflammatus et accensus, - Per te, virgo, sim defensus - In die iudicii. - -9. Wounds of Christ, in spirit bruise me, - Chalice of his blood, bemuse me, - Cross of Christ, be thou my stay! - Lest I burn in fires unending, - Sinless Maid, my cause befriending, - Shield me at the judgement day! - -10. Fac me cruce custodiri, - Morte Christi praemuniri, - Confoveri gratia. - Quando corpus morietur, - Fac, ut animae donetur - Paradisi gloria. - -10. Jesus, when earth's shadows leave me, - Through thy Mother's prayers receive me - With the palm of victory; - When my body lies forsaken - Let my ransomed soul awaken - Safe, in Paradise, with thee. - - Tr. Ronald A. Knox (_Westminster Hymnal_, Burns, Oates & Washbourne, - London, 1940, no. 37. Quoted by permission of publishers.) - - - XVII. _Salve, festa dies_ - (Sarum Processional) - -1. Salve, festa dies, toto venerabilis aevo, - Qua Deus infernum vicit et astra tenet. - -1. Hail thee, Festival Day! blest day that art hallowed forever; - Day wherein Christ arose, breaking the kingdom of death. - -2. Ecce, renascentis testatur gratia mundi - omnia cum Domino dona redisse suo. - -2. Lo, the fair beauty of earth, from the death of winter arising, - Every good gift of the year now with its Master returns. - -3. Qui crucifixus erat, Deus ecce per omnia regnat, - Dantque creatori cuncta creata precem. - -3. He who was nailed to the cross is God and the ruler of all things; - All things created on earth worship the maker of all. - -4. Pollicitam sed redde diem, precor, alma potestas, - Tertia lux rediit; surge, sepulte Deus. - -4. God of all pity and power, let thy word be assured to the doubting; - Light on the third day returns: rise, Son of God, from the tomb! - -5. Non decet ut humili tumulo tua membra tegantur, - Neu pretium mundi vilia saxa premant. - -5. Ill doth it seem that thy limbs should linger in lowly dishonor, - Ransom and price of the world, veiled from the vision of men. - -6. Indignum est cuius clauduntur cuncta pugillo, - Ut tegat inclusum rupe vetante lapis. - -6. Ill it beseemeth that thou by whose hand all things are - encompassed, - Captive and bound shouldst remain, deep in the gloom of the rock. - -7. Lintea tolle, precor, sudaria linque sepulchro, - Tu satis es nobis, et sine te nihil est. - -7. Rise now, O Lord, from the grave and cast off the shroud that - enwrapped thee; - Thou art sufficient for us: nothing without thee exists. - -8. Funeris exsequias pateris vitae auctor et orbis, - Intras mortis iter dando salutis opem. - -8. Mourning they laid thee to rest, who art author of life and - creation; - Treading the pathway of death, life thou bestowedst on man. - -9. Redde tuam faciem, videant ut saecula lumen, - Redde diem, qui nos te moriente fugit. - -9. Show us thy face once more, that the ages may joy in thy - brightness; - Give us the light of day, darkened on earth at thy death. - -10. Eripis innumerum populum de carcere mortis, - Et sequitur liber, quo suus auctor adit. - -10. Out of the prison of death thou art rescuing numberless captives; - Freely they tread in the way whither their maker has gone. - -11. Tristia cesserunt infernae vincula legis, - Expavitque chaos luminis ore premi. - -11. Jesus has harrowed hell; he has led captivity captive: - Darkness and chaos and death flee from the face of the light. - - Tr. Maurice F. Bell, from _The English Hymnal_ by permission of the - Oxford University Press. - - - - - Notes - - - Chapter One - Early Middle Ages: Latin Hymns of The Fourth Century - - -[1.] Jerome, _Liber de viris illustribus_, 100 (_MPL_ 23, 699). - -[2.] _Hilarius autem, Gallus episcopus Pictaviensis, eloquentia - conspicuus, hymnorum carmine floruit primus. De ecclesiasticis - officiis 1_, 6 (_MPL_ 83, 743). - -[3.] W. N. Myers, _The Hymns of Saint Hilary of Poitiers in the Codex - Aretinus_ (Phila., Un. of Penn., 1928) 12, 29, 53, 67. For a - discussion of other hymns attributed to Hilary, see p. 14; also A. - S. Walpole, _Early Latin Hymns_ (Cambridge, 1922) 1-4. Translations - by W. N. Myers. - -[4.] _Antiphonary of Bangor_, edited by F. E. Warren, _Henry Bradshaw - Society Publications_, vols. 4, 10 (London, 1893, 1895). For - discussion of authorship see vol. 10, 36. - -[5.] Or perhaps Treves. - -[6.] Augustine, _Confessions_ 9, 7 (_MPL_ 32, 770). Translation from - _Confessions of S. Augustine, Ancient and Modern Library of Theol. - Literature_ (London, 1886). - -[7.] Translations of first lines: W. J. Copeland, C. Bigg, R. E. - Messenger, J. M. Neale. - -[8.] Translations of first lines: J. M. Neale, E. Caswall. - -[9.] Translations of first lines: J. M. Neale, H. M. Jones, R. E. - Messenger, S. Hurlbut. - -[10.] Myers, _op. cit._ (see note 3) 18-22. - -[11.] G. Reese_, Music in the Middle Ages_ (New York, 1940) 104. - -[12.] Caelius Sedulius, 5th C., an early imitator of Ambrose, wrote a - well-known alphabetic hymn, _A solis ortus cardine_. - - - Chapter Two - Early Middle Ages: The Old Hymnal - - -[1.] _Regula Sancti Benedicti_, IX. - -[2.] P. Batiffol, _Historie du Breviare romain_, translated by A. M. Y. - Bayley (London, 1912), chap. I. - -[3.] Dom A. Wilmart, "Le Psautier de la Reine," (_Cod. Vat. Reg. II_), - _Revue Benedictine XXVIII_ (1911) 376 ff. - -[4.] Walpole, _Early Latin Hymns_, (ch. 1, note 3), xi-xiv. - -[5.] Laodicea, c. 364, Canon 59. See G. D. Mansi, _Sacrorum - conciliorum--collectio_ (Florence, Venet. et Par., 1763) ii, 573; - Braga, 563, Mansi ix, 778. - -[6.] H. F. Muller, "Pre-History of the Medieval Drama," _Zeitschrift f. - romanische Philologie_ 44 (1924) 544-575. - -[7.] Tours, 567, Mansi xiv, 803. - -[8.] H. Heimbucher, _Die Orden und Kongregationen der katholischen - Kirche_, 3 vols. (Paderborn, 1907) vol. I, 224-236, _Ausbreitung der - Benediktinerregel_. - -[9.] F. H. Dudden, _Gregory the Great_ (London, 1905), 2 vols., II, - chap. 8. - -[10.] See _A. H._ (_Analecta Hymnica Medii Aevi_) 51.24-41, notes. The - hymns excepted are nos. 23-30; 34-40; J. Julian, _Dictionary of - Hymnology_. _Gregory I., St., Pope_; C. Blume, "Gregor der Grosse - als Hymnendichter," _Stimmen aus Maria-Laach_, 1908, 269 ff. - -[11.] H. LeClercq, _L'Espagne chrtienne_ (Paris, 1906) 304-5. - -[12.] Migne, _PL_ 80, 642-700, Braulio's Letters. - -[13.] IV Council of Toledo, 633, Canon 2, Mansi x, 616; Canon 13, Mansi - x, 622-3. _Sicut igitur orationes, ita et hymnos in laudem Dei - compositos, nullus vestrum ulterius improbet, sed pari modo Gallia, - Hispaniaque celebret: excommunicatione plectendi, qui hymnos - rejicere fuerint ausi._ - -[14.] See R. E. Messenger, "The Mozarabic Hymnal," _TAPhA_ 75 (1944) - 103-126. - -[15.] _The Irish Liber Hymnorum_, edited by J. H. Bernard and R. - Atkinson, _Henry Bradshaw Soc. Pub._ 13, 14 (London, 1897, 1898), - 14, 23-6. - -[16.] _Antiphonary of Bangor_, chap. I, note 4; for history of the - manuscript now in the Ambrosian Library at Milan, p. xii-xiii. - -[17.] Translations of first lines, 1) J. M. Neale, 2), 3), 4) R. E. - Messenger. - -[18.] The Celtic hymns are edited in _A. H._ 51, Part II. See also J. F. - Kenney, _Sources for the Early History of Ireland_, 2 vols. (New - York, 1929) 252-3, 258-274, _Hymns_. - -[19.] Translations of first lines in Summary by J. M. Neale except 2) C. - Bigg, 7) G. R. Woodward. - -[20.] C. W. Douglas, _Church Music in History and Practice_ (New York, - 1937) 168. - - - Chapter Three - The Ninth Century Revival: Hymns - - -[1.] J. M. Neale and G. H. Forbes, _The Ancient Liturgies of the - Gallican Church_ (Burntisland, 1855) p. v. - -[2.] P. Jaff, _Regesta Pontificum Romanorum_ (Lipsiae, 1885-8) 2473 - (1900). - -[3.] _Monumenta Germaniae Historica, Legum sectio_, II, _Capitularia - Regum Francorum_, I, _Capitulare primum_, 769; _Capitulare - Haristallense_, 779; _Admonitio generalis_, 789; _Synodus - Franconofurtensis_, 794; _Epistola de litteris colendis_, 780-800; - _Epistola generalis_, 786-800; _Capitulare missorum generale_, 802; - _Capitularia missorum specialia_, 802; _Synodus et conventus - aquisgrani habita_, 802; _Capitulare de examinandis ecclesiasticis_, - 802; _Capitulare missorum_, 803; _Capitulare de causis etc_., 811; - _Capitulare aquisgranense_, 801-813; _Capitulare cum episcopis - etc_., 780-790; _Capitulare mantuanum primum_, no date, p. 194; - _Pippini capitulare Italicum_, 801-810. - -[4.] _MGH, Legum sectio_, II, _Capitularia Regum Francorum_, I, - _Epistola generalis_, no. 30, p. 80; P. Jaff, _Bibliotheca Rerum - Germanicarum_, vol. IV, _Monumenta Carolina_ (Berlin, 1867) 139, - 140. - -[5.] Dom R. Van Doren, _tude sur l'influence musicale de l'abbaye de - Saint-Gall_ (Louvain, 1925) ch. vi, Metz. - -[6.] E. Mhlbacher, _Deutsche Geschichte unter den Karolingern_ - (Stuttgart, 1896) 211; Jaff, _Monumenta Carolina_, 358ff. - -[7.] E. Bishop, _Liturgica Historica_ (Oxford, 1918) 49-55. - -[8.] A. Fortescue, _The Mass_ (London, 1914) 183. - -[9.] In _Monumenta Germaniae Historica--Poetarum latinorum medii aevi_, - vol. iv, edited by P. von Winterfeld (Berlin, 1923). - -[10.] W. Turner, "Irish Teachers in the Carolingian Revival of - Learning," _Cath. Un. Bulletin_, XIII (Washington, 1907) 384-5; J. - J. O'Kelly, _Ireland: Elements of her Early Story_ (Dublin, 1921) - ch. viii, _Early Irish on the Continent_. - -[11.] Einhard, _Vita Caroli_, 21. - -[12.] L. Gougaud, _Gaelic Pioneers of Christianity, VI-XII Century_ - (Dublin, 1923) 60-3. Translated by Victor Collins. - -[13.] S. Singer, _Die Dichterschule von St. Gallen_ (Leipzig, 1922) - _Introd._ (by Peter Wagner) 11. - -[14.] Turner, _supra_, 570; J. M. Clark, _The Abbey of St. Gall as a - Center of Literature and Art_ (Cambridge, 1926) 31. - -[15.] _Annales Laurissenses, anno 757_ (_MGH, SS_, I, 140). - -[16.] _Jaff, Regesta_, 2346 (1799); Notker Balbulus, _Epistolae_ - (_MPL_, 131, 1172); _Gesta Caroli_, II, 7. - -[17.] F. H. Dudden, _Gregory the Great_ (ch. 2, note 9) I, ch. _VI - Gregory at Constantinople_. - -[18.] P. Wagner, "Morgen- und Abendland in der Musikgeschichte," - _Stimmen der Zeit_, Bd. 114 (1927) 138. - -[19.] Clark, _The Abbey of St. Gall etc._, 112; C. Diehl, _Manuel d'Art - Byzantin_ (Paris, 1910) 359-360, 362-3; M. Hauttmann, _Die Kunst des - frhen Mittelalters_ (Berlin, 1929) 51-62; J. Strzygowski, _Origin - of Christian Church Art_ (Oxford, 1923) 84. - -[20.] _Anal. Hymn._, 51, _Introduction_, xvii-xix; extended lists of the - later Latin hymns appear in J. Julian, _Dictionary of Hymnology_ - (London, 1925) 546, 547. - -[21.] J. Mearns, _Early Latin Hymnaries_ (Cambridge, 1913). - -[22.] Walpole, _Early Latin Hymns_, (ch. 1, note 3) xi. - -[23.] Walpole, _ibid_, xii; W. H. Frere, Introduction to _Hymns Ancient - and Modern Historical Edition_ (London, 1909); Wilmart, _Le Psautier - de la Reine etc_., 362-3; F. J. E. Raby, _Christian Latin Poetry_ - (Oxford, 1927) 38-41. See also R. E. Messenger, "Whence the Ninth - Century Hymnal?," _TAPhA 69_ (1938) 446-464. - -[24.] Gesta Caroli, I, 10; Einhard, _Vita Caroli_, edited by Garrod and - Mowat (Oxford, 1915), Appendix, p. xxxvii. - -[25.] Heimbucher, _Die Orden und Congregationen_ etc., vol. I, 235, - 237-9; _Jahrbcher der deutschen Geschichte_ (Berlin & Leipzig, - 1866-1902), _Geschichte des Ostfrankischen Reichs_, vol. II, 39, 42, - 46. - -[26.] Alcuin, _De psalmorum usu_ (_MPL_, 101), _Officia per ferias MPL_, - 101, _Epistolae_ 84, 94, 164, 227 (_MPL_, 101): Rabanus Maurus, _De - clericis instituts_, II, 49 (_MPL_, 107, 362): Amalarius of Metz, - _De officiis divinis_ (continuation) in J. Mabillon, _Vetera - Analecta_ (Paris, 1723) 99; Walafrid Strabo, _De ecclesiasticarum - rerum exordiis_ etc., ch. xxv (_MPL_, 114, 952ff.). - -[27.] H. De Boor, _Die deutsche Literatur_ 770-1170 (Mnchen, 1949) 21. - -[28.] P. Batiffol, _History of the Roman Breviary_ (London, 1912) 143-4. - -[29.] _Anal. Hymn_. 51. - -[30.] Translation of first line, J. M. Neale. - -[31.] Dom P. B. Gams, _Die Kirchengeschichte von Spanien_ (Regensburg, - 1862-1879) II, Pt. 2, 302, 326-9; Z. Garca Villada, _Historia - eclesistica de Espaa_ (Madrid, 1929-36) V, 85. - -[32.] De Urbel, "Los himnos mozrabes," _Revista ecles. Silos_ 58 (1927) - 56-61. - -[33.] E. Bishop, "Spanish Symptoms," _Liturgica Historica_ (Oxford, - 1918) 168. - -[34.] L. Wiener, _Contributions toward a History of Arabico-Gothic - Culture_ (New York, 1917-21) 101; H. G. Farmer, _Historical Facts - for the Arabian Musical Influence_ (London, 1930) 23. - -[35.] _Anal. Hymn_. 51, _Introduction_. - - - Chapter Four - The Ninth Century Revival: Sequences - - -[1.] Fortescue, _The Mass_ (See ch. 3, note 8) 268-9. - -[2.] See _Introduction_ to _A. H._ 53, by C. Blume and H. M. Bannister. - This _Introduction_ has been used as the basis for the discussion of - sequence origins. Theories and opinions of others are noted from - time to time. - -[3.] W. H. Frere, Introduction to _Hymns Ancient and Modern_ (See ch. 3, - note 23) xxviii; P. Wagner, _Introduction to Gregorian Melodies_ - (London, 1907) 223, translation by Orme and Wyatt. - -[4.] G. Reese, _Music in the Middle Ages_ (ch. 1, note 11) _passim_. - This book contains an excellent standard account of the musical - aspect of the sequence. - -[5.] G. Schnrer, _Kirche und Kultur im Abendland_ (Paderborn, 1926) II, - 88. - -[6.] W. Christ, "ber die Bedeutung von Hirmos, etc.," _Sitzungberichte - der kn. bay. Akad. der Wissenschaft zu Mnchen_, II (1870) 89f. - -[7.] A. Gastou, "Les Types byzantins de la Sequence," _Tribune de - Saint-Gervais_, Dec. 1922, 1, 2. - -[8.] Frere, _Introduction, supra_, xxiv. - -[9.] L. Gautier, _Histoire de la posie liturgique au Moyen ge_ (Paris, - 1886) 1. - -[10.] A. Gastou, "Les Origines liturgiques de la squence," _Tribune de - Saint-Gervais_, June, 1922. See also Wetzer and Welte, - _Kirchenlexicon, Sequenzen_: an important article. - -[11.] Amalarius, _De ecclesiasticis officiis_, III, 16 (_MPL_, 105, - 1123). - -[12.] J. Ottenwlder, "Griechisch-byzantinische Einflsse," _Theol. - Quartalschr_. XCVII (1915), 564-7. - -[13.] Reese, _Music in the Middle Ages, supra_, 133. - -[14.] S. Singer, _Die Dichterschule von St. Gallen_ (ch. 3, note 13), - _Introduction_, 14, 15. - -[15.] The earliest manuscript is _Antiphonale missarum S. Gregorii_, - codex 239 of Laon; see _Palographie musicale_, X. A. Gastou, _Les - Origines du Chant Romain_ (Paris, 1907) 250f. - -[16.] Wetzer und Welte, _supra, Sequenzen_. - -[17.] Frere, _Introduction, supra_, xxviii-xxix; Notker Balbulus, _Liber - sequentiarum, Praefatio_ (_MPL_, 131, 1003). - -[18.] P. Wagner, "Morgen- und Abendland in der Musikgeschichte," (ch. 3, - note 18) 139; Schnrer, _supra_, II, 88. - -[19.] Gastou, "Les Types byzantins de la Squence," _supra_, 2. - -[20.] W. Meyer, _Gesammelte Abhandlungen zur mittellateinischen Rythmik_ - (Berlin, 1908) 37. - -[21.] P. Von Winterfeld, _Stilfragen aus der lateinischen Dichtung des - Mittelalters_ in _Deutsche Dichter etc_. (Mnchen, 1922) 442. - -[22.] W. Meyer, _supra_, 41: "So ist die lyrische Dichtung des - Mittelalters durchaus dem Kirchengesang neu geboren worden." - -[23.] E. Wellesz, _Eastern Elements in Western Chant. Studies in the - Early History of Ecclesiastical Music_ (Oxford, 1947) Pt. IV, ch. 1, - _Origin of sequences and tropes_, an excellent summary of the - subject as investigated to 1947. - -[24.] Notker, _supra_, note 17. - -[25.] P. A. Schubiger, _Die Sngerschule St. Gallens vom viii.-xii. - Jahrhundert_ (Einsiedeln, 1858); W. Wilmanns, "Welche Sequenzen hat - Notker verfasst?," _Zeitschrift f. deutsches Altertum_, XV (1872) - 267f.; J. Werner, _Notkers Sequenzen. Beitrge zur Geschichte der - Lat. Sequenzendichtung_ (Aarau, 1901) III, IV; S. Singer, _supra_; - Van Doren, (ch. 3, note 5) ch. 9; Clark, (ch. 3, note 14) 175. W. - von den Steinen, _Notker der Dichter und seine geistliche Welt_, 2 - vols. (Bern. 1948). This author reviews previous literature. - -[26.] Ottenwlder, _supra_, 464-5. - -[27.] They are _Canopica_, _Styx_, _Phlegethon_, _sophia_, _herous_, - _Myrmidonas_, _spermologos_. - -[28.] P. S. Allen, _Romanesque Lyric_ (Un. of North Carolina Press, - 1928) 66, 221, 222; Schnrer, _supra_, 89; Wellesz. _supra_, 165; W. - B. Sedgwick, "Origin of Rhyme," "_Revue Bndictine_" XXXVI (1924), - 341. - -[29.] Several attractive illustrations of the _modus_ may be found in - Karl Breul's edition of _The Cambridge Songs_ (Cambridge, 1915). - -[30.] Schnrer, _supra_, 89; R. Molitor, _Die Musik in der Reichnau_, - reviewed in _Jahrbuch f. Liturgiewissenschaft_ VI (1926) 331. - -[31.] See Chapter VII. - - - Chapter Five - Late Middle Ages: Hymns and Sequences - - -[1.] J. De Ghellinck, S. J., _L'Essor de la Littrature Latine au XIIe - Sicle_, 2 vols. (Brussels, 1946) II, 285. - -[2.] M. Hlin, History of _Medieval Latin Literature_ (New York, 1949), - translated by J. C. Snow from _Littrature d'occident: Histoire des - Lettres latines du Moyen Age_, 79. - -[3.] L. Gautier, _Oeuvres potiques d'Adam de Saint-Victor_, 2 vols. - (Paris, 1858-9); E. Misset et P. Aubry, _Les Proses d'Adam de - Saint-Victor_ (Paris, 1900). - -[4.] Translations of first lines: R. Messenger, Anon, E. Caswall. - -[5.] Translations of first lines: S. A. Hurlbut, R. Messenger. - -[6.] _A. H._ 48. 141-232. - -[7.] Translations of first lines: 1 and 2, H. Waddell; 3 and 5, E. - Caswall; 4, R. Messenger. - -[8.] Hlin, _supra_, 117. - -[9.] P. Wagner, _Introduction to the Gregorian Melodies_ (ch. 4, note 3) - 241. - -[10.] Translations of first lines: 1 and 4, R. A. Knox; 2, H. T. Henry; - 3, W. J. Irons. - -[11.] Translation of first line: R. Messenger. - -[12.] R. E. Messenger, "Hymns and Sequences of the Sarum Use," _TAPhA_, - 59 (1928) 99-129. - -[13.] E. Bishop, _Liturgica Historica_ (Oxford, 1918) 211-37. - -[14.] E. Hoskins, _Horae Beatae Mariae Virginis etc_. (London, 1901); H. - Bohatta, _Bibliographie des livres d'heures_ (Wien, 1924), 2nd - edition. - -[15.] R. E. Messenger, "Hymns in the Horae Eboracenses," _Classical - Weekly_, 38 (Jan., 1945) 90-5. - -[16.] S. Singer, "Arabische und europische Poesie im Mittelalter," - _Zeitschrift f. deutsche Philologie_, LII (April, 1927); K. Burdach, - "ber den Ursprung des mittelalterichen Minnesangs, etc." in - _Vorspiel_ I (Halle, 1925) 311; A. F. von Schack, _Poesie und Kunst - der Araber etc_., 2 vols. (Stuttgart, 1877) II, 101-5. - -[17.] C. F. Brown, _Religious Lyrics of the 14th Century_ (Oxford, - 1924). Translations of William Herebert (d. 1333) xiii. - -[18.] _Ad honorem Regis summi_, translation of first line: R. E. - Messenger. See C. Daux, _Les Chansons des Plerins de St. Jacques_ - (Montauban, 1899). - -[19.] A. S. Walpole, _Early Latin Hymns_, (ch. 1, note 3) 87-92. - -[20.] E. Rodgers, _Discussion of Holidays in the Later Middle Ages_ (New - York 1940) 33. Miss Rodgers sums up the evidence here, reaching an - affirmative conclusion. - -[21.] L. Thorndike, "Elementary and Secondary Education in the Middle - Ages," _Speculum_, 15 (1940) 400-8, p. 401. - -[22.] W. O. Wehrle, _Macaronic Hymn Tradition etc_. (Washington, 1933). - - - Chapter Six - Late Middle Ages: Processional Hymns - - -[1.] _Matt_. 21: 4-ll; _Mark_ 11: 7-11; _Luke_ 19: 35-38; _John_ 12: - 12-5. - -[2.] Basil, _Ep_. 207, _Ad Neocaes, MPG_ 32. 765; Ambrose, _Ep._ 40. 16, - _Ad Theodosium, MPL_ 16. 1107; Sozomen, _Hist. Eccles._ VIII, 8; see - also Tertullian, _Ad uxorem_, II, 4, MPL 1. 1294. - -[3.] _S. Silviae, quae fertur, Peregrinatio ad loca sancta, in Itinera - Hierosolymitana, Saeculi III-VIII_, ed. P. Geyer (Vindobonae, 1898) - _CSEL_ 39. 35-101. - -[4.] _Ibid._ XXIV, 1-7, 8-12; XXV, 7; XXVI; XXXI; XL, 1-2. - -[5.] A. Bludau, _Die Pilgerreise der Aetheria, Studien zur Gesch. u. - Kultur d. Altertums XV_, 1/2, (Paderborn, 1927) 56. Translation, - Robert Bridges. - -[6.] A. Baumstark, _Die Idiomela der byzantinischen Karfreitagshoren - etc._ Reviewed in _Jahrbuch f. Liturgiewissenschaft_, 10 (1930) - 339-40. - -[7.] P. Batiffol, _tudes de liturgie et d'archologie chrtienne_, - (Paris, 1919) ch. VI, _La Chandeleur_, p. 200. - -[8.] Ambrose, _Ep_. 11(53), _MPL_ 17. 743-4; Augustine, _De Civ. Dei_ - 22. 8; _Conf._ 9. 7; See also the hymn _Grates tibi, Jesu, novas_, - attributed to Ambrose, _A. H._ 50. 17. - -[9.] G. H. Cobb, "Early Catholic Outdoor Processions," _The Month_, 148 - (1926) 539-542. - -[10.] For Mamertus, see Greg. Turonen., _Hist. franc._ 2. 34, _MPL_ 71. - 230-32. _Councils_. Council of Orleans, 511, canon 17, Mansi VIII, - 355; Council of Girona, 517, _Capit._ 2 & 3, Mansi, VIII, 549; see - also 17th Council of Toledo, 694, _Capit._ 6, Mansi XII, 99-100. - _Litaniae maiores_, Greg. Magnus, _Ep._ V, 11, Litany on Feast of - St. John Baptist, _MPL_ 77, 732-3; _Litania septiformis_, Greg. - Turonen., _Hist. franc._ 10, 1, _MPL_ 71. 519-20; Joh. Diac., _Vita - Greg. Magn._, 1. 41, 42, MPL 75. 80. - -[11.] L. Duchesne, _Christian Worship_, (London, 1904) 240, 515. - -[12.] P. Batiffol, (note 7) 197-201; L. Eisenhofer, _Handbuch der - Katholischen Liturgik_, 2 vols. (Freiburg im Breisgau, 1923) I, - 582-6. - -[13.] At this point the definition of _processio_ in Canon Law is of - interest: _Nomine sacrarum processionum significantur solemnes - supplicationes quae a populi fideli, duce clero, fiunt eundo - ordinatim de loco sacro ad locum sacrum, ad excitandam fidelium - pietatem, ad commemoranda Dei beneficia eique gratias agendas, ad - divinum auxilium implorandum_. Can. 1290. I. - -[14.] B. M. Peebles, "Fortunatus, Poet of the Holy Cross," _Amer. Church - Monthly_ 38 (1935, July-Sept.) 152-166. His account is based upon - Greg. Turonen., _Hist. franc._, IX, 40; Baudonovia, _Vita S. Rad._, - II. 16. - -[15.] R. E. Messenger, _Salve festa dies, TAPhA_, 78 (1947) 208-222. - Translation, S. A. Hurlbut; for _Salve festa dies_, traditional. - -[16.] Dom M. Frotin, _Liber ordinum_, in _Monumenta ecclesiae - liturgica_, 5 (Paris, 1904) 178-87; Isidore of Seville, _De - ecclesiasticis officiis_, 1. 38. - -[17.] Frotin, _supra_, 179. - -[18.] A. S. Walpole, _Early Latin Hymns_, (ch. 1, note 3) 337-340. - Translation, 1st line, Walpole. - -[19.] Duchesne, _supra_, 162-4. - -[20.] Walpole, _supra_, 342-4. - -[21.] Translations in this chapter, unless otherwise noted, are - furnished by the author. - -[22.] L. Gautier, _Histoire de la Posie liturgique etc._ (ch. 4, note - 9) ch. VI, _Versus_. - -[23.] Von den Steinen, _Notker der Dichter etc._ (ch. 4, note 25) I, - 40-42. - -[24.] Eisenhofer (see note 12) I, 522-3. - -[25.] Dom A. Wilmart, _Auteurs spirituels etc._ (Paris, 1932) 26-36. - -[26.] R. E. Messenger, _Sancta Maria quid est?, Cath. Choirmaster_, - June, 1950. - -[27.] Eisenhofer, _supra_, I, 100-102. - -[28.] Du Cange, see _versarius_. - -[29.] Gulielmus Durandus, _Rationale divinorum officiorum_ (Lugdini, - 1612) Bk. IV, _De accessu sacerdotis ac pontificis ad altare et de - Processione_. - -[30.] _Ibid._ fol. 102. - -[31.] D. Attwater, _Dictionary of Saints_ (London, 1938) 180. - -[32.] G. Reese, _Music in the Middle Ages_ (ch. 1, note 11) 201. - -[33.] L. Ellinwood, "The Conductus," _Musical Quarterly_, 27 (1941) 2. - 165-203. - - - Chapter Seven - Influence and Survival of Latin Hymns - - -[1.] W. B. Sedgwick, "The Origin of Rhyme," (ch. 4, note 28) 333. - -[2.] For translations see Helen J. Waddell, _Medieval Latin Lyrics_ - (London, 1929); _The Wandering Scholars_ (New York, 1949), new - edition. - -[3.] P. S. Allen, _Romanesque Lyric_ (ch. 4, note 28), Ch. XII, - especially p. 223. - -[4.] F. J. E. Raby, _History of Secular Latin poetry in the Middle - Ages_, 2 vols. (Oxford, 1934) II, 332. - -[5.] E. M. Sanford, "Were the Hymns of Prudentius actually sung?" - _Classical Philology_ 31 (1936) 71. - -[6.] For the texts of liturgical plays, see K. Young, _The Drama of the - Medieval Church_, 2 vols. (Oxford, 1933). - -[7.] B. M. Peebles, "O Roma nobilis," _Amer. Benedictine Review_, I - (1950) no. 1. - -[8.] R. Stroppel, _Liturgie und geistliche Dichtung_ (Frankfurt am Main, - 1927) 53-5: S. Singer, "Karolingische Renaissance," - _Germanisch-Romanisch Monatschrift_, 13 (1925) 200-1. - -[9.] K. E. Wackernagel, _Das deutsche Kirchenlied etc._, 5 vols. - (Leipzig, 1864-77) vol. I. - -[10.] K. Meyer, Selections from _Ancient Irish Poetry_ (London, 1911) - _Introd._ 13. - -[11.] J. Pokorny, _Die lteste Lyrik der grnen Insel_ (Halle S., 1923) - 13, 14. - -[12.] W. Meyer, "Liturgie, Kunst und Dichtung in Mittelalter," - _Gesammelte Abhandlungen_ (Berlin, 1905) 371. - -[13.] P. von Winterfeld, "Stilfragen der lateinischen Dichtung des - Mittelalters," _Deutsche Dichter des lateinischen Mittelalters_ - (Mnchen, 1922) 440. - -[14.] Washington, D. C., Catholic Un. Press, 1942, especially p. 221, - 231, 248, 266. - -[15.] H. Koht, "Medieval Liberty Poems," _Amer. Hist. Review_, 48 (1943) - no. 2, 281-290. - -[16.] H. Spanke, "ber das Fortleben der Sequenzenform in den - Romanischen Sprachens," _Zeitschrift f. Rom. Philol._ 51 (1931) - 309-334. - -[17.] E. A. Peers. _Ramon Lull_ (London, 1929) 140. - -[18.] See translation by H. C. Robbins, 1939, "Most High, Omnipotent, - Good Lord." - -[19.] For a brief account, see J. Pulver, "Laudi spirituali," _Musical - Opinion_, March, 1938, 503-4; April, 1938, 602-3; May, 1938, 691-2. - -[20.] See Bibliography for these titles. - -[21.] Dom Jean Stphan, _The Adeste fideles_, "Publications," Buckfast - Abbey, South Devon, England, 1947. Translation, Frederick Oakeley. - -[22.] M. Britt, _Hymns of the Breviary and Missal_ (New York, 1922, - 1948), a standard and indispensable work. - - - - - Bibliography - - - I. Bibliographies - -Leclercq, L., Article "Hymnes", _Dictionnaire d'archologie chrtienne -et de liturgie_. Contains extensive bibliography upon the subject of -medieval hymnology. - -Farrar, C. P. and Evans, A. P., _Bibliography of English Translations -from medieval sources_. New York, 1946. Hymns, 2025-2045. - -Raby, F. J. E., _History of Christian-Latin poetry from the beginning to -the close of the Middle Ages_. Oxford, 1927. Bibliography classified by -authors and periods. - -Reese, G., _Music in the Middle Ages_. New York, 1941. Contains -extensive bibliography including many periodical articles. - - - II. Collections and Indices - -_Analecta hymnica medii aevi_, edited by C. Blume and G. M. Dreves, 55 -vols. Leipzig, 1886-1922. Introductions most informative. - -_Analecta liturgica_, part 2, vols. I, _Thesaurus hymnologicus_; II, -_Prosae_, edited by E. Misset and W. H. J. Weale. Insulis et Brugis, -1888-1902. - -Blume, C. and Dreves, G. M., _Hymnologische Beitrge_ (Quellen und -Forschungen zur Geschichte der lateinischen Hymnendichtungen, 2 vols.). -Leipzig, 1897-1901. - -Chevalier, C. U. J., _Repertorium hymnologicum_, catalogue des chants, -hymnes, proses, sequences, tropes, 6 vols. Louvain, Bruxelles, -1892-1920. Published as supplements to the _Analecta Bollandiana_. - -Daniel, H. A., _Thesaurus hymnologicus_, 5 vols. Lipsiae, 1855-1856, 2nd -edition. - -Gaselee, S., _The Oxford Book of medieval Latin verse_. Oxford, 1928. - -Germing, M., _Latin hymns_. Chicago, 1920. Text book. - -del Grande, C., _Liturgiae preces hymni Christianorum e papyris -collecti_. Neapel, 1934. - -Grenfell, B. and Hunt, A., _Oxyrhynchus papyri, Part XV_. London, 1922. - -Harris, R. and Mingana, A., _The odes and psalms of Solomon, I. Text, -II. Translation_. Manchester, 1916-1920. - -Hurlbut, S. A., _Hortus conclusus, Medieval Latin hymns with English -renderings_, 10 parts. Washington, D. C., 1930-1936. - -Kehrein, J., _Lateinische Sequenzen des Mittelalters_. Mainz, 1873. The -most extensive collection of sequences made up to that date. - -Mc Dougall, A. G., _Pange lingua: breviary hymns of old uses with an -English rendering_. London, 1916. - -Mearns, J., _Canticles of the Christian Church eastern and western in -early and medieval times. Cambridge_, 1914. - -Merrill, W. A., _Latin hymns_. New York, 1917. Text book. - -Mone, F. J., _Lateinische Hymnen des Mittelalters_, 3 vols. Freiburg im -Breisgau, 1853-1855. - -Morel, G., _Lateinische Hymnen des Mittelalters_, grsstentheils aus -Handschriften schweizerischen Kloster, als Nachtrag zu den -Hymnensammlungen von Mone, Daniel & Andern. Einsiedeln, 1866. - -Neale, J. M., _Hymni ecclesiae e breviariis quibusdam et missalibus -Gallicanis, Germanis, Hispanis, Lusitanis desumpti_. Oxford, 1851. - -----, _Sequentiae ex missalibus Germanis, Anglicis, Gallicis, aliisque -medii aevi, collectae_. London, 1852. - -Newman, J. H., _Hymni ecclesiae_, London, 1838, 1865. - -Phillimore, J. S., _The hundred best Latin hymns_. London, 1926. -Attractive anthology. - -_Poetae latini aevi Carolini in Monumenta Germaniae Historica.... -Poetarum latinorum medii aevi_, vol. iv, edited by P. von Winterfeld. -Berlin, 1923. - -Roth, F. W. E., _Lateinische Hymnen des Mittelalters_. Augsburg, 1887. -Intended as a supplement to larger collections. - -Wackernagel, K. E., _Das deutschen Kirchenlied_, 5 vols. Leipzig, -1864-1877. Vol. I contains Latin hymns. - -Walpole, A. S., _Early Latin hymns_. Cambridge, 1922. - -Weale, W. H. J., _Analecta liturgica_, Part II, vols. I, II, _Thesaurus -hymnologicus--Prosae_. Insulis et Brugis, 1888-1902. - - - III. History and Authors of Latin Hymns - -Allen, P. S., _Mediaeval Latin lyrics_. Chicago, 1931. - -Baldwin, C. S., _Medieval rhetoric and poetic_. New York, 1928. - -Bardenhewer, O., _Geschichte der altkirchlichen Literatur_, 5 vols. -Freiburg in Breisgau, 1912-1932. - -Beck, C., _Mittellateinische Dichtung_. Berlin, 1927. - -Benson, L. F., _Hymnody of the Christian church_. New York, 1927. - -Biraghi, L., _Inni sinceri e carmi di Sant'Ambrogio_. Milano, 1862. - -Blume, C., Articles "Hymn", "Hymnody and Hymnology." _Cath. Enc_. - -Coulter, C. C., "Latin hymns of the Middle Ages", _Studies in -Philology_, 21 (1924) 571-585. - -DeGhellinck, J., S. J., _Littrature Latine au Moyen Age_, 2 vols. -Paris, 1939. - -----, _Littrature Latine au XIIe Sicle_, 2 vols. Brussels, 1946. - -De Labriolle, P., _Histoire de la Littrature latine chrtienne_. Paris, -1924. Translation by H. Wilson, _History and Literature of Christianity -from Tertullian to Boethius_. New York, 1925. - -Donahue, D. J., "The sacred songs of the Middle Ages", _Cath. Hist. -Rev._, N. S. vol. 3 (1923) 217-235. - -Dreves, G. M., _Ein Jahrtausend lateinischer Hymnendichtung_, Eine -Bltenlese aus den Anal. hymn. mit literarhistorischen Erluterungen, 2 -vols. Leipzig, 1909. - -Duckett, E. S., _Gateway to the Middle Ages_. New York, 1938. - -----, _Latin writers of the 5th century_. New York, 1930. - -Dudden, F. H., _Gregory the Great. His place in history and thought_, 2 -vols. New York, 1905. - -----, _The life and times of St. Ambrose_, 2 vols. Oxford, 1935. - -Duffield, S. W., _The Latin hymn-writers and their hymns_. New York, -1889. - -Ebert, A., _Allgemeine Geschichte der Literatur des Mittelalters im -Abendlande_, 3 vols. Leipzig, 1880-1889. 2nd edition of vol. I. - -Gastou, A., "Proses et squences", _Tribune d. S. Gervais_ (1922), -69-72; "Les origines liturgiques latines de la squence", 153-158; "Les -types byzantins de la squence", (1923) 1-6. - -Gautier, L., _Oeuvres potiques d'Adam de Saint-Victor_. Paris, 1881. - -Gillman, F. J., _Evolution of the English hymn_. New York, 1927. - -Heider, A. B., _The Blessed Virgin in early Christian Latin poetry_. -Washington, D. C., 1918. - -Hlin, M., _History of medieval Latin literature_. New York, 1949. -Translated by J. C. Snow from _Littrature d'occident: Histoire des -lettres Latines du Moyen Age_. - -Hughes, H. V., Dom Anselm, _Latin Hymnody_. London, 1922. - -Julian, J., _Dictionary of hymnology_. London, 1925. - -Kayser, J., _Beitrge zur Geschichte und Erklrung der ltesten -Kirchenhymnen_, 2 vols. Paderborn, 1881, 1886. - -Koebner, R., _Venantius Fortunatus_. Leipzig, 1915. - -Kroll, J., _Die christliche Hymnodik bis zu Klemens von Alexandreia_. -Knigsburg: Prog. d. Ak. von Braunsberg, 1921-2. s. 47-98. - -----, "Die Hymnendichtung des frhen Christentums", _Die Antike_, 2 -(1926) 258-281. - -Kuhnmuench, O., S. J., _Early Christian Latin poets from the 4th-6th -century_. Chicago, 1929. - -Lynch, C. H., _St. Braulio, Bishop of Saragossa_. Washington, D. C., -1938. - -Mac Gilton, A. K., _Study of Latin hymns_. Boston, 1918. - -Manitius, M., _Geschichte der christlich-lateinischen Poesie bis zur -Mitte des 8. Jahrhunderts_. Stuttgart, 1891. - -----, _Geschichte der lateinischen Literatur des Mittelalters_, 3 vols. -Mnchen, 1911-1931. - -Maryosip, M., _The oldest Christian hymn-book_. Temple, Texas, 1948. - -Meyer, W., _Der Gelegenheitsdichter Venantius Fortunatus_. Berlin, 1901. - -Misset, E. et Aubry, P., _Les Proses d'Adam de Saint-Victor_, texte et -musique. Paris, 1900. - -Myers, W. N., _The hymns of Saint Hilary of Poitiers in the codex -Aretinus_. Phila., 1928. - -Peebles, B. M., "Fortunatus, poet of the Holy Cross", _Amer. Church -Monthly_, 38 (1935) 152-166. - -----, _The Poet Prudentius_. Boston College Candlemas Lectures on -Christian Literature: no. 2. New York, 1951. - -Phillips, C. S., _Hymnody past and present_. London, 1937. - -Rand, E. K., _Founders of the Middle Ages_. Cambridge, 1928. - -Sage, C. M., _Paul Albar of Cordova: Studies on his life and writings_. -Washington, D. C., 1943. - -Tardi, D., _Fortunat. tude sur un dernier reprsentant de la posie -latine le Gaule merovingienne_. Paris, 1927. - -Trench, R. C., _Sacred Latin poetry_. London, 1874. - -Weyman, C., _Beitrge zur Geschichte der christlich-lateinischen -Poesie_. Mnchen, 1926. - -Wilmart, A. Dom, _Auteurs spirituels et textes dvots du moyen ge -Latin. tudes d'histoire litteraire_. Paris, 1932. - -----, "Le Psautier de la reine, N. XI, sa provenance et sa date", _Revue -Bndictine_, July-Oct. 1911, 341 ff. - -Wrangham, D. S., _Liturgical poetry of Adam of St. Victor_. London, -1881. - - - IV. Hymns and Liturgy - -_Antiphonarium Hartkeri, saec._ XI, St. Gall MS, 390-391, p. 15-16. -_Palographie Musicale_, Deuxime Srie, Tome 1. - -_Antiphonary of Bangor_, An early Irish manuscript in the Ambrosian -Library at Milan, edited by F. E. Warren. Henry Bradshaw Society Pub. -vols. 4, 10. London, 1893, 1895. - -Batiffol, P., _tudes de liturgie et d'archologie chrtienne_, Ch. VI, -_La Chandeleur_, 193-215. Paris, 1919. - -----, _History of the Roman Breviary_. Translated from the 3rd French -edition by A. M. Baylay. London, 1912. - -Bishop, E., _Liturgica historica_, Oxford, 1918. - -----, "Spanish Symptoms", _Theological Studies_, 8 (1907) 278-294. - -----, _The Mozarabic and Ambrosian Rites_. London, 1924. - -Blume, C., Der cursus S. _Benedicti Nursini und die liturgischen Hymnen -des 6.-9. Jahrhunderts_. Leipzig, 1908. - -----, _Unsere liturgischen Lieder_. Regensburg, 1932. - -Bohatta, H., _Bibliographie des livres d'heures_ etc. Wien, 1924, 2nd -ed. - -_Breviarium Gothicum_, edited by A. Lorenzana. Madrid, 1775. See Migne, -_P. L._, 86. - -Britt, M., _Hymns of the Breviary and Missal_. New York, 1922, 1948. - -Buchanan, E. S., _An early Latin song-book_. New York, 1930. 13th C. Ms. - -Burgess, H., _Select metrical hymns and homilies of Ephrem Syrus_. -London, 1855. - -Chambers, J. D., _Divine worship in England_ in the 13th and 14th, -contrasted with and adapted to that in the 19th C. London, 1877. - -Chatfield, A. W., _Songs and hymns of the earliest Greek Christian -poets_. London, 1876. - -Dowden, J., _Church year and kalendar_. Cambridge, 1910. - -Duchesne, L., _Origines du culte chrtien_. Translation _Christian -worship: origin and evolution_ from the 3rd French edition by M. L. -McClure. London, 1904. - -Durandus, Gulielmus, _Rationale divinorum officiorum_ (1286). Lugduni, -1612. - -Fisher, A. H., _Cathedral church of Hereford_. London, 1898. - -Fortescue, A., _Concerning Hymns_. See Introduction to A. G. McDougall, -_Pange lingua_, above. - -----, _The Mass: a study of the Roman liturgy_. London, 1914. - -Gautier, L., _Histoire de la Posie liturgique au Moyen Age. Les -Tropes._ Paris, 1886. - -_Hereford Breviary_, edited by W. H. Frere and L. E. G. Brown. Henry -Bradshaw Society Pub. vols. 26, 40. London, 1904, 1911. - -_Horae Beatae Mariae Virginis or Sarum and York Primers_, edited by E. -Hoskins. London, 1901. - -_Horae Eboracenses, Prymer or Hours of the B. V. M._, edited by C. -Wordsworth. Surtees Society Pub. vol. 132. London, 1919. - -_Hymnale secundum usum ... ecclesiae Sarisburiensis_, edited by A. C. -Wilson and Dr. Stubbs. Littlemore, 1850. - -_Hymnarium Sarisburiense_. London, 1851. Incomplete. - -_The Hymner_, Translations of the hymns from the Sarum Breviary together -with sundry sequences and processions. London, 1905. - -_Hymns, Ancient and Modern_, historical edition. London, 1909. -Introduction by W. H. Frere on history of hymns, treats Latin hymns from -liturgical point of view. - -_Irish Liber Hymnorum_, edited by J. H. Bernard and R. Atkinson. Henry -Bradshaw Society Pub. vols. 13, 14. London, 1897, 1898. - -_Jahrbuch fr Liturgiewissenschaft_, edited by O. Casel, O. S. B. -Mnster i. W., 1921-1934. Vol. xiv (1934) was published in 1938. -Invaluable bibliography for every field of medieval hymnology. Many -reviews of articles otherwise unobtainable. - -Jones, W. H., _Diocesan histories: Salisbury_. London, 1880. - -_Latin hymns of the Anglo-Saxon church_, edited by J. Stevenson. Surtees -Society Pub. vol. 23. Durham, 1851. - -McClure, M. L. and Feltoe, E. L., _The Pilgrimage of Etheria_. -Translations of Christian literature, Series III, Liturgical texts. -London, 1919. - -_Manuale et processionale ad usum insignis ecclesiae Eboracensis_, -edited by W. G. Henderson. Surtees Society Pub. vol. 63. Durham, 1875. - -Maskell, W., _Ancient liturgy of the church of England_. Oxford, 1882. -3rd edition. - -----, _Monumenta ritualia ecclesiae Anglicanae_, 3 vols. Oxford, 1882. -2nd edition. - -Mearns, J., _Early Latin hymnaries_, an index of hymns in hymnaries -before 1100, with an appendix from later sources. Cambridge, 1913. - -_Missale ad usum insignis ecclesiae Eboracensis_, edited by W. G. -Henderson. Surtees Society Pub. vols. 59, 60. Durham, 1874. - -_Missale ad usum percelebris ecclesiae Herfordensis_, edited by W. G. -Henderson. Leeds, 1874. - -_Missale mixtum_, edited by A. Lesley, S. J. Rome, 1755. See Migne, P. -L. 86. - -_Mozarabic Psalter_, edited by J. P. Gilson. Henry Bradshaw Society Pub. -vol. 30. London, 1905. - -Neale, J. M. and Forbes, G. H., _The ancient liturgies of the Gallican -church_. Burntisland, 1855. - -_Ordinale and customary of the Benedictine nuns of Barking abbey_, -edited by J. B. L. Tolhurst. Henry Bradshaw Society Pub. 2 vols. London, -1927, 1928. - -Ornsby, G., _York: diocesan histories_. London, no date. - -Phillott, H. W., _Hereford: diocesan histories_. London, no date. - -_Processional of the nuns of Chester_, edited by J. W. Legg. Henry -Bradshaw Society Pub. vol. 18. London, 1899. - -_Processionale ad usum ... Sarum_, edited by W. G. Henderson. Leeds, -1882. - -_Prymer_, edited by H. Littlehales. Early English Text Society, original -series 105, 109. London, 1895, 1897. - -Rock, D., _Church of our fathers as seen in St. Osmund's rite for the -cathedral of Salisbury_, 4 vols. Edited by G. W. Hart and W. H. Frere. -London, 1903-1904. - -_Sarum Missal_, edited by J. W. Legg. Oxford, 1916. - -_Sarum missal_, done into English by A. H. Pearson. London, 1884. 2nd -edition. - -_Sarum missal_, translated by F. E. Warren. London, 1911. (Library of -liturgiology and ecclesiology for English readers, vols. 8 and 9.) - -_S. Silviae, quae fertur, Peregrinatio ad loca sancta, CSEL 39._ 35-101. -Vindobonae, 1898. - -Stroppel, R., _Liturgie und geistliche Dichtung 1050-1300_. Frankfurt am -Main, 1927. - -Swete, H. B., _Church services and service books before the -Reformation_. London, 1896. - -Thalhofer, V. and Eisenhofer, L., _Handbuch der katholischen Liturgik_, -2 vols. Freiburg im Breisgau, 1912. - -_Tropary of Ethelred_, published in _Missale ... Eboracensis_, above. - -_Winchester troper_, edited by W. H. Frere. Henry Bradshaw Society Pub. -London, 1894. - -Wordsworth, C., _Ceremonies and processions of the cathedral church of -Salisbury_. Cambridge, 1901. - -----, _Notes on mediaeval services in England_. London, 1898. - -----, and H. Littlehales, _The old service books of the English church_. -London, 1904. - -_York breviary_, edited by J. H. Srawley. Surtees Society Pub. vols. 71, -75. Durham, 1880, 1883. - - - V. Hymns and Medieval Culture, especially Art, Drama, Literature and - Music - -_Acta Sanctorum_ quotquot orbe coluntur ... collegit Joannes Bollandus -etc., 1643 et seq. - -Addison, J. T., _Medieval Missionary_. A study of the conversion of -northern Europe A. D. 500-1300. New York, 1936. This book supersedes -earlier works. - -Allen, P. S., _Romanesque lyric_. Chapel Hill, 1928. - -Altamira, R., _History of Spanish Civilization_, translated by P. -Volkov. London, 1930. - -_Ante-Nicene fathers_, vol. VIII. American Reprint. Buffalo, 1886. For -Apocryphal books of the N. T. - -_Antiphonale monasticum_ pro diurnis horis ordinis Sancti Benedicti a -solesmensibus monachis restitutum. Parisiis, Tornaci, Romae. 1935. For -Gregorian music. - -_Apocryphal New Testament_, edited by M. R. James. Oxford, 1924. - -Blume, C., "Hymnologie und Kulturgeschichte des Mittelalters", in -_Festschrift f. Georg von Hertling_. Kempten, 1913. Pp. 117-130. - -Brehier, L., _L'art chrtien_. Paris, 1928. 2nd edition. - -Brown, C., _English lyrics of the 13th century_. London, 1932. - -----, _Religious lyrics of the 14th century_. Oxford, 1924. - -----, _Religious lyrics of the 15th century_. Oxford, 1939. - -----, _Register of Middle English religious and didactic verse_, Pt. II. -Oxford, 1920. - -Burdach, K., _Vorspiel_, Bd. I. ber den Ursprung des mittelalterlichen -Minnesangs, Liebesromans und Frauendienstes. Halle S., 1925. - -Chambers, E. K., _Mediaeval Stage_, 2 vols. Oxford, 1903. - -Clark, J. M., _The abbey of St. Gall as a center of literature and art_. -Cambridge, 1926. - -Cohen, G., _Histoire de la mise en scne dans le thatre religieux -franais du moyen ge_. Paris, 1926. Fine bibliography. - -Creizenach, W., _Geschichte des neueren Dramas_, vol. I. Halle, 1911. - -Cutts, E. L., _Parish priests and their people in the Middle Ages_. -London, 1914. - -Delehaye, H., _Les legendes hagiographiques_. Bruxelles, 1905. - -Diehl, C., _Manuel d'art Byzantin_. 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Paris, 1911. - -Gourmont, R. de, _Le Latin mystique_; les poetes de l'antiphonaire et la -symbolique au moyen ge. Paris, 1913. - -Hauttmann, M., _Die Kunst des frhen Mittelalters_. Berlin, 1929. - -Higginson, J. V., _Revival of Gregorian chant_. Papers of the Hymn -Society of America, XV. New York, 1949. - -Jacopo de Voragine, _Golden legend_. Lives of the saints as Englished by -William Caxton, 7 vols. _Temple Classics_, edited by F. S. Ellis. -London, 1900. - -Jeanroy, A., _Le thatre religieux en France du XIe au XIIIe sicles_. -Paris, 1924. - -----, _Les origines de la posie lyrique en France au moyen ge_. Paris, -1925. - -Kretzman, P. E., _The liturgical element in the earliest forms of the -medieval drama_. Un. of Minnesota Studies in Language and Literature, -no. 4, 1916. - -Knstle, K., _Ikonographie der Heiligen_. Freiburg im Breisgau, 1926. - -Lang, P. H., _Music in western civilization_. New York, 1941. - -Lvi-Provenal, E., _La civilization arabe en Espagne, vue general_. Le -Caire, 1938. - -Luchaire, A. (D.J.A.) _Social France at the time of Philip Augustus_, -translated from the 2nd French edition by E. B. Krehbiel. New York, -1912. - -Mle, E., _L'art religieux du XIIe sicle en France_. Paris, 1922. - -----, _L'art religieux du XIIIe sicle en France_. Paris, 1923. - -----, _L'art religieux de la fin du moyen ge en France_. Paris, 1922. - -----, _L'art allemand et l'art franais du moyen ge_. Paris, 1922. - -Meyer, K., _Selections from ancient Irish poetry_. London, 1911. - -Meyer, W., _Gesammelte Abhandlungen zur mittellateinischen Rythmik_, 2 -vols. in 1. Berlin, 1905. - -Mller, H. F., "Pre-history of the mediaeval drama", _Zeitschrift fr -romanische Philologie_, Bd. 44 (1924) 544-575. - -Nelson, P., _Ancient stained glass in England_. London, 1913. - -Owst, G. R., _Preaching in medieval England_. Cambridge, 1926. - -Prior, E. A. and Gardner, A., _An account of medieval figure-sculpture -in England_. Cambridge, 1912. - -Pokorny, J., _Die lteste Lyrik der grnen Insel_. Halle S., 1923. - -Quasten, J., _Musik und Gesang in den Kulten der heidnischen Antike und -christlichen Frhzeit_. Mnster im W., 1930. - -Raby, F. J. E., _A history of secular Latin poetry in the M. A._, 2 -vols. Oxford, 1934. - -Riao, J. F., _Critical and bibliographical notes on early Spanish -music_. London, 1887. - -Schroeder, Sister M. J., _Mary-Verse in Meistergesang_. Washington, D. -C., 1942. - -Sedgwick, W. B., "Origin of rhyme", _Revue Bndictine_, 36 (1924) -330-346. - -Singer, S., _Die Dichterschule von St. Gallen_. Leipzig, 1922. - -Spanke, H., _Deutsche und franzsische Dichtung des Mittelalters_. -Stuttgart, 1943. - -----, "Zur Geschichte der spanischen Musik des Mittelalters", _Hist. -Vierteljahrschrift_, 28 (1934), 737-66. - -Steinen, W. von den, _Notker der Dichter und seine geistliche Welt_, 2 -vols., Bern, 1948. Reviews and supersedes earlier literature on Notker. -Vol. II contains complete works of Notker. - -Strzygowski, J., _Origin of Christian church art_, translated by Dalton -and Braunholtz. Oxford, 1923. - -Taylor, H. O., _The medieval mind_, 2 vols. New York, 1914. - -Trend, J. B., _The music of Spanish history to 1600_. London, 1926. - -Turner, W., "Irish teachers in the Carolingian revival of learning", -_Cath. Un. Bulletin_, XIII, Washington, D. C., 1907, pp. 382, 562. - -Van Doren, Dom R., _tude sur l'influence musicale de l'abbaye de -Saint-Gall_. Louvain, 1925. - -Wagner, P., _Einfhrung in die Gregorianischen Melodien_, London, 1907. - -----, "Morgen- und Abendland in der Musikgeschichte", _Stimmen der -Zeit_, Bd. 114 (1927) 131-145. - -----, "Der mozarabische Kirchengesang und seiner berlieferung", in -Finke, H., _Gesammelte Aufstze zur Kulturgeschichte Spaniens_, Reihe I, -Bd. I, p. 102-141. Mnster, 1928. - -Ward, J. B., _Gregorian Chant II_. Belgium, 1949. - -Wehrle, W. O., _The macaronic hymn tradition in medieval English -literature_. Washington, D. C., 1933. - -Wells, J. E., _Manual of the writings in middle English 1050-1400_. New -Haven, 1916. - -Von Winterfeld, P., "Die Dichterschule St. Gallens und der Reichenau -unter der Karolingern und Ottonen", "Stilfragen der lateinischen -Dichtung des Mittelalters", _Deutsche Dichter_, p. 402-422, 423-444. -Mnchen, 1922. - -Woerdeman, Dom J., "The source of the Easter play", _Orate Fratres_, 20 -(1946), Apr. 25, p. 262-272. - -Young, K., _The drama of the medieval church_, 2 vols. Oxford, 1933. - - - Ruth Ellis Messenger - Publications - -_Ethical Teachings in the Latin Hymns of Medieval England_, Columbia Un. -Studies in History, Economics and Public Law (New York, 1930) 210 p. - - - _Articles_ - - _Papers of the Hymn Society of America_, Editor, Carl F. Price, New - York. - No. III, "The Praise of the Virgin in Early Latin Hymns," 1932, - reprinted 1944, 10 p. - No. IX, "Christian Hymns of the First Three Centuries," 1942, - reprinted 1949, 25 p. - No. XIV, "Latin Hymns of the Middle Ages," 1948, 14 p. - - _Transactions and Proceedings of the American Philological - Association_ - "Hymns and Sequences of the Sarum Use," vol. 59 (1928) 99-129. - Abstract: "Origin of the Sequence," vol. 64 (1933) lxv-lxvi. - "The Descent Theme in Medieval Latin Hymns," vol. 67 (1936) 126-57. - "Whence the Ninth Century Hymnal?," vol. 69 (1938) 446-64. - "Recent Studies in Medieval Latin Hymns," vol. 71 (1940) 248-261. - "The Mozarabic Hymnal," vol. 75 (1944) 103-126. - "Salve Festa Dies," vol. 78 (1947) 208-222. - "Medieval Processional Hymns before 1100," vol. 80 (1949) 375-392. - "Processional Hymns of the Later Middle Ages," vol. 81 (1950) - 185-199. - - _Miscellaneous articles_ - _Catholic Choirmaster_ - "Notker Balbulus," Sept. 1946, 101-5, 139. - "Sancta Maria quid est?," June, 1950, 59-61, 81. - "Rabanus Maurus," Summer, 1951, 55-57. - _Classical Outlook_ - "Medieval Easter Hymns," April, 1944, 65-6. - "Adam of St. Victor," Feb., 1947, 49-51. - "Greek Hymns of the Nativity," Dec., 1948, 25-6. - "The Eighth Day," May, 1950, 88-9. - _Classical Weekly_ - "The Legend of St. Agnes in Early Latin Hymns," Nov. 29, 1943, 75. - "The Legend of St. Eulalia in Mozarabic Hymns," Oct. 9, 1944, - 12-3. - "Hymns in the Horae Eboracenses," Jan. 15, 1945, 90-5. - _Folia_ - "Sources of the Sequence Scalam ad Caelos," May, 1947, 55-63. - "Classical Influence in the Hymns of St. Ambrose," vol. 4, nos. - 1-3 (1949) 1-5. - "Aurelius Prudentius Clemens," vol. 6, no. 2 (1952) 78-99. - _The Hymn_ - "John Mason Neale, Translator," Oct., 1951, 5-10. - _Speculum_ - "Hymnista," Jan., 1947, 83-4. - _Traditio_ - "Mozarabic Hymns in Relation to Contemporary Culture in Spain," - vol. 4 (1946) 149-77. - - - - - Index - - - Index of Latin Hymns - - A - _Ad cenam agni providi_, 17, 34 - _Ad honorem regis summi_, 56 - _Ad perennis vitae fontem_, 49, 103 - _Adae carnis gloriosae_, 1, 6 - _Adeste fideles_, 80 - _Aeterna caeli gloria_, 34 - _Aeterna Christi munera_, 8, 17, 34, 86 - _Aeternae lucis conditor_, 17 - _Aeterne rerum conditor_, 3, 17, 33 - _Ales diei nuntius_, 34 - _Alleluia piis edite laudibus_, 14, 88 - _Alma redemptoris mater_, 79 - _Altus prosator_, 14 - _Angelus ad virginem_, 79 - _Annua, sancte Dei, celebramus festa diei_, 67 - _Ante saecula qui manens_, 1 - _Apostolorum passio_, 61 - _Audi, iudex mortuorum_, 66 - _Aurora iam spargit polum_, 34 - _Aurora lucis rutilat, 17_, 34 - _Ave maris stella_, 16, 91 - _Ave vivens hostia_, 50 - - C - _Caeli Deus sanctissime_, 33 - _Cantemus cuncti melodum nunc Alleluia_, 45, 98 - _Certum tenentes ordinem_, 17 - _Chorus novae Ierusalem_, 49 - _Christe caeli Domine_, 17 - _Christe precamur adnue_, 17 - _Christe qui lux es et dies_, 17, 34 - _Christo nato, rege magno_, 67 - _Claro paschali gaudio_, 16 - _Conditor alme siderum_, 16 - _Congregavit nos in unum Christi amor_, 69 - _Consors paterni luminis_, 33 - _Corde natus ex parentis_, 4 - _Crux benedicta nitet_, 5, 65 - - D - _Dei fide qua vivimus_, 17 - _Deus aeterni luminis_, 17 - _Deus creator omnium_, 3, 17, 33 - _Deus immensa trinitas_, 31, 94 - _Deus qui caeli lumen es_, 17 - _Deus qui certis legibus_, 17 - _Deus qui claro lumine_, 17 - _Dicamus laudes Domino_, 17 - _Diei luce reddita_, 17 - _Dies irae_, 50, 60 - - F - _Fefellit saevam verbum factum te, caro_, 1 - _Fulgentis auctor aetheris_, 17 - - G - _Gloria, laus et honor_, 29, 65 - - H - _Heri mundus exultavit_, 47, 101 - _Hic est dies verus Dei_, 17 - _Hymnum dicat turba fratrum_, 2, 14, 76 - - I - _Iam lucis orto sidere_, 33 - _Iam sexta sensim volvitur_, 17 - _Iam surgit hora tertia_, 3, 17 - _Illuminans altissimus_, 17 - _Immense caeli conditor_, 33 - _Imperator magne, vivas_, 69 - _Intende qui regis_, 17 - - J - _Jesu corona virginum_, 34 - _Jesu dulcis memoria_, 49 - - L - _Laetetur omne saeculum_, 72 - _Lauda Sion Salvatorem_, 50, 60, 105 - _Laudes omnipotens, ferimus tibi dona colentes_, 68 - _Lucis creator optime_, 16, 33 - _Lux ecce surgit aurea_, 34 - - M - _Magna et mirabilia_, 17 - _Magnae Deus potentiae_, 33 - _Magnum salutis gaudium_, 65 - _Martyr Dei qui unicum_, 34 - _Mediae noctis tempus est_, 14, 17 - _Meridie orandum est_, 17 - _Morte Christi celebrata_, 52 - - N - _Nocte surgentes vigilemus omnes_, 12, 87 - _Nox atra rerum contegit_, 33 - _Nox et tenebrae et nubila_, 34 - _Nunc sancte nobis spiritus_, 33 - - O - _O lux beata trinitas_, 33 - _O quanta qualia_, 49 - _O Roma nobilis_, 76 - _O sola magnarum urbium_, 4 - - P - _Pange lingua, gloriosi corporis mysterium_, 50, 71 - _Pange lingua, gloriosi proelium certaminis_, 5, 50, 64, 65 - _Perfectum trinum numerum_, 17 - _Plasmator hominis Deus_, 33 - _Postmatutinis laudibus_, 17 - _Primo dierum omnium_, 33 - - Q - _Quem terra pontus aethera_, 16 - - R - _Recordare sanctae crucis_, 50 - _Rector potens verax Deus_, 33 - _Rerum creator optime_, 33 - _Rerum Deus tenax vigor_, 33 - _Rex aeterne Domine_, 17 - _Rex gloriose martyrum_, 34 - - S - _Salve festa dies.... Qua deus infernum vicit_, 73, 110 - _Sacrata libri dogmata_, 68 - _Salve festa dies.... Qua Christi mater visitat_, 71 - _Salve festa dies.... Qua fuit assumpta Maria_, 72 - _Salve, lacteolo decoratum sanguine festum_, 67 - _Salve redemptoris mater_, 47 - _Sancta Maria, quid est?_, 69 - _Sancti spiritus assit nobis gratia_, 42, 95 - _Sancti venite Christi corpus sumite_, 14, 15, 89 - _Sanctorum meritis inclita gaudia_, 34 - _Sator princepsque temporum_, 17 - _Sic ter quaternis trahitur_, 17 - _Solus ad victimam procedis, Domine_, 49 - _Somno refectis artubus_, 33 - _Splendor paternae gloriae_, 3, 7, 17, 33, 84 - _Stabat mater dolorosa_, 51, 53, 60, 108 - _Suffragare trinitatis unitas_, 14 - _Summae Deus clementiae_, 33 - _Summe confessor sacer_, 34 - _Summus et omnipotens genitor_, 68 - _Surrexit quia Christus a sepulchro_, 67 - - T - _Te lucis ante terminum_, 34 - _Telluris ingens conditor_, 33 - _Tempora florigero rutilant_, 5, 6, 65 - _Tempus noctis surgentibus_, 17 - _Ter hora trina volvitur_, 17 - _Tu trinitatis unitas_, 33 - - U - _Urbs beata Jerusalem_, 16 - _Urbs Sion aurea_, 49 - _Ut queant laxis resonare fibris_, 26, 92 - - V - _Veni, creator spiritus_, 29, 93 - _Veni redemptor gentium_, 3 - _Veni sancte spiritus_, 48, 60 - _Verbum supernum prodiens_, 16 - _Versus ad descensum fontis_, 68 - _Vexilla regis prodeunt_, 5, 50, 64, 85 - _Victimae paschali laudes_, 47, 75 - _Virginis proles opifexque_, 34 - - - General Index - - A - Abelard, 49 - Adam of St. Victor, 46-7, 51, 55, 70 - Advent, 4, 16, 32, 44, 50 - Aetheria, 61-2 - Alcuin, 21, 26, 37 - Alfonso X of Castile, 78 - Amalarius of Metz, 26, 37, 38, 39 - Ambrose, B. of Milan, 2, 8, 56, 63 - Ambrosian chant, 7 - Arabian influences, 31, 54 - Ascension, 44, 63, 70 - Augustine, St., 3 - Aurelian, B. of Arles, 9 - - B - Bangor Antiphonary, 14, 76 - Benedict, St., 9, 11-2 - Benedictine Order, 9, 11, 20, 27 - Benedictine Rule, 11, 20, 25 - Bernard of Cluny (Morlaix), 49 - Bonaventura, 50 - Book of Hours, 53 - Braulio, B. of Saragossa, 13 - Breviary, Roman, 80, 81 - "By the Cross her vigil keeping," 51, 108 - Byzantine influences, 22, 23, 36, 40, 42 - - C - Caesarius, B. of Arles, 9 - _Cambridge Songs_, 75 - Canonical Hours, 9 - _Cantico di fratre sole_, 78 - _Cntigas de Santa Mara_, 78 - _Carmina Burana_, 58, 75 - Carol, 79 - _Cathemerinon_, 3 - Celtic Hymns, 14-5 - Celtic influences, 21-2, 27, 44 - Charlemagne, 19, 20, 22, 23, 36, 37 - Charles the Bald, 19, 20, 21, 25 - Columba, St., of Iona, 14 - _Conductus_, 73 - Corpus Christi, 50, 51, 71 - Council of Braga (563), 10 - Council of Laodicea (364), 10 - Council of Orleans (511), 63 - Council of Toledo, IV, (633), 13 - Council of Tours (567), 11 - Council of Girona (517), 63 - "Creator-Spirit, all Divine," 29, 93 - - D - Damasus, Pope St., 2 - "Draw nigh and take the body of the Lord," 15, 89 - Durandus, B. of Mende, 70 - - E - Easter, 16, 32, 44, 47, 52, 65, 67, 70 - Epiphany, 4, 32 - Eugenius II, Primate of Toledo, 13 - Eulogius, Archb. of Cordova, 30 - - F - "Father we praise Thee," 12, 87 - Fortunatus, Venantius, 4, 11, 27, 64 - Francis, St. of Assisi, 78 - Fulbert, B. of Chartres, 49 - Fulda, 11, 25, 29, 30 - - G - _Gaudeamus igitur_, 75 - Greek influences, 23, 27, 38, 42 - Gregorian chant, 12, 81 - Gregory the Gt., Pope St., 12, 14, 23, 27, 36, 63 - - H - "Hail, Sea-Star we name Thee," 16, 91 - "Hail thee, festival day," 73, 110 - Hartmann of St. Gall, 67 - Hilary B. of Poitiers, 1, 74 - _Horae_, 53, 58 - Hymn cycles, 9-10 - _Hymnarium or hymnary_, 24, 44 - - I - Ildefonsus, Primate of Toledo, 13 - "In flowing measures," 26, 92 - Isidore of Seville, 1, 13, 30, 65 - - J - James, St., of Campostella, 56 - _Jumiges Antiphonary_, 41 - Jerome, St., 1 - - L - _Later Hymnal_, 19, 23, 24-5, 28, 30, 33 - _Laude al crucifisso_, 78 - Laudi spirituali, 78 - Lent, 32 - Louis the Pious, 19, 20, 21, 25, 30 - - M - Macaronic verse, 58 - Mary the Virgin, St., feasts of, 32, 44, 47, 64, 67, 69, 70, 71, - 72 - Metrical forms of Latin hymns, 5, 6, 26, 27, 65, 74, 76 - Metz, 20, 37, 41 - _Modus_, 43, 75 - Monte Cassino, 16, 20 - Mozarabic Hymns, 12-4, 30-1, 54, 59 - Music, 6-7, 12, 20, 22, 27-8, 35, 39, 43, 73, 81-2 - - N - Nativity, 8, 32, 44, 67 - Neumes, 27, 38-9 - _Ninth Century Hymnal_, see _Later Hymnal_ - Notker Balbulus, 22, 39, 41, 42, 43, 45, 46, 47, 77 - - O - "O glorious immensity," 31, 94 - "O Splendor of God's glory," 3, 84 - _Old Hymnal_, 10, 12, 17, 30 - Osmund, B. of Salisbury, 52 - Otfried the Frank, 76 - - P - Palm Sunday, 65, 70 - Passion, 32, 44, 62 - Paulus Diaconus, 21, 26 - Peckham, John, Archb. of Canterbury, 50 - Pentecost, 32, 44, 48 - _Peristephanon_, 3, 75 - Peter Damian, 49 - _Phos hilaron_, 62 - Pilgrimage hymns, 56 - Pippin, 11, 19, 20, 22 - "Praise, O Sion, praise thy Saviour," 50, 105 - _Processional_ (Book), 53, 70 - Processions (Litany), 63, 68 - Processions (Station), 63 - _Primer_, 53 - _Prosa_ or _prose_, 35, 37, 41 - Prudentius (Aurelius Prudentius Clemens), 3, 8, 27, 74, 75 - _Psalmi idiotici_, 10 - - R - Rabanus Maurus, 26, 29, 67 - Radbert of Corbie, 26, 67, 68 - Reichenau, 24, 25, 30, 69 - Roman chant, 7, 20 - Roman Rite, 12, 20, 52 - - S - St. Gall (monastery), 11, 22, 24, 25, 41, 42, 59, 66-70 (passim), - 72, 73 - St. Martial, 24, 37, 41, 77 - Saints, feasts of, 8, 32, 44, 47, 56, 61, 67, 72, 75 - Salisbury, 52, 53, 70 - Sarum, see Salisbury - Savonarola, 78 - Sedulius, 13, 27, 29 - Sergius, Pope (687-701), 63-4 - Sequence, origin of, 35-40 - "Sing alleluia forth," 14, 88 - Solesmes, 28 - - T - "The grace of the Holy Ghost," 42, 95 - "The strain upraise," 45, 98 - "The banners of the king," 5, 85 - "The eternal gifts of Christ the King," 8, 86 - Theodulphus, B. of Orleans, 26, 28, 31, 67 - Thomas Aquinas, St., 50, 55, 71 - Thomas of Celano, 50 - "To the fount of life eternal," 49, 103 - Trinity, 32, 44 - _Troparium_ or _tropary_, 44, 52 - _Trope_, 37 - - V - Vernacular religious lyrics, 77-9 - _Versus_, 66 - Villon, Franois, 78 - - W - Walafrid Strabo, 26, 30, 67, 69 - - Y - "Yesterday with exultation," 47, 101 - - - - - Transcriber's Notes - - ---Generated an original cover image for free and unrestricted use with - this eBook. - ---Copyright notice provided as in the original--this e-text is public - 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} -p.book, p.blist { margin-left:2em; text-indent:-2em; } -p.review { margin-left:2em; text-indent:-2em; font-size:80%; } -p.dialog { margin-left:2em; text-indent:-1em; } - -div.trump p { text-indent:1em; } -div.verse p { text-indent:-3em; } -div.trump dl.toc dt { text-align:left; } -div.trump dl.toc dt a { width: 4.5em; text-align:right; display:inline-block; margin-right:.7em; }</style> -</head> -<body> - - -<pre> - -Project Gutenberg's The Medieval Latin Hymn, by Ruth Ellis Messenger - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Medieval Latin Hymn - -Author: Ruth Ellis Messenger - -Release Date: February 10, 2017 [EBook #54150] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MEDIEVAL LATIN HYMN *** - - - - -Produced by Stephen Hutcheson, Dave Morgan and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - -<div id="cover" class="img"> -<img id="coverpage" src="images/cover.jpg" alt="The Medieval Latin Hymn" width="500" height="740" /> -</div> -<div class="box"> -<h1>The Medieval Latin Hymn</h1> -<p class="tbcenter"><span class="sc">Ruth Ellis Messenger</span>, Ph.D.</p> -<p class="tbcenter">Te decet hymnus -<br />Deus in Sion</p> -<p class="center"><i>Psalm 65:1</i></p> -<p class="tbcenter">CAPITAL PRESS -<br /><span class="small">1731—14th St., N. W.</span> -<br /><span class="smaller">WASHINGTON, D. C.</span></p> -</div> -<p class="tbcenter">Copyright, 1953 -<br /><i>by</i> -<br /><span class="sc">Ruth Ellis Messenger</span></p> -<p class="center smaller">ALL RIGHTS RESERVED -<br />LITHOGRAPHED IN THE UNITED STATES OF AMERICA</p> -<p class="tbcenter"><i>To</i> -<br /><span class="sc">J. Vincent Higginson</span></p> -<h2>Contents</h2> -<dl class="toc"> -<dt><span class="jl"><span class="sc">Chapter</span></span> <span class="sc">Page</span></dt> -<dd><a href="#c1"><span class="sc">Preface</span></a> ix</dd> -<dt><a href="#c2"><span class="cn">I. </span><span class="sc">Early Middle Ages: Latin Hymns of the Fourth Century</span></a> 1</dt> -<dt><a href="#c3"><span class="cn">II. </span><span class="sc">Early Middle Ages: The Old Hymnal</span></a> 9</dt> -<dt><a href="#c4"><span class="cn">III. </span><span class="sc">The Ninth Century Revival: Hymns</span></a> 19</dt> -<dt><a href="#c5"><span class="cn">IV. </span><span class="sc">The Ninth Century Revival: Sequences</span></a> 35</dt> -<dt><a href="#c6"><span class="cn">V. </span><span class="sc">Late Middle Ages: Hymns and Sequences</span></a> 46</dt> -<dt><a href="#c7"><span class="cn">VI. </span><span class="sc">Late Middle Ages: Processional Hymns</span></a> 61</dt> -<dt><a href="#c8"><span class="cn">VII. </span><span class="sc">Influence and Survival of Latin Hymns</span></a> 74</dt> -<dd><a href="#c9"><span class="sc">Illustrative Hymns</span></a> 83</dd> -<dd><a href="#c10"><span class="sc">Notes</span></a> 113</dd> -<dd><a href="#c11"><span class="sc">Bibliography</span></a> 123</dd> -<dd><a href="#c12"><span class="sc">Index</span></a> 135</dd> -</dl> -<div class="pb" id="Page_ix">ix</div> -<h2 id="c1">Preface</h2> -<p>The purpose of this volume is to trace the history of the medieval -Latin hymn from the point of view of usage. It must be evident to any -student of a subject which is spread over a thousand years of human -experience in the widening environment of an entire continent that a guiding -thread is needed to show the way. One must not, at the same time, -ignore the fact that a monumental religious literature in the poetic field -is involved. But the hymn is functional, having its greatest significance -as a lyric when employed in an act of worship. Latin hymnology, moreover, -is an aspect of ecclesiastical studies following the history of the -Church through the classical and medieval ages into modern times.</p> -<p>A wider cultural background than the immediate interest of theology -and religion is reflected in the hymns of any age. Here often lie secrets -of interpretation which make possible an appreciation of contemporary -thought.</p> -<p>As the study of the medieval hymn is followed from the standpoint -of life and usage, the antiquarian and the literary critic, who cannot fully -satisfy the quest of the student for reality, must give place to the medieval -worshiper himself who has revealed in its entirety each successive phase -of a hymnological history not yet ended.</p> -<p>For information about the Christian hymn as it existed prior to the -medieval era, the author’s <i>Christian Hymns of the First Three Centuries, -Paper IX</i>, a publication of The Hymn Society of America, may be consulted. -This account of primitive Christian hymnody, although pre-medieval, -serves as an introduction to the subject matter of the present -volume.</p> -<p>The pages which follow are intended for the general reader rather -than the specialist in medieval culture or in the classical languages. Biographies -of hymn writers have not been attempted since the literature of this -subject is already extensive. Documentation has been reduced to a minimum. -A <a href="#c11">bibliography</a> has been provided for any who are interested in -specialized fields.</p> -<div class="pb" id="Page_x">x</div> -<p>It is hoped that this brief study will have a modest part in opening -up to the general reader a field which has never been fully explored in any -language, especially English. An inclusive treatment is not offered here -but one which represents the fruits of a generation of research.</p> -<p>My grateful thanks are due to my friends and co-workers in the fields -of classical studies, hymnology and medieval history who have assisted me -in countless ways, particularly to Dr. Adelaide D. Simpson and Dr. Carl -Selmer, both of Hunter College of the City of New York, who have read -the entire manuscript and offered invaluable criticisms and suggestions. -Among the many librarians who have assisted me in varied centers of -study, I am most indebted to the staff of the Library of Union Theological -Seminary of New York, under Dr. William Walker Rockwell and later -under Dr. Lucy Markley. Finally, I wish to acknowledge my obligation -to those authors and publishers who have granted permission to use certain -translations of Latin hymns which appear in this volume.</p> -<div class="pb" id="Page_1">1</div> -<h2 id="c2"><span class="jr small">CHAPTER ONE</span> -<br />Early Middle Ages: Latin Hymns of the Fourth Century</h2> -<h3 id="sc1">I. <span class="sc">The Early Hymn Writers</span></h3> -<p>The first mention of Christian Latin hymns by a known author -occurs in the writings of St. Jerome who states that Hilary, Bishop of Poitiers -(c. 310-366), a noted author of commentaries and theological works, -wrote a <i>Liber Hymnorum</i>.<a class="fn" href="#fnx1_1" id="frx1_1">[1]</a> This collection has never been recovered in -its entirety. Hilary’s priority as a hymn writer is attested by Isidore of -Seville (d. 636) who says:</p> -<blockquote> -<p>Hilary, however, Bishop of Poitiers in Gaul, a man of unusual -eloquence, was the first prominent hymn writer.<a class="fn" href="#fnx1_2" id="frx1_2">[2]</a></p> -</blockquote> -<p>More important than his prior claim is the motive which actuated him, the -defense of the Trinitarian doctrine, to which he was aroused by his controversy -with the Arians. A period of four years as an exile in Phrygia for -which his theological opponents were responsible, made him familiar with -the use of hymns in the oriental church to promote the Arian heresy. -Hilary wrested a sword, so to speak, from his adversaries and carried to the -west the hymn, now a weapon of the orthodox. His authentic extant -hymns, three in number, must have been a part of the <i>Liber Hymnorum</i>. -<i>Ante saecula qui manens</i>, “O Thou who dost exist before time,” is a hymn -of seventy verses in honor of the Trinity; <i>Fefellit saevam verbum factum -te, caro</i>, “The Incarnate Word hath deceived thee (Death)” is an Easter -hymn; and <i>Adae carnis gloriosae</i>, “In the person of the Heavenly Adam” -is a hymn on the theme of the temptation of Jesus.<a class="fn" href="#fnx1_3" id="frx1_3">[3]</a> They are ponderous -in style and expression and perhaps too lengthy for congregational use -since they were destined to be superseded.</p> -<div class="pb" id="Page_2">2</div> -<p>In addition to these the hymn <i>Hymnum dicat turba fratrum</i>, “Let -your hymn be sung, ye faithful,” has been most persistently associated -with Hilary’s name. The earliest text occurs in a seventh century manuscript. -It is a metrical version of the life of Jesus in seventy-four lines, written -in the same meter as that of <i>Adae carnis gloriosae</i>.<a class="fn" href="#fnx1_4" id="frx1_4">[4]</a></p> -<p>Pope Damasus, a Spaniard by birth (c. 304-384), is believed to have -written hymns in addition to the <i>Epigrams</i> on the martyrs which constitute -his authentic poetry. It would seem probable that his activities in identifying -and marking the sites associated with the Roman martyrs might have -been supplemented by the production of hymns in their honor. Two hymns -bearing his name are extant, one in praise of St. Andrew the Apostle and -one for St. Agatha. Upon internal evidence the ascription is dubious for -they bear the mark of authorship too late to be considered among the -poems of this famous Pope.</p> -<p>As a matter of fact, Ambrose, Bishop of Milan (340-397), remains -the uncontested originator of the medieval Latin hymn as it becomes familiar -to us in a uniform series of metrical stanzas adapted to congregational -use. Like Hilary, Ambrose was born in Gaul.<a class="fn" href="#fnx1_5" id="frx1_5">[5]</a> He was the son of -Ambrose, Prefect of the Gauls, and like his father he attained official appointment -under the Roman government as Consular of Liguria and -Aemilia, with Milan as place of residence. Theological controversy between -the Arians and the orthodox was raging at Milan, the Bishop himself, -Auxentius, having adopted the Arian position. Ambrose at this time -was a catechumen but at the death of Auxentius was obliged to preserve -order when the election of his successor took place. At that very moment -the popular mandate created Ambrose Bishop of Milan at the age of thirty-four -years. The period immediately following his election found him constantly -battling for orthodoxy in a contest which passed beyond the limits -of theological debate to the actual siege of orthodox churches by the Arian -forces.</p> -<p>Ambrose was acquainted with the Syrian practice of hymn singing, -and like Hilary, he recognized the effective use of the hymn by the proponents -of the Arian heresy. It was not long before the congregations in -the basilica at Milan were chanting antiphonally the praises of the Trinity -in a similar form. Ambrose himself recorded his achievement, his biographer -<span class="pb" id="Page_3">3</span> -Paulinus mentions the event and Augustine in his <i>Confessions</i> describes -the congregational singing which he himself had heard.</p> -<blockquote> -<p>We, though as yet unmelted by the heat of Thy Spirit, were -nevertheless excited by the alarm and tumult of the city. Then it -was first instituted that according to the custom of the eastern regions, -hymns and psalms should be sung, lest the people should -faint through the fatigue of sorrow.<a class="fn" href="#fnx1_6" id="frx1_6">[6]</a></p> -</blockquote> -<p>Ambrose wrote hymns appropriate for morning and evening worship, -four of which now extant, can be proved to be of his authorship, <i>Aeterne -rerum conditor</i>, “Maker of all, eternal King,” <i>Deus creator omnium</i>, “Creator -of the earth and sky,” <i>Iam surgit hora tertia</i>, “Now the third hour draws -nigh,” and <i>Veni redemptor gentium</i>, “Come Redeemer of the earth.”<a class="fn" href="#fnx1_7" id="frx1_7">[7]</a> -Many others in keeping with his style and inspiration have been preserved -and subjected to critical study with the result that eighteen hymns on -varied themes are generally conceded to be Ambrosian. Had Ambrose -never conferred upon the church his gift of hymnody he would still remain -one of the great Latin Fathers of the fourth century, in his functions as -statesman, organizer and scholar. His contribution to ecclesiastical poetry -and music have made him influential century after century. In this role -he has spoken directly to multitudes of Christians throughout the world, -many of whom have been unacquainted with his name or unaware that -they were following the Ambrosian tradition of congregational song. -(See <a href="#h1">Illustrative Hymns, I.</a> <i>Splendor paternae gloriae</i>, “O Splendor of -God’s glory bright.”)</p> -<p>Spain shares the honors with Gaul as the birthplace of the earliest -hymn writers, claiming first Damasus and then Prudentius, (348-413?), a -lawyer, judge and poet of his era. Little is known of his life aside from his -literary work which includes two collections of hymns, the <i>Cathemerinon</i>, -a series for the hours of the day and the ecclesiastical seasons and the -<i>Peristephanon</i>, a series of much longer poems in praise of the great martyrs -of the early church. In his effort to learn more of the circumstances -attending their martyrdom, Prudentius went to Rome to visit the scenes -made sacred by their death and sufferings. Neither of these collections -was written for liturgical use but for devotional reading. Both were destined -to be appropriated by compilers of hymnaries, especially in Spain. -<span class="pb" id="Page_4">4</span> -Hymns from the <i>Cathemerinon</i>, either in their original form or in centos, -spread throughout the Christian church while the martyr hymns were also -drawn upon but to a lesser extent. The hymns selected for festival use are -perhaps most familiar today, for example, for Advent, <i>Corde natus ex -parentis ante mundi exordium</i>, of which the translation “Of the Father’s -love begotten,” suggests the original meter. The Epiphany hymn, <i>O sola -magnarum urbium</i>, “Earth hath many a noble city,” is also well known.<a class="fn" href="#fnx1_8" id="frx1_8">[8]</a></p> -<p>Considered merely as Latin poetry, the hymns of Hilary, Ambrose -and Prudentius are transitional in their literary character. They belong -neither to the poetry of the Silver Age of Latin literature nor do they represent -the medieval literary tradition. Of the metrical aspect something -will be said presently. By some the Ambrosian hymn is regarded as a daring -innovation and the model from which vernacular European verse was -later to develop. In that case, it constitutes a class by itself. For evidence -of the continuity of Latin poetry from the classical to the medieval age -we must turn to the <i>Carmina</i> of Venantius Fortunatus.</p> -<p>Fortunatus (c. 530-600) was born near Treviso and lived as a youth -in northern Italy, studying at Ravenna. The greater part of his life, however, -was spent in Gaul which he visited first as a pilgrim to the shrine -of St. Martin at Tours, who, he believed, had been instrumental in restoring -his eyesight. At Poitiers he met Queen Rhadegunda, wife of Clothair, -King of Neustria. She had founded a convent at Poitiers and there lived -in retirement. This was his introduction to a life of travel and of intercourse -with the great. He was acquainted with bishops, noblemen and -kings whose praises he sang in many graceful tributes, occasional poems -and epitaphs. Through the influence of Rhadegunda, his lifelong patron -and friend, he was ordained, and after her death he became Bishop of -Poitiers, 597, where he lived until his death. As a churchman he was an -admirer and biographer of the saints of Gaul, preeminently St. Martin -whose life and miracles he recounted in poetic form.</p> -<p>Fortunatus seems to have carried with him from the Italian scenes -associated with the poetry of Virgil—an inspiration which was never entirely -lost. His poems suggest a familiarity with the literary background -of classical verse. During his mature life he lived in the environment of -sixth century Gallic society which was already assuming its medieval -<span class="pb" id="Page_5">5</span> -Frankish outlines. Natural beauty and human companionship were alike -important to him. He was acquainted with men and women of every degree -from the monarch to the slave.</p> -<p>Although the spirit of religious devotion and of orthodox belief is -evident in many of the hundreds of lyrics which he composed, four only -may be classed as hymns. Three of these are concerned with the theme -of the Holy Cross, <i>Pange lingua, gloriosi proelium certaminis</i>, “Sing, my -tongue, the glorious battle,” <i>Vexilla regis prodeunt</i>, “The banners of the -king advance,” and <i>Crux benedicta nitet</i>, “Radiant is the blessed cross.” -The fourth, <i>Tempora florigero rutilant distincta sereno</i>, “Season of luminous -days, marked bright with the birth of the flowers,” is a Resurrection -hymn.<a class="fn" href="#fnx1_9" id="frx1_9">[9]</a> It is impossible to indicate here the extraordinary influence which -this group of hymns has exerted in the evolution of Christian hymnody, -continuing in Gaul the tradition, as it were, which Hilary first established. -The circumstances of their origin and their lasting values will be considered -in connection with processional hymns in <a href="#c7">Chapter VI</a>.</p> -<p>(See <a href="#h2">Illustrative Hymns, II.</a> <i>Vexilla regis prodeunt</i>, “The banners of the -king advance.”)</p> -<h3 id="sc2">II. <span class="sc">Metrical Forms</span></h3> -<p>The problem of metrical forms and the prosody of the earliest Latin -hymns, in general, is a phase of the same problem affecting Latin poetry -as a whole. The subject is both complicated and obscure, entangled with -that of Latin rhetorical prose style, the transition from the quantitative accent -of ancient classical poetry to the stress accent of medieval and modern -verse and with the origin of rhyme. It is a problem for specialists among -whom opinions are now divergent. Toward a practical understanding of -the metrical values of the hymns of Hilary, Prudentius, Ambrose and -Fortunatus, the pragmatic test of what is singable may be applied. The -ancient balanced rhythms of Semitic poetry as illustrated in the Hebrew -psalms had been sung for generations. The metrical lyrics of ancient Greece -were sung to an instrumental accompaniment as were the Latin lyrics of -the Golden Age of Rome. These highly polished classical forms were for -the elite. Of popular poetry which was sung in the period immediately -<span class="pb" id="Page_6">6</span> -preceding the appearance of the Latin hymn, very little is known. The -early writers were experimenters. Hilary used classical meters with alterations, -of which the trochaic tetrameter catalectic proved most acceptable.<a class="fn" href="#fnx1_10" id="frx1_10">[10]</a> -It is illustrated in <i>Adae carnis gloriosae</i> and also in hymns by Prudentius -and Fortunatus. Prudentius used a variety of meters in addition to the -trochaic which proved adaptable in actual liturgical practice but by that -time stress accent was beginning to obscure the original quantitative values. -Ambrose used the unrhymed iambic dimeter, a simple and singable form -which has been in vogue ever since, at first unrhymed after the original -models and later rhymed. The popular trochaic meter familiarized by -Hilary, Prudentius and Fortunatus, when transformed by stress accent -and rhyme, is easily recognized both in Latin and the vernaculars. Fortunatus -popularized the elegiac meter in hymns for a thousand years by demonstrating -its use in <i>Tempora florigero</i>. Prior to the ninth century revival -of hymnody, the Ambrosian hymn, considered as a metrical model, in comparison -with all other existing models, dominates the field equally with its -prestige as an expression of Christian theology and devotion.</p> -<h3 id="sc3">III. <span class="sc">Hymns in Worship</span></h3> -<p>It is evident that the fourth century was one of innovation in the -custom of congregational singing as the Ambrosian hymn was more widely -diffused. Our knowledge of what actually took place is very incomplete, -based first upon the writing of Ambrose and his contemporaries and later -upon the hints derived from monastic usage. That morning and evening -services of prayer and praise were common is well known. That the singing -of the new fourth century hymns was an integral part of such services -is largely assumed. Prudentius wrote hymns for the evening ceremony of the -lucernare or lighting of the candles, a Christian practice adopted from the -Greek church, to which many references are found. The fact that the -hymns of Prudentius were in existence long before they appeared in the -records of formal worship points to early Christian usage, however dimly -perceived.</p> -<p>Concerning music we learn from the most recent researches that -“nothing definite is known of the melodies that were actually applied to -<span class="pb" id="Page_7">7</span> -the hymns of St. Ambrose.”<a class="fn" href="#fnx1_11" id="frx1_11">[11]</a> The traditional liturgical music of Milan -is known as the Ambrosian Chant. It cannot be traced to Ambrose himself -but is supposed to have existed in a simpler form than that which -appears in available manuscripts beginning with the twelfth century. At -least it may be said to have existed prior to the Roman Chant and perhaps -have influenced the latter. With a frank acknowledgement of ignorance -as to the antiphonal melodies which thrilled St. Augustine at Milan, the -possibility must be admitted that they reflected to some extent the formal -music of the synagogue or the music of the Greeks or the elements of contemporary -folk music because these were the musical materials of which -the Christians had experience. All three may have been represented, but -for a hymn of the Ambrosian type, the chant as evolved in rendering the -Gospels or the Psalms may have given place to a form of song more characteristic -of the lyric.</p> -<h3 id="sc4">IV. <span class="sc">Themes</span></h3> -<p>The tradition of Christian hymnology which upholds a way of life is -fundamental in Ambrosian and contemporary hymns. The “way” is the -first term by which Christianity was designated in the Scriptures. Thus to -the Scriptures the hymn writers turned for the living characterization of -their themes. The call to a virtuous life is sounded in <i>Splendor paternae -gloriae</i> quoted above. Similarly throughout these hymns, the high ideal -of faith, purity, hope, patience, humility and love and the ethical teachings -derived from the words of Jesus and from the early exemplars of the -Christian religion are clearly expressed and enjoined. Not alone for contemporaries -in a period of crisis and controversy were these hymns effective. -They have continued to speak the same words in the same spirit of -joy and devotion derived from contact with the earlier springs of faith to -every succeeding century.</p> -<p>The writings of men familiar with Roman civilization and trained in -classical culture would naturally be presumed to retain the flavor of a non-Christian -literature. Christianity had already appropriated from the pagan -philosophers those teachings which were congenial to its own. Ambrose -reveals both in his poetic and prose writings his acquaintance with classical -<span class="pb" id="Page_8">8</span> -thought and literary models. Prudentius mingles the classical and the -Christian. Fortunatus was inspired by classical poetry to a Christian expression -of beauty in form and content. But in every case, these characteristics -are marginal. The core of their hymns is the scriptural narrative. -Not only is the subject matter faithfully reproduced but the actual text is -sometimes embedded in the verse. The result is a rare objectivity and a -lack of embellishment especially in the works of Ambrose which became -the preferred standard for later writers.<a class="fn" href="#fnx1_12" id="frx1_12">[12]</a></p> -<p>The life of Jesus is a favorite theme particularly in those episodes -which were described and expanded in hymns for the Nativity, Epiphany, -Passion, Easter and Pentecost. From the episode of the Nativity the praise -of the Virgin was developed. The doctrine of the Trinity was everywhere -upheld in hymns, even as its defense had been influential in their creation.</p> -<p>The group of hymns which praise the early Christian leaders, either -directly or by incidental mention, form a nucleus for the impressive medieval -hymnology of the saints. The Apostles have first place both in chronology -and importance. Prudentius praised the Roman martyrs and Ambrose -those of Rome and Milan as well. Both honored Laurence the Deacon -and Agnes the Virgin. To the praise of the whole group “the noble army -of martyrs,” the hymn <i>Aeterna Christi munera</i>, “The eternal gifts of Christ -the King,” was written, unrivalled as a martyr hymn in any period of Latin -hymnology.</p> -<p>(See <a href="#h3">Illustrative Hymns, III.</a> <i>Aeterna Christi munera</i>, “The eternal gifts -of Christ the King.”)</p> -<div class="pb" id="Page_9">9</div> -<h2 id="c3"><span class="jr small">CHAPTER TWO</span> -<br />Early Middle Ages: The Old Hymnal</h2> -<h3 id="sc5">I. <span class="sc">The Hymn Cycles</span></h3> -<p>We owe the preservation of the earliest Latin hymns to monastic -practice. When the founders of monasticism in the west, Caesarius and -Aurelian who were famous bishops of Arles (6th C.), and Benedict (d. -543), founder of the Benedictine Order, organized the regulations and -routine for the communities under their charge, they incorporated Latin -hymns already existing into the daily worship of the monastery.<a class="fn" href="#fnx2_1" id="frx2_1">[1]</a> These -were sung at the services of the canonical hours and were known as hour -hymns or office hymns.</p> -<p>A continuity can be traced, although faintly, from primitive Christian -observances. Beginning with the vigil of Saturday night in preparation -for the following Sunday, the first three centuries of Christian history -developed public services for prayer at candlelight, night time, and -dawn. By the fourth century, the tide of devotional practice had set in, -bringing with it daily worship in the church at the third, sixth and ninth -hours. At the end of the fourth and during the fifth century the cycle was -completed with new offices at sunrise and nightfall. The full series, therefore, -included the nocturnal cursus; vespers, compline, matins (nocturns -and lauds), and the diurnal cursus; prime, terce, sext and nones.<a class="fn" href="#fnx2_2" id="frx2_2">[2]</a> An opportunity -was afforded to unify the services and at the same time to make -use of the symbolic number seven by reference to <i>Psalm 119: 164 (Ps. 118, -Vulgate)</i>, “Seven times a day do I praise thee because of thy righteous -ordinances.” From the simple assemblies of early Christianity, therefore, -and the daily offices of prayer, a fully elaborated cycle of hymns in time -developed, appropriate to the symbolism of the seven hours and to the -needs of the annual feasts. Constantly increasing in number and variety, -<span class="pb" id="Page_10">10</span> -these cycles were preserved in psalters together with the psalms or in a -hymnary by themselves. In fact, the word <i>hymn</i> came to mean specifically -an office hymn later to be associated with the breviary, and the word -<i>hymnal</i>, a cycle or collection of office hymns.</p> -<p>At first the cycles were brief. Five extant manuscripts reveal the sixth -century group of hymns of which the best representative, the so-called -Psalter of the Queen from the famous collection of Queen Christine of -Sweden, probably dates from the time of Charles Martel (d. 741).<a class="fn" href="#fnx2_3" id="frx2_3">[3]</a> This -group of hymns is usually referred to as the <i>Old Hymnal</i>, the initial version -of which numbers thirty-four hymns but at the close of the sixth -century had increased to perhaps sixty hymns in actual use.<a class="fn" href="#fnx2_4" id="frx2_4">[4]</a> The thirty-four -original hymns of the <i>Old Hymnal</i> are listed in the <a href="#sc9">Appendix</a> to this -chapter where the appropriate location of each is indicated, whether for -daily or seasonal worship.</p> -<p>Due to the influence of Benedict who had enjoined the use of the -Ambrosian hymn, the authentic verse of Ambrose was preserved and extensively -imitated among the regular clergy. What had become of the -hymn in secular worship?</p> -<p>The old prejudice against non-scriptural hymns and in favor of the -Psalms had never died out. By a canon of the Council of Laodicea (c. -364), <i>psalmi idiotici</i> or “private hymns” were forbidden, a mandate which -was valid during the lifetime of Ambrose who, nevertheless, ignored a restriction -intended to safeguard orthodoxy but hardly applicable in his case. -In the sixth century the secular clergy of Spain were forbidden to use -hymns by the Council of Braga, 563.<a class="fn" href="#fnx2_5" id="frx2_5">[5]</a> The paradox of encouraging non-scriptural -hymns in the monastery and forbidding their use in the church -at large has been explained by reference to the contemporary appearance -of early forms of vernacular speech in western Europe. Latin, the language -of the church, its liturgy and its clergy, was now threatened by a -possible inroad of the vernacular.<a class="fn" href="#fnx2_6" id="frx2_6">[6]</a> Hymn writing was regarded, perhaps, -as a prerogative of the clergy to be kept within bounds. To throw open -to the church everywhere these privileges might be dangerous alike for -theology and worship. Learning in the Latin tongue tended to be concentrated -in the monastery, for other centers of scholarship were few and far -between; hymnology became largely a function of the monastic group.</p> -<div class="pb" id="Page_11">11</div> -<p>It should be remembered that these centuries embraced a period of -the greatest political, economic and social confusion in western Europe -during which we know relatively little about Christian worship in widespread -congregations except for the rite of the mass. Yet in the sixth century -the opposite tendency toward greater freedom in writing and singing -hymns was apparent. The Council of Tours, 567, permitted the secular -clergy to use Ambrosian and other hymns.<a class="fn" href="#fnx2_7" id="frx2_7">[7]</a> If viewed in this light, the -religious verse of Fortunatus takes on a new significance, illustrative of the -freedom which the Church in Gaul, always highly individual, now experienced -in the realm of hymnology.</p> -<p>Gaul, then, was the scene of a conflict in which the Latin hymn was -contending, and that successfully, for its very life. On the monastic side, -anonymous clerics, using the Ambrosian model, gradually provided the -full complement of hymns for the annual festivals in harmony with the -liturgical year which began to emerge and resemble somewhat its present -form. Wherever the Benedictine Order penetrated into the territories of -western Europe, the use of hymns likewise increased. Their diffusion must -be regarded as comparable with that of an organization which within two -hundred years of the death of its founder boasted hundreds of monasteries -and convents throughout western Christendom, augmented by Irish -and other foundations which had adopted the Benedictine Rule. Missionary -zeal had played a significant role in this expansion. Fulda, for instance, -a community with 400 monks and many missionaries at its disposal, was -able under Willibald to extend its influence through numerous subordinate -monasteries and convents. Royal favor, already enjoyed by St. Gall -and now conferred upon new establishments, rivalled that of popes and -synods, which at the time of Pippin’s coronation in 750 or 752, combined -to insure the success of the Benedictine program.<a class="fn" href="#fnx2_8" id="frx2_8">[8]</a></p> -<p>On the side of secular worship, the hymnal used by Benedict and his -successors gradually gained a foothold in the church through diocesan centers -which adopted the monastic cycles. Or perhaps it may be said, with -the reservation that we are in the realm of theory and not of fact, that the -ancient hymns written prior to the sixth century had been circulated and -continued to be circulated in the west in a way not at present understood, -in connection with the Gallican or ancient liturgy of Gaul. If so, the <i>Old -<span class="pb" id="Page_12">12</span> -Hymnal</i> is the Gallican hymnal which Benedict appropriated and his followers -maintained to its acknowledged prestige by the year 750.</p> -<p>An episode of significance for hymnology during the period under -consideration in this chapter is the activity of Gregory the Great who occupied -the papal throne from 590 to 604. A member of the Benedictine -Order, he is noted for his enthusiastic support of its missionary program -and for his interest in ecclesiastical music and poetry. His role in the extension -of the Roman Rite and of the Benedictine Order to Britain is -familiar to all.<a class="fn" href="#fnx2_9" id="frx2_9">[9]</a> His authority in the western church is a matter not of -controversy but of fact. That he was deeply interested both in hymn -writing and singing may be safely assumed for there are too many reports -of his activity to be ignored. His actual role in the development of the -chant which bears his name and the authorship of eight to eleven hymns -attributed to him, have not been determined. For Gregory’s contribution -to the ritual music of the church the reader is referred to the discussion -of this subject by specialists in the field of liturgical music. For his contribution -to the hymn cycles, modern hymnologists have judged even the -eight hymns singled out as Gregorian by Benedictine editors, to be doubtful -although the nocturn and vesper hymns may be authentic.<a class="fn" href="#fnx2_10" id="frx2_10">[10]</a> Aside -from critical research the fact remains that all these hymns appear in the -cycles of the day and several have been in liturgical use to the present -time. They are representative of the hymnology of the transition between -the <i>Old Hymnal</i> and the later cycles whose hidden origins Gregory may -have influenced.</p> -<p>(See <a href="#h4">Illustrative Hymns, IV.</a> <i>Nocte surgentes vigilemus omnes</i>, “Father -we praise Thee, now the night is over.”)</p> -<h3 id="sc6">II. <span class="sc">Mozarabic Contributions</span></h3> -<p>The list of hymns in the <i>Old Hymnal</i> (See <a href="#sc9">Appendix</a>) reveals at a -glance the presence of nine Mozarabic hymns. Mozarabic is a term applied -to the Christian inhabitants of Spain under Moslem rule and also -to the rites of the Christian Church prevailing throughout the Visigothic -and Moslem periods. It is the former or Visigothic period extending from -the foundation of the Kingdom by Euric, 466, to the entry of the Moslems -<span class="pb" id="Page_13">13</span> -in 711, which claims our attention here. Connections between Spain and -Gaul at this time were very close for the Visigoths ruled a large part of -what is now southern France from the Atlantic to the Maritime Alps. The -great churchmen of Spain, especially Isidore, Archbishop of Seville (d. -636), performed the same service for Christian hymns in Spain which -the monastic leaders performed in Gaul. In his <i>Etymologiae</i> and his <i>De -officiis ecclesiasticis</i>, Isidore considers the subject of music and liturgy. His -<i>Regula monachorum</i>, built partly on older rules observed in Spain, is an -evidence of his interest in monastic reform. As presiding bishop of the IV -Council of Toledo, 633, he was at the height of his reputation.<a class="fn" href="#fnx2_11" id="frx2_11">[11]</a> Braulio, -Bishop of Saragossa, (631-651), his pupil and literary executor, bears witness -to his fame.<a class="fn" href="#fnx2_12" id="frx2_12">[12]</a> He himself maintained the liturgical tradition which was -continued with great success by Eugenius II, Primate of Toledo, (646-657), -Ildefonsus who held the same rank, (659-667), and others. As the result of -the literary and liturgical movement initiated by these leaders, supported -by the councils and schools, the Mozarabic hymnology was rapidly developed. -The canons of the IV Council of Toledo, for which Isidore may -have been personally responsible, require uniformity of the rites and offices -throughout Spain and Gaul. The thirteenth canon upholds the validity -and appropriateness of hymns by Christian authors against those who -would restrict the hymnody of the Church to the Psalms of the Old Testament. -After a discussion of the old prohibitions and the reasons for approving -the new compositions, Canon 13 reads:</p> -<blockquote> -<p>“As with prayers, so also with hymns written for the praise of -God, let no one of you disapprove of them but publish them -abroad both in Gaul and Spain. Let those be punished with excommunication -who have ventured to repudiate hymns.”<a class="fn" href="#fnx2_13" id="frx2_13">[13]</a></p> -</blockquote> -<p>Building upon the work of Ambrose, Sedulius and notably Prudentius, -their own countryman; adapting ancient traditions of congregational -worship and monastic usage, the liturgists of the seventh century must -have collated for the use of the clergy approximately sixty-five hymns from -sources originating prior to their own day. These ancient hymns form the -nucleus of the Mozarabic Hymnal, the earliest manuscript of which dates -from the tenth century. They reveal interrelations between the Spanish -and Gallican churches and they indicate a continuity of hymn singing from -<span class="pb" id="Page_14">14</span> -primitive congregational usage like the Ambrosian to the seventh century -revival and extension of non-scriptural hymns.<a class="fn" href="#fnx2_14" id="frx2_14">[14]</a></p> -<p>(See <a href="#h5">Illustrative Hymns, V.</a> <i>Alleluia piis edite laudibus</i>, “Sing alleluia -forth in duteous praise.”)</p> -<h3 id="sc7">III. <span class="sc">Celtic Hymns</span></h3> -<p>The Celtic inhabitants of the British Isles from the period of the introduction -of Christianity maintained individual features of liturgy and -organization, especially in their monastic groups. The contemporary Saxon -Church of the seventh century, however, had been drawn into the Roman -sphere of influence by Gregory the Great who was also in touch with -Celtic leadership. The ancient record of the interchange of hymns written -respectively by St. Columba of Iona and by Gregory preserves more than -a report incapable of proof.<a class="fn" href="#fnx2_15" id="frx2_15">[15]</a> It points to reciprocal interest in the evolving -hymnology of the sixth and seventh centuries in Celtic and continental -regions.</p> -<p>The so-called Bangor Antiphonary of the seventh century is the -earliest manuscript containing hymns, twelve in number.<a class="fn" href="#fnx2_16" id="frx2_16">[16]</a> Its contents -are otherwise miscellaneous, including a list of the abbots of Bangor. -Hilary’s supposed hymn from this collection, <i>Hymnum dicat turba fratrum</i>, -has already been cited. An ancient communion hymn, <i>Sancti venite -Christi corpus sumite</i>, “Draw nigh and take the body of the Lord,” is included -and <i>Mediae noctis tempus est</i>, “It is the midnight hour,” an office -hymn common to the hymnals of Spain and Gaul. Among other important -sources is the Irish <i>Liber hymnorum</i>, preserved in an eleventh century -manuscript of Dublin which contains Columba’s hymn, <i>Altus prosator</i>, -“Ancient of days,” honoring God the creator, and the <i>Lorica</i> or <i>Breastplate -Hymn</i> of St. Gildas (6th C.), <i>Suffragare trinitatis unitas, unitatis -miserere trinitas</i>, “Grant me thy favor, Three in One, have mercy on me, -One in Three.”<a class="fn" href="#fnx2_17" id="frx2_17">[17]</a></p> -<p>On the whole Celtic hymns exhibit great variety in subject matter -and purpose with many departures from the type of hymn cycle in use on -the continent. Indeed, the group of from fifteen to twenty hymns produced -in the centuries under consideration are highly distinctive. The Ambrosian -<span class="pb" id="Page_15">15</span> -tradition is not apparent. Non-Ambrosian meters are illustrated in -all three hymns cited above while alliteration, the <i>abcd</i> form, repetition of -initial words and other metrical devices are found throughout the collection. -There are hymns for the offices and communion, metrical prayers -and a group of hymns for saints, some bearing witness to local cults. Poetic -individuality marks them all.<a class="fn" href="#fnx2_18" id="frx2_18">[18]</a> Contemporaneous with the flowering of -Celtic hymnology, the seventh century saw the beginning of the cultural -invasion of the continent by Celtic scholars, teachers and missionaries -whereby two streams of culture, previously isolated, united with significant -results for the hymnology of the future.</p> -<p>(See <a href="#h6">Illustrative Hymns, VI.</a> <i>Sancti venite Christi corpus sumite</i>, “Draw -nigh and take the body of the Lord.”)</p> -<h3 id="sc8">IV. <span class="sc">Summary</span></h3> -<p>The account of the Christian hymns of necessity accompanies that of -the Christian organization, moving from the shores of the Mediterranean -and the Christian centers in Roman provincial areas into the “regions beyond” -of missionary effort. Although congregational singing in the Ambrosian -sense appears to have been submerged in this process, the traditional -hymnody was preserved, new hymns added and the foundation laid -for the ninth century revival.</p> -<p>Anonymity is the rule and known authorship the exception for the -hymns produced in the fifth, sixth, seventh and eighth centuries. This -continued to be the rule during the whole medieval period since the -names of those who wrote the non-scriptural parts of religious rites were -lost or unknown or perhaps of little importance in communal worship. -The fact that the hymns which survive have been gathered from liturgical -manuscripts and not from the work of individual authors except in rare -cases, should make anonymity more intelligible.</p> -<p>Hymn sources are scanty and interconnections, dimly perceived, can -rarely be established. Continuity of evolution is often broken or replaced -by new poetical inspiration. However, the fourth century appeal to the -objective, the direct, the simple, is seldom varied by the subjective theme. -The biblical narratives and the symbolism connected with the various offices -<span class="pb" id="Page_16">16</span> -and feasts add substance and character to the cycles and to the concept -of the liturgical year.</p> -<p>In the heart of the Dark Ages, popularly considered, western European -civilization was in confusion and its fate problematical. One could -scarcely expect the fruits of peace and security to flourish. Yet in these -very centuries there were created and circulated many of the best loved -hymns of Christianity, a number of which have been in unbroken use to -the present day. Among them are the illustrations inserted above and -<i>Lucis Creator optime</i>, “O blest creator of the light;” the Advent hymns, -<i>Verbum supernum prodiens</i>, “High Word of God who once didst come,” -and <i>Conditor alme siderum</i>, “Creator of the stars of night;” the Easter -hymn, <i>Claro paschali gaudio</i>, “That Easter day with joy was bright;” for -the dedication of a church, <i>Urbs beata Jerusalem</i>, “Blessed city, heavenly -Salem” with the more familiar second part, “Christ is made the sure foundation.” -Two hymns honoring the Virgin date from this period: <i>Ave -maris stella</i>, “Hail, Sea-Star we name Thee,” and <i>Quem terra pontus -aethera</i>, “The God whom earth and sea and sky,” initiating the Marian -hymnology of the Middle Ages.<a class="fn" href="#fnx2_19" id="frx2_19">[19]</a></p> -<p>(See <a href="#h7">Illustrative Hymns, VII.</a> <i>Ave maris stella</i>, “Hail, Sea-Star we name -Thee.”)</p> -<p>Created and preserved in a clerical and for the most part a monastic -environment these hymns express the Christian thought and faith of the -era which was thus treasured up for wider circulation and influence in a -later and more settled society. The words of the late Canon Douglas, a -great American hymnologist, are memorable in this connection:</p> -<blockquote> -<p>“What does have a practical bearing on our subject is, that -whatever may have been the older cycle, it was enriched to an -extraordinary degree in the early medieval centuries. What began -in Milan, and achieved its permanent recognition at Monte -Cassino, was soon to bring about a Mozarabic Hymnal in Spain, -a Gallican hymnal in northern Europe, an Anglo-Irish cycle in -Britain: and from all these various increments not only enlarged -the growing Hymnal but also richly diversified it.”<a class="fn" href="#fnx2_20" id="frx2_20">[20]</a></p> -</blockquote> -<div class="pb" id="Page_17">17</div> -<h3 id="sc9"><span class="sc">Appendix</span> -<br /><i>Old Hymnal</i> (<i>See Anal. Hymn., 51, Introduction</i> p. xx).</h3> -<dl class="undent"><dt><i>Ad nocturnas horas</i></dt> -<dd><i>Mediae noctis tempus est</i> (Mozarabic; in Bangor Antiphonary)</dd> -<dd><i>Rex aeterne Domine</i></dd> -<dd><i>Magna et mirabilia</i></dd> -<dd><i>Aeterne rerum conditor</i></dd> -<dd><i>Tempus noctis surgentibus</i></dd></dl> -<dl class="undent"><dt><i>Ad matutinas laudes</i></dt> -<dd><i>Deus qui caeli lumen es</i></dd> -<dd><i>Splendor paternae gloriae</i></dd> -<dd><i>Aeternae lucis conditor</i> (Mozarabic)</dd> -<dd><i>Fulgentis auctor aetheris</i> (Mozarabic)</dd> -<dd><i>Deus aeterni luminis</i> (Mozarabic)</dd> -<dd><i>Christe caeli Domine</i></dd> -<dd><i>Diei luce reddita</i></dd></dl> -<dl class="undent"><dt><i>Ad parvas horas</i></dt> -<dd><i>Postmatutinis laudibus</i></dd> -<dd><i>Certum tenentes ordinem</i> (Mozarabic)</dd> -<dd><i>Dicamus laudes Domino</i> (Mozarabic)</dd> -<dd><i>Perfectum trinum numerum</i> (Mozarabic)</dd></dl> -<dl class="undent"><dt><i>Ad vesperas</i></dt> -<dd><i>Deus creator omnium</i></dd> -<dd><i>Deus qui certis legibus</i> (Mozarabic)</dd> -<dd><i>Deus qui claro lumine</i></dd> -<dd><i>Sator princepsque temporum</i></dd></dl> -<dl class="undent"><dt><i>Ad completorium</i></dt> -<dd><i>Christe qui lux es et dies</i> (Mozarabic)</dd> -<dd><i>Christe precamur adnue</i></dd></dl> -<dl class="undent"><dt><i>Proprii de tempore</i></dt> -<dd><i>Intende qui regis</i></dd> -<dd><i>Illuminans altissimus</i></dd> -<dd><i>Dei fide qua vivimus</i></dd> -<dd><i>Meridie orandum es</i></dd> -<dd><i>Sic ter quaternis trahitur</i></dd> -<dd><i>Hic est dies verus Dei</i></dd> -<dd><i>Iam surgit hora tertia</i></dd> -<dd><i>Iam sexta sensim volvitur</i></dd> -<dd><i>Ter hora trina volvitur</i></dd> -<dd><i>Ad cenam agni providi</i></dd> -<dd><i>Aurora lucis rutilat</i></dd></dl> -<dl class="undent"><dt><i>De communi martyrum</i></dt> -<dd><i>Aeterna Christi munera</i></dd></dl> -<div class="pb" id="Page_19">19</div> -<h2 id="c4"><span class="jr small">CHAPTER THREE</span> -<br />The Ninth Century Revival: Hymns</h2> -<h3 id="sc10">I. <span class="sc">Background of Carolingian Culture</span></h3> -<p>To explain fully the origin of a great literary movement must always -be difficult, for the subtle influences affecting its beginnings elude a scientific -analysis of facts. One observes the revival of Latin hymnology between -750 and 900 A.D. with amazement. The voices of Ambrose, his contemporaries -and his immediate imitators had been silenced for centuries. -Venantius Fortunatus had stood forth, a solitary survival of the old Latin -poetic genius or, perhaps more accurately, a solitary herald of the new -medieval awakening. Then a flowering of religious poetry spread over -western Europe, not to be withered by new barbarian invasions but to be -the permanent possession of the Christian Church.</p> -<p>In this period the older cycles of office hymns were revised and expanded -and fresh cycles created in such numbers as to justify the new -terminology of the <i>Later Hymnal</i> or <i>Ninth Century Hymnal</i>. The sequence -arose in the formal worship of the mass, affording a new inspirational -to clerical poets and resulting in a body of sacred verse of increasing -influence. The processional hymn and its related forms appeared in response -to the new impulse toward a hymnic accompaniment to ceremonial -acts. In effect, the hymn during the period under consideration, was well -established in every aspect of formal worship.</p> -<p>In the background of the age which created this literature must be -sought the trends and motivation which make intelligible the voices of -its interpreters. Accordingly, in the years from 750 to 900 A.D. when the -Carolingian rulers, Pippin, Charlemagne, Louis the Pious and Charles the -Bald were guiding the destinies of the Franks, the various influences affecting -public worship must be surveyed. The most important were the -<span class="pb" id="Page_20">20</span> -liturgical reforms undertaken or sponsored by the Carolingian rulers; their -promotion of ecclesiastical music and singing; their interest in the reform -and expansion of the Benedictine Order; the literary activity of members -of the Carolingian court circles who devoted themselves to liturgical studies -or poetic expression; the part played by Celtic culture; the infiltration -of Byzantine ideas and arts and the rise of Germanic genius.</p> -<p>The introduction and permanent establishment of the Roman liturgy -in Frankish realms form the background of public worship in the Carolingian -era. When Pippin ascended the throne in 752, the Gallican Rite prevailed. -When the reign of Charles the Bald came to a close in 877, the -Roman Rite was supreme.<a class="fn" href="#fnx3_1" id="frx3_1">[1]</a> Charlemagne received the Gregorian Sacramentary -from Pope Hadrian I.<a class="fn" href="#fnx3_2" id="frx3_2">[2]</a> Stimulated by his desire to unify the Germanic -peoples under papal as well as imperial authority, he brought about -by royal edicts or capitularies a widespread reform in the western continental -church. Those features of his program which affected hymnology -include requirements that priests must be educated, that monks observe -their monastic rule, that the singing of the psalms and the <i>gloria</i> be improved, -that schools of singing and grammar be founded in monastic and -diocesan centers, that both regular and secular clergy be urged to acquire -knowledge and skill in singing, that the Roman Chant be ordained, that -a singing school be established at Aix-la-Chapelle, that the clergy read -and sing well.<a class="fn" href="#fnx3_3" id="frx3_3">[3]</a> Charlemagne’s successors, Louis the Pious and Charles -the Bald continued his reforming policy.</p> -<p>In the legislation cited above, Charlemagne had followed his father’s -example which favored a training in Gregorian music under Roman teachers, -as developed in the schools of Rome.<a class="fn" href="#fnx3_4" id="frx3_4">[4]</a> Pippin’s interest had resulted -in the establishment of a musical center of great repute at Metz<a class="fn" href="#fnx3_5" id="frx3_5">[5]</a> which -also possessed a cathedral school representative of the finest institutions -which flourished at this time side by side with monastic centers of learning.</p> -<p>Charlemagne was presented with a copy of the Benedictine Rule -with choir rules, office and festival hymns, by Theodomar, Abbot of Monte -Cassino, sometime between 787 and 797.<a class="fn" href="#fnx3_6" id="frx3_6">[6]</a> It became his chosen duty to -promulgate the Rule, to require its observance everywhere within his -realms and further to extend the influence of the Order in general. Consequently, -<span class="pb" id="Page_21">21</span> -monastic centers of music arose, for example, at St. Gall where -the hymnody of the offices was fostered and gradually made available for -the bishoprics as well. Louis the Pious, (814-840), and Charles the Bald, -(843-877), in their turn continued the patronage of the Benedictine Order. -Already fortified by the efforts of Charlemagne, the Benedictines entered -a period of religious and cultural influence which was later merged into -the age of the universities. Linked directly with the program for monastic -reform, the impulse to write new hymns and the encouragement to finer -musical performance together created the annual cycles of this period in -which the older hymns were retained and supplemented by the new.</p> -<p>The writers and literary leaders of the Carolingian period were by -virtue of their clerical profession actively engaged in liturgical studies. -Alcuin compiled the missal which established the Gregorian Sacramentary -in Frankish realms and constituted a recension acceptable to the Roman -Church.<a class="fn" href="#fnx3_7" id="frx3_7">[7]</a> A significant innovation for hymnology was the decorative procession.<a class="fn" href="#fnx3_8" id="frx3_8">[8]</a> -Alcuin was also influential through his devotional works which -supplemented the public worship of the mass and offices. Paulus Diaconus -and Angilbert were second to Alcuin in promoting liturgical studies. The -works of the great writers were accompanied by numerous writings of -lesser importance which bear witness, as will be evident below, to the increasing -practice of hymn-singing. The influence of the Roman Rite, -largely barren of hymns, was at the same period, in contact with the influence -of Benedictine precedent in hymn singing which in the end prevailed.</p> -<p>The Latin poetry associated with the Carolingian era has been edited -and published in a monumental form under the title <i>Poetae Latini Aevi -Carolini</i>.<a class="fn" href="#fnx3_9" id="frx3_9">[9]</a> The collection, produced in the spirit of a classical revival by a -circle of court poets, includes secular as well as religious verse.</p> -<p>Carolingian culture not only in the specific field of literature but in -the broader sense afforded a medium for the spread of Celtic, Byzantine -and Germanic genius. The Celtic portion of the poetry in the early monastic -cycles has already been described in connection with the <i>Old Hymnal</i>. -Prior to the eighth century, a transfer of Celtic scholarship to the continent -began to take place. The missionaries, Columbanus, Gall, Foilan, Disibod -and others, came first, during the seventh and eighth centuries. Refugees, -<span class="pb" id="Page_22">22</span> -fleeing before the Norse invasions of the late eighth and ninth centuries, -followed. Wanderers and pilgrims crossed the Channel, among them <i>peregrini</i> -who left their homeland to live in new countries as a means of spiritual -satisfaction and reward. Scholars came also who hoped for a more -sympathetic reception for their teachings among the continentals.<a class="fn" href="#fnx3_10" id="frx3_10">[10]</a> On -the whole, Celtic immigrants found a welcome. Charlemagne himself -favored them.<a class="fn" href="#fnx3_11" id="frx3_11">[11]</a> Celtic teachers were proficient in orthography, grammar, -Greek, scriptural and liturgical subjects and the arts.<a class="fn" href="#fnx3_12" id="frx3_12">[12]</a> They brought with -them manuscripts, the influence of which was felt, not only in their subject -matter but in musical notation and characteristic scripts.<a class="fn" href="#fnx3_13" id="frx3_13">[13]</a> The -Bangor Antiphonary, the hymns of which have already been considered, -came to the continent at this time. Among the famous teachers of music -was Marcellus<a class="fn" href="#fnx3_14" id="frx3_14">[14]</a> who, at St. Gall, instructed Notker, Tutilo, Waltram and -Hartmann, a fraternity devoted to finer ecclesiastical music and hymnody.</p> -<p>The role of Byzantine influence cannot be ignored in any account of -the cultural and historical background of ninth century literature. One -should recall that the Carolingian period was an era of general European -intercourse which could not fail to have an effect upon society. The foreign -relations of the Frankish Empire necessitated much traveling, visiting and -correspondence. Warlike as well as peaceful movement, commercial or -cultural, increased the interchange of ideas. There was an overlapping of -boundary lines, too, which amalgated populations. The infiltration of Byzantine -influence might be conceived as a by-product of European intercourse.</p> -<p>Insofar as hymnology is concerned, musical contacts between the -Byzantine and Frankish realms were frequent. As early as Pippin’s reign, -Byzantine musicians appeared at the Frankish court with a gift of an organ -from the Emperor Constantinus Copronymus.<a class="fn" href="#fnx3_15" id="frx3_15">[15]</a> Many refugee monks who -fled to the west during the iconoclastic controversy remained there even -after its close in 787, enjoying monastic hospitality and imperial favor. -Charlemagne permitted them to use the Greek language in worship and -was so much impressed by the music employed in chanting the psalms -that he caused it to be adopted for the Latin version also.<a class="fn" href="#fnx3_16" id="frx3_16">[16]</a> The paramount -influence of Byzantine music upon liturgical practice in the west -will be considered more fully in connection with the sequence.</p> -<div class="pb" id="Page_23">23</div> -<p>Verifiable traces of Byzantine influence had already appeared with -the activities of Gregory the Great and are entirely comprehensible, so far -as he is concerned, in view of his residence at Constantinople, 579-585, as -papal envoy of Pelagius II.<a class="fn" href="#fnx3_17" id="frx3_17">[17]</a> The importation of litanies into the west -illustrates this type of influence. When Charlemagne received the Sacramentary -from Pope Hadrian I, it was labelled “Gregorian.” But in the -interval between the lives of Gregory and Charlemagne, popes of eastern -origin, ruling at the end of the seventh and the beginning of the eighth -century were responsible for western practice.<a class="fn" href="#fnx3_18" id="frx3_18">[18]</a> The influence of the -Eastern upon the Western Church seems to have been cumulative, with -Charlemagne in his day acting as the agent for its diffusion throughout -the Frankish Church.</p> -<p>In matters concerning the church and its worship the Greeks were -an acquisition not only as musicians but as scholars and as experts in the -fine arts. Their scholarship was in demand in New Testament studies. -Illustrations of Greek and of oriental inspiration in general are numerous -in architecture, painting, sculpture, ivories, work in precious metals and -the decoration of manuscripts.<a class="fn" href="#fnx3_19" id="frx3_19">[19]</a> Perhaps it was a natural desire to emulate -the splendor and ornament of eastern rites which led Charlemagne to -favor Greek elements in western observance at the expense of the Gallican.</p> -<p>In the midst of Gallic, Celtic, Italian, Byzantine and oriental influences -mingled in Carolingian culture, the presence of native genius is -strongly felt. Charlemagne has been criticized for his devotion to classical -rather than Germanic culture. Sacred poetry as produced in the Carolingian -literary circles, was written in Latin and clothed in classical garb. It -could hardly have been otherwise since Latin was demanded by the -Church and the vernacular languages of western Europe were then in -their early infancy. But in spite of the studied artificiality of this verse, a -note is sometimes heard in harmony with the poetry of later centuries -which emanates from Germanic sources.</p> -<p>Such in brief is the background of that revival of hymnody which -appears in the Carolingian period. It remains to trace, in detail, the evolution -of the monastic hymnal known as the <i>Later</i> or <i>Ninth Century -Hymnal</i>.</p> -<div class="pb" id="Page_24">24</div> -<h3 id="sc11">II. <span class="sc">The Later Hymnal</span></h3> -<p>The enlargement and diversification of the Hymnal to which Canon -Douglas referred in the words quoted at the close of Chapter Two, occurred -within the general historical limits of the Carolingian era and with -the exception of Spain and the British Isles, within the general geographical -limits of Carolingian political influence. The hymn cycles of the -period, recorded in manuscripts which reflect the numerical increase in -hymns as well as their diffusion upon the continent, are associated with -religious centers, for example, St. Martial, Laon, Douai, Moissac, St. Germain-des-Prés, -Corbie, Jumièges, Reichenau, Treves, Schäftlarn near -Munich, Murbach, Rheinau, St. Gall, Einsiedeln, Bobbio, Monte Cassino, -Benevento, Padua, Toledo, Canterbury, Naples and many other -places. The nucleus of the <i>Later Hymnal</i> has been identified with the -hymn cycle found partly in a <i>hymnarium</i> of the ninth century from St. -Paul’s in Lavantthal, Carinthia, and partly in a similar manuscript from -Karlsruh, both manuscripts being associated with Reichenau.<a class="fn" href="#fnx3_20" id="frx3_20">[20]</a> The basic -hymns from this group of sources current in the Carolingian period are -listed in the <a href="#sc13">appendix</a> to this chapter. A complete list of the manuscript -sources (prior to 1100), including the above and others, with an index -of the hymns which they contain, approximately 800 in number, was provided -by James Mearns, the English hymnologist, in his <i>Early Latin Hymnaries</i>.<a class="fn" href="#fnx3_21" id="frx3_21">[21]</a></p> -<p>So much for the evidence as to the actual hymns in use from sources -available at the period when the <i>Later Hymnal</i> flourished. The origin of -the <i>Later Hymnal</i>, however, is far from clear. It has been defined as a -collection arising about the seventh century which superseded the <i>Old -Hymnal</i> and has since prevailed.<a class="fn" href="#fnx3_22" id="frx3_22">[22]</a> This opinion advanced by Blume and -affirmed by Walpole, depends upon the theory that the later cycle had -been in use in the British Isles since the period of Gregory the Great. An -Anglo-Irish cycle therefore, was posited which took possession of the -continent, usurping the original Benedictine hymnal. As early as 1911, -Blume’s theory was questioned by Wilmart, the Benedictine scholar, who -asserted that the early cycle constituted a Gallican hymnal only,—a possibility -mentioned above. He thought that the <i>Later Hymnal</i> was a new -version of the Benedictine cycle representing a normal growth through -<span class="pb" id="Page_25">25</span> -the centuries. Other critics of note have adopted one or the other viewpoint, -Frere following that of Blume; and Raby, that of Wilmart.<a class="fn" href="#fnx3_23" id="frx3_23">[23]</a> A final -solution is obviously impossible for lack of manuscript evidence.</p> -<p>At the accession of Charlemagne, 768, the future of liturgical hymnody -was uncertain as the forces of Roman usage and Benedictine practice -were in conflict and the possibility of transferring the Benedictine -heritage to the church extremely doubtful, as the preceding survey has -already made clear. Secondary forces, however, were at work to achieve -this very end. First, the early gains made in compiling the Gallican Hymnal -and extending it to the secular clergy were never entirely lost. A precedent -had been set. Second, the Benedictine cycle was enjoined wherever -the Rule was effective and its use was further stimulated by royal capitularies -upon the subject of music and singing. Third, the establishment of -monastic centers of music in the leading Benedictine abbeys was productive -of literary as well as musical effort, attested by the very manuscripts -of hymn collections gathered there. The manuscripts of St. Gall, for -example, cover every department of contemporary medieval hymnology.</p> -<p>Charlemagne was particularly interested in St. Gall but was also -concerned with the monastic centers at Mainz, Fulda, Treves, Cologne, -Bamberg, Hersfeld, Lorsch, Würzburg and Reichenau.<a class="fn" href="#fnx3_24" id="frx3_24">[24]</a> He founded -Neustadt and endowed twelve monasteries in Germany. Meanwhile missionary -zeal had guided Benedictine pioneers beyond the old boundaries, -and Bavaria and Frisia had already been opened to missions and incidentally -to the full round of Benedictine activities. Louis the Pious was active -in monastic reform through his association with Benedict of Aniane; he -was a special patron of St. Gall and he stimulated the efforts of leaders -from Corbie to found New Corbie. Charles the Bald was a benefactor of -Marchiennes, Compiègne, Prum and St. Denis.<a class="fn" href="#fnx3_25" id="frx3_25">[25]</a> Prior to this period, the -numerous and influential foundations established on the continent by -Irish monks had adopted the Benedictine Rule, swelling the total number -of centers devoted to religious and educational activities.</p> -<p>The numerical increase in the Benedictine abbeys offers in itself presumptive -evidence of a greater use of hymns. What is known of the monastic -centers and their store of hymnaries offers direct proof. A closer bond -between the Order and the cultural activities of the age is found in the -<span class="pb" id="Page_26">26</span> -great personalities drawn from Benedictine ranks to serve the imperial designs. -Of particular interest here are the statements regarding hymns and -hymn singing which appear in contemporary writings.</p> -<p>Alcuin was chiefly interested in the Roman liturgy as such but he -wrote <i>De psalmorum usu</i>, <i>Officia per ferias</i> and the <i>Epistolae</i>, the last of -which shows a special interest in music. Rabanus Maurus testifies to the -general use of hymns by secular as well as regular clergy. Amalarius of -Metz mentions the use of hymns outside the monasteries. Walafrid Strabo -traces the use of hymns from the time of Ambrose and repeats the Canon -of Toledo recommending hymns. He says that churches which do not use -hymns are exceptional.<a class="fn" href="#fnx3_26" id="frx3_26">[26]</a> The testimony is scattered but it points to the -adoption of the hymnal by the secular clergy. It should also be recalled -that the Ambrosian tradition of musical independence was constantly maintained -at Milan.</p> -<p>As the Latin language became more and more an exclusive clerical -possession, the old safeguards provided by monastic walls were no longer -necessary. The whole body of clergy whether regular or secular became -the custodians of the hymnaries used in monastic and diocesan centers of -music and scholarship.<a class="fn" href="#fnx3_27" id="frx3_27">[27]</a> The Christian laity of Europe at this period may -have been largely ignorant of their hymnic heritage because the Carolingian -extension of hymn writing and hymn singing occurred within clerical -ranks. There was at this time scant indication of the future course of -Latin hymnology which would ultimately restore to the layman his original -possession handed down from the Early Christian Church.</p> -<p>The poetical writings of the era included a substantial body of religious -verse from which hymns are attributed to the following authors: -Paulus Diaconus, 1; Paulinus of Aquileia, 7; Alcuin, 3; Theodulphus, 1; -Rabanus Maurus, 2; Walafrid Strabo, 5; Florus of Lyons, 2; Wandelbert -of Prum, 1; Paulus Albarus of Cordova, 1; Cyprian and Samson, 2; Sedulius -Scottus, 2; Milo, 2; Ratbod, 2; Hucbald, 1; Hartmann, 4; Ratpert, 4; -Eugenius Vulgarius, 1; these with 73 of doubtful authorship make a total -contribution of 114 hymns.</p> -<p>(See <a href="#h8">Illustrative Hymns, VIII.</a> <i>Ut queant laxis resonare fibris</i>, “In flowing -measures worthily to sing,” Paulus Diaconus.)</p> -<p>Ambrosian meters are set aside in favor of the classical meters of the -<span class="pb" id="Page_27">27</span> -Greeks, the Sapphic and elegiac meters proving to be the most popular -thereafter. To what extent this influence is actually observable in hymn -cycles may be determined by a comparison of the list of Carolingian hymns -with the lists of hymns provided by Blume, Julian or Mearns. Batiffol selected -thirteen as found in later breviary lists<a class="fn" href="#fnx3_28" id="frx3_28">[28]</a> but the actual direct contribution -is much larger if other than breviary hymns are admitted. Moreover, -the literary and liturgical studies of the time broadened the original -Benedictine concept that the hymns of the monastic cycle should be Ambrosian -in style. The hymns of Sedulius and particularly of Prudentius -and Fortunatus were recognized, introduced or freely adapted to ecclesiastical -usage.</p> -<p>The direct influence of Celtic culture upon the new hymn cycles -must be associated with the introduction of biblical and liturgical works -containing hymns into Frankish territory. Later, hymns were written by -Celtic scholars, for instance, Samson, Sedulius Scottus (enumerated -above) and possibly others who are anonymous. Blume’s theory of the -Anglo-Irish hymn cycle, originally sponsored by Gregory the Great and -finally transferred to the continent, illustrates the most decisive form which -Celtic influence has so far been presumed to have exerted. The list of -hymns (see <a href="#sc13">Appendix</a>) bears, on the contrary, no resemblance to the group -of contemporary Celtic hymns.<a class="fn" href="#fnx3_29" id="frx3_29">[29]</a> It seems much more probable that Gregory, -the Benedictine Pope, approved the use in Anglo-Irish lands, of the -continental hymn cycle which the Order was responsible for carrying -northward with it when it entered Britain. In any case, the Benedictine -cycles from the ninth century onward are enriched from every aspect of -the diverse culture of the age, in which the Celtic contribution, both direct -and indirect, is important.</p> -<p>At this period hymnology in the Greek-speaking world was at its -height. Yet proof is sought in vain that Greek hymns were used in the -west, either in the Greek language or in translation. The hymnal of the -Western Church received from Greek sources its recorded tunes, not its -words. Although the earliest liturgical manuscript with musical notation -dates from the ninth century, the Greeks had already given their neumes -to the west. As for the hymn melodies which are crystallized in these -manuscripts when they do appear, theories of origin abound. A definite -<span class="pb" id="Page_28">28</span> -system of notation was in existence from the seventh century but hymns -had been sung from the fourth century.</p> -<p>In modern times through the consecrated efforts of Benedictine students -of the chant, working chiefly at Solesmes, a collation of the existing -musical manuscripts produced in the Middle Ages, has been made. Their -object has been to determine the authentic melodies of the Benedictine -cycle throughout its long history. Today the results of their scholarship -are available to the public and the great hymns which they have fostered -may be heard as well as read in their medieval form.</p> -<p>The assimilation by the Franks, of alien cultures whether through -conquest or peaceful interchange, may have been to a certain extent inevitable -and involuntary. Such phenomena occur in every period of history. -It is the conscious appropriation by the Carolingian leaders of a cultural -heritage and its organization through existing institutions which reveals -their true genius. This same process had taken place when Roman -genius secured and conserved the achievement of the Greeks. In the field -of religious culture with which this volume is concerned, an unbroken -continuity had been maintained from the days of the primitive church. -Even in the minor category of Christian hymnology, the hymnal as such, -created in the fourth century, was to flourish all the way into our own -times and might have done so without any special intervention. Historically -speaking, in the ninth century and under Frankish auspices, a transformation -took place which must be attributed to the conscious effort of -Frankish churchmen who, receiving the old hymnology, restored it to formal -worship with a much larger content and a greatly diversified form. -Herein lies the fundamental contribution of Germanic genius to the <i>Later -Hymnal</i>.</p> -<p>Individual hymn writers of the Carolingian age have been named -above as far as they are known, of whom Theodulphus of Orleans, Rabanus -Maurus and Walafrid Strabo are perhaps the most notable.</p> -<p>A Goth by race, a Spaniard by birth, Theodulphus, (c. 760-c. 821), belonged -to that population dwelling north and south of the Pyrenees which -the Franks had amalgamated into their kingdom. He was learned in all -the wisdom of that age and a man of action in a sense understandable in -any age. Bishop of Orleans, courtier, officer in the administration of -<span class="pb" id="Page_29">29</span> -Charlemagne, he served the church and the state with equal distinction. -Theodulphus as a poet of sacred verse is best known for his Palm Sunday -processional hymn, <i>Gloria, laus et honor tibi sit</i>, “All glory, laud and -honor,”<a class="fn" href="#fnx3_30" id="frx3_30">[30]</a> which he wrote during the period of his fall from royal favor -under Louis the Pious. This beautiful processional hymn, a triumph of -Carolingian verse, invested with all the attraction of legend and religious -pageantry, has been a favorite in every period of Christian history. Theodulphus -was not a member of the regular clergy and he did not, as far as -we know, write hymns for the monastic cycle. He represents the contemporary -trend which brought the hymn into new areas of worship in the -offices and ceremonies of the cathedral.</p> -<p>Rabanus Maurus, (780-856), of Germanic origin, was primarily a -theologian. His boyhood studies were completed at Fulda. As a young -man he became a pupil of Alcuin at Tours. In his maturity he returned -to Fulda reaching the climax of his career as Abbot of Fulda and later, -as Archbishop of Mainz. As a writer, Rabanus undertook to hand on, -through excerpts, the knowledge of his predecessors. He wrote commentaries -on the Bible, discussed ecclesiastical organization and discipline, -theology, liturgy and worship and the liberal arts. He made translations -into German with the collaboration of Walafrid and a Latin-German glossary -for the Scriptures. In connection with worship he became interested -in the Latin hymns which were rapidly spreading through the west. He -discussed the Psalms as hymns and then the hymns of Hilary and Ambrose, -saying of the Ambrosian hymns, how widespread had become their -prestige in his day. We know from other evidence that he was acquainted -also with the hymns of Sedulius, Columba and Bede. It seems almost certain -that he practiced the art of poetry although we are restricted to a -very small remnant of verse conceded to be his. The poems include a -number of hymns for the festivals of the seasons and of the saints, illustrating -the vogue for the classic in metrical forms. Like Theodulphus, he -wrote for processional ceremonies. The Pentecostal hymn, <i>Veni, creator -spiritus</i>, has been persistently associated with the name of Rabanus but -without adequate proof. It is a lasting hymn of the ninth century.</p> -<p>(See <a href="#h9">Illustrative Hymns, IX.</a> <i>Veni, creator spiritus</i>, “Creator-Spirit, all-Divine.”)</p> -<div class="pb" id="Page_30">30</div> -<p>Walafrid Strabo, (809-c. 849), was like Rabanus of Germanic origin -and like him a member of the regular clergy. At Reichenau he received -his early education and at Fulda his theological training under Rabanus. -Walafrid was drawn into the courtly circle of Louis the Pious whose son -Charles he tutored and whose wife Judith became his literary patron. His -life was one of scholarship, prosperity and contentment almost to the end -of his career. Louis had appointed him Abbot of Reichenau, a place dear -to him from boyhood. From these happy surroundings and from his garden -which he immortalized in careful and loving description, he was -ousted during the civil conflict following the death of the emperor. At the -end he was restored to Reichenau and there he died. His hymns like -those of Theodulphus and Rabanus, although few in number, were written -in the spirit of the classical revival. Some were intended for festivals -and others which will be described in connection with processional hymnody, -were written to honor royal patrons.</p> -<p>In reviewing the basic hymns of the <i>Later Hymnal</i> (see <a href="#sc13">Appendix</a>), -one finds only two of Mozarabic origin whereas nine were duplicated in -the <i>Old Hymnal</i> in Spain and Gaul. The new cycles in areas under -Frankish influence appear to diverge from the Mozarabic as they become -more diversified. At the same time, Mozarabic sources reveal a parallel -evolution of the hymnal in the Iberian peninsula. The existing manuscripts -were collated and edited in 1897 by Blume in volume twenty-seven -of the <i>Analecta Hymnica</i> under the title <i>Hymnodia Gotica</i>, comprising -312 hymns of which 210 were identified by him as Mozarabic in origin.</p> -<p>The hymns of Spain, first assembled under the auspices of Gothic -churchmen as recounted in <a href="#c3">Chapter Two</a>, continued to increase with the -encouragement and participation of Mozarabic liturgists, scholars and prelates. -The generation that supported Isidore of Seville was succeeded two -hundred years later by the group associated with Eulogius, Archbishop of -Cordova (d. 859), who fostered the old traditions under Moslem control.<a class="fn" href="#fnx3_31" id="frx3_31">[31]</a> -In spite of a ruling power alien in every aspect of culture, Christian hymnology -held its own. After the Moorish invasions, it is estimated that between -thirty and forty hymns were written, several of which contain references -to the yoke of the oppressor and petitions for its removal.<a class="fn" href="#fnx3_32" id="frx3_32">[32]</a> When -the movement toward the expulsion of the Moors had been successfully -<span class="pb" id="Page_31">31</span> -initiated and the Roman Rite introduced (1089) the Mozarabic hymnals -were comparable to the finest of the continental cycles. In certain instances -the contacts between Spain and Gaul were close and direct even under -the rule of the Moslems. Theodulphus of Orleans combined the Gothic -and Carolingian trends. Alcuin was indebted to Mozarabic sources in his -reform of the Frankish rites.<a class="fn" href="#fnx3_33" id="frx3_33">[33]</a> Hymns of Mozarabic origin appeared in -other parts of western Europe and vice versa.</p> -<p>(See <a href="#h10">Illustrative Hymns, X.</a> <i>Deus immensa trinitas</i>, “O glorious immensity.”)</p> -<p>The possible influence of Arabian music and poetry upon the Christian -hymn has been a tempting idea and one most elusive of pursuit. -Studies of medieval Spanish music and musical instruments have failed -to demonstrate that the ecclesiastical chant in Spain was thereby affected. -Such novelties as it may have possessed have been traced to influences -similar to those which had long before affected the Ambrosian chant and -been transmitted to the west. As for the tentative assumption that Arabian -lyric poetry influenced contemporary hymn writers in Spain, the evidence -narrows to the mono-rhyme or repeated end-rhyme common to Arabian -poetry and to several Mozarabic hymns.<a class="fn" href="#fnx3_34" id="frx3_34">[34]</a> The whole subject of the Arabian -impact, highly controversial as it is, appears to be concerned with -influences, which when scrutinized, are observed to spring from cultures -prior both to Christianity and to Islam.</p> -<p>The Mozarabic Hymnal in its fully developed version possessed an -unusually large number of hymns honoring local saints. This feature must -be referred to the history of the Roman persecution in the Iberian peninsula -where the complete destruction of the Church was intended and -martyrdom was the rule. Again the Hymnal is unique in its hymns for -public occasions either of mourning and intercession in time of war, pestilence, -drought and flood or of joy, in festivals of the consecration of -bishops, the coronation of kings and thanksgiving for full harvests.</p> -<h3 id="sc12">III. <span class="sc">Characteristics</span></h3> -<p>For the most part the hymn writers of the later hymn cycles are -anonymous, like their predecessors in this field. Anonymity is then the -<span class="pb" id="Page_32">32</span> -first characteristic to be noted concerning the hymnal in this period, which -makes it necessary to survey the whole as an objective achievement of the -age, not of a few individuals.</p> -<p>Next to the anonymity of its authorship, possibly the most conspicuous -feature of the new hymnal is the enlargement of each of its general -divisions, the Common and the Proper of the Season and the Common -and the Proper of Saints. The old hymn cycle, it will be recalled, comprised -thirty-four hymns as listed by Blume. The later cycle in its nucleus -numbers thirty-seven hymns of which seven are repeated from the old -cycle. In ten representative tenth century hymnals, the hymns number -from about fifty to about one hundred, many of them common to several -lists.<a class="fn" href="#fnx3_35" id="frx3_35">[35]</a></p> -<p>Not only is the total number of hymns increased but festival hymns -are multiplied, the ecclesiastical year as it was later known being fully established -in hymnology. Advent, Nativity, Epiphany, Lent, the Passion, -Easter, Ascension, Pentecost and Trinity have their own groups of hymns. -The various feasts of the Virgin and that of All Saints are honored. Among -the Apostles, Sts. Peter, John and Andrew are praised; of other biblical -saints, Sts. John the Baptist, Stephen, Paul; of the angels, St. Michael; of -martyrs, the Innocents and St. Laurence; of local saints, Sts. Martin of -Tours, Gall, Germanus, Martial, and a number of others. So stands the -record of manuscripts of the tenth century when hymnal gains had been -consolidated. The process went steadily onward as Latin hymns for the -offices continued to be written to the end of the Middle Ages. A few have -been added since the sixteenth century but, with certain exceptions, the -great body of office hymns of the medieval church was permanently established -by 1100, the date which Mearns selected as a boundary line. The -same sources enriched the present-day Roman breviary which by a paradox -of history, has preserved to modern times the representative hymns to -which the Roman liturgy of that early period was so inhospitable.</p> -<p>As a matter of fact, in the interval between and including the fourth -and the eleventh centuries, the Latin hymn, considered in its literary implications -and in its liturgical usage, was founded for the ages. Attaching -to the word <i>hymn</i> its strictest sense and narrowest function, that of the -office hymn, the student perceives the great significance of this department -<span class="pb" id="Page_33">33</span> -of medieval hymnology as compared with the sequence, processional and -extra-liturgical hymns of the Middle Ages. It becomes more evident that -here is the core and heart of Latin hymnody. The Church could and did -in the event, dispense with much of its medieval collection, but never with -the hymnal. Here was preserved the ethics of the Christian life, the intimacy -of the scriptural narrative, the presentment of the Christian feasts -and the praise of God and of his saints.</p> -<h3 id="sc13"><span class="sc">Appendix</span> -<br /><i>Later Hymnal</i> (See <i>Anal. Hymn., 51, Introduction</i> p. xx-xxi)</h3> -<dl class="undent"><dt><i>Ad parvas horas</i></dt> -<dd><i>Iam lucis orto sidere</i></dd> -<dd><i>Nunc sancte nobis spiritus</i></dd> -<dd><i>Rector potens verax Deus</i></dd> -<dd><i>Rerum Deus tenax vigor</i></dd></dl> -<dl class="undent"><dt><i>Ad vesperas</i></dt> -<dd><i>Lucis creator optime</i></dd> -<dd><i>Immense caeli conditor</i></dd> -<dd><i>Telluris ingens conditor</i></dd> -<dd><i>Caeli Deus sanctissime</i></dd> -<dd><i>Magnae Deus potentiae</i></dd> -<dd><i>Plasmator hominis Deus</i></dd> -<dd><i>Deus creator omnium</i> (In Old Hymnal)</dd> -<dd><i>O lux beata trinitas</i> (Mozarabic)</dd></dl> -<dl class="undent"><dt><i>Ad nocturnas horas</i></dt> -<dd><i>Primo dierum omnium</i></dd> -<dd><i>Somno refectis artubus</i></dd> -<dd><i>Consors paterni luminis</i></dd> -<dd><i>Rerum creator optime</i></dd> -<dd><i>Nox atra rerum contegit</i></dd> -<dd><i>Tu trinitatis unitas</i></dd> -<dd><i>Summae Deus clementiae</i></dd></dl> -<dl class="undent"><dt><i>Ad matutinas laudes</i></dt> -<dd><i>Aeterne rerum conditor</i> (In Old Hymnal)</dd> -<dd><i>Splendor paternae gloriae</i> (In Old Hymnal)</dd> -<dt class="pb" id="Page_34">34</dt> -<dd><i>Ales diei nuntius</i></dd> -<dd><i>Nox et tenebrae et nubila</i></dd> -<dd><i>Lux ecce surgit aurea</i></dd> -<dd><i>Aeterna caeli gloria</i></dd> -<dd><i>Aurora iam spargit polum</i></dd></dl> -<dl class="undent"><dt><i>Ad completorium</i></dt> -<dd><i>Christe qui lux es et dies</i> (In Old Hymnal; Mozarabic)</dd> -<dd><i>Te lucis ante terminum</i></dd></dl> -<dl class="undent"><dt><i>Proprii de tempore</i></dt> -<dd><i>Ad cenam agni providi</i> (In Old Hymnal)</dd> -<dd><i>Aurora lucis rutilat</i> (In Old Hymnal)</dd></dl> -<dl class="undent"><dt><i>De communi sanctorum</i></dt> -<dd><i>Martyr Dei qui unicum</i></dd> -<dd><i>Rex gloriose martyrum</i></dd> -<dd><i>Aeterna Christi munera</i> (In Old Hymnal)</dd> -<dd><i>Sanctorum meritis inclita gaudia</i></dd> -<dd><i>Virginis proles opifexque</i></dd> -<dd><i>Iesu corona virginum</i></dd> -<dd><i>Summe confessor sacer</i></dd></dl> -<div class="pb" id="Page_35">35</div> -<h2 id="c5"><span class="jr small">CHAPTER FOUR</span> -<br />The Ninth Century Revival: Sequences</h2> -<h3 id="sc14">I. <span class="sc">Origin</span></h3> -<p>The problem presented by the origin of the sequence is perhaps the -most difficult of all those connected with the evolution of medieval hymnology. -So far the available information on the subject has never been -brought together in one place. To do so is a baffling task which has by no -means been completed here nor is that which follows either exhaustive -or conclusive. It is merely an attempt to trace the origin and early development -as far as the evidence at hand makes it possible, at the same -time referring the reader to those scholars who have investigated special -topics in detail.</p> -<p>The <i>alleluia</i> of the mass is the starting-point of the sequence. Inherited -from the synagogue and incorporated in the Byzantine rite, it was -nevertheless brought independently to Rome. The extension of the final -<i>a</i> constituted a musical phrase, called a <i>iubilus</i> or <i>iubilatio</i>. This elaborated -<i>alleluia</i> with <i>iubilus</i> is Gregorian.<a class="fn" href="#fnx4_1" id="frx4_1">[1]</a> It became necessary for the sake of -breathing, to divide the extended <i>iubilus</i> into musical phrases, each a -<i>sequentia</i> and the whole <i>sequentiae</i>. Some <i>iubili</i> however, remained single -while others were sung by two choirs with a repetition of phrases. The -next step was the composition of a text for some of the <i>iubili</i>, which text -was written below the musical notation. Finally a text was supplied for -every such melody, which resulted in the <i>sequentia cum prosa</i>.<a class="fn" href="#fnx4_2" id="frx4_2">[2]</a></p> -<p>It is one thing to note the preceding succession of steps as objective -phenomena. It is quite another to explain the origin of the idea which -transformed the <i>alleluia</i> into the larger <i>iubilus</i>. This is the most obscure -point in the musical development of the sequence, which, for lack of -manuscript evidence cannot at present be clarified. At least three hypotheses -have been offered. Arguing from the appearance of the trope, some -<span class="pb" id="Page_36">36</span> -have suggested that the <i>iubilus</i> is a musical interpolation just as the -trope is a textual interpolation. This is quite possible but perhaps too -simple for an adequate solution. A much more tempting hypothesis has -appealed to a variety of scholars,—that of the introduction of Greek -melodies.<a class="fn" href="#fnx4_3" id="frx4_3">[3]</a> To these students it has seemed more than probable that the -intercourse between western Europe and the Byzantine realms in the -reign of Charlemagne constitutes a sufficient explanation for the appearance -of fresh musical themes. Again, a possibility only has been suggested. -So far manuscript evidence for the Greek melodies from which -the Gregorian <i>alleluiae</i> and their <i>iubili</i> are derived, has not appeared. -Blume, whose treatment of the subject forms the basis of this chapter, not -only questions the hypothesis of Greek melodies but he offers a third suggestion -and that tentatively; Gregory, he thinks, shortened the <i>alleluia</i> -brought over by the Greeks. When, later, a tendency was felt to elaborate -the forms of worship, the longer melodies were once more revived in the -sequence. This very interesting suggestion, if one day capable of proof, -would harmonize the Byzantine and Gregorian influences which produced -the initial extension of the final <i>a</i> of the <i>alleluia</i>.</p> -<p>For purposes of clearness a differentiation should be made between -the musical and poetical development of the sequence as soon as the -<i>sequentia cum prosa</i> is reached. Manifestly it is impossible to do so, in -any complete fashion, where words and music are so inextricably interwoven -in a common development. It is better, however, to attempt the -impossible and for the present, to ignore overlappings.<a class="fn" href="#fnx4_4" id="frx4_4">[4]</a></p> -<p>The origin of the word <i>sequentia</i> itself, in the phrase <i>sequentia cum -prosa</i> has often been discussed because of its significance in tracing the -musical development of the forms in question. To some scholars <i>sequentia</i> -means merely <i>sequela</i>, <i>i.e.</i> notes following the <i>a</i> of the <i>alleluia</i>, a simple -and tenable theory. To the great majority, however, <i>sequentia</i> is a translation -of the Greek <i>akoulouthia</i>. In fact it has been generally accepted as -such, although <i>sequentia</i> conveys the idea of continuation in the Greek -word rather than its technical meaning of a continuation specifically of -songs, etc. If this is valid, Greek influence upon the origin of the sequence -is inferred.<a class="fn" href="#fnx4_5" id="frx4_5">[5]</a> Another form of the theory of Greek influence is evident in -the suggestion that <i>sequentia</i> means <i>hirmos</i>, that is, a regular continuation -<span class="pb" id="Page_37">37</span> -of tones. <i>Hirmos</i> may refer to poetry also.<a class="fn" href="#fnx4_6" id="frx4_6">[6]</a> A derivation of <i>sequentia</i> from -Greek terms, if proven, would of course, buttress the theory of Byzantine -influence upon the whole development; but the weakness of the derivation -from <i>akoulouthia</i>, for example, is its dependence upon a misunderstanding -of the Greek form of worship to which the word applies.<a class="fn" href="#fnx4_7" id="frx4_7">[7]</a> An -entirely different suggestion as to origin arises from the formula used in -the liturgy to announce the Gospel, <i>Sequentia Sancti Evangelii secundum</i> -<i>etc.</i><a class="fn" href="#fnx4_8" id="frx4_8">[8]</a> Often some practical consideration, extraneous condition or unrelated -incidental circumstance has affected liturgical change or development. -Consequently, even a slight suggestion like this provokes thought.</p> -<p>Whatever may be the correct origin of the word <i>sequentia</i> the place -of origin of the sequence is generally conceded to have been France sometime -in the eighth century. The part played by other lands in the origin -of the <i>sequentia cum prosa</i> cannot be wholly determined at present. It -must suffice to study the evidence available. It has been demonstrated how -the early French sequences have a closer tie with the <i>alleluia</i> and how the -word is sometimes retained to introduce the <i>prosae</i> which accompany the -music. There is considerable evidence supporting French priority over the -Germans in the creation of these new musical forms, the chief centers of -composition being St. Martial, Luxeuil, Fleury-sur-Loire, and Moissac, the -outstanding rival of St. Martial. An origin for the sequence in France -is independently probable due to the interest in liturgical music stimulated -by Charlemagne, who, as shown in the preceding chapter, favored -Gregorian and Byzantine innovations at the expense of Gallican forms.</p> -<p>One of the suggestions mentioned to account for the original lengthening -of the <i>alleluia</i> in the <i>iubilus</i> is connected with the trope. The word -has long been defined as a textual interpolation.<a class="fn" href="#fnx4_9" id="frx4_9">[9]</a> Gastoué, however, contends -that it was originally and primarily musical, a vocalization in the -existing chant and that it was created in the music school. The ancient -form of trope is a <i>neuma triplex</i> added to the response <i>In medio</i> <i>etc.</i> for -the Feast of St. John the Apostle, or to <i>Descendit de caelis</i> for Christmas. -This vocalism is described by Amalarius of Metz and indeed Metz may -be its place of origin. Alcuin has been named as the possible originator, a -theory strengthened by the fact that Amalarius was one of his pupils.<a class="fn" href="#fnx4_10" id="frx4_10">[10]</a> At -any rate Amalarius seems to have been the first to call the melody following -<span class="pb" id="Page_38">38</span> -the <i>alleluia</i>, a <i>sequentia</i>,<a class="fn" href="#fnx4_11" id="frx4_11">[11]</a> from which it is evident that the <i>iubili</i> must -have been regarded in some other light prior to his writing. The <i>sequentia</i> -in connection with the <i>alleluia</i> may very reasonably have been considered -a trope, since vocalisms like these had already appeared elsewhere in rites -of worship, and sequences in addition to those which belong to the <i>alleluia</i> -of the mass have been found in antiphonaries. To repeat, Gastoué describes -a musical interpolation or trope originating in the music schools -of the Franks and appearing in various liturgical settings. He likens the -<i>iubilus</i> to a trope which Amalarius called a <i>sequentia</i>. The original divisions -created by the musical phrases in the <i>iubilus</i> now appear in a series, -each repeated a certain number of times with introduction and conclusion -and thus the completed sequence structure comes into being. The germ -of its formal construction, Gastoué finds in certain Gregorian sources. The -ancient <i>alleluia</i>, <i>Justus ut palma florebit</i>, shows such characteristics and -reveals the liturgical Latin origin of the sequence, its melody going back to -the <i>versus alleluiaticus</i>.</p> -<p>In spite of the evidence which would make the sequence a native -musical product of western Europe, the theory of Greek origin is still persistently -held by certain scholars. For that reason it must be considered in -greater detail. Gregory’s adoption of Greek novelties forms the starting -point of this theory, while Charlemagne’s well-known enthusiasm for -Greek innovations carries its proponents still further. The fact that the -original Greek melodies which are assumed to have been used in the west, -have never been produced in evidence, is not a proof of their non-existence. -An extensive study of certain sequence melodies has been made in order -to determine whether they are modeled upon Greek originals, since the -Greek names for these melodies and features of notation point to such an -origin.<a class="fn" href="#fnx4_12" id="frx4_12">[12]</a> But such names are secondary, the original and natural name -being the first phrase of the Latin words accompanying the melodies and -the Greek word a suggested title. A Greek melody, called <i>Organa</i>, for instance, -might be assumed to retain its name in Latin. The opposite is the -case for the name <i>Filia matris</i> is original and <i>Organa</i> the suggested title.</p> -<p>Regarding the argument from notation it is a matter of common -knowledge that the <i>neume</i> is native to Greek-speaking lands and may have -existed as early as the sixth century.<a class="fn" href="#fnx4_13" id="frx4_13">[13]</a> <i>Neumes</i> took firm root at St. Gall, -<span class="pb" id="Page_39">39</span> -the great German center for the propagation of the sequence, so much so, -that they persisted until the twelfth century even after the invention of -the staff and in the interval were spread by teaching. Moreover, <i>neumes</i> -were written in the manner of the eastern church, <i>i.e.</i> in a straight line, -not at different levels to indicate pitch.<a class="fn" href="#fnx4_14" id="frx4_14">[14]</a> It is unfortunate that the dearth -of manuscripts showing <i>neumes</i> makes a gap in the evidence just where -support is most needed, for the earliest musical manuscripts with this notation -date from the ninth century;<a class="fn" href="#fnx4_15" id="frx4_15">[15]</a> but the assumption in favor of Greek -originals is at least strong enough to forbid its being ignored.</p> -<p>An additional circumstance which supports the theory of Greek origin -is the fact of musical parallelism in the structure of the sequence. This is -an important point of contact between the sequence and Byzantine musical -forms, although it has not been universally convincing. On the contrary, -some have traced this phenomenon of musical parallelism to one of -those extraneous conditions, affecting liturgical practice, namely, the use -of antiphonal choirs.<a class="fn" href="#fnx4_16" id="frx4_16">[16]</a></p> -<p>Nothing can be more unsatisfactory to the student who is trying to -force the sequence into any particular theory of musical origin than the -contemplation of what is actually known on this subject, for the question -seems destined to remain undecided. A better perspective may be reached -by examining the poetical development of the sequence which began with -the <i>sequentia cum prosa</i> and ended in a new form of Latin hymn for -which melodies were in turn composed.</p> -<p>The text written below the <i>alleluia</i> melody is generally accepted as -of French origin and likewise the naming of that text. As the text became -important the melody too was named so that the melody and text were differentiated -from each other, the latter as a <i>prosa</i>. It is unknown whether -the name <i>sequentia</i> instead of <i>prosa</i> was chosen deliberately as differing -from the French usage. Amalarius was apparently the first to use the word -<i>sequentia</i> in connection with the music. Later the term was destined to -supersede the name <i>prosa</i> for the poetical text.</p> -<p>We owe to Notker, whose part in creating the sequence will be considered -in greater detail below, an account of his invention of words as -an aid to memorizing the elaborate melody of the <i>alleluia</i> trope. Whether -Notker was the first to see the value of this device and to employ it, is -<span class="pb" id="Page_40">40</span> -unknown.<a class="fn" href="#fnx4_17" id="frx4_17">[17]</a> As a theory of origin it has always been popular, being held by -Frere and many others. For the present it may be acknowledged that it is -a reasonable theory for, of course, only the choir leader had a musical -codex to refer to and the musical ability of the average monk was unequal -to the difficulties of memorization by ear alone. Moreover, this theory can -always be accepted with others, although it seems inadequate by itself.</p> -<p>A second explanation of origin arises from the possibility that sequence -poetry originated in the imitation of Greek hymn models. The statement -has been made definitely that sequence poetry shows the transference of -the Byzantine structure of hymnody to Latin church poetry, especially -Notker’s.<a class="fn" href="#fnx4_18" id="frx4_18">[18]</a> With every circumstance favoring such a transfer it is amazing -that the Franks who heard so much of Greek hymns and could have translated -them into Latin and sung them to the same tunes, evidently did -nothing of the kind. Some other explanation of similarity must be found. -Metrical parallelism, which is characteristic of the Latin sequence and contemporary -Greek hymns, in Gastoué’s opinion, can be accounted for only -by reference to Hebrew poetry as the ultimate inspiration of liturgical -poetry.<a class="fn" href="#fnx4_19" id="frx4_19">[19]</a> Thus a Byzantine theory of origin breaks down when metrical -sources are subjected to closer scrutiny. After all, the sequence is unknown -in the Byzantine ritual and therefore the Byzantine influence -could never have been direct.</p> -<p>A third theory emphasizes the metrical form of the <i>alleluia</i> melody -as the determining factor in creating a new poetical rhythm.<a class="fn" href="#fnx4_20" id="frx4_20">[20]</a> Here, the -desire to create fitting expressions of praise is not explained so much as the -form in which the praises are cast. Von Winterfeld thought that rhythmical -prose was inseparable from the liturgical music which had already -been composed, just as the Greek chorus and the Wagnerian music drama -found their complement in a dignified and sonorous prose rhythm.<a class="fn" href="#fnx4_21" id="frx4_21">[21]</a> This -theory may well be called the liturgical. It is most significant for the lyrical -movement in general since a new metrical form is created differing -from the Ambrosian meter or the revived classical meters popular among -Carolingian poets. The lyric is born again, as Meyer expresses it, in the -music of the church.<a class="fn" href="#fnx4_22" id="frx4_22">[22]</a> A poem arises consisting of a series of parallel -strophes with introduction and conclusion, a lyric counterpart to the musical -phrases of the <i>sequentia</i>.</p> -<div class="pb" id="Page_41">41</div> -<h3 id="sc15">II. <span class="sc">Sequences of the German School</span></h3> -<p>The importance played by St. Gall in the development of the sequence -has given rise to the theory that it originated there. Present-day opinion, -as indicated above, concedes that sequences arose in France and that St. -Gall is not a place of origin but like St. Martial, a prominent center for -their composition and diffusion. Other centers were Metz, Murbach, -Fulda, Echternach, Kremünster and St. Florian. Reichenau, too, was important -in music and in the spread of sequence poetry.<a class="fn" href="#fnx4_23" id="frx4_23">[23]</a></p> -<p>Notker Balbulus, (840?-912), was largely responsible for the enviable -reputation enjoyed by St. Gall. Born in Switzerland, Notker had entered -the Benedictine monastery at St. Gall as a child to be educated and there -he continued as a member of the Order until his death. A pupil and later -a teacher of the music school in the period of Louis the Pious and Louis -the German, he shared the life of the Abbey during the height of its reputation, -when its doors were open to travelers from every land and every -rank of society. Notker himself tells of the refugee from the French monastery -of Jumièges who brought with him his famous Antiphonary. Tradition -has it that Notker composed words to fit the forms of the <i>alleluia-iubilus</i>, -note for note, already in use in his monastery, and thus originated -the sequence, finding his inspiration, not in the Ambrosian hymns but in -the liturgy.<a class="fn" href="#fnx4_24" id="frx4_24">[24]</a> The Jumièges Antiphonary reached St. Gall about 860, by -which time <i>prosae</i> were already known in France. There is evidence, moreover, -from manuscripts, that texts existed before Notker’s time in St. Gall. -He is not their first composer nor are the sequences emanating from St. -Gall necessarily all Notker’s work. “Notkerian” means for sequences what -“Ambrosian” means for hymns.</p> -<p>The problem of the authentic Notkerian sequences was subjected to -critical study and variously solved by Schubiger in 1858, Wilmanns in -1872, and Werner in 1901. More recent students have re-examined the -evidence and expressed their critical opinions as to Notker’s poetical and -musical prestige: Singer in 1922, Van Doren in 1925 and Clark in 1926. -Of more than 100 sequences attributed to Notker, 47 were judged to be -authentic and edited in volume 53 of the <i>Analecta Hymnica</i>. Notker’s -ability as a musician appears to be a matter of controversy. A new review -<span class="pb" id="Page_42">42</span> -of the Notkerian problem and its literature has been offered by the Swiss -scholar, Wolfram von den Steinen, together with an edition of the sequences -of the St. Gall school.<a class="fn" href="#fnx4_25" id="frx4_25">[25]</a> What scholars in general have taken away -from Notker with one hand they return with the other, for if not an originator -he is conceded to be the leading agent in introducing the sequence -into Germany and setting a standard for this type of poetry which included -from Notker’s pen a notable group of sequences for the festivals of the -whole year. His sequence for Pentecost is representative of the achievements -of the German school.</p> -<p>(See <a href="#h11">Illustrative Hymns, XI.</a> <i>Sancti spiritus adsit nobis gratia</i>, “The grace -of the Holy Ghost be present with us.”)</p> -<p>It is not surprising that scholars interested in the theory of Greek influence -upon sequence poetry should seek confirmation of their views in -Notker’s work. There is a majestic quality and a vigorous resounding -praise in these poems which has been thought a reflection of Byzantine -hymns. Reference has already been made to the Byzantine strophic system -and its probable influence upon Notker’s poetical technique. When -one considers that the monastery of St. Gall was always a port of call for -refugees and travelers from the east and in the preceding century may -have harbored many of them, it is reasonable to suppose that Notker was -acquainted with contemporary Greek hymnody. Whatever may be the -explanation of the metrical system employed by Notker, he undoubtedly -named his melodies in such a way as to suggest a Greek identification.<a class="fn" href="#fnx4_26" id="frx4_26">[26]</a></p> -<p>There remains another line of research, which is relatively unimportant, -yet should be noted when the question of Greek influence is raised. It -has been stated that Greek words are used in Latin sequences, thereby -proving contact with Greek-speaking contemporaries on the part of their -authors, or with Greek literary sources. Whenever this test is applied to -any medieval writing produced by churchmen it should not be forgotten -that the Vulgate was the one great continuous source, inspiration and -standard of the Latin language as employed in the Middle Ages. Throughout -the period, all Latin hymns which include a narrative element or -refer in any other way to biblical statements are greatly indebted to the -Vulgate. A considerable number of Greek words, naturally, appear in the -Vulgate. Applying the criterion of Greek words to Notker’s sequences, -<span class="pb" id="Page_43">43</span> -one reaches no definitive results whatever. In the forty-one sequences attributed -to Notker by Wilmanns, some seven Greek words appear which -are not in the Vulgate.<a class="fn" href="#fnx4_27" id="frx4_27">[27]</a> If this proves anything in Notker’s case, it is -significant only in connection with other evidence from Greek originals -which has not been advanced.</p> -<p>Having considered the separate development of the musical and poetical -aspects of the sequence, as far as they can be sundered, it remains to -view certain factors which may have affected that development but have -not as yet been stated.</p> -<p>The history of medieval music, quite apart from the creation of the -<i>iubilus</i> and the <i>sequentia</i>, should not be overlooked by the student who is -trying to understand liturgical music in this general period. Perhaps during -the eighth and certainly from the ninth century, polyphonic and harmonic -forms began to appear. New melodies for sequences were in demand -and were produced, which in turn were influenced by popular and -secular music, with an interaction of words and music taking place, sometimes -with words, sometimes with music leading the way.<a class="fn" href="#fnx4_28" id="frx4_28">[28]</a> The history -of the sequence, when complete, will owe much to the studies of medieval -music now in progress by musicologists, some of whose conclusions have -been noted above. The history of musical instruments is relevant here but -in any case it must always be remembered that the church possessed the -musical notation and was able to dominate the field.</p> -<p>If the course of secular and ecclesiastical music accompanying the -sequence remains uncertain, so are the currents of medieval religious and -secular verse in Latin still uncharted. Which is the original stream? Latin -secular poetry existed contemporary with the early sequence, the secular -form of which was known as a <i>modus</i>,<a class="fn" href="#fnx4_29" id="frx4_29">[29]</a> which, like the sequence, was -inseparable from its musical accompaniment for the minstrel both sang -and played his unrhymed lay. Some have taken the extreme point of view -of the part played by secular influence and have regarded the sequence as -a popular lyric in worship, perhaps even a <i>Volkslied</i>.<a class="fn" href="#fnx4_30" id="frx4_30">[30]</a> But the question -as to the predominance of influence whether religious or secular, remains -open.</p> -<p>The argument for influence from vernacular verse upon the sequence -is equally weak. Prior to the ninth century vernacular lyrics in the Germanic -<span class="pb" id="Page_44">44</span> -tongues are so rare as to be valueless in this discussion. Celtic lyrics -from the seventh and eighth centuries are also rare. It is possible that they -were known to Celtic teachers on the continent but too much should not -be assumed from this possibility or from the fact that the oldest form of -Celtic lyric exhibits rhythmic parallelism.<a class="fn" href="#fnx4_31" id="frx4_31">[31]</a> French, Spanish and early -English vernacular lyrics appear too late to be significant in the problem -of origins. In any case, the question hinges upon metrical technique which -can be adequately explained without recourse to vernacular lyrics, which, -insofar as they do exist, may be regarded as themselves imitations of earlier -Latin forms.</p> -<p>The evidence offered by secular lyrics, Latin or vernacular, in the -early Middles Ages points to an outstanding growth from the sequence -rather than a creative source for the sequence. As a matter of fact the -sequence breaks away from the church and itself becomes secular, as the -history of poetry in the later Middle Ages bears witness.</p> -<p>The above presentation of what is known as to the origin of the sequence -can scarcely be satisfactory to the scientific historian of medieval -culture. Full of inconvenient gaps and baffling inconsistencies the evidence -remains totally inadequate. One conclusion alone may be advanced -and that tentatively; the sequence appears to have been created wholly -within the liturgy of the mass. The <i>troparium</i> or <i>tropary</i>, later the gradual -and missal contained the sequences for the annual feasts just as the <i>hymnarium</i> -or <i>hymnary</i>, later the breviary had contained the hymn cycles of the -offices.</p> -<p>The appearance of the sequence in the history of medieval hymnody -was an episode of the greatest importance not only in the evolution -of Latin religious and secular poetry but in their vernacular counterparts. -In order to understand the extraordinary popularity and wide diffusion of -the sequence it must be emphasized that it is not just another hymn, but -an ornament to the mass, individually created for each and every festival -with a particular theme in mind. The seasons of Advent, Nativity, the -Passion, Easter, Ascension, Pentecost, Trinity, the Virgin festivals of the -Nativity, Annunciation, Visitation, Purification and Assumption, the feasts -of the Apostles and other biblical Saints, the Martyrs, Confessors and Virgins -formed a great series which challenged the finest efforts of the clerical -<span class="pb" id="Page_45">45</span> -poets. Herein lies the essential interest of this hymnody. The original -Latin hymn was associated with daily secular worship and then with the -canonical hours of the monastery. The sequence was associated with the -celebration of the divine sacrifice.</p> -<p>As a closing illustration for this chapter the Alleluiatic sequence has -been selected. Based upon the canticle, <i>Benedicite omnia opera</i>, and often -attributed to Notker, this superb sequence reaches a height of expression -comparable to the noblest hymns of the ninth century revival.</p> -<p>(See <a href="#h12">Illustrative Hymns, XII.</a> <i>Cantemus cuncti melodum nunc Alleluia</i>, -“The strain upraise of joy and praise.”)</p> -<div class="pb" id="Page_46">46</div> -<h2 id="c6"><span class="jr small">CHAPTER FIVE</span> -<br />Late Middle Ages: Hymns and Sequences</h2> -<p>Beginning with the twelfth century the large number of new hymns -and sequences produced point to a degree of creative activity that continued -through the High Middle Ages. A recent historian of medieval literature, -De Ghellinck, sees the religious poetry of the twelfth century rivalling -the secular, and points out that ten thousand specimens of every type of -religious verse, from 1060 to 1220, are edited in the <i>Analecta Hymnica</i>.<a class="fn" href="#fnx5_1" id="frx5_1">[1]</a> -Maurice Hélin, whose attractive volume is available in English translation, -considers the poetic product of the twelfth century the peak of Latin -poetry and “its most original contribution to the intellectual patrimony of -the west.”<a class="fn" href="#fnx5_2" id="frx5_2">[2]</a></p> -<p>It is easier to repeat such a statement than to present acceptably the -relevant evidence in the field with which this chapter is concerned. One -might expect a larger proportion of known authors but anonymity remains -the rule. The exceptions command recognition among the most notable -writers of hymns and sequences in any period of their production.</p> -<h3 id="sc16">I. <span class="sc">Sequences of the French School</span></h3> -<p>The sequence, originally a product of France, already perfected as -a poetical form by Notker and the German school of ecclesiastical hymn -writers, attained a greater influence and popularity under Adam of St. Victor. -In 1130 Adam entered the Augustinian Abbey of St. Victor on the -outskirts of Paris and there he remained until his death. Whether a native -of France or England is unknown. Like Notker, he followed in his poetic -themes the annual festivals. To him have been attributed more than 100 -sequences which appear in the manuscripts of St. Victor. They were published -first by Leon Gautier in 1858 and in the later nineteenth century -<span class="pb" id="Page_47">47</span> -were subjected to critical analysis by Misset who regarded 45 sequences -as authentic.<a class="fn" href="#fnx5_3" id="frx5_3">[3]</a> Blume, who edited the Victorine sequences in volumes 54 -and 55 of the <i>Analecta Hymnica</i>, attributed 48 to Adam’s authorship.</p> -<p>Adam’s poetical concepts are centered in the mystical interpretation -of biblical narratives and of Christian theology as it was taught in the -schools of Paris. Hugh and Richard of St. Victor were his contemporaries -but Adam was poet as well as theologian. Praise was to him an essential -harmony of voice and life. His verse departed from the earlier prose -rhythms of the German poets and was cast in a metrical form already -popularized in the hymn. A group of rhymed trochaic lines of eight syllables -with a caesura after the fourth syllable at the end of a word, -closes with a seven syllable line. This scheme with its many variants characterizes -the work of Adam and his imitators in countless Latin and later, -vernacular lyrics. Adam’s sequence for the Feast of St. Stephen has been -selected as illustrative of his finest work.</p> -<p>(See <a href="#h13">Illustrative Hymns, XIII.</a> <i>Heri mundus exultavit</i>, “Yesterday with -exultation.”)</p> -<p>To appreciate fully the function of the sequence in worship at this -time as well as its appeal to popular imagination, one should isolate a -single theme for more intimate enjoyment. For this purpose, the sequences -written for the five feasts of the Virgin are best suited. While manifold -saints were honored in the hymnology of the day, the veneration of the -Virgin reached at this time, its pinnacle of expression. Notker had provided -sequences for her Nativity, Purification and Assumption. Adam of -St. Victor, poet of the Virgin, drew upon all the resources of medieval -symbolism in his <i>Salve, redemptoris mater</i>, “Hail, mother of the Redeemer,” -a masterpiece of medieval religious verse. Clerical poets everywhere -met the challenge of his example. The result was indicative not only -of their devotion and their poetic skill which was at times indifferent, but -of the actual use of the Virgin sequences in the numerous feasts which -honored her and their familiarity to wide congregations of clergy and -laity.</p> -<p>During this period great sequence writers appeared, some known and -distinguished, the majority anonymous. To the latter group belongs the -author of the Easter sequence, <i>Victimae paschali laudes</i>, “Christians, to the -<span class="pb" id="Page_48">48</span> -Paschal Victim,” which represents the transition between the Notkerian -and Victorine styles. The growing relationship between Latin hymnology -and the arts becomes obvious in this sequence which was of importance -in building the liturgical drama for Easter. The dialogue embedded in -the poem,</p> -<div class="verse"> -<p class="t0">“Speak, Mary, declaring</p> -<p class="t0">What thou sawest wayfaring?”</p> -</div> -<p>and her reply, ending</p> -<div class="verse"> -<p class="t0">“Yea, Christ my hope is arisen:</p> -<p class="t0">To Galilee he goes before you.”</p> -</div> -<p>contributed, with other sources, to the fully developed Easter Play.</p> -<p>The so-called Golden Sequence for Pentecost, <i>Veni sancte spiritus</i>, -“Come, thou Holy Spirit, come,”<a class="fn" href="#fnx5_4" id="frx5_4">[4]</a> also of undetermined authorship, attained -perhaps the greatest prestige, having now been heard in Christian -worship for more than eight hundred years.</p> -<p>The activities of the French school are largely responsible for the -popularity of sequences in the twelfth century and for their multiplication -in every part of western Europe. Other factors played a part. Just as -the Latin hymn can best be understood in the historical setting of the late -Roman Empire or of the early Germanic kingdoms, so the development of -the sequence must be interpreted in connection with the social and cultural -environment of the age. The universities, notably that of Paris, were -dominating intellectual life. Economic opportunity offered by the revival -and expansion of craftsmanship, commerce, urban life and geographical -knowledge resembled the achievement of Roman days. The European -centralized states had emerged and were assuming the national features -which mark them today. The modern languages of Europe were highly -developed in their literary treasures and in everyday speech. Under reforming -popes such as Innocent III, the church was entering an era of -unity and spiritual renewal. Side by side with the reformed Benedictine -Order, the Augustinian canons with their ancient prestige, the Franciscan, -Dominican and other religious orders were taking their part in the work -for the regeneration of society and the triumph of the Faith. Pilgrimages -and crusades were in vogue for two hundred years from 1095. The hymnody -of the church took on new vitality in an era of European awakening.</p> -<div class="pb" id="Page_49">49</div> -<h3 id="sc17">II. <span class="sc">Later Hymns</span></h3> -<p>Although the sequence had apparently occupied the center of attention, -the writing of office and festival hymns had never been interrupted -and certainly had never ceased. Gathering up the sources after the period -of ninth century influence described in <a href="#c4">Chapter Three</a>, one pauses at the -verse of Peter Damian, (988-1072), Cardinal Bishop of Ostia and Superior -of the monks of the Holy Cross. His theme was the joys of paradise in -the hymn <i>Ad perennis vitae fontem</i>, “To the fount of life eternal,” a topic -about which a distinguished hymnody was ultimately created.</p> -<p>(See <a href="#h14">Illustrative Hymns, XIV.</a> <i>Ad perennis vitae fontem</i>, “To the fount -of life eternal.”)</p> -<p>Fulbert, Bishop of Chartres (d. 1028), is best known for his Easter -hymn, <i>Chorus novae Ierusalem</i>, “The chorus of the New Jerusalem,”<a class="fn" href="#fnx5_5" id="frx5_5">[5]</a> in -which the militant ideal in its knightly form finds expression as the warriors -of the faith acclaim the victory of their royal and divine leader.</p> -<p>In the twelfth century, a complete new hymnary in all its parts was -written by Abelard, (1079-1142), for the Convent of the Paraclete of which -Heloise was the abbess.<a class="fn" href="#fnx5_6" id="frx5_6">[6]</a> A collection of 91 hymns, it has never been -highly praised by critics, yet it has provided the hymn, <i>O quanta qualia</i>, -“How mighty are the Sabbaths,” in praise of the Sabbath and the Good -Friday hymn, <i>Solus ad victimam procedis, Domine</i>, “Alone to sacrifice -Thou goest, Lord,” both of which have found a place in recent hymnals. -Helen Waddell’s translations of the two illustrate modern renderings at -their best. The same century saw the achievement of Bernard of Cluny or -Morlaix, (fl. 1122), whose long poem, <i>De contemptu mundi</i> furnished the -selections on the heavenly country, <i>Hora novissima</i>, popularized by the -translations of John Mason Neale. Perhaps the best-known of these, <i>Urbs -Sion aurea</i>, “Jerusalem the Golden,” in its English rendering has attained -a vernacular status independently of its Latin original. The great anonymous -hymn, <i>Jesu dulcis memoria</i>, “Jesu, the very thought of Thee,” is also -of the twelfth century. Its authorship has been variously ascribed but never -certainly determined.</p> -<p>The thirteenth century was marked by the rise of hymn writing in -the new religious orders founded by St. Francis of Assisi and St. Dominic. -<span class="pb" id="Page_50">50</span> -The Franciscan Bonaventura (1221-74), wrote <i>Recordare sanctae crucis</i>, -“Be mindful of the Holy Cross,” on the theme of the Cross. To read this -hymn side by side with the <i>Vexilla regis prodeunt</i> of Fortunatus, is to -apprehend more fully the increasing subjectivity of the Latin hymn in -500 years of its history. The passion of Christ is, moreover, a favorite -theme and object of devotion of the friars, ever present to their thinking. -Thomas Aquinas, (1227-74), greatest of the Dominicans, wrote the hymns -for the Feast of Corpus Christi, established by Pope Urban IV in 1265. -Of these, <i>Pange lingua, gloriosi corporis mysterium</i>, “Sing my tongue, -the Saviour’s glory,”<a class="fn" href="#fnx5_7" id="frx5_7">[7]</a> modeled after the form of the <i>Pange lingua</i> of -Fortunatus, is in its subject matter a poetic version of the mystical subtleties -implicit in the dogma of the feast. John Peckham, Archbishop of -Canterbury, (1240-92), wrote <i>Ave vivens hostia</i>, “Hail, true Victim,” a -fine hymn upon the same theme which suggests the inspiration of Aquinas.</p> -<h3 id="sc18">III. <span class="sc">Later Sequences</span></h3> -<p>From the sequences of the later Middle Ages only a few have gained -eminence but in certain cases as high a place as any in the whole range -of their composition. Thomas Aquinas shows himself master of the sequence -as well as the hymn in his <i>Lauda Sion Salvatorem</i>, “Praise, O Sion, -praise thy Saviour,” a model of the Victorine technique.</p> -<p>(See <a href="#h15">Illustrative Hymns, XV.</a> <i>Lauda Sion Salvatorem</i>, “Praise, O Sion, -praise thy Saviour.”)</p> -<p><i>Dies irae</i>, “Day of wrath,” most majestic of all sequences, universally -acknowledged as the greatest achievement of Latin hymnology, was probably -written by the Franciscan Thomas of Celano. It was originally used -at Advent, later for All Souls’ Day and for requiem masses. The Judgment -theme is obviously inspired by the words of the Prophet Zephaniah (1:15) -from which the opening line <i>Dies irae, dies illa</i> is taken. A special -literature, together with a multitude of translations, has grown up around -this hymn which deserves consideration impossible here. It should be -read not only with reference to its biblical sources but with the great -Judgment portals of the medieval cathedrals in mind, since the sculpture -and literature of the age here find a meeting place.<a class="fn" href="#fnx5_8" id="frx5_8">[8]</a> No less significant -<span class="pb" id="Page_51">51</span> -for its interpretation is the prevalence of the Black Death in the ages which -produced it.<a class="fn" href="#fnx5_9" id="frx5_9">[9]</a> The thought of a period in which pain and death were so -tragically familiar and before which the medieval man stood helpless, is -faithfully reflected in contemporary hymns.</p> -<p>The lament in its poetic form is associated with the Marian hymnology -of the fourteenth century. The <i>Stabat mater dolorosa</i>, “By the -Cross her vigil keeping,”<a class="fn" href="#fnx5_10" id="frx5_10">[10]</a> its finest expression, like the <i>Dies irae</i>, needs -little comment in these pages.</p> -<p>(See <a href="#h16">Illustrative Hymns, XVI.</a> <i>Stabat mater dolorosa</i>, “By the Cross her -vigil keeping.”)</p> -<p>In this period it seems, at least to the present writer, that the Italian-born -poets of the religious lyric come into their rightful heritage. The poets -of England and of the French, German and Spanish-speaking lands had -at one time or another held the palm in the field of hymnody. At the -very moment, so to speak, when the genius of Dante and Petrarch had -established the fame of Italian letters, the Christian hymn found new -spokesmen in a literary medium which had originated in the same -environment a thousand years before.</p> -<p>What has already been said of the multiplication of new feasts as -the medieval ages progressed, is true in an even greater degree in the later -centuries. The Feast of Corpus Christi is only one of many which marked -this period of religious devotion, and incidentally required new sequences. -If the collection of liturgical proses edited by Daniel in his <i>Thesaurus -Hymnologicus</i> and reprinted in volumes 54 and 55 of the <i>Analecta Hymnica</i> -be accepted as a guide, the new demands become clear. From the -period of Adam of St. Victor, 174 feasts were furnished with sequences, -many times over in the case of the more important festivals. The actual -liturgical collections from which the <i>Analecta Hymnica</i> was compiled constitute -a more specific source of information. If the attention of the student -is fixed upon the sequences used in well-known missals and troparies -from the thirteenth century and later, in the leading ecclesiastical centers -of Europe, a wealth of material is revealed. Many of these sequences in -the great collections are unfamiliar to the modern student, some have -never been translated into English, but as a whole they are truly representative -of this body of poetry in the period of its greatest interest. A -<span class="pb" id="Page_52">52</span> -tropary of St. Martial of the thirteenth century contains an anonymous -Easter sequence, <i>Morte Christi celebrata</i> (<i>A. H.</i> 8. 33), “Christ’s passion -now is o’er,”<a class="fn" href="#fnx5_11" id="frx5_11">[11]</a> which bears comparison with the better-known sequences -which have been named above.</p> -<h3 id="sc19">IV. <span class="sc">Liturgical Collections</span></h3> -<p>To determine the actual usage of the hymn or sequence rather than -its mere existence as a specimen of religious verse, the liturgical collection -is indispensable. The old hymnaries and psalters and other books used -in the offices were examined by liturgists of the period who compiled the -breviaries of the later Middle Ages. Working under episcopal or monastic -authority they subjected the hymnic material at their disposal to a selective -process which necessarily discarded many hymns in favor of those -rendered sacred by their inclusion in the old cycles, or of hymns of recognized -merit. The Mozarabic Breviary had been compiled and its hymns -determined by this process in an earlier century. After the re-conquest -of the Spanish peninsula and the introduction of the Roman Rite in 1089, -a version of the Roman Breviary was introduced. Episcopal centers in -England, such as Hereford, York and primarily Salisbury, compiled their -service books and developed them continuously to the close of the Middle -Ages. The process was repeated throughout Christian Europe.</p> -<p>From the troparies and local collections of sequences the selections -for the gradual and missal were made, just as the hymns had been for -the breviary. These liturgical sources offer to the modern student the -range of medieval hymnody at its best. The episcopal rites are, perhaps, -more official and authoritative in their selection of hymns and sequences -but the monastic rites often reveal the legends of local saints or the more -intimate flavor of traditional piety. It should be understood that in countries -where the Roman Rite prevailed there was no departure from its -authority in the matter of hymnody. At the same time the greatest latitude -was observable. A fine illustration is provided by the books of the -Rite of Salisbury, England, or the Sarum Rite, which were compiled and -developed by great liturgists from the time of Bishop Osmund in the -eleventh century to the close of the Middle Ages. The Sarum Breviary -<span class="pb" id="Page_53">53</span> -contains 119 hymns, 25 of which were written after 1100 and the Missal -contains 101 sequences, 54 of which were written about 1100.<a class="fn" href="#fnx5_12" id="frx5_12">[12]</a> The figures -are revealing in the case of hymns, of the influence of the older cycles -and in the case of sequences, of the multiplication of feasts in the later -centuries of the Middle Ages.</p> -<p>The Processional book as a bearer of hymns will be treated in the -following chapter. It remains here, to mention the Books of Hours or -medieval Primers which also contained their quota of hymns. The <i>Horae</i> -may be defined as a series of devotions, at first additional to the Seven -Hours of the daily office but in the twelfth century elaborated in a separate -book. Specifically the additions consisted of the penitential psalms, the -Office of the Dead, the Cursus of All Saints, that of the Holy Cross, and -that of the Blessed Virgin. Even before its separation from the Canonical -Hours, the Cursus of the Blessed Virgin had assumed an importance -which gave to the new collection its characteristic title of <i>Horae</i> or <i>Hours -of the Blessed Virgin Mary</i>. In the fourteenth century the single volume -came to be known in England as <i>Primarius Liber</i> or <i>Primarium</i> from -which the more familiar name Prymer or Primer is derived.<a class="fn" href="#fnx5_13" id="frx5_13">[13]</a> Its popularity -may be judged by the fact that 265 printed editions were later -known in England and 1582 on the continent.<a class="fn" href="#fnx5_14" id="frx5_14">[14]</a> Hymns are interspersed -throughout the <i>Horae</i>. In the York Hours there are eighteen hymns and -sequences of varied periods of which thirteen are centered in devotion to -the Virgin.<a class="fn" href="#fnx5_15" id="frx5_15">[15]</a> In other words, the hymns which were chosen for these -books of popular devotion are representative of later medieval favorites -in hymnody, indicating to what extent the older hymns were known -and loved and to what extent later poems had been accepted by lay folk as -well as clergy. The <i>Horae</i> are primarily valuable as a source for the later -Marian hymns upon the themes of the Joys and of the Sorrows of the -Virgin. The appearance of the beloved <i>Stabat mater dolorosa</i>, without -doubt the finest expression of the poetry of sorrow, bears witness to the -discriminative process by which the <i>Horae</i> were compiled. It seems remarkable -that the liturgists of the later period, in which the Latin hymn -was beginning to show signs of deterioration, were able to skirt as successfully -as they did, the limits of trashy sentimentality and worse poetry -which were passing current under the name of hymnody.</p> -<div class="pb" id="Page_54">54</div> -<p>To those who are interested in the relations between literature and -the fine arts an examination of the Virgin hymns, as of the <i>Dies irae</i>, will -yield similar interrelations. The hymns which were written from the -twelfth century onwards upon the Virgin theme may be closely correlated -with the sculptured forms which portray the Mother apart from the Son -in her Sorrows and more particularly in her Joys, laden with her distinctive -honors and regnant as the Queen of Heaven.</p> -<h3 id="sc20">V. <span class="sc">Influences affecting Hymnody</span></h3> -<p>Once the typical hymns and sequences of the later period have been -reviewed, it remains to trace the influences operating from the contemporary -environment upon their evolution. The problem of possible influence -of an ultimately oriental origin has already arisen in connection with -earlier hymns. It has been considered in the relation of Byzantine culture -to the origin of the sequence, and also in the form of Arabian influence -upon the Mozarabic hymnody. In both fields the evidence is tenuous and -especially in the latter where the imprint of Arabian cultural forms would -seem to be most probable. In the centuries which produced the troubadours, -the problem takes the form of a possible indirect influence from -Arabian origins through the Provençal singers upon the evolution of the -sequence.<a class="fn" href="#fnx5_16" id="frx5_16">[16]</a> It is true that the twelfth and thirteenth centuries boasted at -least four hundred troubadours whose poetry is extant. The names of -others are known but not their poems. As the popularity of their songs -is unquestioned, an appreciable affect upon religious lyrics might be presumed. -Granted that the influence of Arabian poetry may be demonstrated -upon the metrical aspects of troubadour lyrics, it must still be -demonstrated that the impact of the latter was felt upon the Latin hymn. -Future studies may throw light upon these problems of medieval literature -where obscurity now prevails. Metrical similarities undoubtedly exist -between Arabian and Latin verse, as already illustrated in the field of -late Mozarabic hymns. Perhaps the most convincing evidence, aside from -these, is found in processional hymns, the subject of a later chapter.</p> -<p>Much more obvious and one distinctly to be traced is the all-pervading -influence of the new religious orders upon medieval society and culture -<span class="pb" id="Page_55">55</span> -in general. Hymn writers belonging, as cited above, to the Franciscan, -Dominican and other orders of friars, to say nothing of the Cistercians, -played a leading role among contemporary poets; their names and themes -have already been mentioned. Many others must be numbered with the -anonymous majority. The veneration of the Virgin reflected so faithfully -in contemporary hymns may be largely attributed to their devotion. As -itinerant preachers, moreover, the friars translated hymns into the vernacular -and brought them directly to their hearers, thus imparting the lessons -of faith and morals.<a class="fn" href="#fnx5_17" id="frx5_17">[17]</a> It might be asserted, at least tentatively, that the -friars were responsible for one of the earliest attempts to bridge the gap -between the ritual and the popular use of hymns.</p> -<p>A less tangible influence was at work emanating from schoolmen. -This was the age of the universities in which thousands of students were -pursuing the studies of theology, law and medicine. Early theological -discussion in the schools of Paris, prior to the founding of the universities, -is implicit in the sequences of Adam of St. Victor. Later, Thomas Aquinas, -Professor of Theology at the University of Paris, created a poetical counterpart -in his hymns, to the prose exposition of dogma. No one else reached -his stature in this particular but hundreds of European clerics having -theological degrees or a partial preparation for them, were active in the -church and in secular life. It is only fair to suppose that they must be -included in the great anonymous group which assisted in making that -unique contribution to medieval literature which was preserved in contemporary -liturgical collections. Without the university-trained cleric how -is it explicable that in the very age in which the vernacular languages -came to their full development in speech and in literature, Latin religious -verse was at a peak of expression? In the High Middle Ages the alumni -of the great universities were influential in every phase of society. It is -conceivable, if not demonstrable, that the clerics among their ranks played -an important although hitherto unrecognized role in the evolution of -Latin hymnody.</p> -<p>Contemporary pilgrimages take the student far afield from the centers -of learning. The crusading enterprise of two centuries which carried the -knightly companies of Europe and their entourage to the East was a -pilgrimage of continental proportions. Local shrines favored by pilgrims -<span class="pb" id="Page_56">56</span> -abounded in the West from Canterbury and Walsingham to Campostella. -What effect, if any, had this wave of religious zeal or of adventurous self-seeking -upon the hymnology of the age? We know that the familiar Latin -hymns of the breviary were sung by the clerics who conducted the services -of religion in the crusading armies. We possess the texts of a variety of -vernacular hymns and songs heard among the wandering bands who -traversed the highways of Europe or traveled by sea to distant shrines. -We are told of the singing of Latin hymns at the destination of pilgrimage -but their texts are rare. A formal collection of Latin hymns associated -with the shrine of St. James of Campostella, the <i>Carmina Campostellana</i>, -has been edited in the seventeenth volume of the <i>Analecta Hymnica</i>. As -might be supposed, they voice the praises of St. James, <i>Ad honorem regis -summi</i>, “To the honor of the King,” (<i>A. H.</i> 17. 210) being a favorite in -both Latin and vernacular versions.<a class="fn" href="#fnx5_18" id="frx5_18">[18]</a> As a matter of fact, the hymnody -of pilgrimage must have been largely patronal, a conclusion supported -by existing Latin texts. Unfortunately we possess no great body of Latin -hymns arising from the religious impulse which animated the crusader -or the devotee of local shrines. It is possible, however, that the multiplication -of hymns for saints at this time may be attributed in part to the -multiplication of shrines of pilgrimage. If true, an influence is seen at -work, which, from the time when Ambrose built a church in Milan to -receive the relics of St. Gervasius and St. Protasius and wrote a hymn in -their honor, never ceased to operate in the intervening centuries.<a class="fn" href="#fnx5_19" id="frx5_19">[19]</a></p> -<p>With the pilgrim we come face to face with the layman and are once -more confronted with the question of lay participation in the singing of -Latin hymns, which hinges upon the further question of the degree to -which the layman could sing or even understand the Latin hymn, from -the twelfth century onward. The pious injunctions of Alexander of Hales -and Henricus de Gorichen (15th C.) to sing hymns, merely repeat a -dictum of St. Apollonius regarding the observance of the Lord’s Day in -the second century and must not be taken too seriously by the modern -student.<a class="fn" href="#fnx5_20" id="frx5_20">[20]</a> It is indeed slight evidence for the singing of Latin hymns -by the laity. The problem is in reality linguistic and revolves about the -question of who was acquainted with Latin at this time. Setting aside the -clergy in their numerous ranks, who are often said to have had the complete -<span class="pb" id="Page_57">57</span> -monopoly of the hymn in an age when congregational singing was -unknown, one must consider the remaining classes of society from the -point of view of contemporary education.</p> -<p>Beginning with the university it should be recalled that the text books -and other sources of information were in Latin and that Latin was the -medium of instruction. In this respect the aspirant for a degree in law or -medicine was on a par with the would-be clergyman. Many students took -degrees in two and occasionally in all three disciplines, and the majority -were destined for the church if only in minor orders. On the other hand, -it is certain that, as in our own day, a large number of students never -attained any degree although they had the Latin qualification. In any -case, the lay alumnus or former student of the universities, with a Latin -training, was a familiar figure in secular affairs.</p> -<p>The degree and extent of elementary and secondary education upon -which the university instruction was necessarily founded, have been the -subject of several recent studies. It seems certain that schools for children -and youth existed from the ninth century onward in cathedral and other -centers and that, as Lynn Thorndike says, “in the period of developed -medieval culture elementary education was fairly wide-spread and general.”<a class="fn" href="#fnx5_21" id="frx5_21">[21]</a> -Without entering into the details of this program, illuminating -as they are, we note that the curriculum was founded upon the Latin -language and Latin studies. The contemporary growth of towns involved -an expansion of education which was marked by the appearance of schools -sponsored by municipal authority. The Latin school flourished everywhere. -There is evidence that every social class participated to some extent -in the new education although illiteracy must at the same time have been -common. It seems clear that the layman who had received these early -educational advantages could understand Latin hymns or read them if -the texts were available. Both sexes shared elementary education and -lay women as well as nuns occasionally had access to advanced instruction. -Such considerations as the above presuppose a degree of familiarity -especially with the breviary hymns, on the part of laymen, even if singing -or chanting was restricted to the choirs and clergy.</p> -<p>The university movement was accompanied by the rise of the wandering -scholars and poets whose verses, for example, from the <i>Carmina -<span class="pb" id="Page_58">58</span> -Burana</i>, are familiar today in translation. Popular entertainers, they sang -their Latin lyrics at ale house doors and in the market places. They must -have been at least partially understood by the populace. Other municipal -entertainment was provided by the religious drama of the times which -made considerable demand upon the Latin resources of the spectator who -had to be somewhat bilingual if he were to enjoy the public presentation -of the mystery plays.</p> -<p>Again, the bilingual or macaronic poetry which sprang up in the -period of rivalry between Latin and the vernacular may be viewed both -as a means and a result of understanding Latin hymns. Macaronic verse -was both secular and religious in its forms, favorite phrases from well-known -Latin hymns often being combined with the vernacular tongue. -The practice might even have spread to the ritual of the Church had it -not been forbidden by ecclesiastical decree.<a class="fn" href="#fnx5_22" id="frx5_22">[22]</a> The <i>cantio</i> of the later -medieval centuries and the familiar carol offer a wealth of evidence that -macaronic religious verse was extremely popular. Indeed, this may have -been the earliest manifestation of actual hymn singing on the part of -medieval laymen.</p> -<p>Even if congregational singing was not practiced, the use of Latin -hymns in private devotion is well authenticated. The <i>Horae</i> which were -included in the liturgical collections listed above, were circulated among -laymen from the fourteenth century onward, and often used as text books -or Primers from which children were taught to read. The variant title, -<i>Lay Folks Prayer Book</i>, also bespeaks its popular availability.</p> -<p>While it would be unsound to infer a universal knowledge of Latin -hymnody among the laity of Europe upon any or all of the evidence here -assembled, it is logical to suppose that this treasury of verse lay within -the boundaries of average education and cultural ability. Combined with -the effectiveness of visual means of conveying religious truths through -architecture, sculpture and stained glass, popular acquaintance with the -teachings of Christian hymnody must be supposed to have overflowed -the limits of clerical restriction, if indeed, any such existed.</p> -<div class="pb" id="Page_59">59</div> -<h3 id="sc21">VI. <span class="sc">Characteristics</span></h3> -<p>To close this somewhat rambling account of the Latin hymn and sequence -in the later medieval centuries, which is necessarily discursive even -as the civilization itself was everywhere expanding, the characteristics of -this poetry should be reviewed in comparison with those of earlier Latin -hymns.</p> -<p>An increasing variety of subject matter is first to be noted, to accompany -the diversification of worship brought about by new feasts and the -appearance of new religious agencies. Hymns for the festivals of saints -provide the best illustrations of this tendency which has been amply -treated above.</p> -<p>A marked trend toward the compilation of local liturgical collections -and the differentiation of service books accompanies the unification of -rites in various European lands. This tendency was observed in earlier -centuries, particularly in Spain where the Mozarabic hymnal prevailed. -St. Gall had provided a monastic center of influence in German-speaking -lands in its day. Now, the great diocesan and monastic centers, on a -much larger scale, are furnished with a full complement of ritual books -and guides to hymnody. In England, the Sarum collection achieved great -prominence, acquiring national rather than diocesan proportions.</p> -<p>Within the hymnic poetry itself changes are seen both in form and -spirit. A full development of metrical forms takes place, some of which -had appeared much earlier in isolated examples and were now widely -accepted; others were characteristic of late medieval literary art. The meters -and rhythm of sequence poetry were popularly favored. Subjective qualities -and attitudes which had been infrequent in the earlier hymns devoted -to biblical themes and theological expression are much more obvious in -later hymns. The personal petition and the direct address to deity and -the saints are frequent. It has been suggested above in considering hymns -upon the theme of the Cross, that a comparison of hymns from the earlier -and later groups is instructive. But any of the great themes may be -selected for this purpose, for example, the Pentecostal theme, with a group -of hymns in which the earlier ones are simple narratives following the -biblical account of the descent of the Holy Spirit; the later ones are -<span class="pb" id="Page_60">60</span> -exemplified by <i>Veni, sancte spiritus</i>, “Come, Thou Holy Spirit, come,” -already cited, in which the Spirit is addressed and invoked for personal -blessings and the sevenfold gifts.</p> -<p>With the waning of the medieval centuries came a characteristic -decadence in the poetical quality of Latin hymns and in their spiritual -vitality. This was true of the sequence and most obvious, perhaps, in -those which were devoted to the praise of the saints. Reference to this -phenomenon will be made in a later chapter in connection with the -possible reason for the loss of religious significance which must be admitted -although deplored by students of the subject.</p> -<p>Finally, one observes that certain hymns of these later centuries -rival, if not surpass, the representative hymns of the first half of the -Middle Ages. Four of the five sequences retained in the present-day -Roman Missal were all selected from this group, namely: <i>Lauda Sion -Salvatorem</i>, <i>Veni sancte spiritus</i>, <i>Dies irae</i>, and <i>Stabat mater dolorosa</i>. -Other illustrative hymns and sequences mentioned above prove to be -almost as familiar.</p> -<p>On the contrary, decadent hymns have tended to disappear. Unworthy -of their theme and purpose, a multitude of examples may be unearthed -from their present burial places in the <i>Analecta Hymnica</i> or other -collections by the curious investigator. So far as actual usage is concerned -they have been gradually discarded and forgotten in the process -of time. Similarly those of greater merit have possessed a survival value -sufficient to insure recognition in every succeeding century.</p> -<div class="pb" id="Page_61">61</div> -<h2 id="c7"><span class="jr small">CHAPTER SIX</span> -<br />Late Middle Ages: Processional Hymns</h2> -<h3 id="sc22">I. <span class="sc">Origins</span></h3> -<p>The procession as a practice of the Christian Church originates in -the triumphal entry of Jesus into Jerusalem. All four evangelists record -the event and all four make mention of the hosannas and acclamations of -the people which accompanied it.<a class="fn" href="#fnx6_1" id="frx6_1">[1]</a> True, the procession is older than Christianity -and wider in observance. It seems to be a natural impulse of -humanity in all ages and in all lands to make orderly progress from one -place to another for the expression of communal joy or lamentation or to -seek the aid and blessing of supernatural power in the activities and -vicissitudes of life.</p> -<p>Processional ceremonies as they were observed in ancient oriental -civilizations or in the culture of Greece and Rome are not considered here, -except as they may have affected Christian origins. The purpose of this -chapter is to describe the background and setting of processional forms -which, in their evolution, gave rise to a continuity of hymns; to trace the -origin, development and distinguishing features of such processional -hymns in the Middle Ages and to display processional hymnody in its -distinctive character as a separate category of medieval Latin hymnology.</p> -<p>Prior to the fourth century the record is obscure. Miscellaneous -notices begin to appear in the last quarter of the century. Basil notes a -procession in the form of a litany (c. 375). Ambrose mentions a procession -of monks (c. 388) and also refers to a procession in Rome honoring -Sts. Peter and Paul, in his hymn, <i>Apostolorum passio</i>, “The passion -of the Apostles,” (A. H. 50. 17). Chrysostom was active in organizing -processions in Constantinople to offset Arian influence (390-400).<a class="fn" href="#fnx6_2" id="frx6_2">[2]</a> At the -same period, 379-388, Aetheria (St. Sylvia of Aquitania?) made her -<span class="pb" id="Page_62">62</span> -pilgrimage to the holy places of Palestine, describing in her journal in -detail, the ceremonies enacted in the worship of the Christian Church -at Jerusalem.<a class="fn" href="#fnx6_3" id="frx6_3">[3]</a></p> -<p>Remarkable in all respects, Aetheria’s narrative is obviously written -in a spirit of devotion with eager curiosity and joyful appreciation. She -describes, among other observances, the Hour services, especially the -<i>lucernare</i> when hymns were sung, the Sunday procession to the Anastasis -or Church of the Resurrection which marked the tomb of Jesus and the -procession and rites for the Feasts of the Epiphany, Ypapanti or Presentation -of Christ in the temple, Palm Sunday and Easter.<a class="fn" href="#fnx6_4" id="frx6_4">[4]</a> Hymns in which -the laity as well as the clergy participated are mentioned in connection -with these ceremonies but no specific hymn is named. The immediate -purpose of the processions at Jerusalem appears to have been the enactment -of scenes in the life of Jesus in the places where they occurred, -introducing a dramatic element which pervades medieval processional -observances throughout their history.</p> -<p>Aetheria uses the words psalm, antiphon and hymn in connection -with the musical parts of the worship she observed, but not indiscriminately. -She was probably familiar with hymns as they had developed in -the fourth century both in the eastern and western churches. It has been -assumed that the hymn sung at the daily lighting of the candles was <i>Phos -hilaron</i>, “O gladsome light.”<a class="fn" href="#fnx6_5" id="frx6_5">[5]</a> The hymns she heard at the Good Friday -observance have been tentatively identified as the <i>Idiomela</i> for Good Friday, -traditional in Byzantine ritual.<a class="fn" href="#fnx6_6" id="frx6_6">[6]</a> In any case they were true hymns, -perhaps of a metrical, or more probably of a rhythmical type. It is impossible -to identify the processional hymns of which she speaks. All that can -be asserted is that non-scriptural, as well as scriptural hymns, were sung -in the processions at Jerusalem.</p> -<p>In Constantinople, contemporary processions have already been mentioned. -The practice of Jerusalem was also adopted there. In the sixth century -under Justinian, the Feast of Ypapanti was introduced.<a class="fn" href="#fnx6_7" id="frx6_7">[7]</a> However, -the history of Byzantine processions must be omitted from this study which -is devoted primarily to the Latin West.</p> -<p>In Rome, the Christian procession had an independent origin, being -derived in part from the memorial honors paid to the Christian martyrs -<span class="pb" id="Page_63">63</span> -and in part from the Christianization of pagan ceremonies. When the -period of persecution of Christianity had come to a close and the triumphant -Church was able to assert publicly her influence and authority at -Rome, processions were made as early as the fifth century to the places -where martyrs had suffered. This is the origin of the later station procession, -followed by the celebration of mass in the various churches where -the remains of martyrs removed from the catacombs were buried. A century -earlier in Milan, Ambrose had discovered and removed the bodies -of St. Protasius and of St. Gervasius from their original burial place to a -church newly erected in their honor.<a class="fn" href="#fnx6_8" id="frx6_8">[8]</a> Pope Gregory the Great (590-604) -observed the Roman stations and Pope Sergius (687-701) completed -their organization.<a class="fn" href="#fnx6_9" id="frx6_9">[9]</a> The processions were accompanied by the -chanting of psalms but there is no record of non-scriptural hymns. The -symbolism of the procession, however, was enriched by the idea of pilgrimage -to a spot made sacred by martyrdom, a continuing processional -motive throughout the Middle Ages.</p> -<p>While the station processions developed in the vicinity of Rome, the -litany processions arose in Gaul. Mametus, the Bishop of Vienne, 474, -inaugurated the <i>litania minor</i> or the public blessing of the fields and crops -in the spring season. In 511, the Council of Orleans ordained the -observance for Gaul, and the Council of Girona, in 517, for Spain. The -<i>litaniae minores</i> or rogations, perpetuate in their intent, processions of the -Roman era. The <i>litaniae maiores</i> which were prescribed by Gregory the -Great, 598, and Leo III (795-816), were of similar origin and purpose. -A <i>litania septiformis</i> was also organized by Gregory on the occasion of a -pestilence at Rome.<a class="fn" href="#fnx6_10" id="frx6_10">[10]</a> The <i>litania maior</i> came to be observed on April 25, -St. Mark’s day, and the <i>litaniae minores</i> in the three days preceding Ascension. -Psalms but not hymns in the sense of non-scriptural compositions -were heard in the litanies. The procession of supplication common -alike to pagan and Christian practice is illustrated in the litanies, a constant -motive and a constant observance in medieval rites.</p> -<p>It seems clear, therefore, that primitive Christian processions in -Rome consisted of stations and litanies. Festival processions were introduced -into the west gradually. Ascension is spoken of as an ancient feast -but there is no specific evidence of its observance before the middle of -<span class="pb" id="Page_64">64</span> -the fourth century. The Ascension procession, implied by Aetheria in her -journal, is unknown in Rome at this time.<a class="fn" href="#fnx6_11" id="frx6_11">[11]</a> Pope Sergius imported into -Rome the festival procession for Candlemas or the Feast of the Purification -of the Virgin. The Feast of Ypapanti or Presentation, originally observed -in Jerusalem and later adopted in Constantinople, as noted above, -gained in the transfer a new feature. The carrying of lighted candles, not -mentioned by Aetheria, seems to have been added in Byzantine practice. -The words spoken by Simeon of the infant Jesus, “a light to lighten the -Gentiles” (Luke 2. 32) made the symbolic use of lights almost inevitable. -The date of the Feast of the Purification, February 2, was approximately -that of the pagan <i>Amburbium</i> or <i>Amburbale</i>, an early Roman procession -of lustration which had taken place in that month. Possibly the procession -for the Feast is reminiscent of this pagan practice.<a class="fn" href="#fnx6_12" id="frx6_12">[12]</a> It might be of interest -to follow in closer detail the origin of the medieval Candlemas, but attention -must be directed to the Candlemas hymns later to be written and -sung in procession at this Feast.</p> -<p>The period of Christian processional origins which may be considered -to close with the seventh century, saw the development of the processions -at Jerusalem, their adoption in Constantinople and the evolution -of the stations and litanies in the west. Festival processions also, were -slowly making their way into the Western Church.<a class="fn" href="#fnx6_13" id="frx6_13">[13]</a></p> -<h3 id="sc23">II. <span class="sc">Evolution in the Early Middle Ages</span></h3> -<p>That the Latin processional hymn appeared first in Gaul should surprise -no one. It has already been suggested that the hymns among the -<i>Carmina</i> of Fortunatus were created in the atmosphere of freedom enjoyed -by Gallic hymn writers in accordance with contemporary canons. -Always a poet of the occasion, Fortunatus wrote three hymns for the reception -of a relic believed to be of the true Cross, which was presented -to Rhadegunda, his patron, by the Byzantine Emperor, Justin II and his -wife Sophia, for the convent at Poitiers. As a final stage in the journey -from Constantinople, the relic was borne in procession from Migné to -Poitiers, accompanied by Euphronius, Bishop of Tours. On this day -the hymn, <i>Vexilla regis prodeunt</i>, was first heard.<a class="fn" href="#fnx6_14" id="frx6_14">[14]</a> Two others, <i>Pange -<span class="pb" id="Page_65">65</span> -lingua</i> and <i>Crux benedicta</i> (see <a href="#c2">Chapter One</a>) were devoted by Fortunatus -to the same theme of the Holy Cross, although it cannot be proved -that they were sung in the same procession.</p> -<p>The Resurrection hymn, <i>Tempora florigero rutilant distincta sereno</i>, -“Season of luminous days, marked bright with the birth of flowers,” (<i>Carm.</i> -3. 9), was originally written for the Easter baptismal rites celebrated by -Felix, Bishop of Nantes (d. 582). It was a poem of 110 lines or 55 elegiac -couplets, from which the cento of 28 lines beginning <i>Salve festa dies</i>, -“Hail thee, festival day,” was later selected for an Easter processional.<a class="fn" href="#fnx6_15" id="frx6_15">[15]</a></p> -<p>The metrical models provided by <i>Pange lingua</i> of the trochaic pattern -and <i>Salve festa dies</i>, the elegiac, continued to be employed throughout -the Middle Ages for processional hymnody, the elegiac excelling in popularity. -First in the original hymn, then in centos and finally in imitative -verse adapted to a multitude of feasts, <i>Salve festa dies</i> was never superseded -but maintained the influence of Fortunatus for centuries.</p> -<p>Spain must have known the processional hymn soon after its appearance -in Gaul, perhaps in the seventh century. Here, the Palm Sunday -festival seems to have been the source of inspiration for the procession -and blessing of palms is mentioned by Isidore of Seville as an observance -of his day.<a class="fn" href="#fnx6_16" id="frx6_16">[16]</a> Contemporary evidence indicates a similar procession in -Italy.<a class="fn" href="#fnx6_17" id="frx6_17">[17]</a> The use of a processional hymn, however, is not as clearly indicated.</p> -<p>It seems probable that the seventh century hymn, <i>Magnum salutis -gaudium</i> (<i>A. H.</i> 51. 73), “O great joy of salvation,” is one of the earliest -to be assigned for Palm Sunday. It is a simple rendering in the Ambrosian -style, of the events recounted in the biblical narrative.<a class="fn" href="#fnx6_18" id="frx6_18">[18]</a> In the early -centuries when the concept of a specific processional hymn for a particular -festival was almost unheard of, a familiar hymn from the old hymnals -might be used in the new ceremonies. It has been suggested that <i>Magnum -salutis gaudium</i> was known to Theodulphus, who in the ninth century -wrote the Palm Sunday processional hymn, <i>Gloria laus et honor</i>, for all -the ages.</p> -<p>Processions, thus far, have been thought of chiefly, as wholly or in -part outside the church edifice. Processions within the edifice were also -frequently observed. A procession of the clergy, in connection with which -<span class="pb" id="Page_66">66</span> -psalms and antiphons were sung, preceded the Sunday high mass; another -took place as the Gospel codex was carried to its place for reading. Other -ceremonies within the church, aside from the liturgy proper, were sometimes -accompanied by hymns.<a class="fn" href="#fnx6_19" id="frx6_19">[19]</a></p> -<p>Perhaps the earliest hymn in use at a special ceremony, once more -a selection from the hymnal, was <i>Audi, iudex mortuorum</i> (<i>A. H.</i> 51. 80), -“Hear Thou Judge of the dead,” sung on Holy Thursday at the consecration -of the chrism.<a class="fn" href="#fnx6_20" id="frx6_20">[20]</a> The words <i>O redemptor, sume carmen temet concinentium</i>, -“O Redeemer, accept the hymn of Thy people magnifying -Thee,”<a class="fn" href="#fnx6_21" id="frx6_21">[21]</a> formed a refrain, a metrical feature which came to be the unmistakable -mark of the processional hymn.</p> -<p>In this early period from the sixth to the tenth century, a new idea -and a new practice came into being, the use of hymns apart from those -of the canonical hours and the sequences of the mass. The ninth century -revival of hymnody in all its branches was taking place in western Europe -just as this period came to a close, in connection with which the processional -hymn was inevitably affected as the office hymn and the sequence -had been by a fresh inspiration to poetry and worship. The movement -came to fruition at St. Gall where the musical and ceremonial aspects of -that great monastic center were so highly developed, a center which had -contributed so heavily to the Carolingian revival of literature and the -arts.</p> -<p>The French liturgical scholar, Leon Gautier, whose contributions to -the study of medieval hymnology have already been mentioned, was the -first to identify the processional hymn as a trope or liturgical interpolation. -In a study of the St. Gall processional hymns he observed that they -were classified by the name <i>versus</i> which in itself points to a separate -hymnic category. Other earlier hymns used in processions were there -called <i>versus</i>. Gautier discovered that musical notation always appeared -with the <i>versus</i>, an indication that these hymns were invariably chanted -and he noted that the <i>versus</i>, in the manner of the hymn <i>O redemptor, -sume carmen</i>, cited above, was without exception, accompanied by a refrain.<a class="fn" href="#fnx6_22" id="frx6_22">[22]</a></p> -<p>The processional hymns of St. Gall, like the sequences, bore the -characteristic marks of the hymnic group to which they belonged. From -<span class="pb" id="Page_67">67</span> -this stage in their evolution they were set apart by their music, classification -and refrain.</p> -<p>The wider circle of Carolingian liturgical interest included hymn -writers other than those of St. Gall: Theodulphus of Orleans, Walafrid -Strabo of Reichenau, Rabanus Maurus of Fulda, Radbert of Corbie, who -with Waldram and Hartmann of St. Gall wrote processional hymns. The -hymns of Theodulphus and of Rabanus Maurus have been considered -above.</p> -<p>Other great festivals of the ecclesiastical year and of the saints were -now observed with processional honors for which new hymns were written; -special ceremonies also, were thus recognized. Hartmann wrote the -elegiac hymn <i>Salve, lacteolo decoratum sanguine festum</i> (<i>A. H.</i> 50. 251), -“Hail festival, graced with the blood of the Innocents,” for the Feast of the -Holy Innocents. The processional hymns of Rabanus Maurus were heard -at Nativity, Easter and possibly the Feast of the Purification. The dramatic -spirit, always present in the true processional is felt in all these hymns -while the refrain reiterates the message of the feast:</p> -<p>for Easter,</p> -<div class="verse"> -<p class="t0"><span class="vn">R. </span>Surrexit quia Christus a sepulcro,</p> -<p class="t">Collaetetur homo choro angelorum. (<i>A. H.</i> 50. 190)</p> -</div> -<div class="verse"> -<p class="t0">Since Christ has risen from the tomb,</p> -<p class="t">Let man rejoice with the choir of angels.</p> -</div> -<p>for the Nativity,</p> -<div class="verse"> -<p class="t0"><span class="vn">R. </span>Christo nato, rege magno</p> -<p class="t">totus orbis gaudeat. (<i>A. H.</i> 50. 186)</p> -</div> -<div class="verse"> -<p class="t0">Since Christ is born, the mighty king,</p> -<p class="t">let the whole earth rejoice.</p> -</div> -<p>Processional hymns for saints are represented by Radbert’s hymn honoring -St. Gall,</p> -<div class="verse"> -<p class="t0"><span class="vn">R. </span>Annua, sancte Dei, celebramus festa diei,</p> -<p class="t">Qua, pater, e terris sidera, Galle, petis. (<i>A. H.</i> 50. 241)</p> -</div> -<div class="verse"> -<p class="t0">We celebrate, O Saint of God, our yearly feast on this day</p> -<p class="t">When thou, father Gallus, dost leave the earth for heaven.</p> -</div> -<div class="pb" id="Page_68">68</div> -<p>To celebrate the life and miracles of a patron saint was frequently the inspiration -of a medieval procession, which, in the case of St. Gall, passed -beyond the precincts of the monastery into the streets of the town.<a class="fn" href="#fnx6_23" id="frx6_23">[23]</a> It is -no wonder that the tradition of these processions, furnished with all the -splendor of festival vestments, of robed choirs, of monastic treasures and -sacred banners should have made St. Gall unique.</p> -<p>The Sunday processions were sometimes accompanied by imposing -hymns in the form of litanies. It should not be forgotten that the ancient -Christian processions were, in great part, of this nature. Waldram, Hartmann -and Radbert wrote such hymns but Hartmann’s was evidently a -favorite, <i>Summus et omnipotens genitor, qui cuncta creasti</i>, “Mighty and -omnipotent father, who hast created all things,” with the refrain,</p> -<div class="verse"> -<p class="t0"><span class="vn">R. </span>Humili prece et sincera devotione</p> -<p class="t">Ad te clamantes semper exaudi nos. (<i>A. H.</i> 50. 253)</p> -</div> -<div class="verse"> -<p class="t0">With humble prayer and pure devotion,</p> -<p class="t">Ever hear us as we cry to Thee.</p> -</div> -<p>It seems probable that the custom of singing a hymn in the procession -before the reading of the Gospel originated at St. Gall. Hartmann -provided a beautiful <i>versus</i> for this purpose,</p> -<div class="verse"> -<p class="t0">Sacrata libri dogmata</p> -<p class="t">Portantur evangelici. (<i>A. H.</i> 50. 250)</p> -</div> -<div class="verse"> -<p class="t0">The sacred words of the</p> -<p class="t">Gospel are borne.</p> -</div> -<p>A <i>versus</i> for the reception of the Eucharist was written by Radbert, -<i>Laudes omnipotens, ferimus tibi dona colentes</i> (<i>A. H.</i> 50. 239), “In reverence, -Almighty, we bring our praises as gifts to Thee.” The Blessing of the -Font on Holy Saturday inspired his <i>Versus ad Descensum fontis</i> (<i>A. H.</i> -50. 242-3). Among the ceremonies most characteristic of medieval piety -was that of <i>Mandatum</i> or foot-washing, commemorating the act of Jesus -in washing his disciples’ feet, (<i>John</i> 13; 1-15). The name “Maundy Thursday” -is a modern survival of the ancient terminology.<a class="fn" href="#fnx6_24" id="frx6_24">[24]</a> The hymn associated -with this rite appears first in Gaul in the eighth or ninth century -<span class="pb" id="Page_69">69</span> -and may have been current in Italy in monastic centers. The antiphon, -<i>Ubi caritas et amor, Deus ibi est</i>, “Where charity is and love, God is there,” -is at once the motive and refrain of this hymn, <i>Congregavit nos in unum -Christi amor</i> (<i>A. H.</i> 12. 24), “The love of Christ has united us,” which -follows the scriptural account.<a class="fn" href="#fnx6_25" id="frx6_25">[25]</a></p> -<p>The student must turn once more to the great monastic centers of the -Germanic world for processional hymns honoring royalty. Visits of kings -and emperors to St. Gall and other noted monasteries were by no means -uncommon; that colorful processions and demonstrations of loyalty were -a part of their reception cannot be doubted. Walafrid Strabo celebrates -the visit of Lothair to Reichenau with the hymn,</p> -<div class="verse"> -<p class="t0"><span class="vn">R. </span>Imperator magne, vivas</p> -<p class="t">semper et feliciter. (<i>A. H.</i> 50. 176)</p> -</div> -<div class="verse"> -<p class="t0">Live, O mighty emperor</p> -<p class="t">ever in felicity.</p> -</div> -<p>Walafrid Strabo praised Charles, son of Louis the Pious, and Radbert, the -Empress Richgard. Other processionals could be used on the occasion of the -coming of any royal visitor.</p> -<p>Vatican manuscripts offer evidence of contemporary processions in -Italy and Rome, the city of their origin. From this source is derived the -processional hymn <i>Sancta Maria, quid est?</i> (<i>A. H.</i> 23. 74), “Sancta Maria, -what meaneth this?” written for the procession which marked the eve of -the Feast of the Assumption, about the year 1000. Specific directions for -the route, the order of precedence and every detail of the ceremonial are -available, while the hymn itself depicts the devotion and human appeal -attending this night time scene in Rome.<a class="fn" href="#fnx6_26" id="frx6_26">[26]</a></p> -<h3 id="sc24">III. <span class="sc">Evolution in the Later Middle Ages</span></h3> -<p>For the evolution of the processional hymn from this point to the -close of the Middle Ages, we have in addition to hymnic manuscripts, -the service books and manuals devoted to, or including, processional practice. -The <i>Ritual</i> or <i>Roman Pontifical</i> was the earliest to include directions -for processions, an illustration of which has been presented above in the -<span class="pb" id="Page_70">70</span> -case of <i>Sancta Maria, quid est?</i> In the course of time, since so many medieval -processions were not thus provided for, the <i>Processional</i> came into -existence, containing the order of processions for a particular diocese or -monastery.<a class="fn" href="#fnx6_27" id="frx6_27">[27]</a> The St. Gall <i>Processionals</i>, for instance, are informative -as to customs already described above. The specific name <i>versus</i> gave rise -to the title <i>Versarius</i> for a book of processional hymns.<a class="fn" href="#fnx6_28" id="frx6_28">[28]</a></p> -<p>In addition to the collections, liturgical writers discussed the procession. -Of these, none was more influential than Durandus, Bishop of -Mende, who, about 1286, produced his <i>Rationale divinorum officiorum</i> -which among many other liturgical subjects, included processional rites.<a class="fn" href="#fnx6_29" id="frx6_29">[29]</a> -Durandus was a leading authority upon ecclesiastical symbolism. Accordingly, -he dwells upon every minute detail of the great processions for -Easter, Ascension, Palm Sunday and the Purification as well as the Sunday -procession and others of lesser importance, ascribing to each act a -wealth of symbolic meaning. Much of this figurative interpretation is obvious -and inherent in the feast to be celebrated but in other cases he gives -full play to his sense of the symbolic, a phase of contemporary thought -already so characteristic of Adam of St. Victor and other writers on religious -themes. Finally he declares that whatever else is suggested, “the true -procession is a progress to the celestial country.” (<i>Ipsa vero processio, est -via ad coelestem patriam.</i>)<a class="fn" href="#fnx6_30" id="frx6_30">[30]</a> If the fundamental concepts which entered -into their origins be reviewed, medieval processions apparently carried -with them the familiar ideas of supplication, of dramatic representation -or of pilgrimage to sacred places. Durandus reiterates and sublimates these -concepts, giving them an added significance.</p> -<p>The processional manuals, especially of the English rites observed at -Salisbury, York, Canterbury and other cathedral centers, offer descriptions -and sometimes illustrations showing the order and vestments of the -clergy, the position and functions of the choir, the appropriate acts involved, -together with the complete text of the antiphons, psalms, other -scriptural passages, hymns, prayers and rubrics. Turning to the processional -hymns which were rendered in these centuries, one is impressed -by the gradual disappearance of hymns typical of the efforts of the St. -Gall school and its contemporaries. A tremendous vogue of the original -<i>Salve festa dies</i> of Fortunatus which had never been lost sight of, together -<span class="pb" id="Page_71">71</span> -with its centos, variants and copies, takes possession of the field. There -were in all, perhaps, from one hundred to one hundred and fifty true processional -hymns in circulation throughout the whole medieval period, if -one enumerates those which are edited in the <i>Analecta Hymnica</i>. One -half of these may be considered to be of the <i>Salve festa dies</i> type while -similar elegiac metrical forms are found in half of the remainder.</p> -<p>What has been said of the cultural background in which the sequence -developed and multiplied is equally true for the processional hymn. The -same influences which created new seasonal feasts and additional feasts -for the saints, produced new processional hymns to accompany them. -There is, however, a great disparity between the number of sequences and -processional hymns that were written. The sequence was regnant in sacred -and secular verse, both in Latin and the vernaculars. Office hymns, too, -far outnumbered processionals. This may be another way of saying that -the office hymns and the sequences had a liturgical function and setting, -while the processional was always extra-liturgical and either superfluous -or purely ornamental from this point of view. The antiphons and psalms -were sufficient to satisfy the essential choral demands of any procession.</p> -<p>Unfortunately Thomas Aquinas did not include a processional hymn -when he furnished the hymnody for the Feast of Corpus Christi. He could -hardly have envisaged the thousands of Corpus Christi processions throughout -Catholic Christendom which have marked the Feast even to this day. -Nor could he have foreseen that his hymn <i>Pange lingua gloriosi corporis -mysterium</i>, written in the tradition of Fortunatus, would be widely appropriated -for that purpose. Other processionals for Corpus Christi appeared -almost at once, especially of the <i>Salve</i> type.</p> -<p>Contemporary devotion to the Virgin Mother and her festivals was -felt in the expansion of the Marian hymnology for processions. The establishment -of St. Osyth in Essex was a center in which new hymns were -used for the Visitation,</p> -<div class="verse"> -<p class="t0">Salve festa dies, toto venerabilis aevo,</p> -<p class="t">Qua Christi mater visitat Elizabeth. (<i>A. H.</i> 11. 51)</p> -</div> -<div class="verse"> -<p class="t0">Hail thee, festival day, blest day that is hallowed forever,</p> -<p class="t">On which Christ’s mother visits Elizabeth.</p> -</div> -<div class="pb" id="Page_72">72</div> -<p>and the Assumption,</p> -<div class="verse"> -<p class="t0">Salve festa dies, toto venerabilis aevo,</p> -<p class="t">Qua fuit assumpta virgo Maria pia. (<i>A. H.</i> 11. 55)</p> -</div> -<div class="verse"> -<p class="t0">Hail thee, festival day, blest day that is hallowed forever,</p> -<p class="t">On which the holy Virgin Mary was assumed.</p> -</div> -<p>A lengthy hymn of twenty stanzas for the Feast of the Purification which -had been observed for so many centuries, appears in a twelfth or thirteenth -century manuscript from Kremsmünster, <i>Laetetur omne saeculum</i> (<i>A. H.</i> -4. 54), “Let every age rejoice.” The biblical scene of the Presentation in -the Temple is described and reference is made to the carrying of lighted -candles.</p> -<p>Later medieval practice perpetuated other earlier customs. From the -original station processions at Rome had developed the ceremonies to celebrate -the translation of relics of saints in western European lands. Pope -Callistus II (d. 1124) wrote a processional hymn honoring St. James of -Campostella, <i>Versus Calixti Papae, cantandi ad processionem sancti Jacobi -in solemnitate passionis ipsius et translationis ejusdem</i> (<i>A. H.</i> 17. 194), or -<i>Versus of Pope Callistus, to be sung at the procession of St. James in the -celebration of his passion and translation</i>. A hymn for St. Kyneburga (d. -680) commemorated the restoration of her relics to their original burial -place in Peterborough Minster from which they had been removed during -the Danish invasions.<a class="fn" href="#fnx6_31" id="frx6_31">[31]</a> (<i>A. H.</i> 43. 218)</p> -<p>A procession in which the relics were carried for the veneration of -the worshipers was familiar in many places. Records from St. Gall -testify that St. Magnus was honored with such a procession and an -appropriate hymn of praise (<i>A. H.</i> 50. 261). The relics of saints treasured -at Exeter were borne in procession with the singing of a hymn which -mentions their miraculous powers. (<i>A. H.</i> 43. 277)</p> -<p>In an era marked by municipal drama and civic display as well as -religious festivals, the pageantry of the procession was understandably -popular. Rome always had its great processions. Accounts are extant of -ceremonies accompanied by hymns, in Tournai, Strasburg, Nuremberg -and other medieval towns, aside from those prescribed by episcopal and -monastic manuals of the day for the great cathedrals and abbeys.</p> -<div class="pb" id="Page_73">73</div> -<p>The music to which the processional hymn was sung is, in some -cases, available. The St. Gall manuscripts, as Gautier noted, were furnished -with musical notation. This is occasionally true of later manuscripts, -especially as we enter the closing medieval centuries. The traditional melodies -of certain hymns, like the <i>Salve festa dies</i> and <i>Gloria laus et honor</i> are -known to-day. Musicologists and students of liturgical music are currently -engaged in bringing this music to present-day knowledge. For example, -the hymn used in procession before the reading of the Gospel appears in -the twelfth and thirteenth centuries as a <i>conductus</i> or <i>conductum</i> which, -in turn, is related to the <i>cantio</i>.<a class="fn" href="#fnx6_32" id="frx6_32">[32]</a> A <i>conductus</i> for the festival of St. James -of Campostella (<i>A. H.</i> 17. 199), illustrates the evolution of a minor type -of processional hymn from Hartmann’s solemn <i>versus</i>, mentioned above, -to the festive style of the late medieval period. The recent study of the -<i>conductus</i> by Leonard Ellinwood reflects the growing interest of musicians -in these forms, both secular and religious, which preceded the Renaissance.<a class="fn" href="#fnx6_33" id="frx6_33">[33]</a></p> -<p>To summarize the characteristic marks of the processional hymn which -are constant and quite independent of the date of their appearance, the -student must recall the underlying motives: 1) supplication in the litanies, -2) re-enactment of biblical scenes and 3) religious pilgrimage. Respecting -usage, the special interest of a ceremony devoted to a particular occasion -is present in processional hymns, additional to other rites. Lastly, a group -of hymns has come into existence, not to be classified with the more formal -categories of the office hymn and the sequence but dedicated to an extra-liturgical -purpose.</p> -<p>As a group, the processional hymns are not well-known or frequently -used in translation with the exception of the ageless hymns of Theodulphus -and especially of Fortunatus whose processionals usurped the medieval -field for over one thousand years and are still current to-day.</p> -<p>(See <a href="#h17">Illustrative Hymns, XVII.</a> <i>Salve festa dies</i>, “Hail thee, festival day.”)</p> -<div class="pb" id="Page_74">74</div> -<h2 id="c8"><span class="jr small">CHAPTER SEVEN</span> -<br />Influence and Survival of Latin Hymns</h2> -<h3 id="sc25">I. <span class="sc">Late Medieval Influence</span></h3> -<p>From the creation of the Latin hymn in the fourth century by the -earliest writers to the efforts of poets heralding the Renaissance, Christian -hymnody left its imprint upon contemporary verse both secular and religious. -The field of inquiry suggested by this thesis has never been fully -explored although it abounds in fascinating possibilities for the student of -medieval culture. The subject, of course, cannot be treated within the -limits of this chapter but such hints may be offered as have resulted from -a partial study of particular areas or fall within the bounds of reasonable -assumption.</p> -<p>Perhaps the most pervading influence and the simplest to trace is the -metrical. The iambic dimeter of Ambrose, both in its quantitative and in -its rhythmical form, became a standard for poetry of all types, appearing -even in the modern age as the long meter of the metrical versions of the -Psalms. Trochaic verse, initiated in hymns by Hilary, employed most -effectively by Fortunatus and always a favorite, rivalled the iambic in the -vernaculars. As the metrical features of the Victorine sequence became -increasingly popular, they were taken over bodily by secular poets writing -both in Latin and in the modern European languages. Classical meters -fostered by Prudentius and later by the Carolingian poets showed less -vitality as poetical models. The liturgical hymn and the sequence are of -prime importance in their metrical aspects but the meters of the <i>piae -cantiones</i> and other religious lyrics were also widely appropriated. The -origin of rhyme is a related problem which in the opinion of W. B. Sedgwick -“centers around the Christian hymn.”<a class="fn" href="#fnx7_1" id="frx7_1">[1]</a> Numerous publications by -scholars who, like Sedgwick, have spoken with authority, bear witness to -<span class="pb" id="Page_75">75</span> -the general linguistic and literary interest attaching to these subjects of -research.</p> -<p>Aside from aspects of meter and rhyme, medieval secular verse in -Latin borrowed generously from the hymn; witness the songs of the -wandering scholars as recorded in the collection edited under the title -<i>Cambridge Songs</i> and also the goliardic poetry of the <i>Carmina Burana</i>.<a class="fn" href="#fnx7_2" id="frx7_2">[2]</a> -Well-known hymns are frequently parodied and, in general, the liturgical -models are employed to create humorous allusion or pungent satire. The -student song <i>Gaudeamus igitur</i> is a familiar illustration of this general -group.</p> -<p>The adaptation of the sequence to secular purposes resulted in a novel -type of verse, the <i>modus</i>, already cited in connection with the origin of -the sequence, illustrated by the <i>Modus florum</i> of which many examples -have been preserved varying in beauty and poetic conceit. Reference has -been made in an earlier chapter to the deeper problems underlying sequence -origins on the poetical side. Discussion among scholars as to the -priority of the religious or secular Latin lyric is still active.<a class="fn" href="#fnx7_3" id="frx7_3">[3]</a> Some would -say that popular Latin verse arose by virtue of the hymnodic influence. -Others would posit a vernacular impulse which eventuated in the Latin -lyric both secular and religious.<a class="fn" href="#fnx7_4" id="frx7_4">[4]</a></p> -<p>Apart from the lyric, there are in the general field of Latin verse -many resemblances to hymnic models. The lengthy narrative poems of -the <i>Peristephanon</i> in which Prudentius recounted the sufferings of the -martyrs, St. Laurence, St. Vincent, St. Agnes, St. Eulalia and others, and -celebrated their spiritual victories, have been called hymns. It has been -argued that they were actually sung,<a class="fn" href="#fnx7_5" id="frx7_5">[5]</a> in full, upon the festival days of the -saints in question although the praises of St. Vincent, for example, are -expanded to 576 lines, other hymns varying from 66 to 1140 lines. It may -have been possible in the more leisurely tempo of medieval life to render -the martyr hymns of Prudentius in their entirety. A far more provocative -suggestion makes them the starting point for the medieval saints’ legend -of which illustrations exist in lengthy Latin poems and later, in vernacular -verse.</p> -<p>The contribution of hymns to the liturgical drama of the Church has -been noted in connection with the sequence, <i>Victimae paschali laudes</i>. It is -<span class="pb" id="Page_76">76</span> -nowhere contended that the hymn created the drama but that the dramatic -phraseology is often reminiscent of the hymn and that the role -of the singers in the <i>schola cantorum</i> and the choir, as actors in the liturgical -play, becomes significant in connection with the hymnic origins of these -productions within the church.<a class="fn" href="#fnx7_6" id="frx7_6">[6]</a></p> -<p>Finally, an interesting group of Latin poems having an interrelation -with the hymn is illustrated by <i>O Roma nobilis</i>, a tenth century lyric praising -the apostles and martyrs of the Eternal City (<i>A. H.</i> 51. 219).<a class="fn" href="#fnx7_7" id="frx7_7">[7]</a></p> -<p>The transition from Latin to vernacular languages took place as soon -as the latter were sufficiently developed to produce Christian verse. The -Gospels were rendered into Germanic rhymed verse in the ninth century -by Otfried the Frank who inserted a hymn of ten stanzas as a poetic -version of the opening of St. John’s Gospel. It is written in seven-syllable -couplets with four or six to a stanza.<a class="fn" href="#fnx7_8" id="frx7_8">[8]</a> Otfried is said to have been influenced -by Rabanus Maurus and with good reason since the latter was a -recognized leader in mediating Latin patristic and other writings to the -Germanic world of his day.</p> -<p>Otfried was the first of many medieval poets whose religious lyrics in -the vernacular, often revealing the inspiration of the Latin hymn, have -been preserved. Their verse appears in Wackernagel’s great collection in -which he has edited 1448 specimens from the time of Otfried to that of -Hans Sachs.<a class="fn" href="#fnx7_9" id="frx7_9">[9]</a></p> -<p>Celtic churchmen were pioneers among medieval Latin hymnists, their -earliest contribution dating from the sixth century. Religious lyrics in the -Celtic tongue must have been produced and recorded before the Danish invasions -although the destruction of these manuscripts delayed the compiling -of new vernacular collections until the eleventh century. The hymn -<i>Hymnum dicat turba fratrum</i>, written in trochaic tetrameter, and preserved -in the Bangor Antiphonary, to which reference has been made in -<a href="#c2">Chapter One</a>, apparently influenced the metrical system of Celtic poetry. -The metrical pattern used by Otfried, a quatrain of seven-syllable lines -with rhymed couplets, is commonly found.<a class="fn" href="#fnx7_10" id="frx7_10">[10]</a> Latin influence is at least -tentatively acknowledged by scholars in the rhyme and stanza structure -of Celtic poetry prior to the eleventh century.<a class="fn" href="#fnx7_11" id="frx7_11">[11]</a></p> -<p>After the creation of the Latin sequence, vernacular poetry is overwhelmingly -<span class="pb" id="Page_77">77</span> -affected by this new type of hymn. Germanic poets followed the -leadership of Notker. The Victorine school, rejecting the strophic system -and rhythmic model of the Germans, built the couplet and rhyme, already -existing in hymns, into a characteristic structure which proved to be easily -transferable to vernacular uses. It has been asserted that the lyric poetry -of the Middle Ages, in German, French, Provençal and English was reborn -in this conquest of the vernacular by the Latin sequence.<a class="fn" href="#fnx7_12" id="frx7_12">[12]</a> At the -same time, the possible influence of the vernacular over the Latin must -not be ignored. There is a resemblance, for instance, between the narrative -elements of sequences written in honor of saints and the ballads of -secular poetry.<a class="fn" href="#fnx7_13" id="frx7_13">[13]</a> Whatever the conflicting currents may have been in the -period of origins, the smooth-flowing stream of the vernacular religious -lyric with its many tributaries, refreshed the spirit of medieval man and -recalled to memory his religious heritage.</p> -<p>The vitality of this new religious poetry which flourishes in the later -centuries, in which the Latin hymn suffered so marked a deterioration, -suggests that the future of the hymn, like other media of Latin literature, -was to be realized in a new linguistic environment. It was not the verity -but the language that was destined to change.</p> -<p>In order to appreciate the variety and interest of that vernacular lyric -poetry which arose within the sphere of influence of the Latin hymn, -illustrations may be culled from many parts of Europe. <i>Mary-Verse in -Meistergesang</i> is the title chosen by Sister Mary Schroeder for her study -of one aspect of the German lyric.<a class="fn" href="#fnx7_14" id="frx7_14">[14]</a> A very large proportion, perhaps two-thirds -of the songs are religious in content, showing to a degree, their -dependence upon hymnal poetry, while nearly one-fourth of them are -devoted to the praise of the Virgin. Occasionally, a Latin sequence has -been freely translated, paraphrased or elaborated.</p> -<p>The Swedish vernacular is represented by the patriotic poem of Bishop -Thomas of Strängnäs, who, in the fourteenth century, wrote in praise of -the national hero, Engelbrekt. Metrical and stanza form are both of the -hymnal type.<a class="fn" href="#fnx7_15" id="frx7_15">[15]</a></p> -<p>The Romance languages afford myriad examples of the sequence form. -St. Martial, near Limoges, already cited as a center in the production of -the sequence, and Paris, the home of the Victorine school, are both places -<span class="pb" id="Page_78">78</span> -of origin for vernacular lyrics. A close connection has been traced between -the sequence and the French romantic lyric, especially the <i>lai</i>, a connection -amply illustrated and tabulated for the convenience of the student.<a class="fn" href="#fnx7_16" id="frx7_16">[16]</a> More -familiar, perhaps, than the <i>lais</i> are the appealing lines of François Villon, -“Dame des cieulx, regente terrienne,” which possesses all the charm of the -Marian lyric at its best.</p> -<p>About the year 1270, Alfonso X of Castile made a collection of 400 -poems in the Galician-Portuguese dialect, the <i>Cántigas de Santa María</i> -around which a considerable literature has grown up. All are devotional -in subject matter. Alfonso X was a literary patron. Ramon Lull (c. 1315) -was himself a poet who wrote in the Catalan tongue although his mystical -writings are better known than his poetry. His <i>Hours of our Lady St. Mary</i> -was modeled upon the hymn and set to a hymn tune.<a class="fn" href="#fnx7_17" id="frx7_17">[17]</a></p> -<p>The Italian poets of religious verse flourished as writers both in the -vernacular and in Latin. St. Francis of Assisi, (1181-1226), whose <i>Cantico -di fratre sole</i><a class="fn" href="#fnx7_18" id="frx7_18">[18]</a> is known and loved by countless persons in our own day, -was among the earliest poets of the <i>Laudi spirituali</i>. The origin of the <i>laudi</i> -has been traced in part to the ejaculations of the flagellants of northern -Italy where bands of these penitents were commonly seen in the thirteenth -century. A century earlier, religious societies of singers, the <i>laudisti</i>, were -in existence in Venice and Florence. Arezzo knew such a group as early as -1068.<a class="fn" href="#fnx7_19" id="frx7_19">[19]</a> Included among the known writers of <i>laudi</i> are Jacopone da Todi, -(1230-1306), and Bianco da Siena, (c. 1307), both classified today as -writers of hymns.</p> -<p>The movement represented by the <i>laudisti</i> spread to France, German-speaking -lands, the Low Countries and Poland. Everywhere the vernacular -was used with popular unison melodies. As we approach the Renaissance, -Florence is still conspicuous for her authors of the religious vernacular lyric, -among them Lorenzo di Medici and Savonarola, (1452-1498), better known -as the Florentine preacher whose passionate denunciations of the evils of -his day brought him into conflict with the Church and resulted in his -execution. His <i>Laude al crucifisso</i> has been translated in part by Jane F. -Wilde as a hymn, “Jesus, refuge of the weary.”</p> -<p>The English religious lyrics of the thirteenth, fourteenth and fifteenth -centuries may be read with enjoyment in the collections of Carleton Brown -<span class="pb" id="Page_79">79</span> -whose appraisement of this poetry was the fruit of great learning and a -sympathetic discernment of human values.<a class="fn" href="#fnx7_20" id="frx7_20">[20]</a> Here the Latin hymn may -be found as it was translated, adapted and imitated in English verse. The -Latin sequence, as it increased in popularity, was taken over by English -poets with great success. Some of these writers who appropriated the Latin -models, like William Herebert, Jacob Ryman and John Lydgate, are known -to us by name while others are anonymous. Their poetic themes are varied -but Marian verse appears in many forms: hymns, laments, and rhymed -petition. Incidentally, a knowledge of the Latin original must be presupposed -on the part of the English laity of this period. Chaucer wrote -for the layman who must have understood his use of the sequence <i>Angelus -ad Virginem</i> in the “Miller’s Tale” and the sequence <i>Alma redemptoris -mater</i> in the “Prioress’ Tale.”</p> -<p>English macaronic verse best reveals the Latin hymn. Over and over -again, Latin quotations are used, sometimes embedded in the text, sometimes -added as refrains, an understanding of which is always vital to the -appreciation of the poem.</p> -<p>The carol, although extraneous to true hymnody, because of its non-liturgical -character and usage, was related to Latin origins; to some extent, -to the <i>cantio</i> and the <i>conductus</i>. A form of vernacular lyric, the carol often -shares the macaronic features which were common in the blended phraseology -of the European languages with Latin in this popular type of late -medieval verse. It is relevant here as a religious lyric which bears the unmistakable -mark of the hymnic inheritance. Whatever is true of the English -carol is equally true of the carol in other lands. To-day these lyrics are of -great interest and of increasing usage in the Christian Church at large. -Their musical and poetic aspects are both subjects of enthusiastic research. -Many persons in our modern society who have never studied the classical -languages are able to sing the Latin words and phrases they contain, with -understanding, as did their medieval predecessors.</p> -<h3 id="sc26">II. <span class="sc">Influence and Survival of Latin Hymns since the Middle Ages</span></h3> -<p>The writing of Latin hymns by no means died out with the medieval -era in the sixteenth century. The great prestige of Latin studies fostered -by the Renaissance alone would have been sufficient to perpetuate the -<span class="pb" id="Page_80">80</span> -practice. The Church, too, was engaged in a movement to standardize and -improve the Latinity of the breviary hymns which resulted in the Trentine -cycle as we know it today. A concurrent movement toward uniformity of -rites appreciably reduced the number of breviaries and the variety of their -hymns, but those breviaries which maintained an independent existence -had their own complete cycles. Such were the Cluniac Breviary of 1686 -and the Paris Breviary of 1736 for which new hymns were written and -sung side by side with those of medieval origin. Among post-Renaissance -poets represented in these collections were the Frenchmen Jean-Baptiste de -Santuil and his brothers Claude and Baptiste. Freshly inspired by classical -studies, the new hymn writers repudiated medieval ruggedness and stylistic -neglect in favor of the smooth and finished Latinity affected by contemporary -poets. From the substantial body of verse produced in these -centuries, <i>Adeste fideles</i>, “O come, all ye faithful,” has proved a favorite. -Sometimes classified as a hymn, sometimes as a carol, it originated in the -English colony at Douay about the year 1740, from the pen of John Francis -Wade.<a class="fn" href="#fnx7_21" id="frx7_21">[21]</a></p> -<p>The continuity of the Roman Use, however, was not disturbed. The -Roman Breviary had acquired its cycle of hymns in the processes of evolution -which have been traced in the preceding chapters. Trentine revisions -under the guidance of Pope Urban VIII, (1623-1644), made with the -highest motives but often deplored by later scholars, transformed the -medieval originals into products of the Renaissance. The Trentine Breviary -contains many of the finest medieval hymns which, although they have -suffered alterations, have carried the traditional heritage into modern -times.<a class="fn" href="#fnx7_22" id="frx7_22">[22]</a></p> -<p>By virtue of its prestige and its world-wide circulation, the Roman -Breviary has been the vehicle by which the Latin hymn has penetrated -into the modern vernacular languages in translations. It is a subject of -frequent comment that the full treasury of hymns has not been drawn -upon by the Catholic Church since the hymns of the Roman Breviary have -monopolized the field. The historical reason for this is clear and also for -the fact that in the Roman Missal only five sequences, each of recognized -superiority, have been retained.</p> -<p>The restriction of Latin hymns in Roman Catholic liturgical usage -<span class="pb" id="Page_81">81</span> -to a relatively small number allows certain exceptions. The Benedictine -and other religious orders use their own cycle of breviary hymns and -present-day Catholic hymnals in popular use often contain translations of -hymns and sequences additional to those of the Roman Breviary and Missal.</p> -<p>Protestant Churches are not limited in their selection of Latin hymns -for translation, making their choices from the entire medieval store. The -revival of Latin hymns in a translated form, which marked the Oxford -Movement in the Anglican Church in the mid-nineteenth century, drew -upon the Sarum Breviary as one native to English soil and therefore -appropriate to the English Church. That these hymns were largely represented -in the Roman Breviary, was well-known but the earlier and unrevised -texts were preferred. In his function as a translator, John Mason -Neale was preeminently a leader in the task of making known to the -adherents of the Church of England their heritage of hymns.</p> -<p>An attempt was made at this time to perpetuate not only the words -but the Gregorian Chant as a suitable musical setting for the vernacular. -Here the innovators were only partly successful and the chant, although -enthusiastically employed at first was gradually abandoned in the English -Church as the sole musical vehicle for the Latin hymn in translation. -Similarly Latin hymns have been taken over into other modern languages -by translators of Protestant as well as Catholic allegiance.</p> -<p>In the seventeenth and eighteenth centuries the influence of Latin -hymn meters continued to be felt in vernacular hymnody. Metrical versions -of the Psalms made by Isaac Watts are often illustrative of old Latin forms -which may also be recognized in his own hymns. This may not have been -a conscious imitation of Latin originals for by this time hymn meters were -ingrained in English poetry, but merely an indirect reflection, for example, -of the Ambrosian model.</p> -<p>More subtle has been the influence in modern times of the most -ancient canons of hymnic expression; objective presentation of scriptural -narrative, doctrinal emphasis and a certain joyful austerity in the praise -of God. During the three and a half centuries which have passed since -the era of the Protestant Reformation, the Christian hymn has experienced -a succession of literary movements, reflecting, for example, the spirit of -the Age of Reason and of the Romantic Era. Contemporary musical evolution -<span class="pb" id="Page_82">82</span> -has, in turn, been vitally important to the growth of the hymn as -it has been mated with the melodies of the Genevan Psalter, the chorales -of Bach, the musical novelties of instrumental origin, the folk song and -latterly the native music of regions open to missionary enterprise.</p> -<p>Throughout this varied experience the stream of medieval Latin -hymnody has continued its course. As an accompaniment of Roman Catholic -worship this was only to be expected. The conquest by the Latin hymn -of areas beyond the limits of the Roman Church is more significant. The -most recent hymnals of leading Protestant denominations, to which the -Latin hymn in translation has made a modest but genuine contribution, -bear witness to the ageless character of this hymnody. Modern investigation -of hymn sources, their origins, authorship and influence, has created -the study of documentary hymnology as it is known today. In the processes -of this inquiry the medieval Latin hymn has been invested with -new interest in the minds of a multitude of worshipers, both Catholic and -Protestant, who have hitherto been unaware of, or indifferent to, their -common heritage.</p> -<div class="pb" id="Page_83">83</div> -<h2 id="c9">Illustrative Hymns</h2> -<div class="pb" id="Page_84">84</div> -<h3 id="h1">I. <span class="hst"><i>Splendor paternae gloriae</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Splendor paternae gloriae,</p> -<p class="t0">De luce lucem proferens,</p> -<p class="t0">Lux lucis et fons luminis,</p> -<p class="t0">Dies dierum illuminans,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>O Splendor of God’s glory bright,</p> -<p class="t0">O Thou that bringest light from light,</p> -<p class="t0">O Light of light, light’s living spring,</p> -<p class="t0">O Day, all days illumining;</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Verusque sol illabere,</p> -<p class="t0">Micans nitore perpeti,</p> -<p class="t0">Iubarque sancti Spiritus</p> -<p class="t0">Infunde nostris sensibus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>O Thou true Sun, on us thy glance</p> -<p class="t0">Let fall in royal radiance,</p> -<p class="t0">The Spirit’s sanctifying beam</p> -<p class="t0">Upon our earthly senses stream.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Votis vocemus et Patrem—</p> -<p class="t0">Patrem perennis gloriae,</p> -<p class="t0">Patrem potentis gratiae—</p> -<p class="t0">Culpam releget lubricam,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>The Father, too, our prayers implore,</p> -<p class="t0">Father of glory evermore,</p> -<p class="t0">The Father of all grace and might,</p> -<p class="t0">To banish sin from our delight:</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Informet actus strenuos,</p> -<p class="t0">Dentem retundat invidi,</p> -<p class="t0">Casus secundet asperos,</p> -<p class="t0">Donet gerendi gratiam.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>To guide whate’er we nobly do,</p> -<p class="t0">With love all envy to subdue,</p> -<p class="t0">To make all-fortune turn to fair,</p> -<p class="t0">And give us grace our wrongs to bear.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Mentem gubernet et regat,</p> -<p class="t0">Casto fideli corpore;</p> -<p class="t0">Fides calore ferveat,</p> -<p class="t0">Fraudis venena nesciat.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Our mind be in his keeping placed,</p> -<p class="t0">Our body true to him and chaste,</p> -<p class="t0">Where only Faith her fire shall feed</p> -<p class="t0">To burn the tares of Satan’s seed.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Christusque nobis sit cibus,</p> -<p class="t0">Potusque noster sit fides;</p> -<p class="t0">Laeti bibamus sobriam</p> -<p class="t0">Ebrietatem Spiritus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>And Christ to us for food shall be,</p> -<p class="t0">From him our drink that welleth free,</p> -<p class="t0">The Spirit’s wine, that maketh whole,</p> -<p class="t0">And mocking not, exalts the soul.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Laetus dies hic transeat,</p> -<p class="t0">Pudor sit ut diluculum,</p> -<p class="t0">Fides velut meridies,</p> -<p class="t0">Crepusculum mens nesciat.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Rejoicing may this day go hence,</p> -<p class="t0">Like virgin dawn our innocence.</p> -<p class="t0">Like fiery noon our faith appear,</p> -<p class="t0">Nor know the gloom of twilight drear.</p> -</div> -<div class="pb" id="Page_85">85</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Aurora cursus provehit,</p> -<p class="t0">Aurora totus prodeat,</p> -<p class="t0">In Patre totus Filius,</p> -<p class="t0">Et totus in Verbo Pater.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Morn in her rosy car is borne;</p> -<p class="t0">Let Him come forth our perfect Morn,</p> -<p class="t0">The Word in God the Father one,</p> -<p class="t0">The Father perfect in the Son.</p> -</div> -<blockquote> -<p>Tr. Robert Bridges, from <i>The Yattendon Hymnal</i> (edited by Robert Bridges & H. Ellis -Wooldridge) by permission of the Clarendon Press, Oxford.</p> -</blockquote> -<h3 id="h2">II. <span class="hst"><i>Vexilla regis prodeunt</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Vexilla regis prodeunt,</p> -<p class="t0">Fulget crucis mysterium,</p> -<p class="t0">Quo carne carnis conditor</p> -<p class="t0">Suspensus est patibulo.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>The banners of the king advance,</p> -<p class="t0">The cross with mystery doth flame,</p> -<p class="t0">And from the tree the Flesh of flesh,</p> -<p class="t0">Word Incarnate, hangs in shame.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Quo vulneratus insuper</p> -<p class="t0">Mucrone dirae lanceae,</p> -<p class="t0">Ut nos lavaret crimine,</p> -<p class="t0">Manavit unda, sanguine.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>The lance’s edge hath pierced His side,</p> -<p class="t0">O look on Him that for our good</p> -<p class="t0">Cleansed us of the stain of sin,</p> -<p class="t0">Washed out with water and with blood.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Inpleta sunt quae concinit</p> -<p class="t0">David fideli carmine,</p> -<p class="t0">Dicendo nationibus:</p> -<p class="t0">Regnavit a ligno Deus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Now is fulfilled what was foretold</p> -<p class="t0">By David in prophetic song:</p> -<p class="t0">Suspended from the rood Our God</p> -<p class="t0">Will rule. To Him shall nations throng.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Arbor decora et fulgida,</p> -<p class="t0">Ornata regis purpura,</p> -<p class="t0">Electa digno stipite</p> -<p class="t0">Tam sancta membra tangere.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>O glorious and radiant tree</p> -<p class="t0">In royal crimson richly decked,</p> -<p class="t0">His sacred limbs to touch and hold</p> -<p class="t0">Thee did our Lord, fair rood, elect.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Beata, cuius bracchiis</p> -<p class="t0">Pretium pependit saeculi.</p> -<p class="t0">Statera facta est corporis</p> -<p class="t0">Praedam tulitque tartari.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Thou blessed cross upon whose arms</p> -<p class="t0">The body of the Savior fell;</p> -<p class="t0">As with a balance thou didst weigh</p> -<p class="t0">The Christ that bore us out of Hell.</p> -</div> -<div class="pb" id="Page_86">86</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Fundis aroma cortice,</p> -<p class="t0">Vincis sapore nectare,</p> -<p class="t0">Iocunda fructu fertili</p> -<p class="t0">Plaudis triumpho nobili.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Thy wood is all a sweet perfume,</p> -<p class="t0">Thou art like nectar very sweet;</p> -<p class="t0">Rejoicing in thy fruit thou mak’st</p> -<p class="t0">A perfect triumph more complete.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Salve ara, salve victima</p> -<p class="t0">De passionis gloria,</p> -<p class="t0">Qua vita mortem pertulit</p> -<p class="t0">Et morte vitam reddidit.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Altar and sacred victim, hail!</p> -<p class="t0">In thy passion is our glory.</p> -<p class="t0">Life from death thou bringest back,</p> -<p class="t0">Life in death shall be our story.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>O crux ave, spes unica,</p> -<p class="t0">Hoc passionis tempore,</p> -<p class="t0">Auge piis iustitiam,</p> -<p class="t0">Reisque dona veniam.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Hail thou cross, O hail thou only</p> -<p class="t0">Hope that agony may win;</p> -<p class="t0">To believers bring salvation,</p> -<p class="t0">Take the sinner from his sin!</p> -</div> -<blockquote> -<p>The 8th stanza is a later addition. Stanza 2 omitted.</p> -<p>Tr. Howard M. Jones (Allen, P. S., <i>The Romanesque Lyric</i>. Chapel Hill, Un. of N. C. -Press, 1928, p. 146-7. Quoted by permission of publishers.)</p> -</blockquote> -<h3 id="h3">III. <span class="hst"><i>Aeterna Christi munera</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Aeterna Christi munera</p> -<p class="t0">Et martyrum victorias,</p> -<p class="t0">Laudes ferentes debitas</p> -<p class="t0">Laetis canamus mentibus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>The eternal gifts of Christ the King,</p> -<p class="t0">The Martyrs’ glorious deeds we sing;</p> -<p class="t0">And while due hymns of praise we pay,</p> -<p class="t0">Our thankful hearts cast grief away.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Ecclesiarum principes,</p> -<p class="t0">Belli triumphales duces,</p> -<p class="t0">Caelestis aulae milites,</p> -<p class="t0">Et vera mundi lumina;</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>The Church in these her princes boasts,</p> -<p class="t0">These victor chiefs of warrior hosts;</p> -<p class="t0">The soldiers of the heavenly hall,</p> -<p class="t0">The lights that rose on earth for all.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Terrore victo saeculi,</p> -<p class="t0">Poenisque spretis corporis,</p> -<p class="t0">Mortis sacrae compendio</p> -<p class="t0">Vitam beatam possident.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>The terrors of the world despised,</p> -<p class="t0">The body’s torments lightly prized,</p> -<p class="t0">By one brief space of death and pain</p> -<p class="t0">Life everlasting they obtain.</p> -</div> -<div class="pb" id="Page_87">87</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Traduntur igni martyres</p> -<p class="t0">Et bestiarum dentibus;</p> -<p class="t0">Armata saevit ungulis</p> -<p class="t0">Tortoris insani manus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>To flames the Martyr Saints are hailed:</p> -<p class="t0">By teeth of savage beasts assailed;</p> -<p class="t0">Against them, armed with ruthless brand</p> -<p class="t0">And hooks of steel, their torturers stand.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Nudata pendent viscera,</p> -<p class="t0">Sanguis sacratus funditur,</p> -<p class="t0">Sed permanent immobiles</p> -<p class="t0">Vitae perennis gratia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>The mangled frame is tortured sore,</p> -<p class="t0">The holy life-drops freshly pour:</p> -<p class="t0">They stand unmoved amidst the strife,</p> -<p class="t0">By grace of everlasting life.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Devota sanctorum fides,</p> -<p class="t0">Invicta spes credentium,</p> -<p class="t0">Perfecta Christi caritas</p> -<p class="t0">Mundi triumphat principem.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>’Twas thus the yearning faith of saints,</p> -<p class="t0">The unconquered hope that never faints,</p> -<p class="t0">The love of Christ that knows not shame,</p> -<p class="t0">The Prince of this world overcame.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>In his paterna gloria,</p> -<p class="t0">In his voluntas filii,</p> -<p class="t0">Exultat in his spiritus;</p> -<p class="t0">Caelum repletur gaudiis.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>In these the Father’s glory shone;</p> -<p class="t0">In these the will of God the Son;</p> -<p class="t0">In these exults the Holy Ghost;</p> -<p class="t0">Through these rejoice the heavenly host.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Te nunc, Redemptor, quaesumus,</p> -<p class="t0">Ut ipsorum consortio</p> -<p class="t0">Iungas precantes servulos</p> -<p class="t0">In sempiterna saecula.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Redeemer, hear us of thy love,</p> -<p class="t0">That, with the glorious band above,</p> -<p class="t0">Hereafter, of thine endless grace,</p> -<p class="t0">Thy servants also may have place.</p> -</div> -<blockquote> -<p>Tr. John Mason Neale, <i>Hymnal Noted</i>.</p> -</blockquote> -<h3 id="h4">IV. <span class="hst"><i>Nocte surgentes vigilemus omnes</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Nocte surgentes, vigilemus omnes,</p> -<p class="t0">Semper in psalmis meditemur, atque</p> -<p class="t0">Viribus totis Domino canamus</p> -<p class="t4">Dulciter hymnos.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Father, we praise thee, now the night is over,</p> -<p class="t0">Active and watchful, stand we all before thee;</p> -<p class="t0">Singing we offer prayer and meditation:</p> -<p class="t4">Thus we adore thee.</p> -</div> -<div class="pb" id="Page_88">88</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Ut pio regi pariter canentes</p> -<p class="t0">Cum suis sanctis mereamur aulam</p> -<p class="t0">Ingredi caeli, simul et beatam</p> -<p class="t4">Ducere vitam.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Monarch of all things, fit us for thy mansions;</p> -<p class="t0">Banish our weakness, health and wholeness sending;</p> -<p class="t0">Bring us to heaven, where thy Saints united</p> -<p class="t4">Joy without ending.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Praestet hoc nobis Deitas beata</p> -<p class="t0">Patris ac Nati pariterque sancti</p> -<p class="t0">Spiritus, cuius reboatur omni</p> -<p class="t4">Gloria mundo.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>All-holy Father, Son and equal Spirit,</p> -<p class="t0">Trinity blessed, send us thy salvation;</p> -<p class="t0">Thine is the glory, gleaming and resounding</p> -<p class="t4">Through all creation.</p> -</div> -<blockquote> -<p>Tr. Percy Dearmer, from <i>The English Hymnal</i> by permission of the Oxford University -Press.</p> -</blockquote> -<h3 id="h5">V. <span class="hst"><i>Alleluia</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Alleluia piis edite laudibus,</p> -<p class="t0">Cives aetherei, psallite naviter</p> -<p class="t">Alleluia perenne.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Sing alleluia forth in duteous praise,</p> -<p class="t0">Ye citizens of heav’n; O sweetly raise</p> -<p class="t">An endless alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Hinc vos perpetui luminis accola,</p> -<p class="t0">Assumet resonans hymniferis choris,</p> -<p class="t">Alleluia perenne.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Ye powers who stand before th’ Eternal Light,</p> -<p class="t0">In hymning choirs re-echo to the height</p> -<p class="t">An endless alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Vos urbs eximia suscipiet Dei,</p> -<p class="t0">Quae laetis resonans cantibus excitat</p> -<p class="t">Alleluia perenne.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>The Holy City shall take up your strain,</p> -<p class="t0">And with glad songs resounding wake again</p> -<p class="t">An endless alleluia.</p> -</div> -<div class="pb" id="Page_89">89</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Felici reditu gaudia sumite</p> -<p class="t0">Reddentes Domino glorificos melos,</p> -<p class="t">Alleluia perenne.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>In blissful antiphons ye thus rejoice</p> -<p class="t0">To render to the Lord with thankful voice</p> -<p class="t">An endless alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Almum sidereae iam patriae decus</p> -<p class="t0">Victores capitis, quo canor est iugis</p> -<p class="t">Alleluia perenne.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Ye who have gained at length your palms in bliss,</p> -<p class="t0">Victorious ones, your chant shall still be this,</p> -<p class="t">An endless alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Illic regis honor vocibus inclitis</p> -<p class="t0">Iucunda reboat carmina perpetim</p> -<p class="t">Alleluia perenne.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>There, in one glad acclaim, forever ring</p> -<p class="t0">The strains which tell the honour of your king,</p> -<p class="t">An endless alleluia.</p> -</div> -<blockquote> -<p>Stanzas 7, 8, 9 omitted.</p> -<p>Tr. John Ellerton</p> -</blockquote> -<h3 id="h6">VI. <span class="hst"><i>Sancti venite</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Sancti venite, Christi corpus sumite,</p> -<p class="t0">Sanctum bibentes, quo redempti sanguinem.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Draw nigh, and take the Body of the Lord,</p> -<p class="t0">And drink the Holy Blood for you outpoured.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Salvati Christi corpore et sanguine,</p> -<p class="t0">A quo refecti laudes dicamus Deo.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Saved by that Body, hallowed by that Blood,</p> -<p class="t0">Whereby refreshed, we render thanks to God.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Hoc sacramento corporis et sanguinis</p> -<p class="t0">Omnes exuti ab inferni faucibus.</p> -</div> -<div class="pb" id="Page_90">90</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Salvation’s Giver, Christ the Only Son;</p> -<p class="t0">By that His Cross and Blood the victory won.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Dator salutis, Christus filius Dei,</p> -<p class="t0">Mundum salvavit per crucem et sanguinem.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Offered was He for greatest and for least:</p> -<p class="t0">Himself the Victim, and Himself the Priest.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Pro universis immolatus Dominus</p> -<p class="t0">Ipse sacerdos exstitit et hostia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Victims were offered by the Law of old,</p> -<p class="t0">That, in a type, celestial mysteries told.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Lege praeceptum immolari hostias,</p> -<p class="t0">Qua adumbrantur divina mysteria.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>He, Ransomer from death and Light from shade,</p> -<p class="t0">Giveth His holy grace His Saints to aid.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Lucis indultor et salvator omnium</p> -<p class="t0">Praeclaram sanctis largitus est gratiam.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Approach ye then with faithful hearts sincere,</p> -<p class="t0">And take the safeguard of salvation here.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Accedant omnes pura mente creduli,</p> -<p class="t0">Sumant aeternam salutis custodiam.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>He That in this world rules His Saints, and shields,</p> -<p class="t0">To all believers Life Eternal yields:</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Sanctorum custos, rector quoque, Dominus,</p> -<p class="t0">Vitae perennis largitor credentibus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>With Heavenly Bread makes them that hunger whole;</p> -<p class="t0">Gives Living Waters to the thirsty soul.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Caelestem panem dat esurientibus,</p> -<p class="t0">De fonte vivo praebet sitientibus.</p> -</div> -<div class="pb" id="Page_91">91</div> -<div class="verse"> -<p class="t0"><span class="vn">11. </span>Alpha et omega ipse Christus Dominus</p> -<p class="t0">Venit, venturus iudicare homines.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Alpha and Omega, to Whom shall bow</p> -<p class="t0">All nations at the Doom, is with us now.</p> -</div> -<blockquote> -<p>Tr. John Mason Neale, <i>Mediaeval Hymns and Sequences</i>, London. Masters, 1867, p. 13.</p> -<p>Neale omits Latin stanza 3.</p> -</blockquote> -<h3 id="h7">VII. <span class="hst"><i>Ave maris stella</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Ave maris stella,</p> -<p class="t0">Dei mater alma</p> -<p class="t0">Atque semper virgo,</p> -<p class="t0">Felix caeli porta.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Hail, Sea-star we name thee,</p> -<p class="t0">Ever-maid acclaim thee,</p> -<p class="t0">God His Mother, Portal</p> -<p class="t0">To the life immortal.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Sumens illud Ave</p> -<p class="t0">Gabrielis ore</p> -<p class="t0">Funda nos in pace,</p> -<p class="t0">Mutans nomen Evae.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Ave was the token</p> -<p class="t0">By the Angel spoken:</p> -<p class="t0">Peace on earth it telleth,</p> -<p class="t0">Eva’s name re-spelleth.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Solve vincla reis,</p> -<p class="t0">Profer lumen caecis,</p> -<p class="t0">Mala nostra pelle,</p> -<p class="t0">Bona cuncta posce.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Free the worldly-minded</p> -<p class="t0">Luminate the blinded,</p> -<p class="t0">Every ill repressing,</p> -<p class="t0">Win us every blessing.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Monstra te esse matrem,</p> -<p class="t0">Sumat per te preces,</p> -<p class="t0">Qui pro nobis natus</p> -<p class="t0">Tulit esse tuus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Plead, and play the Mother!</p> -<p class="t0">He will, and no other,</p> -<p class="t0">Born for our salvation,</p> -<p class="t0">Hear thy supplication.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Virgo singularis,</p> -<p class="t0">Inter omnes mitis,</p> -<p class="t0">Nos culpis solutos</p> -<p class="t0">Mites fac et castos.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Maiden meek and lowly,</p> -<p class="t0">Singularly holy,</p> -<p class="t0">Loose the sins that chain us;</p> -<p class="t0">Sanctify, sustain us.</p> -</div> -<div class="pb" id="Page_92">92</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Vitam praesta puram,</p> -<p class="t0">Iter para tutum,</p> -<p class="t0">Ut videntes Iesum</p> -<p class="t0">Semper collaetemur.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Help us live in pureness,</p> -<p class="t0">Smooth our way with sureness,</p> -<p class="t0">Till we also eye Thee,</p> -<p class="t0">Jesu, ever nigh Thee.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Sit laus Deo Patri,</p> -<p class="t0">Summo Christo decus,</p> -<p class="t0">Spiritui Sancto:</p> -<p class="t0">Tribus honor unus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Doxology.</p> -</div> -<blockquote> -<p>Tr. G. R. Woodward</p> -</blockquote> -<h3 id="h8">VIII. <span class="hst"><i>Ut queant laxis resonare fibris</i></span> -<br />(St. John the Baptist)</h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Ut queant laxis resonare fibris</p> -<p class="t0">Mira gestorum famuli tuorum,</p> -<p class="t0">Solve polluti labii reatum,</p> -<p class="t2">Sancte Ioannes.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>In flowing measures worthily to sing</p> -<p class="t0">The wonders which of old by thee were done,</p> -<p class="t0">To lips unclean let Heaven remission bring,</p> -<p class="t2">O Holy John!</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Nuntius celso veniens Olympo,</p> -<p class="t0">Te patri magnum fore nasciturum,</p> -<p class="t0">Nomen et vitae seriem gerendae</p> -<p class="t2">Ordine promit.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>From highest Heaven a herald sent to earth</p> -<p class="t0">Thy future greatness to thy father told;</p> -<p class="t0">Thy name and life in order from thy birth</p> -<p class="t2">Entire unrolled.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Ille promissi dubius superni,</p> -<p class="t0">Perdidit promptae modulos loquelae,</p> -<p class="t0">Sed reformasti genitus peremptae</p> -<p class="t2">Organa vocis.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Yet doubting of the promise of his Lord</p> -<p class="t0">His palsied tongue of language lost the power;</p> -<p class="t0">By thee was all his faltering speech restored</p> -<p class="t2">Thy natal hour.</p> -</div> -<div class="pb" id="Page_93">93</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Ventris obtruso recubans cubili,</p> -<p class="t0">Senseras regem thalamo manentem,</p> -<p class="t0">Hinc parens nati meritis uterque</p> -<p class="t2">Abdita pandit.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Thou didst within the narrow womb discern</p> -<p class="t0">The King in that his chamber lie concealed;</p> -<p class="t0">Each parent her Son’s dignity in turn</p> -<p class="t2">To each revealed.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Sit decus Patri, genitaeque Proli,</p> -<p class="t0">Et tibi, compar utriusque virtus,</p> -<p class="t0">Spiritus semper, Deus unus, omni</p> -<p class="t2">Temporis aevo.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Now whilst Heaven’s citizens proclaim thy praise</p> -<p class="t0">God ever One and yet coequal Three</p> -<p class="t0">For pardon we our suppliant voices raise</p> -<p class="t2">Redeemed by Thee!</p> -</div> -<blockquote> -<p>Tr. J. D. Chambers. Stanzas 6-13 omitted.</p> -</blockquote> -<h3 id="h9">IX. <span class="hst"><i>Veni creator spiritus</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Veni creator Spiritus</p> -<p class="t0">Mentes tuorum visita,</p> -<p class="t0">Imple superna gratia,</p> -<p class="t0">Quae tu creasti pectora.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Creator-spirit, all-Divine,</p> -<p class="t0">Come, visit every soul of thine,</p> -<p class="t0">And fill with thy celestial flame</p> -<p class="t0">The hearts which thou thyself didst frame.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Qui Paraclitus diceris,</p> -<p class="t0">Donum Dei altissimi,</p> -<p class="t0">Fons vivus, ignis, caritas,</p> -<p class="t0">Et spiritalis unctio.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>O gift of God, thine is the sweet</p> -<p class="t0">Consoling name of Paraclete—</p> -<p class="t0">And spring of life and fire and love</p> -<p class="t0">And unction flowing from above.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Tu septiformis munere,</p> -<p class="t0">Dextrae Dei tu digitus,</p> -<p class="t0">Tu rite promisso Patris</p> -<p class="t0">Sermone ditas guttura.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>The mystic sevenfold gifts are thine,</p> -<p class="t0">Finger of God’s right hand divine;</p> -<p class="t0">The Father’s promise sent to teach</p> -<p class="t0">The tongue a rich and heavenly speech.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Accende lumen sensibus,</p> -<p class="t0">Infunde amorem cordibus,</p> -<p class="t0">Infirma nostri corporis</p> -<p class="t0">Virtute firmans perpeti.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Kindle with fire brought from above</p> -<p class="t0">Each sense, and fill our hearts with love;</p> -<p class="t0">And grant our flesh, so weak and frail,</p> -<p class="t0">The strength of thine which cannot fail.</p> -</div> -<div class="pb" id="Page_94">94</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Hostem repellas longius,</p> -<p class="t0">Pacemque dones protinus,</p> -<p class="t0">Ductore sic te praevio</p> -<p class="t0">Vitemus omne noxium.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Drive far away our deadly foe,</p> -<p class="t0">And grant us thy true peace to know;</p> -<p class="t0">So we, led by thy guidance still,</p> -<p class="t0">May safely pass through every ill.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Da gaudiorum praemia,</p> -<p class="t0">Da gratiarum munera,</p> -<p class="t0">Dissolve litis vincula,</p> -<p class="t0">Adstringe pacis foedera.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>To us, through Thee, the grace be shown</p> -<p class="t0">To know the Father and the Son;</p> -<p class="t0">And Spirit of them both, may we</p> -<p class="t0">Forever rest our faith in Thee.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Per te sciamus, da, Patrem,</p> -<p class="t0">Noscamus atque Filium,</p> -<p class="t0">Te utriusque Spiritum</p> -<p class="t0">Credamus omni tempore.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>To Sire and Son be praises meet,</p> -<p class="t0">And to the Holy Paraclete;</p> -<p class="t0">And may Christ send us from above</p> -<p class="t0">That Holy Spirit’s gift of love.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Sit laus Patri cum Filio,</p> -<p class="t0">Sancto simul Paraclito,</p> -<p class="t0">Nobisque mittat Filius</p> -<p class="t0">Charisma sancti Spiritus.</p> -</div> -<blockquote> -<p>Tr. J. A. Aylward</p> -</blockquote> -<h3 id="h10">X. <span class="hst"><i>Deus immensa trinitas</i></span> -<br />(Mozarabic, Common of Saints)</h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Deus, immensa trinitas,</p> -<p class="t0">Unita semper gloria,</p> -<p class="t0">Pater, Christe, Paraclite,</p> -<p class="t0">Rerum invicte Domine.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>O glorious immensity</p> -<p class="t0">And one eternal Trinity,</p> -<p class="t0">Father and Comforter and Word,</p> -<p class="t0">Of all that is, unconquered Lord,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Qui largitatem muneris</p> -<p class="t0">Quo praestasti martyri,</p> -<p class="t0">Cuius festa votissima,</p> -<p class="t0">Quam celebramus hodie.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>The saint for whom our chants of praise</p> -<p class="t0">Consenting on this feast we raise,</p> -<p class="t0">With princely guerdons thou didst bless:</p> -<p class="t0">Thy crown, thy palm, thy happiness.</p> -</div> -<div class="pb" id="Page_95">95</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Tormenta qui saevissima</p> -<p class="t0">Ac varia supplicia</p> -<p class="t0">Victrice tua dextera</p> -<p class="t0">Mente robusta pertulit.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>In tortures, great and cruel pain</p> -<p class="t0">Thou didst with thy right hand sustain</p> -<p class="t0">Thy servant, who with steadfast heart</p> -<p class="t0">Bore the tormentor’s every art.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Huius, adclines, Domine,</p> -<p class="t0">Te deprecamur, precibus,</p> -<p class="t0">Aetherea consortia,</p> -<p class="t0">Celsa dona fastigia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Thy gracious ear, O Christ divine,</p> -<p class="t0">Unto thy servant’s prayer incline,</p> -<p class="t0">To whom thy fairest gifts are given</p> -<p class="t0">Within the gracious halls of heaven.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Qui princeps esse principum</p> -<p class="t0">Rex mysticus agnosceris,</p> -<p class="t0">Agnita nostra crimina</p> -<p class="t0">Large dele clementia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Thee Prince of Princes, we proclaim,</p> -<p class="t0">The King that bears the mystic name:</p> -<p class="t0">Blot out in thy great love, we pray,</p> -<p class="t0">The sins that mar this holy day.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Adventus ut cum fulgidus</p> -<p class="t0">Tuus, Christe, patuerit,</p> -<p class="t0">Tuo ducante martyre</p> -<p class="t0">Laeti pergamus obviam.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>That so when Thou shalt come again,</p> -<p class="t0">O Christ, in light, on earth to reign,</p> -<p class="t0">Led by thy martyr, we may dare</p> -<p class="t0">To rise to meet thee in the air.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>(added)</p> -<p class="t0">Deo Patri sit gloria</p> -<p class="t0">Eiusque soli Filio</p> -<p class="t0">Cum Spiritu Paraclito</p> -<p class="t0">Et nunc et omne saeculum.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>(added)</p> -<p class="t0">To God the Father glory be,</p> -<p class="t0">And God the Son eternally,</p> -<p class="t0">With God the Holy Paraclete</p> -<p class="t0">Through endless ages, as is meet.</p> -</div> -<blockquote> -<p>Tr. Alan G. Mcdougall (<i>Pange Lingua</i> <i>etc.</i>, Burns, Oates & Washbourne, London, 1916. -p. 71. Quoted by permission of publishers.)</p> -</blockquote> -<h3 id="h11">XI. <span class="hst"><i>Sancti spiritus assit nobis gratia</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Sancti spiritus assit nobis gratia,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>The grace of the Holy Ghost be present with us;</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Quae corda nostra sibi faciat habitaculum</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>And make our hearts a dwelling place to itself;</p> -</div> -<div class="pb" id="Page_96">96</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Expulsis inde cunctis vitiis spiritalibus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>And expel from them all spiritual wickedness.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Spiritus alme, illustrator hominum,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Merciful Spirit, Illuminator of men,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Horridas nostrae mentis purga tenebras.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Purge the fearful shades of our mind.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Amator sancte sensatorum semper cogitatuum,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>O holy Lover of thoughts that are ever wise,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Infunde unctionem tuam clemens nostris sensibus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Of Thy mercy pour forth Thine Anointing into our senses.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Tu purificator omnium flagitiorum spiritus,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Thou purifier of all iniquities, O Spirit,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Purifica nostri oculum interioris hominis,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Purify the eye of our inner man,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Ut videri supremus genitor possit a nobis,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>To the end that the Father of all things may be seen by us,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">11. </span>Mundi cordis quem soli cernere possunt oculi.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">11. </span>He, Whom the eyes of none save the pure in heart can behold.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">12. </span>Prophetas tu inspirasti, ut praeconia Christi praecinuissent inclita;</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">12. </span>Thou didst inspire the Prophets to chant aforehand their glorious heralding of Christ.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">13. </span>Apostolos confortasti, uti tropaeum Christi per totum mundum veherent.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">13. </span>Thou didst confirm the Apostles, so that they shall bear Christ’s glorious trophy through the whole world.</p> -</div> -<div class="pb" id="Page_97">97</div> -<div class="verse"> -<p class="t0"><span class="vn">14. </span>Quando machinam per verbum suum fecit Deus caeli, terrae, marium,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">14. </span>When by His Word, God made the system of heaven, earth, seas,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">15. </span>Tu super aquas foturus eas numen tuum expandisti, spiritus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">15. </span>Thou didst stretch out Thy Godhead over the waters, and didst cherish them, O Spirit!</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">16. </span>Tu animabus vivificandis aquas fecundas;</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">16. </span>Thou didst give virtue to the waters to quicken souls;</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">17. </span>Tu aspirando das spiritales esse homines.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">17. </span>Thou, by Thine Inspiration, grantest to men to be spiritual.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">18. </span>Tu divisum per linguas mundum et ritus adunasti, Domine;</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">18. </span>Thou didst unite the world, divided into tongues and rites, O Lord!</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">19. </span>Idolatras ad cultum Dei revocas, magistrorum optime.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">19. </span>Thou recallest idolaters to the worship of God, best of Masters!</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">20. </span>Ergo nos supplicantes tibi exaudi propitius, sancte spiritus,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">20. </span>Wherefore of Thy mercy hear us who call upon Thee, Holy Ghost:</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">21. </span>Sine quo preces omnes cassae creduntur et indignae Dei auribus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">21. </span>Without Whom, as the faith teaches, all our prayers are in vain, and unworthy of the ears of God,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">22. </span>Tu, qui omnium saeculorum sanctos Tui numinis docuisti instinctu amplectendo, spiritus,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">22. </span>Thou, O Spirit, who by embracing the Saints of all ages, dost teach them by the impulse of Thy Divinity;</p> -</div> -<div class="pb" id="Page_98">98</div> -<div class="verse"> -<p class="t0"><span class="vn">23. </span>Ipse hodie apostolos Christi donans munere insolito et cunctis inaudito saeculis</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">23. </span>Thyself, by bestowing upon the Apostles of Christ a gift immortal, and unheard of from all ages,</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">24. </span>Hunc diem gloriosum fecisti.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">24. </span>Hast made this day glorious.</p> -</div> -<blockquote> -<p>Tr. John Mason Neale, <i>Mediaeval Hymns and Sequences</i>, London. Masters, 1867, p. 29.</p> -</blockquote> -<h3 id="h12">XII. <span class="hst"><i>Cantemus cuncti melodum nunc Alleluia</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Cantemus cuncti melodum nunc,</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>The strain upraise of joy and praise,</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>In laudibus aeterni regis</p> -<p class="t">haec plebs resultet</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>To the glory of their King</p> -<p class="t0">Shall the ransomed people sing</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Hoc denique caelestes chori</p> -<p class="t">cantant in altum</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>And the Choirs that dwell on high</p> -<p class="t0">Shall re-echo through the sky</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Hoc beatorum</p> -<p class="t">per prata paradisiaca</p> -<p class="t">psallat concentus</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>They through the fields of Paradise that roam,</p> -<p class="t0">The blessed ones, repeat that bright home</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Quin et astrorum</p> -<p class="t">micantia luminaria</p> -<p class="t">iubilant altum</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>The planets glitt’ring on their heavenly way,</p> -<p class="t0">The shining constellations, join, and say</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Nubium cursus,</p> -<p class="t">ventorum volatus,</p> -<p class="t">fulgurum coruscatio</p> -<p class="t">et tonitruum sonitus</p> -<p class="t">dulce consonent simul</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Ye clouds that onward sweep!</p> -<p class="t0">Ye winds on pinions light!</p> -<p class="t0">Ye thunders, echoing loud and deep!</p> -<p class="t0">Ye lightnings, wildly bright!</p> -<p class="t0">In sweet consent unite your</p> -<p class="t4">Alleluia.</p> -</div> -<div class="pb" id="Page_99">99</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Fluctus et undae,</p> -<p class="t">imber et procellae,</p> -<p class="t">tempestas et serenitas,</p> -<p class="t">cauma, gelu, nix, pruinae,</p> -<p class="t">saltus, nemora pangant</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Ye floods and ocean billows!</p> -<p class="t0">Ye storms and winter snow!</p> -<p class="t0">Ye days of cloudless beauty!</p> -<p class="t0">Hoar frost and summer glow!</p> -<p class="t0">Ye groves that wave in spring,</p> -<p class="t0">And glorious forests, sing</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Hinc, variae volucres,</p> -<p class="t">creatorem</p> -<p class="t0">laudibus concinite cum</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>First let the birds, with painted plummage gay,</p> -<p class="t0">Exalt their great Creator’s praise, and say</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Ast illinc respondeant</p> -<p class="t">voces altae</p> -<p class="t">diversarum bestiarum</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Then let the beasts of earth, with varying strain,</p> -<p class="t0">Join in Creation’s Hymn, and cry again</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Istinc montium</p> -<p class="t">celsi vertices sonent</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Here let the mountains thunder forth, sonorous,</p> -<p class="t">Alleluia</p> -<p class="t0">There let the valleys sing in gentler chorus,</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">11. </span>Illinc vallium</p> -<p class="t">profunditates saltent</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">11. </span>Thou jubilant abyss of ocean, cry</p> -<p class="t4">Alleluia.</p> -<p class="t0">Ye tracts of earth and continents, reply</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">12. </span>Tu quoque, maris</p> -<p class="t">iubilans abysse, dic</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">12. </span>To God, Who all Creation made,</p> -<p class="t0">The frequent hymn be duly paid:</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">13. </span>Necnon terrarum</p> -<p class="t">molis immensitates:</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">13. </span>This is the strain, the eternal strain, the Lord of all things loves:</p> -<p class="t4">Alleluia.</p> -<p class="t0">This is the song, the heav’nly song, that Christ Himself approves:</p> -<p class="t4">Alleluia.</p> -</div> -<div class="pb" id="Page_100">100</div> -<div class="verse"> -<p class="t0"><span class="vn">14. </span>Nunc omne genus</p> -<p class="t0">humanum laudans exsultet</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">14. </span>Wherefore we sing, both heart and voice awaking,</p> -<p class="t4">Alleluia.</p> -<p class="t0">And children’s voices echo, answer making,</p> -<p class="t4">Alleluia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">15. </span>Et creatori</p> -<p class="t0">grates frequentans consonet</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">15. </span>Now from all men be outpour’d</p> -<p class="t0">Alleluia to the Lord;</p> -<p class="t0">With Alleluia evermore</p> -<p class="t0">The Son and Spirit we adore.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">16. </span>Hoc denique nomen audire</p> -<p class="t">iugiter delectatur</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">16. </span>Praise be done to Three in One.</p> -<p class="t">Alleluia! Alleluia! Alleluia! Alleluia!</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">17. </span>Hoc etiam carmen caeleste</p> -<p class="t">comprobat ipse Christus</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">18. </span>Nunc vos, O socii,</p> -<p class="t">cantate laetantes</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">19. </span>Et vos, pueruli,</p> -<p class="t">respondete semper</p> -<p class="t"><i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">20. </span>Nunc omnes canite simul</p> -<p class="t"><i>Alleluia</i> Domino,</p> -<p class="t"><i>Alleluia</i> Christo</p> -<p class="t">Pneumatique <i>Alleluia</i>.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">21. </span>Laus trinitati aeternae:</p> -<p class="t"><i>Alleluia, Alleluia,</i></p> -<p class="t"><i>Alleluia, Alleluia,</i></p> -<p class="t"><i>Alleluia, Alleluia.</i></p> -</div> -<blockquote> -<p>Tr. John Mason Neale, <i>Mediaeval Hymns and Sequences</i>, London. Masters, 1867, p. 43.</p> -<p>Stanzas 10-13 translate Latin 10-21.</p> -</blockquote> -<div class="pb" id="Page_101">101</div> -<h3 id="h13">XIII. <span class="hst"><i>Heri mundus exultavit</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Heri mundus exultavit,</p> -<p class="t0">Et exultans celebravit</p> -<p class="t0">Christi natalitia:</p> -<p class="t0">Heri chorus angelorum</p> -<p class="t0">Prosecutus est caelorum</p> -<p class="t0">Regem cum laetitia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Yesterday, with exultation</p> -<p class="t0">Joined the world in celebration</p> -<p class="t">Of her promis’d Saviour’s birth;</p> -<p class="t0">Yesterday the Angel nation</p> -<p class="t0">Pour’d the strains of jubilation</p> -<p class="t">O’er the Monarch born on earth.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Protomartyr et Levita,</p> -<p class="t0">Clarus fide, clarus vita,</p> -<p class="t0">Clarus et miraculis,</p> -<p class="t0">Sub hac luce triumphavit,</p> -<p class="t0">Et triumphans insultavit</p> -<p class="t0">Stephanus incredulis.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>But to-day, o’er death victorious,</p> -<p class="t0">By His faith and actions glorious,</p> -<p class="t">By His miracles renown’d,</p> -<p class="t0">Dared the Deacon Protomartyr</p> -<p class="t0">Earthly life for Heav’n to barter,</p> -<p class="t">Faithful midst the faithless found.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Fremunt ergo tanquam ferae,</p> -<p class="t0">Quia victi defecere</p> -<p class="t0">Lucis victi adversarii:</p> -<p class="t0">Falsos testes statuunt,</p> -<p class="t0">Et linguas exacuunt</p> -<p class="t0">Viperarum filii.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>In a hopeless strife engaging,</p> -<p class="t0">They like savage beasts are raging,</p> -<p class="t">Adversaries of the light;</p> -<p class="t0">False the witnesses they set;</p> -<p class="t0">Tongues like swords the rabble whet,</p> -<p class="t">Viper brood of darkest night.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Agonista, nulli cede;</p> -<p class="t0">Certa certus de mercede,</p> -<p class="t0">Perservera, Stephane:</p> -<p class="t0">Insta falsis testibus,</p> -<p class="t0">Confuta sermonibus</p> -<p class="t0">Synagogam Satanae.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Forward, champion, in thy quarrel!</p> -<p class="t0">Certain of a certain laurel,</p> -<p class="t">Holy Stephen, persevere!</p> -<p class="t0">Perjur’d witnesses confounding</p> -<p class="t0">Satan’s Synagogue astounding</p> -<p class="t">By thy doctrine true and clear.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Testis tuus est in caelis,</p> -<p class="t0">Testis verax et fidelis,</p> -<p class="t0">Testis innocentiae.</p> -<p class="t0">Nomen habes coronati,</p> -<p class="t0">Te tormenta decet pati</p> -<p class="t0">Pro corona gloriae.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Lo! in Heaven thy Witness liveth:</p> -<p class="t0">Bright and faithful proof He giveth</p> -<p class="t">Of His Martyr’s blamelessness:</p> -<p class="t0">Thou by name a Crown impliest;</p> -<p class="t0">Meetly then in pangs thou diest</p> -<p class="t">For the Crown of Righteousness!</p> -</div> -<div class="pb" id="Page_102">102</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Pro corona non marcenti</p> -<p class="t0">Perfer brevis vim tormenti,</p> -<p class="t0">Te manet victoria.</p> -<p class="t0">Tibi fiet mors, natalis,</p> -<p class="t0">Tibi poena terminalis</p> -<p class="t0">Dat vitae primordia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>For a crown that fadeth never,</p> -<p class="t0">Bear the torturer’s brief endeavour;</p> -<p class="t">Victory waits to end the strife:</p> -<p class="t0">Death shall be thy birth’s beginning,</p> -<p class="t0">And life’s losing be the winning</p> -<p class="t">Of the true and better Life.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Plenus Sancto Spiritu</p> -<p class="t0">Penetrat intuitu</p> -<p class="t0">Stephanus caelestia.</p> -<p class="t0">Videns Dei gloriam</p> -<p class="t0">Crescit ad victoriam,</p> -<p class="t0">Suspirat ad praemia.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Whom the Holy Ghost endueth,</p> -<p class="t0">Whom celestial sight embueth,</p> -<p class="t">Stephen penetrates the skies;</p> -<p class="t0">There God’s fullest glory viewing</p> -<p class="t0">There his victor strength renewing</p> -<p class="t">For his near reward he sighs.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>En a dextris Dei stantem</p> -<p class="t0">Iesum, pro te dimicantem,</p> -<p class="t0">Stephane, considera.</p> -<p class="t0">Tibi caelos reserari,</p> -<p class="t0">Tibi Christum revelari</p> -<p class="t0">Clama voce libera.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>See, as Jewish foes invade thee,</p> -<p class="t0">See how Jesus stands to aid thee!</p> -<p class="t">Stands to guard His champion’s death:</p> -<p class="t0">Cry that opened Heaven is shown thee:</p> -<p class="t0">Cry that Jesus waits to own thee:</p> -<p class="t">Cry it with thy latest breath!</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Se commendat Salvatori,</p> -<p class="t0">Pro quo dulce ducit mori</p> -<p class="t0">Sub ipsis lapidibus.</p> -<p class="t0">Saulus servat omnium</p> -<p class="t0">Vestes lapidantium,</p> -<p class="t0">Lapidans in omnibus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>On his Saviour’s aid relying,</p> -<p class="t0">Sweet to him the pain of dying,</p> -<p class="t">’Neath the fearful rain of stone:</p> -<p class="t0">Paul amidst the stoning throng,</p> -<p class="t0">Guarding garments, makes the wrong</p> -<p class="t">Of the angry Jews his own.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Ne peccatum statuatur</p> -<p class="t0">His, a quibus lapidatur,</p> -<p class="t0">Genu ponit et precatur,</p> -<p class="t0">Condolens insaniae:</p> -<p class="t0">In Christo sic obdormivit,</p> -<p class="t0">Qui Christo sic obedivit,</p> -<p class="t0">Et cum Christo semper vivit,</p> -<p class="t0">Martyrum primitiae.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>As the dying Martyr kneeleth,</p> -<p class="t0">For his murderers he appealeth,</p> -<p class="t0">And his prayer their pardon sealeth,</p> -<p class="t">For their madness grieving sore;</p> -<p class="t0">Then in Christ he sleepeth sweetly,</p> -<p class="t0">Who His pattern kept completely,</p> -<p class="t">Martyr first-fruits, evermore!</p> -</div> -<div class="verse"> -<p class="t0">Tr. John Mason Neale, <i>Mediaeval Hymns and Sequences</i>, London. Masters, 1867, p. 134.</p> -</div> -<div class="verse"> -<p class="t0">St. 3, tr. Stephen A. Hurlbut. Quoted by permission of author. Stanzas 11, 12 omitted.</p> -</div> -<div class="pb" id="Page_103">103</div> -<h3 id="h14">XIV. <span class="hst"><i>Ad perennis vitae fontem</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Ad perennis vitae fontem mens sitivit arida;</p> -<p class="t0">Claustra carnis praesto frangi clausa quaerit anima:</p> -<p class="t0">Gliscit, ambit, eluctatur exul frui patria.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>To the fount of life eternal cries the soul with longing thirst,</p> -<p class="t0">And the spirit, flesh-imprisoned, seeks the bars of flesh to burst;</p> -<p class="t0">Strives to gain that heavenly country, exiled now and sin-accurst.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Dum pressuris ac aerumnis se gemit obnoxiam,</p> -<p class="t0">Quam amisit, dum deliquit, contemplatur gloriam,</p> -<p class="t0">Praesens malum auget boni perditi memoriam.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Sore beset with care and danger, groans the spirit for release,</p> -<p class="t0">Still beholds, though lost in Eden, glory forfeited and peace;</p> -<p class="t0">Former good, in memory dwelling, doth the present ill increase.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Nam quis promat summae pacis quanta sit laetitia,</p> -<p class="t0">Ubi vivis margaritis surgunt aedificia,</p> -<p class="t0">Auro celsa micant tecta, radiant triclinia?</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Who can tell how great the joy of that Peace surpassing all,</p> -<p class="t0">Where of living pearls constructed rise the stately buildings tall,</p> -<p class="t0">Where with gold the rooftree glitters, shines with gold the banquet-hall.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Solis gemmis pretiosis haec structura nectitur;</p> -<p class="t0">Auro mundo, tamquam vitro, urbis via sternitur;</p> -<p class="t0">Abest limus, deest fimus, lues nulla cernitur.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>All of precious stones compacted rise those structures of delight;</p> -<p class="t0">Purest gold as crystal shining paves the heavenly city bright;</p> -<p class="t0">Never mire nor filth defiling stains the streets of radiant light.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Hiems horrens, aestas torrens illic numquam saeviunt;</p> -<p class="t0">Flos perpetuus rosarum ver agit perpetuum;</p> -<p class="t0">Candent lilia, rubescit crocus, sudat balsamum.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Chilling winter, burning summer, neither rages in that land,</p> -<p class="t0">But the crimson bloom of roses doth an endless spring demand;</p> -<p class="t0">White the lilies, red the crocus, fragrant doth the balsam stand.</p> -</div> -<div class="pb" id="Page_104">104</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Virent prata, vernant sata, rivi mellis influunt;</p> -<p class="t0">Pigmentorum spirat odor, liquor et aromatum;</p> -<p class="t0">Pendent poma floridorum non lapsura nemorum.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Green the pastures, flower-besprinkled, fed by streams with honey filled;</p> -<p class="t0">All the air is sweet with incense from the odorous herbs distilled;</p> -<p class="t0">Never fails the ripened fruitage, nor is bloom by winter chilled.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Non alternat luna vices, sol, vel cursus siderum;</p> -<p class="t0">Agnus est felicis urbis lumen inocciduum;</p> -<p class="t0">Nox et tempus desunt ei, diem fert continuum.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Waxeth not the moon nor waneth, need not sun or stars to be,</p> -<p class="t0">But the Lamb in that blest city shines a Sun eternally;</p> -<p class="t0">There the daylight is unbroken, night and time have ceased to be.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Nam et sancti quique velut sol praeclarus rutilant;</p> -<p class="t0">Post triumphum coronati mutuo coniubilant,</p> -<p class="t0">Et prostrati pugnas hostis iam securi numerant.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Shine the blessed with a splendor like the splendor of the sun;</p> -<p class="t0">Crowned in triumph stand they singing that the race of life is run;</p> -<p class="t0">Now secure, they count the glories of the contest they have won.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Omni labe defaecati carnis bella nesciunt,</p> -<p class="t0">Caro facta spiritalis et mens unum sentiunt;</p> -<p class="t0">Pace multa perfruentes scandalum non perferunt.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Cleansed from every stain of evil, they from carnal strife are free;</p> -<p class="t0">Flesh made spirit, with the spirit doth for evermore agree,</p> -<p class="t0">There, released from all temptation, they shall Peace unbroken see.</p> -</div> -<div class="pb" id="Page_105">105</div> -<div class="verse"> -<p class="t0"><span class="vn">20. </span>Probes vires inexhausto laboranti proelio,</p> -<p class="t0">Nec quietem post procinctum deneges emerito,</p> -<p class="t0">Te que merear potiri sine fine praemio!</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">20. </span>Strength supply, in heat or conflict, ceaseless struggle to maintain;</p> -<p class="t0">Grant thy servant, warfare ended, well-deserved rest to gain;</p> -<p class="t0">Grant that I, Thyself deserving, may Thyself as prize attain!</p> -</div> -<blockquote> -<p>Tr. Stephen A. Hurlbut. Quoted by permission of author.</p> -</blockquote> -<h3 id="h15">XV. <span class="hst"><i>Lauda, Sion, Salvatorem</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Lauda, Sion, Salvatorem,</p> -<p class="t0">Lauda ducem et pastorem</p> -<p class="t0">In hymnis et canticis:</p> -<p class="t0">Quantum potes, tantum aude,</p> -<p class="t0">Quia maior omni laude,</p> -<p class="t0">Nec laudare sufficis.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Praise, O Sion, praise thy Saviour,</p> -<p class="t0">Shepherd, Prince, with glad behavior,</p> -<p class="t">Praise in hymn and canticle:</p> -<p class="t0">Sing His glory without measure,</p> -<p class="t0">For the merit of your treasure</p> -<p class="t">Never shall your praises fill.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Laudis thema specialis,</p> -<p class="t0">Panis vivus et vitalis</p> -<p class="t0">Hodie proponitur;</p> -<p class="t0">Quem in sacrae mensa cenae</p> -<p class="t0">Turbae fratrum duodenae</p> -<p class="t0">Datum non ambigitur.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Wondrous theme of mortal singing,</p> -<p class="t0">Living bread and bread life-bringing,</p> -<p class="t">Sing we on this joyful day:</p> -<p class="t0">At the Lord’s own table given</p> -<p class="t0">To the twelve as bread from heaven,</p> -<p class="t">Doubting not we firmly say.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Sit laus plena, sit sonora</p> -<p class="t0">Sit iucunda, sit decora</p> -<p class="t0">Mentis iubilatio:</p> -<p class="t0">Namque dies est sollemnis</p> -<p class="t0">Qua recolitur perennis</p> -<p class="t0">Mensae institutio.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Sing His praise with voice sonorous;</p> -<p class="t0">Every heart shall hear the chorus</p> -<p class="t">Swell in melody sublime:</p> -<p class="t0">For this day the Shepherd gave us</p> -<p class="t0">Flesh and blood to feed and save us,</p> -<p class="t">Lasting to the end of time.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>In hac mensa novi Regis</p> -<p class="t0">Novum pascha novae legis</p> -<p class="t0">Phase vetus terminat:</p> -<p class="t0">Iam vetustas novitati,</p> -<p class="t0">Umbra cedit veritati,</p> -<p class="t0">Noctem lux eliminat.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>At the new King’s sacred table,</p> -<p class="t0">The new law’s new pasch is able</p> -<p class="t">To succeed the ancient rite:</p> -<p class="t0">Old to new its place hath given,</p> -<p class="t0">Truth has far the shadows driven,</p> -<p class="t">Darkness flees before the Light.</p> -</div> -<div class="pb" id="Page_106">106</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Quod in cena Christus gessit,</p> -<p class="t0">Faciendum hoc expressit</p> -<p class="t0">In sui memoriam:</p> -<p class="t0">Docti sacris institutis,</p> -<p class="t0">Panem, vinum in salutis</p> -<p class="t0">Consecramus hostiam.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>And as He hath done and planned it—</p> -<p class="t0">“Do this”—hear His love command it,</p> -<p class="t">“For a memory of me.”</p> -<p class="t0">Learnèd, Lord, in thy own science,</p> -<p class="t0">Bread and wine, in sweet compliance,</p> -<p class="t">As a Host we offer Thee.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Dogma datur Christianis,</p> -<p class="t0">Quod in carnem transit panis,</p> -<p class="t0">Et vinum in sanguinem:</p> -<p class="t0">Quod non capis, quod non vides,</p> -<p class="t0">Animosa firmat fides,</p> -<p class="t0">Praeter rerum ordinem.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Thus in faith the Christian heareth:</p> -<p class="t0">That Christ’s flesh as bread appeareth,</p> -<p class="t">And as wine His precious blood:</p> -<p class="t0">Though we feel it not nor see it,</p> -<p class="t0">Living faith that doth decree it</p> -<p class="t">All defects of sense makes good.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Sub diversis speciebus,</p> -<p class="t0">Signis tamen et non rebus,</p> -<p class="t0">Latent res eximiae:</p> -<p class="t0">Caro cibus, sanguis potus,</p> -<p class="t0">Manet tamen Christus totus</p> -<p class="t0">Sub utraque specie.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Lo! beneath the species dual</p> -<p class="t0">(Signs not things), is hid a jewel</p> -<p class="t">Far beyond creation’s reach!</p> -<p class="t0">Though His flesh as food abideth,</p> -<p class="t0">And His blood as drink—He hideth</p> -<p class="t">Undivided under each.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>A sumente non concisus,</p> -<p class="t0">Non confractus, non divisus,</p> -<p class="t0">Integer accipitur:</p> -<p class="t0">Sumit unus, sumunt mille,</p> -<p class="t0">Quantum isti, tantum ille,</p> -<p class="t0">Nec sumptus consumitur.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Whoso eateth it can never</p> -<p class="t0">Break the Body, rend or sever;</p> -<p class="t">Christ entire our hearts doth fill:</p> -<p class="t0">Thousands eat the bread of heaven,</p> -<p class="t0">Yet as much to one is given:</p> -<p class="t">Christ, though eaten, bideth still.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Sumunt boni, sumunt mali,</p> -<p class="t0">Sorte tamen inaequali</p> -<p class="t0">Vitae, vel interitus:</p> -<p class="t0">Mors est malis, vita bonis:</p> -<p class="t0">Vide, paris sumptionis</p> -<p class="t0">Quam sit dispar exitus!</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Good and bad, they come to greet Him:</p> -<p class="t0">Unto life the former eat Him,</p> -<p class="t">And the latter unto death;</p> -<p class="t0">These find death and those find heaven;</p> -<p class="t0">See, from the same life-seed given,</p> -<p class="t">How the harvest differeth!</p> -</div> -<div class="pb" id="Page_107">107</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Fracto demum sacramento</p> -<p class="t0">Ne vacilles, sed memento</p> -<p class="t0">Tantum esse sub fragmento,</p> -<p class="t0">Quantum toto tegitur;</p> -<p class="t0">Nulla rei fit scissura,</p> -<p class="t0">Signi tantum fit fractura,</p> -<p class="t0">Qua nec status, nec statura</p> -<p class="t0">Signati minuitur.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>When at last the bread is broken,</p> -<p class="t0">Doubt not what the Lord hath spoken:</p> -<p class="t0">In each part the same love-token,</p> -<p class="t">The same Christ, our hearts adore:</p> -<p class="t0">For no power the thing divideth—</p> -<p class="t0">’Tis the symbols He provideth,</p> -<p class="t0">While the Saviour still abideth</p> -<p class="t">Undiminished as before.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">11. </span>Ecce, panis angelorum</p> -<p class="t0">Factus cibus viatorum,</p> -<p class="t0">Vere panis filiorum,</p> -<p class="t0">Non mittendus canibus;</p> -<p class="t0">In figuris praesignatur,</p> -<p class="t0">Cum Isaac immolatur,</p> -<p class="t0">Agnus paschae deputatur,</p> -<p class="t0">Datur manna patribus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">11. </span>Hail, angelic bread of heaven,</p> -<p class="t0">Now the pilgrim’s hoping-leaven,</p> -<p class="t0">Yea, the bread to children given</p> -<p class="t">That to dogs must not be thrown:</p> -<p class="t0">In the figures contemplated,</p> -<p class="t0">’Twas with Isaac immolated,</p> -<p class="t0">By the Lamb ’twas antedated,</p> -<p class="t">In the manna it was known.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">12. </span>Bone pastor, panis vere,</p> -<p class="t0">Iesu, nostri miserere,</p> -<p class="t0">Tu nos pasce, nos tuere,</p> -<p class="t0">Tu nos bona fac videre</p> -<p class="t0">In terra viventium.</p> -<p class="t0">Tu qui cuncta scis et vales,</p> -<p class="t0">Qui nos pascis hic mortales,</p> -<p class="t0">Tuos ibi commensales,</p> -<p class="t0">Cohaeredes et sodales</p> -<p class="t0">Fac sanctorum civium.</p> -</div> -<div class="verse"> -<p class="t0">12, O Good Shepherd, still confessing</p> -<p class="t0">Love, in spite of our transgressing,—</p> -<p class="t0">Here Thy blessed food possessing,</p> -<p class="t0">Make us share Thine every blessing</p> -<p class="t">In the land of life and love:</p> -<p class="t0">Thou, whose power hath all completed</p> -<p class="t0">And Thy flesh as food hath meted,</p> -<p class="t0">Make us, at Thy table seated,</p> -<p class="t0">By Thy saints, as friends be greeted,</p> -<p class="t">In Thy paradise above.</p> -</div> -<blockquote> -<p>Tr. H. T. Henry (<i>Eucharistica</i>, Dolphin Press, Phila., 1912, p. 39-43. Quoted by permission -of publishers.)</p> -</blockquote> -<div class="pb" id="Page_108">108</div> -<h3 id="h16">XVI. <span class="hst"><i>Stabat mater dolorosa</i></span></h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Stabat mater dolorosa</p> -<p class="t0">Iuxta crucem lacrimosa,</p> -<p class="t0">Dum pendebat filius,</p> -<p class="t0">Cuius animam gementem,</p> -<p class="t0">Contristantem et dolentem</p> -<p class="t0">Pertransivit gladius.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>By the Cross her vigil keeping</p> -<p class="t0">Stands the Queen of sorrows weeping,</p> -<p class="t">While her son in torment hangs;</p> -<p class="t0">Now she feels—O heart afflicted</p> -<p class="t0">By the sword of old predicted!—</p> -<p class="t">More than all a mother’s pangs.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>O quam tristis et afflicta</p> -<p class="t0">Fuit illa benedicta</p> -<p class="t0">Mater unigeniti,</p> -<p class="t0">Quae maerebat et dolebat</p> -<p class="t0">Et tremebat, dum videbat</p> -<p class="t0">Nati poenas inclyti.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Sad and heavy stands beside him</p> -<p class="t0">She who once had magnified him</p> -<p class="t">One—begotten, only—born;</p> -<p class="t0">While she sees that rich atoning,</p> -<p class="t0">Long the moaning, deep the groaning</p> -<p class="t">Of her mother—heart forlorn.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Quis est homo, qui non fleret,</p> -<p class="t0">Matrem Christi si videret,</p> -<p class="t0">In tanto supplicio?</p> -<p class="t0">Quis non posset contristari,</p> -<p class="t0">Piam matrem contemplari</p> -<p class="t0">Dolentem cum filio?</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Who Christ’s Mother contemplating</p> -<p class="t0">In such bitter anguish waiting,</p> -<p class="t">Has no human tears to shed?</p> -<p class="t0">Who would leave Christ’s Mother, sharing</p> -<p class="t0">All the pain her Son is bearing,</p> -<p class="t">By those tears uncomforted?</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Pro peccatis suae gentis</p> -<p class="t0">Vidit Iesum in tormentis</p> -<p class="t0">Et flagellis subditum;</p> -<p class="t0">Vidit suum dulcem natum</p> -<p class="t0">Morientem, desolatum,</p> -<p class="t0">Dum emisit spiritum.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Victim-priest of Jewry’s nation,</p> -<p class="t0">There he hangs in expiation;</p> -<p class="t">Scourge and nail have had their will;</p> -<p class="t0">Earth and heaven his cause forsaking,</p> -<p class="t0">Now his noble heart is breaking,</p> -<p class="t">Now the labouring breath is still.</p> -</div> -<div class="pb" id="Page_109">109</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Eia mater, fons amoris,</p> -<p class="t0">Me sentire vim doloris</p> -<p class="t0">Fac, ut tecum lugeam;</p> -<p class="t0">Fac, ut ardeat cor meum</p> -<p class="t0">In amando Christum Deum,</p> -<p class="t0">Ut sibi complaceam.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Mother, fount whence love flows truest,</p> -<p class="t0">Let me know the pain thou knewest,</p> -<p class="t">Let me weep as thou hast wept;</p> -<p class="t0">Love divine within me burning,</p> -<p class="t0">That diviner love returning,</p> -<p class="t">May thy Son this heart accept.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Sancta mater, istud agas,</p> -<p class="t0">Crucifixi fige plagas</p> -<p class="t0">Cordi meo valide;</p> -<p class="t0">Tui nati vulnerati,</p> -<p class="t0">Tam dignati pro me pati,</p> -<p class="t0">Poenas mecum divide.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Mother, if my prayer be granted,</p> -<p class="t0">Those five wounds of his implanted</p> -<p class="t">In my breast I fain would see;</p> -<p class="t0">Love exceeding hangs there bleeding,</p> -<p class="t0">My cause pleading, my love needing—</p> -<p class="t">Bid him share his cross with me.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Fac me vere tecum flere,</p> -<p class="t0">Crucifixo condolere,</p> -<p class="t0">Donec ego vixero;</p> -<p class="t0">Iuxta crucem tecum stare,</p> -<p class="t0">Te libenter sociare</p> -<p class="t0">In planctu desidero.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Till life fails, I would not fail him,</p> -<p class="t0">Still remember, still bewail him,</p> -<p class="t">Born thy Son, and crucified;</p> -<p class="t0">By the cross my vigil keeping</p> -<p class="t0">I would spend those hours of weeping,</p> -<p class="t">Queen of sorrows, at thy side.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Virgo virginum praeclara,</p> -<p class="t0">Mihi iam non sis amara,</p> -<p class="t0">Fac me tecum plangere;</p> -<p class="t0">Fac, ut portem Christi mortem,</p> -<p class="t0">Passionis fac consortem</p> -<p class="t0">Et plagas recolere.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Virgin, boast of all creation,</p> -<p class="t0">Heed my tears, nor consolation</p> -<p class="t">In thy bitterness repel;</p> -<p class="t0">At thy side his livery wearing,</p> -<p class="t0">His cross bearing, his death sharing,</p> -<p class="t">Of these wounds the beads I’ll tell.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Fac me plagis vulnerari,</p> -<p class="t0">Cruce hac inebriari,</p> -<p class="t0">Et cruore filii;</p> -<p class="t0">Inflammatus et accensus,</p> -<p class="t0">Per te, virgo, sim defensus</p> -<p class="t0">In die iudicii.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Wounds of Christ, in spirit bruise me,</p> -<p class="t0">Chalice of his blood, bemuse me,</p> -<p class="t">Cross of Christ, be thou my stay!</p> -<p class="t0">Lest I burn in fires unending,</p> -<p class="t0">Sinless Maid, my cause befriending,</p> -<p class="t">Shield me at the judgement day!</p> -</div> -<div class="pb" id="Page_110">110</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Fac me cruce custodiri,</p> -<p class="t0">Morte Christi praemuniri,</p> -<p class="t0">Confoveri gratia.</p> -<p class="t0">Quando corpus morietur,</p> -<p class="t0">Fac, ut animae donetur</p> -<p class="t0">Paradisi gloria.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Jesus, when earth’s shadows leave me,</p> -<p class="t0">Through thy Mother’s prayers receive me</p> -<p class="t">With the palm of victory;</p> -<p class="t0">When my body lies forsaken</p> -<p class="t0">Let my ransomed soul awaken</p> -<p class="t">Safe, in Paradise, with thee.</p> -</div> -<blockquote> -<p>Tr. Ronald A. Knox (<i>Westminster Hymnal</i>, Burns, Oates & Washbourne, London, 1940, -no. 37. Quoted by permission of publishers.)</p> -</blockquote> -<h3 id="h17">XVII. <span class="hst"><i>Salve, festa dies</i></span> -<br />(Sarum Processional)</h3> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Salve, festa dies, toto venerabilis aevo,</p> -<p class="t">Qua Deus infernum vicit et astra tenet.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">1. </span>Hail thee, Festival Day! blest day that art hallowed forever;</p> -<p class="t">Day wherein Christ arose, breaking the kingdom of death.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Ecce, renascentis testatur gratia mundi</p> -<p class="t">omnia cum Domino dona redisse suo.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">2. </span>Lo, the fair beauty of earth, from the death of winter arising,</p> -<p class="t">Every good gift of the year now with its Master returns.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>Qui crucifixus erat, Deus ecce per omnia regnat,</p> -<p class="t">Dantque creatori cuncta creata precem.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">3. </span>He who was nailed to the cross is God and the ruler of all things;</p> -<p class="t">All things created on earth worship the maker of all.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>Pollicitam sed redde diem, precor, alma potestas,</p> -<p class="t">Tertia lux rediit; surge, sepulte Deus.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">4. </span>God of all pity and power, let thy word be assured to the doubting;</p> -<p class="t">Light on the third day returns: rise, Son of God, from the tomb!</p> -</div> -<div class="pb" id="Page_111">111</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Non decet ut humili tumulo tua membra tegantur,</p> -<p class="t">Neu pretium mundi vilia saxa premant.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">5. </span>Ill doth it seem that thy limbs should linger in lowly dishonor,</p> -<p class="t">Ransom and price of the world, veiled from the vision of men.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Indignum est cuius clauduntur cuncta pugillo,</p> -<p class="t">Ut tegat inclusum rupe vetante lapis.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">6. </span>Ill it beseemeth that thou by whose hand all things are encompassed,</p> -<p class="t">Captive and bound shouldst remain, deep in the gloom of the rock.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Lintea tolle, precor, sudaria linque sepulchro,</p> -<p class="t">Tu satis es nobis, et sine te nihil est.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">7. </span>Rise now, O Lord, from the grave and cast off the shroud that enwrapped thee;</p> -<p class="t">Thou art sufficient for us: nothing without thee exists.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Funeris exsequias pateris vitae auctor et orbis,</p> -<p class="t">Intras mortis iter dando salutis opem.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">8. </span>Mourning they laid thee to rest, who art author of life and creation;</p> -<p class="t">Treading the pathway of death, life thou bestowedst on man.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Redde tuam faciem, videant ut saecula lumen,</p> -<p class="t">Redde diem, qui nos te moriente fugit.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">9. </span>Show us thy face once more, that the ages may joy in thy brightness;</p> -<p class="t">Give us the light of day, darkened on earth at thy death.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Eripis innumerum populum de carcere mortis,</p> -<p class="t">Et sequitur liber, quo suus auctor adit.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">10. </span>Out of the prison of death thou art rescuing numberless captives;</p> -<p class="t">Freely they tread in the way whither their maker has gone.</p> -</div> -<div class="pb" id="Page_112">112</div> -<div class="verse"> -<p class="t0"><span class="vn">11. </span>Tristia cesserunt infernae vincula legis,</p> -<p class="t">Expavitque chaos luminis ore premi.</p> -</div> -<div class="verse"> -<p class="t0"><span class="vn">11. </span>Jesus has harrowed hell; he has led captivity captive:</p> -<p class="t">Darkness and chaos and death flee from the face of the light.</p> -</div> -<blockquote> -<p>Tr. Maurice F. Bell, from <i>The English Hymnal</i> by permission of the Oxford University -Press.</p> -</blockquote> -<div class="pb" id="Page_113">113</div> -<h2 id="c10">Notes</h2> -<h3 class="fndef">Chapter One -<br />Early Middle Ages: Latin Hymns of The Fourth Century</h3><div class="fnblock"> -<div class="fndef"><a class="fn" href="#frx1_1" id="fnx1_1">[1.]</a> Jerome, <i>Liber de viris illustribus</i>, 100 (<i>MPL</i> 23, 699).</div> -<div class="fndef"><a class="fn" href="#frx1_2" id="fnx1_2">[2.]</a> <i>Hilarius autem, Gallus episcopus Pictaviensis, eloquentia conspicuus, hymnorum -carmine floruit primus. De ecclesiasticis officiis 1</i>, 6 (<i>MPL</i> 83, 743).</div> -<div class="fndef"><a class="fn" href="#frx1_3" id="fnx1_3">[3.]</a> W. N. Myers, <i>The Hymns of Saint Hilary of Poitiers in the Codex Aretinus</i> -(Phila., Un. of Penn., 1928) 12, 29, 53, 67. For a discussion of other hymns attributed -to Hilary, see p. 14; also A. S. Walpole, <i>Early Latin Hymns</i> (Cambridge, 1922) -1-4. Translations by W. N. Myers.</div> -<div class="fndef"><a class="fn" href="#frx1_4" id="fnx1_4">[4.]</a> <i>Antiphonary of Bangor</i>, edited by F. E. Warren, <i>Henry Bradshaw Society -Publications</i>, vols. 4, 10 (London, 1893, 1895). For discussion of authorship see -vol. 10, 36.</div> -<div class="fndef"><a class="fn" href="#frx1_5" id="fnx1_5">[5.]</a> Or perhaps Treves.</div> -<div class="fndef"><a class="fn" href="#frx1_6" id="fnx1_6">[6.]</a> Augustine, <i>Confessions</i> 9, 7 (<i>MPL</i> 32, 770). Translation from <i>Confessions -of S. Augustine, Ancient and Modern Library of Theol. Literature</i> (London, 1886).</div> -<div class="fndef"><a class="fn" href="#frx1_7" id="fnx1_7">[7.]</a> Translations of first lines: W. J. Copeland, C. Bigg, R. E. Messenger, J. M. Neale.</div> -<div class="fndef"><a class="fn" href="#frx1_8" id="fnx1_8">[8.]</a> Translations of first lines: J. M. Neale, E. Caswall.</div> -<div class="fndef"><a class="fn" href="#frx1_9" id="fnx1_9">[9.]</a> Translations of first lines: J. M. Neale, H. M. Jones, R. E. Messenger, S. Hurlbut.</div> -<div class="fndef"><a class="fn" href="#frx1_10" id="fnx1_10">[10.]</a> Myers, <i>op. cit.</i> (see <a href="#fnx1_3">note 3</a>) 18-22.</div> -<div class="fndef"><a class="fn" href="#frx1_11" id="fnx1_11">[11.]</a> G. Reese<i>, Music in the Middle Ages</i> (New York, 1940) 104.</div> -<div class="fndef"><a class="fn" href="#frx1_12" id="fnx1_12">[12.]</a> Caelius Sedulius, 5th C., an early imitator of Ambrose, wrote a well-known -alphabetic hymn, <i>A solis ortus cardine</i>.</div> -</div> -<div class="pb" id="Page_114">114</div> -<h3 class="fndef">Chapter Two -<br />Early Middle Ages: The Old Hymnal</h3><div class="fnblock"> -<div class="fndef"><a class="fn" href="#frx2_1" id="fnx2_1">[1.]</a> <i>Regula Sancti Benedicti</i>, IX.</div> -<div class="fndef"><a class="fn" href="#frx2_2" id="fnx2_2">[2.]</a> P. Batiffol, <i>Historie du Breviare romain</i>, translated by A. M. Y. Bayley -(London, 1912), chap. I.</div> -<div class="fndef"><a class="fn" href="#frx2_3" id="fnx2_3">[3.]</a> Dom A. Wilmart, “Le Psautier de la Reine,” (<i>Cod. Vat. Reg. II</i>), <i>Revue -Benedictine XXVIII</i> (1911) 376 ff.</div> -<div class="fndef"><a class="fn" href="#frx2_4" id="fnx2_4">[4.]</a> Walpole, <i>Early Latin Hymns</i>, (<a href="#fnx1_3">ch. 1, note 3</a>), xi-xiv.</div> -<div class="fndef"><a class="fn" href="#frx2_5" id="fnx2_5">[5.]</a> Laodicea, c. 364, Canon 59. See G. D. Mansi, <i>Sacrorum conciliorum—collectio</i> -(Florence, Venet. et Par., 1763) ii, 573; Braga, 563, Mansi ix, 778.</div> -<div class="fndef"><a class="fn" href="#frx2_6" id="fnx2_6">[6.]</a> H. F. Muller, “Pre-History of the Medieval Drama,” <i>Zeitschrift f. romanische -Philologie</i> 44 (1924) 544-575.</div> -<div class="fndef"><a class="fn" href="#frx2_7" id="fnx2_7">[7.]</a> Tours, 567, Mansi xiv, 803.</div> -<div class="fndef"><a class="fn" href="#frx2_8" id="fnx2_8">[8.]</a> H. Heimbucher, <i>Die Orden und Kongregationen der katholischen Kirche</i>, -3 vols. (Paderborn, 1907) vol. I, 224-236, <i>Ausbreitung der Benediktinerregel</i>.</div> -<div class="fndef"><a class="fn" href="#frx2_9" id="fnx2_9">[9.]</a> F. H. Dudden, <i>Gregory the Great</i> (London, 1905), 2 vols., II, chap. 8.</div> -<div class="fndef"><a class="fn" href="#frx2_10" id="fnx2_10">[10.]</a> See <i>A. H.</i> (<i>Analecta Hymnica Medii Aevi</i>) 51.24-41, notes. The hymns -excepted are nos. 23-30; 34-40; J. Julian, <i>Dictionary of Hymnology</i>. <i>Gregory I., St., -Pope</i>; C. Blume, “Gregor der Grosse als Hymnendichter,” <i>Stimmen aus Maria-Laach</i>, -1908, 269 ff.</div> -<div class="fndef"><a class="fn" href="#frx2_11" id="fnx2_11">[11.]</a> H. LeClercq, <i>L’Espagne chrétienne</i> (Paris, 1906) 304-5.</div> -<div class="fndef"><a class="fn" href="#frx2_12" id="fnx2_12">[12.]</a> Migne, <i>PL</i> 80, 642-700, Braulio’s Letters.</div> -<div class="fndef"><a class="fn" href="#frx2_13" id="fnx2_13">[13.]</a> IV Council of Toledo, 633, Canon 2, Mansi x, 616; Canon 13, Mansi x, -622-3. <i>Sicut igitur orationes, ita et hymnos in laudem Dei compositos, nullus vestrum -ulterius improbet, sed pari modo Gallia, Hispaniaque celebret: excommunicatione plectendi, -qui hymnos rejicere fuerint ausi.</i></div> -<div class="fndef"><a class="fn" href="#frx2_14" id="fnx2_14">[14.]</a> See R. E. Messenger, “The Mozarabic Hymnal,” <i>TAPhA</i> 75 (1944) -103-126.</div> -<div class="fndef"><a class="fn" href="#frx2_15" id="fnx2_15">[15.]</a> <i>The Irish Liber Hymnorum</i>, edited by J. H. Bernard and R. Atkinson, -<i>Henry Bradshaw Soc. Pub.</i> 13, 14 (London, 1897, 1898), 14, 23-6.</div> -<div class="fndef"><a class="fn" href="#frx2_16" id="fnx2_16">[16.]</a> <i>Antiphonary of Bangor</i>, chap. I, note 4; for history of the manuscript now -in the Ambrosian Library at Milan, p. xii-xiii.</div> -<div class="fndef"><a class="fn" href="#frx2_17" id="fnx2_17">[17.]</a> Translations of first lines, 1) J. M. Neale, 2), 3), 4) R. E. Messenger.</div> -<div class="fndef"><a class="fn" href="#frx2_18" id="fnx2_18">[18.]</a> The Celtic hymns are edited in <i>A. H.</i> 51, Part II. See also J. F. Kenney, -<i>Sources for the Early History of Ireland</i>, 2 vols. (New York, 1929) 252-3, 258-274, -<i>Hymns</i>.</div> -<div class="pb" id="Page_115">115</div> -<div class="fndef"><a class="fn" href="#frx2_19" id="fnx2_19">[19.]</a> Translations of first lines in Summary by J. M. Neale except 2) C. Bigg, -7) G. R. Woodward.</div> -<div class="fndef"><a class="fn" href="#frx2_20" id="fnx2_20">[20.]</a> C. W. Douglas, <i>Church Music in History and Practice</i> (New York, 1937) -168.</div> -</div> -<h3 class="fndef">Chapter Three -<br />The Ninth Century Revival: Hymns</h3><div class="fnblock"> -<div class="fndef"><a class="fn" href="#frx3_1" id="fnx3_1">[1.]</a> J. M. Neale and G. H. Forbes, <i>The Ancient Liturgies of the Gallican Church</i> -(Burntisland, 1855) p. v.</div> -<div class="fndef"><a class="fn" href="#frx3_2" id="fnx3_2">[2.]</a> P. Jaffé, <i>Regesta Pontificum Romanorum</i> (Lipsiae, 1885-8) 2473 (1900).</div> -<div class="fndef"><a class="fn" href="#frx3_3" id="fnx3_3">[3.]</a> <i>Monumenta Germaniae Historica, Legum sectio</i>, II, <i>Capitularia Regum -Francorum</i>, I, <i>Capitulare primum</i>, 769; <i>Capitulare Haristallense</i>, 779; <i>Admonitio -generalis</i>, 789; <i>Synodus Franconofurtensis</i>, 794; <i>Epistola de litteris colendis</i>, 780-800; -<i>Epistola generalis</i>, 786-800; <i>Capitulare missorum generale</i>, 802; <i>Capitularia missorum -specialia</i>, 802; <i>Synodus et conventus aquisgrani habita</i>, 802; <i>Capitulare de examinandis -ecclesiasticis</i>, 802; <i>Capitulare missorum</i>, 803; <i>Capitulare de causis etc</i>., 811; -<i>Capitulare aquisgranense</i>, 801-813; <i>Capitulare cum episcopis etc</i>., 780-790; <i>Capitulare -mantuanum primum</i>, no date, p. 194; <i>Pippini capitulare Italicum</i>, 801-810.</div> -<div class="fndef"><a class="fn" href="#frx3_4" id="fnx3_4">[4.]</a> <i>MGH, Legum sectio</i>, II, <i>Capitularia Regum Francorum</i>, I, <i>Epistola generalis</i>, -no. 30, p. 80; P. Jaffé, <i>Bibliotheca Rerum Germanicarum</i>, vol. IV, <i>Monumenta Carolina</i> -(Berlin, 1867) 139, 140.</div> -<div class="fndef"><a class="fn" href="#frx3_5" id="fnx3_5">[5.]</a> Dom R. Van Doren, <i>Étude sur l’influence musicale de l’abbaye de Saint-Gall</i> -(Louvain, 1925) ch. vi, Metz.</div> -<div class="fndef"><a class="fn" href="#frx3_6" id="fnx3_6">[6.]</a> E. Mühlbacher, <i>Deutsche Geschichte unter den Karolingern</i> (Stuttgart, -1896) 211; Jaffé, <i>Monumenta Carolina</i>, 358ff.</div> -<div class="fndef"><a class="fn" href="#frx3_7" id="fnx3_7">[7.]</a> E. Bishop, <i>Liturgica Historica</i> (Oxford, 1918) 49-55.</div> -<div class="fndef"><a class="fn" href="#frx3_8" id="fnx3_8">[8.]</a> A. Fortescue, <i>The Mass</i> (London, 1914) 183.</div> -<div class="fndef"><a class="fn" href="#frx3_9" id="fnx3_9">[9.]</a> In <i>Monumenta Germaniae Historica—Poetarum latinorum medii aevi</i>, vol. -iv, edited by P. von Winterfeld (Berlin, 1923).</div> -<div class="fndef"><a class="fn" href="#frx3_10" id="fnx3_10">[10.]</a> W. Turner, “Irish Teachers in the Carolingian Revival of Learning,” <i>Cath. -Un. Bulletin</i>, XIII (Washington, 1907) 384-5; J. J. O’Kelly, <i>Ireland: Elements of -her Early Story</i> (Dublin, 1921) ch. viii, <i>Early Irish on the Continent</i>.</div> -<div class="fndef"><a class="fn" href="#frx3_11" id="fnx3_11">[11.]</a> Einhard, <i>Vita Caroli</i>, 21.</div> -<div class="fndef"><a class="fn" href="#frx3_12" id="fnx3_12">[12.]</a> L. Gougaud, <i>Gaelic Pioneers of Christianity, VI-XII Century</i> (Dublin, -1923) 60-3. Translated by Victor Collins.</div> -<div class="fndef"><a class="fn" href="#frx3_13" id="fnx3_13">[13.]</a> S. Singer, <i>Die Dichterschule von St. Gallen</i> (Leipzig, 1922) <i>Introd.</i> (by -Peter Wagner) 11.</div> -<div class="pb" id="Page_116">116</div> -<div class="fndef"><a class="fn" href="#frx3_14" id="fnx3_14">[14.]</a> Turner, <i>supra</i>, 570; J. M. Clark, <i>The Abbey of St. Gall as a Center of -Literature and Art</i> (Cambridge, 1926) 31.</div> -<div class="fndef"><a class="fn" href="#frx3_15" id="fnx3_15">[15.]</a> <i>Annales Laurissenses, anno 757</i> (<i>MGH, SS</i>, I, 140).</div> -<div class="fndef"><a class="fn" href="#frx3_16" id="fnx3_16">[16.]</a> <i>Jaffé, Regesta</i>, 2346 (1799); Notker Balbulus, <i>Epistolae</i> (<i>MPL</i>, 131, -1172); <i>Gesta Caroli</i>, II, 7.</div> -<div class="fndef"><a class="fn" href="#frx3_17" id="fnx3_17">[17.]</a> F. H. Dudden, <i>Gregory the Great</i> (<a href="#fnx2_9">ch. 2, note 9</a>) I, ch. <i>VI Gregory at -Constantinople</i>.</div> -<div class="fndef"><a class="fn" href="#frx3_18" id="fnx3_18">[18.]</a> P. Wagner, “Morgen- und Abendland in der Musikgeschichte,” <i>Stimmen -der Zeit</i>, Bd. 114 (1927) 138.</div> -<div class="fndef"><a class="fn" href="#frx3_19" id="fnx3_19">[19.]</a> Clark, <i>The Abbey of St. Gall etc.</i>, 112; C. Diehl, <i>Manuel d’Art Byzantin</i> -(Paris, 1910) 359-360, 362-3; M. Hauttmann, <i>Die Kunst des frühen Mittelalters</i> -(Berlin, 1929) 51-62; J. Strzygowski, <i>Origin of Christian Church Art</i> (Oxford, 1923) -84.</div> -<div class="fndef"><a class="fn" href="#frx3_20" id="fnx3_20">[20.]</a> <i>Anal. Hymn.</i>, 51, <i>Introduction</i>, xvii-xix; extended lists of the later Latin -hymns appear in J. Julian, <i>Dictionary of Hymnology</i> (London, 1925) 546, 547.</div> -<div class="fndef"><a class="fn" href="#frx3_21" id="fnx3_21">[21.]</a> J. Mearns, <i>Early Latin Hymnaries</i> (Cambridge, 1913).</div> -<div class="fndef"><a class="fn" href="#frx3_22" id="fnx3_22">[22.]</a> Walpole, <i>Early Latin Hymns</i>, (<a href="#fnx1_3">ch. 1, note 3</a>) xi.</div> -<div class="fndef"><a class="fn" href="#frx3_23" id="fnx3_23">[23.]</a> Walpole, <i>ibid</i>, xii; W. H. Frere, Introduction to <i>Hymns Ancient and Modern -Historical Edition</i> (London, 1909); Wilmart, <i>Le Psautier de la Reine etc</i>., 362-3; -F. J. E. Raby, <i>Christian Latin Poetry</i> (Oxford, 1927) 38-41. See also R. E. Messenger, -“Whence the Ninth Century Hymnal?,” <i>TAPhA 69</i> (1938) 446-464.</div> -<div class="fndef"><a class="fn" href="#frx3_24" id="fnx3_24">[24.]</a> Gesta Caroli, I, 10; Einhard, <i>Vita Caroli</i>, edited by Garrod and Mowat -(Oxford, 1915), Appendix, p. xxxvii.</div> -<div class="fndef"><a class="fn" href="#frx3_25" id="fnx3_25">[25.]</a> Heimbucher, <i>Die Orden und Congregationen</i> etc., vol. I, 235, 237-9; <i>Jahrbücher -der deutschen Geschichte</i> (Berlin & Leipzig, 1866-1902), <i>Geschichte des -Ostfrankischen Reichs</i>, vol. II, 39, 42, 46.</div> -<div class="fndef"><a class="fn" href="#frx3_26" id="fnx3_26">[26.]</a> Alcuin, <i>De psalmorum usu</i> (<i>MPL</i>, 101), <i>Officia per ferias MPL</i>, 101, <i>Epistolae</i> -84, 94, 164, 227 (<i>MPL</i>, 101): Rabanus Maurus, <i>De clericis institutés</i>, II, 49 -(<i>MPL</i>, 107, 362): Amalarius of Metz, <i>De officiis divinis</i> (continuation) in J. -Mabillon, <i>Vetera Analecta</i> (Paris, 1723) 99; Walafrid Strabo, <i>De ecclesiasticarum -rerum exordiis</i> etc., ch. xxv (<i>MPL</i>, 114, 952ff.).</div> -<div class="fndef"><a class="fn" href="#frx3_27" id="fnx3_27">[27.]</a> H. De Boor, <i>Die deutsche Literatur</i> 770-1170 (München, 1949) 21.</div> -<div class="fndef"><a class="fn" href="#frx3_28" id="fnx3_28">[28.]</a> P. Batiffol, <i>History of the Roman Breviary</i> (London, 1912) 143-4.</div> -<div class="fndef"><a class="fn" href="#frx3_29" id="fnx3_29">[29.]</a> <i>Anal. Hymn</i>. 51.</div> -<div class="fndef"><a class="fn" href="#frx3_30" id="fnx3_30">[30.]</a> Translation of first line, J. M. Neale.</div> -<div class="fndef"><a class="fn" href="#frx3_31" id="fnx3_31">[31.]</a> Dom P. B. Gams, <i>Die Kirchengeschichte von Spanien</i> (Regensburg, 1862-1879) -II, Pt. 2, 302, 326-9; Z. García Villada, <i>Historia eclesiástica de España</i> -(Madrid, 1929-36) V, 85.</div> -<div class="pb" id="Page_117">117</div> -<div class="fndef"><a class="fn" href="#frx3_32" id="fnx3_32">[32.]</a> De Urbel, “Los himnos mozárabes,” <i>Revista ecles. Silos</i> 58 (1927) 56-61.</div> -<div class="fndef"><a class="fn" href="#frx3_33" id="fnx3_33">[33.]</a> E. Bishop, “Spanish Symptoms,” <i>Liturgica Historica</i> (Oxford, 1918) 168.</div> -<div class="fndef"><a class="fn" href="#frx3_34" id="fnx3_34">[34.]</a> L. Wiener, <i>Contributions toward a History of Arabico-Gothic Culture</i> (New -York, 1917-21) 101; H. G. Farmer, <i>Historical Facts for the Arabian Musical Influence</i> -(London, 1930) 23.</div> -<div class="fndef"><a class="fn" href="#frx3_35" id="fnx3_35">[35.]</a> <i>Anal. Hymn</i>. 51, <i>Introduction</i>.</div> -</div> -<h3 class="fndef">Chapter Four -<br />The Ninth Century Revival: Sequences</h3><div class="fnblock"> -<div class="fndef"><a class="fn" href="#frx4_1" id="fnx4_1">[1.]</a> Fortescue, <i>The Mass</i> (See <a href="#fnx3_8">ch. 3, note 8</a>) 268-9.</div> -<div class="fndef"><a class="fn" href="#frx4_2" id="fnx4_2">[2.]</a> See <i>Introduction</i> to <i>A. H.</i> 53, by C. Blume and H. M. Bannister. This <i>Introduction</i> -has been used as the basis for the discussion of sequence origins. Theories and -opinions of others are noted from time to time.</div> -<div class="fndef"><a class="fn" href="#frx4_3" id="fnx4_3">[3.]</a> W. H. Frere, Introduction to <i>Hymns Ancient and Modern</i> (See <a href="#fnx3_23">ch. 3, note 23</a>) -xxviii; P. Wagner, -<i>Introduction to Gregorian Melodies</i> (London, 1907) 223, -translation by Orme and Wyatt.</div> -<div class="fndef"><a class="fn" href="#frx4_4" id="fnx4_4">[4.]</a> G. Reese, <i>Music in the Middle Ages</i> (<a href="#fnx1_11">ch. 1, note 11</a>) <i>passim</i>. This book contains -an excellent standard account of the musical aspect of the sequence.</div> -<div class="fndef"><a class="fn" href="#frx4_5" id="fnx4_5">[5.]</a> G. Schnürer, <i>Kirche und Kultur im Abendland</i> (Paderborn, 1926) II, 88.</div> -<div class="fndef"><a class="fn" href="#frx4_6" id="fnx4_6">[6.]</a> W. Christ, “Über die Bedeutung von Hirmos, etc.,” <i>Sitzungberichte der kön. -bay. Akad. der Wissenschaft zu München</i>, II (1870) 89f.</div> -<div class="fndef"><a class="fn" href="#frx4_7" id="fnx4_7">[7.]</a> A. Gastoué, “Les Types byzantins de la Sequence,” <i>Tribune de Saint-Gervais</i>, -Dec. 1922, 1, 2.</div> -<div class="fndef"><a class="fn" href="#frx4_8" id="fnx4_8">[8.]</a> Frere, <i>Introduction, supra</i>, xxiv.</div> -<div class="fndef"><a class="fn" href="#frx4_9" id="fnx4_9">[9.]</a> L. Gautier, <i>Histoire de la poésie liturgique au Moyen âge</i> (Paris, 1886) 1.</div> -<div class="fndef"><a class="fn" href="#frx4_10" id="fnx4_10">[10.]</a> A. Gastoué, “Les Origines liturgiques de la séquence,” <i>Tribune de Saint-Gervais</i>, -June, 1922. See also Wetzer and Welte, <i>Kirchenlexicon, Sequenzen</i>: an -important article.</div> -<div class="fndef"><a class="fn" href="#frx4_11" id="fnx4_11">[11.]</a> Amalarius, <i>De ecclesiasticis officiis</i>, III, 16 (<i>MPL</i>, 105, 1123).</div> -<div class="fndef"><a class="fn" href="#frx4_12" id="fnx4_12">[12.]</a> J. Ottenwälder, “Griechisch-byzantinische Einflüsse,” <i>Theol. Quartalschr</i>. -XCVII (1915), 564-7.</div> -<div class="fndef"><a class="fn" href="#frx4_13" id="fnx4_13">[13.]</a> Reese, <i>Music in the Middle Ages, supra</i>, 133.</div> -<div class="fndef"><a class="fn" href="#frx4_14" id="fnx4_14">[14.]</a> S. Singer, <i>Die Dichterschule von St. Gallen</i> (<a href="#fnx3_13">ch. 3, note 13</a>), <i>Introduction</i>, -14, 15.</div> -<div class="fndef"><a class="fn" href="#frx4_15" id="fnx4_15">[15.]</a> The earliest manuscript is <i>Antiphonale missarum S. Gregorii</i>, codex 239 of -Laon; see <i>Paléographie musicale</i>, X. A. Gastoué, <i>Les Origines du Chant Romain</i> -(Paris, 1907) 250f.</div> -<div class="pb" id="Page_118">118</div> -<div class="fndef"><a class="fn" href="#frx4_16" id="fnx4_16">[16.]</a> Wetzer und Welte, <i>supra, Sequenzen</i>.</div> -<div class="fndef"><a class="fn" href="#frx4_17" id="fnx4_17">[17.]</a> Frere, <i>Introduction, supra</i>, xxviii-xxix; Notker Balbulus, <i>Liber sequentiarum, -Praefatio</i> (<i>MPL</i>, 131, 1003).</div> -<div class="fndef"><a class="fn" href="#frx4_18" id="fnx4_18">[18.]</a> P. Wagner, “Morgen- und Abendland in der Musikgeschichte,” (<a href="#fnx3_18">ch. 3, note 18</a>) -139; Schnürer, <i>supra</i>, II, 88.</div> -<div class="fndef"><a class="fn" href="#frx4_19" id="fnx4_19">[19.]</a> Gastoué, “Les Types byzantins de la Séquence,” <i>supra</i>, 2.</div> -<div class="fndef"><a class="fn" href="#frx4_20" id="fnx4_20">[20.]</a> W. Meyer, <i>Gesammelte Abhandlungen zur mittellateinischen Rythmik</i> -(Berlin, 1908) 37.</div> -<div class="fndef"><a class="fn" href="#frx4_21" id="fnx4_21">[21.]</a> P. Von Winterfeld, <i>Stilfragen aus der lateinischen Dichtung des Mittelalters</i> -in <i>Deutsche Dichter etc</i>. (München, 1922) 442.</div> -<div class="fndef"><a class="fn" href="#frx4_22" id="fnx4_22">[22.]</a> W. Meyer, <i>supra</i>, 41: “So ist die lyrische Dichtung des Mittelalters durchaus -dem Kirchengesang neu geboren worden.”</div> -<div class="fndef"><a class="fn" href="#frx4_23" id="fnx4_23">[23.]</a> E. Wellesz, <i>Eastern Elements in Western Chant. Studies in the Early History -of Ecclesiastical Music</i> (Oxford, 1947) Pt. IV, ch. 1, <i>Origin of sequences and -tropes</i>, an excellent summary of the subject as investigated to 1947.</div> -<div class="fndef"><a class="fn" href="#frx4_24" id="fnx4_24">[24.]</a> Notker, <i>supra</i>, <a href="#fnx4_17">note 17</a>.</div> -<div class="fndef"><a class="fn" href="#frx4_25" id="fnx4_25">[25.]</a> P. A. Schubiger, <i>Die Sängerschule St. Gallens vom viii.-xii. Jahrhundert</i> -(Einsiedeln, 1858); W. Wilmanns, “Welche Sequenzen hat Notker verfasst?,” -<i>Zeitschrift f. deutsches Altertum</i>, XV (1872) 267f.; J. Werner, <i>Notkers Sequenzen. -Beiträge zur Geschichte der Lat. Sequenzendichtung</i> (Aarau, 1901) III, IV; S. Singer, -<i>supra</i>; Van Doren, (<a href="#fnx3_5">ch. 3, note 5</a>) ch. 9; Clark, (<a href="#fnx3_14">ch. 3, note 14</a>) 175. W. von den -Steinen, <i>Notker der Dichter und seine geistliche Welt</i>, 2 vols. (Bern. 1948). This -author reviews previous literature.</div> -<div class="fndef"><a class="fn" href="#frx4_26" id="fnx4_26">[26.]</a> Ottenwälder, <i>supra</i>, 464-5.</div> -<div class="fndef"><a class="fn" href="#frx4_27" id="fnx4_27">[27.]</a> They are <i>Canopica</i>, <i>Styx</i>, <i>Phlegethon</i>, <i>sophia</i>, <i>herous</i>, <i>Myrmidonas</i>, <i>spermologos</i>.</div> -<div class="fndef"><a class="fn" href="#frx4_28" id="fnx4_28">[28.]</a> P. S. Allen, <i>Romanesque Lyric</i> (Un. of North Carolina Press, 1928) 66, -221, 222; Schnürer, <i>supra</i>, 89; Wellesz. <i>supra</i>, 165; W. B. Sedgwick, “Origin of -Rhyme,” “<i>Revue Bénédictine</i>” XXXVI (1924), 341.</div> -<div class="fndef"><a class="fn" href="#frx4_29" id="fnx4_29">[29.]</a> Several attractive illustrations of the <i>modus</i> may be found in Karl Breul’s -edition of <i>The Cambridge Songs</i> (Cambridge, 1915).</div> -<div class="fndef"><a class="fn" href="#frx4_30" id="fnx4_30">[30.]</a> Schnürer, <i>supra</i>, 89; R. Molitor, <i>Die Musik in der Reichnau</i>, reviewed in -<i>Jahrbuch f. Liturgiewissenschaft</i> VI (1926) 331.</div> -<div class="fndef"><a class="fn" href="#frx4_31" id="fnx4_31">[31.]</a> See <a href="#c8">Chapter VII</a>.</div> -</div> -<div class="pb" id="Page_119">119</div> -<h3 class="fndef">Chapter Five -<br />Late Middle Ages: Hymns and Sequences</h3><div class="fnblock"> -<div class="fndef"><a class="fn" href="#frx5_1" id="fnx5_1">[1.]</a> J. De Ghellinck, S. J., <i>L’Essor de la Littérature Latine au XIIe Siècle</i>, 2 vols. -(Brussels, 1946) II, 285.</div> -<div class="fndef"><a class="fn" href="#frx5_2" id="fnx5_2">[2.]</a> M. Hélin, History of <i>Medieval Latin Literature</i> (New York, 1949), translated -by J. C. Snow from <i>Littérature d’occident: Histoire des Lettres latines du Moyen -Age</i>, 79.</div> -<div class="fndef"><a class="fn" href="#frx5_3" id="fnx5_3">[3.]</a> L. Gautier, <i>Oeuvres poétiques d’Adam de Saint-Victor</i>, 2 vols. (Paris, 1858-9); -E. Misset et P. Aubry, <i>Les Proses d’Adam de Saint-Victor</i> (Paris, 1900).</div> -<div class="fndef"><a class="fn" href="#frx5_4" id="fnx5_4">[4.]</a> Translations of first lines: R. Messenger, Anon, E. Caswall.</div> -<div class="fndef"><a class="fn" href="#frx5_5" id="fnx5_5">[5.]</a> Translations of first lines: S. A. Hurlbut, R. Messenger.</div> -<div class="fndef"><a class="fn" href="#frx5_6" id="fnx5_6">[6.]</a> <i>A. H.</i> 48. 141-232.</div> -<div class="fndef"><a class="fn" href="#frx5_7" id="fnx5_7">[7.]</a> Translations of first lines: 1 and 2, H. Waddell; 3 and 5, E. Caswall; 4, R. -Messenger.</div> -<div class="fndef"><a class="fn" href="#frx5_8" id="fnx5_8">[8.]</a> Hélin, <i>supra</i>, 117.</div> -<div class="fndef"><a class="fn" href="#frx5_9" id="fnx5_9">[9.]</a> P. Wagner, <i>Introduction to the Gregorian Melodies</i> (<a href="#fnx4_3">ch. 4, note 3</a>) 241.</div> -<div class="fndef"><a class="fn" href="#frx5_10" id="fnx5_10">[10.]</a> Translations of first lines: 1 and 4, R. A. Knox; 2, H. T. Henry; 3, W. J. -Irons.</div> -<div class="fndef"><a class="fn" href="#frx5_11" id="fnx5_11">[11.]</a> Translation of first line: R. Messenger.</div> -<div class="fndef"><a class="fn" href="#frx5_12" id="fnx5_12">[12.]</a> R. E. Messenger, “Hymns and Sequences of the Sarum Use,” <i>TAPhA</i>, 59 -(1928) 99-129.</div> -<div class="fndef"><a class="fn" href="#frx5_13" id="fnx5_13">[13.]</a> E. Bishop, <i>Liturgica Historica</i> (Oxford, 1918) 211-37.</div> -<div class="fndef"><a class="fn" href="#frx5_14" id="fnx5_14">[14.]</a> E. Hoskins, <i>Horae Beatae Mariae Virginis etc</i>. (London, 1901); H. Bohatta, -<i>Bibliographie des livres d’heures</i> (Wien, 1924), 2nd edition.</div> -<div class="fndef"><a class="fn" href="#frx5_15" id="fnx5_15">[15.]</a> R. E. Messenger, “Hymns in the Horae Eboracenses,” <i>Classical Weekly</i>, 38 -(Jan., 1945) 90-5.</div> -<div class="fndef"><a class="fn" href="#frx5_16" id="fnx5_16">[16.]</a> S. Singer, “Arabische und europäische Poesie im Mittelalter,” <i>Zeitschrift f. -deutsche Philologie</i>, LII (April, 1927); K. Burdach, “Über den Ursprung des mittelalterichen -Minnesangs, etc.” in <i>Vorspiel</i> I (Halle, 1925) 311; A. F. von Schack, -<i>Poesie und Kunst der Araber etc</i>., 2 vols. (Stuttgart, 1877) II, 101-5.</div> -<div class="fndef"><a class="fn" href="#frx5_17" id="fnx5_17">[17.]</a> C. F. Brown, <i>Religious Lyrics of the 14th Century</i> (Oxford, 1924). Translations -of William Herebert (d. 1333) xiii.</div> -<div class="fndef"><a class="fn" href="#frx5_18" id="fnx5_18">[18.]</a> <i>Ad honorem Regis summi</i>, translation of first line: R. E. Messenger. See -C. Daux, <i>Les Chansons des Pèlerins de St. Jacques</i> (Montauban, 1899).</div> -<div class="fndef"><a class="fn" href="#frx5_19" id="fnx5_19">[19.]</a> A. S. Walpole, <i>Early Latin Hymns</i>, (<a href="#fnx1_3">ch. 1, note 3</a>) 87-92.</div> -<div class="fndef"><a class="fn" href="#frx5_20" id="fnx5_20">[20.]</a> E. Rodgers, <i>Discussion of Holidays in the Later Middle Ages</i> (New York -1940) 33. Miss Rodgers sums up the evidence here, reaching an affirmative conclusion.</div> -<div class="pb" id="Page_120">120</div> -<div class="fndef"><a class="fn" href="#frx5_21" id="fnx5_21">[21.]</a> L. Thorndike, “Elementary and Secondary Education in the Middle Ages,” -<i>Speculum</i>, 15 (1940) 400-8, p. 401.</div> -<div class="fndef"><a class="fn" href="#frx5_22" id="fnx5_22">[22.]</a> W. O. Wehrle, <i>Macaronic Hymn Tradition etc</i>. (Washington, 1933).</div> -</div> -<h3 class="fndef">Chapter Six -<br />Late Middle Ages: Processional Hymns</h3><div class="fnblock"> -<div class="fndef"><a class="fn" href="#frx6_1" id="fnx6_1">[1.]</a> <i>Matt</i>. 21: 4-ll; <i>Mark</i> 11: 7-11; <i>Luke</i> 19: 35-38; <i>John</i> 12: 12-5.</div> -<div class="fndef"><a class="fn" href="#frx6_2" id="fnx6_2">[2.]</a> Basil, <i>Ep</i>. 207, <i>Ad Neocaes, MPG</i> 32. 765; Ambrose, <i>Ep.</i> 40. 16, <i>Ad Theodosium, -MPL</i> 16. 1107; Sozomen, <i>Hist. Eccles.</i> VIII, 8; see also Tertullian, <i>Ad -uxorem</i>, II, 4, MPL 1. 1294.</div> -<div class="fndef"><a class="fn" href="#frx6_3" id="fnx6_3">[3.]</a> <i>S. Silviae, quae fertur, Peregrinatio ad loca sancta, in Itinera Hierosolymitana, -Saeculi III-VIII</i>, ed. P. Geyer (Vindobonae, 1898) <i>CSEL</i> 39. 35-101.</div> -<div class="fndef"><a class="fn" href="#frx6_4" id="fnx6_4">[4.]</a> <i>Ibid.</i> XXIV, 1-7, 8-12; XXV, 7; XXVI; XXXI; XL, 1-2.</div> -<div class="fndef"><a class="fn" href="#frx6_5" id="fnx6_5">[5.]</a> A. Bludau, <i>Die Pilgerreise der Aetheria, Studien zur Gesch. u. Kultur d. -Altertums XV</i>, 1/2, (Paderborn, 1927) 56. Translation, Robert Bridges.</div> -<div class="fndef"><a class="fn" href="#frx6_6" id="fnx6_6">[6.]</a> A. Baumstark, <i>Die Idiomela der byzantinischen Karfreitagshoren etc.</i> Reviewed -in <i>Jahrbuch f. Liturgiewissenschaft</i>, 10 (1930) 339-40.</div> -<div class="fndef"><a class="fn" href="#frx6_7" id="fnx6_7">[7.]</a> P. Batiffol, <i>Études de liturgie et d’archéologie chrétienne</i>, (Paris, 1919) ch. -VI, <i>La Chandeleur</i>, p. 200.</div> -<div class="fndef"><a class="fn" href="#frx6_8" id="fnx6_8">[8.]</a> Ambrose, <i>Ep</i>. 11(53), <i>MPL</i> 17. 743-4; Augustine, <i>De Civ. Dei</i> 22. 8; <i>Conf.</i> -9. 7; See also the hymn <i>Grates tibi, Jesu, novas</i>, attributed to Ambrose, <i>A. H.</i> 50. 17.</div> -<div class="fndef"><a class="fn" href="#frx6_9" id="fnx6_9">[9.]</a> G. H. Cobb, “Early Catholic Outdoor Processions,” <i>The Month</i>, 148 (1926) -539-542.</div> -<div class="fndef"><a class="fn" href="#frx6_10" id="fnx6_10">[10.]</a> For Mamertus, see Greg. Turonen., <i>Hist. franc.</i> 2. 34, <i>MPL</i> 71. 230-32. -<i>Councils</i>. Council of Orleans, 511, canon 17, Mansi VIII, 355; Council of Girona, -517, <i>Capit.</i> 2 & 3, Mansi, VIII, 549; see also 17th Council of Toledo, 694, <i>Capit.</i> 6, -Mansi XII, 99-100. <i>Litaniae maiores</i>, Greg. Magnus, <i>Ep.</i> V, 11, Litany on Feast of -St. John Baptist, <i>MPL</i> 77, 732-3; <i>Litania septiformis</i>, Greg. Turonen., <i>Hist. franc.</i> -10, 1, <i>MPL</i> 71. 519-20; Joh. Diac., <i>Vita Greg. Magn.</i>, 1. 41, 42, MPL 75. 80.</div> -<div class="fndef"><a class="fn" href="#frx6_11" id="fnx6_11">[11.]</a> L. Duchesne, <i>Christian Worship</i>, (London, 1904) 240, 515.</div> -<div class="fndef"><a class="fn" href="#frx6_12" id="fnx6_12">[12.]</a> P. Batiffol, (<a href="#fnx6_7">note 7</a>) 197-201; L. Eisenhofer, <i>Handbuch der Katholischen -Liturgik</i>, 2 vols. (Freiburg im Breisgau, 1923) I, 582-6.</div> -<div class="pb" id="Page_121">121</div> -<div class="fndef"><a class="fn" href="#frx6_13" id="fnx6_13">[13.]</a> At this point the definition of <i>processio</i> in Canon Law is of interest: <i>Nomine -sacrarum processionum significantur solemnes supplicationes quae a populi fideli, duce -clero, fiunt eundo ordinatim de loco sacro ad locum sacrum, ad excitandam fidelium -pietatem, ad commemoranda Dei beneficia eique gratias agendas, ad divinum auxilium -implorandum</i>. Can. 1290. ç I.</div> -<div class="fndef"><a class="fn" href="#frx6_14" id="fnx6_14">[14.]</a> B. M. Peebles, “Fortunatus, Poet of the Holy Cross,” <i>Amer. Church Monthly</i> -38 (1935, July-Sept.) 152-166. His account is based upon Greg. Turonen., <i>Hist. -franc.</i>, IX, 40; Baudonovia, <i>Vita S. Rad.</i>, II. 16.</div> -<div class="fndef"><a class="fn" href="#frx6_15" id="fnx6_15">[15.]</a> R. E. Messenger, <i>Salve festa dies, TAPhA</i>, 78 (1947) 208-222. Translation, -S. A. Hurlbut; for <i>Salve festa dies</i>, traditional.</div> -<div class="fndef"><a class="fn" href="#frx6_16" id="fnx6_16">[16.]</a> Dom M. Férotin, <i>Liber ordinum</i>, in <i>Monumenta ecclesiae liturgica</i>, 5 (Paris, -1904) 178-87; Isidore of Seville, <i>De ecclesiasticis officiis</i>, 1. 38.</div> -<div class="fndef"><a class="fn" href="#frx6_17" id="fnx6_17">[17.]</a> Férotin, <i>supra</i>, 179.</div> -<div class="fndef"><a class="fn" href="#frx6_18" id="fnx6_18">[18.]</a> A. S. Walpole, <i>Early Latin Hymns</i>, (<a href="#fnx1_3">ch. 1, note 3</a>) 337-340. Translation, -1st line, Walpole.</div> -<div class="fndef"><a class="fn" href="#frx6_19" id="fnx6_19">[19.]</a> Duchesne, <i>supra</i>, 162-4.</div> -<div class="fndef"><a class="fn" href="#frx6_20" id="fnx6_20">[20.]</a> Walpole, <i>supra</i>, 342-4.</div> -<div class="fndef"><a class="fn" href="#frx6_21" id="fnx6_21">[21.]</a> Translations in this chapter, unless otherwise noted, are furnished by the -author.</div> -<div class="fndef"><a class="fn" href="#frx6_22" id="fnx6_22">[22.]</a> L. Gautier, <i>Histoire de la Poésie liturgique etc.</i> (<a href="#fnx4_9">ch. 4, note 9</a>) ch. VI, <i>Versus</i>.</div> -<div class="fndef"><a class="fn" href="#frx6_23" id="fnx6_23">[23.]</a> Von den Steinen, <i>Notker der Dichter etc.</i> (<a href="#fnx4_25">ch. 4, note 25</a>) I, 40-42.</div> -<div class="fndef"><a class="fn" href="#frx6_24" id="fnx6_24">[24.]</a> Eisenhofer (see <a href="#fnx6_12">note 12</a>) I, 522-3.</div> -<div class="fndef"><a class="fn" href="#frx6_25" id="fnx6_25">[25.]</a> Dom A. Wilmart, <i>Auteurs spirituels etc.</i> (Paris, 1932) 26-36.</div> -<div class="fndef"><a class="fn" href="#frx6_26" id="fnx6_26">[26.]</a> R. E. Messenger, <i>Sancta Maria quid est?, Cath. Choirmaster</i>, June, 1950.</div> -<div class="fndef"><a class="fn" href="#frx6_27" id="fnx6_27">[27.]</a> Eisenhofer, <i>supra</i>, I, 100-102.</div> -<div class="fndef"><a class="fn" href="#frx6_28" id="fnx6_28">[28.]</a> Du Cange, see <i>versarius</i>.</div> -<div class="fndef"><a class="fn" href="#frx6_29" id="fnx6_29">[29.]</a> Gulielmus Durandus, <i>Rationale divinorum officiorum</i> (Lugdini, 1612) Bk. -IV, <i>De accessu sacerdotis ac pontificis ad altare et de Processione</i>.</div> -<div class="fndef"><a class="fn" href="#frx6_30" id="fnx6_30">[30.]</a> <i>Ibid.</i> fol. 102.</div> -<div class="fndef"><a class="fn" href="#frx6_31" id="fnx6_31">[31.]</a> D. Attwater, <i>Dictionary of Saints</i> (London, 1938) 180.</div> -<div class="fndef"><a class="fn" href="#frx6_32" id="fnx6_32">[32.]</a> G. Reese, <i>Music in the Middle Ages</i> (<a href="#fnx1_11">ch. 1, note 11</a>) 201.</div> -<div class="fndef"><a class="fn" href="#frx6_33" id="fnx6_33">[33.]</a> L. Ellinwood, “The Conductus,” <i>Musical Quarterly</i>, 27 (1941) 2. 165-203.</div> -</div> -<h3 class="fndef">Chapter Seven -<br />Influence and Survival of Latin Hymns</h3><div class="fnblock"> -<div class="fndef"><a class="fn" href="#frx7_1" id="fnx7_1">[1.]</a> W. B. Sedgwick, “The Origin of Rhyme,” (<a href="#fnx4_28">ch. 4, note 28</a>) 333.</div> -<div class="fndef"><a class="fn" href="#frx7_2" id="fnx7_2">[2.]</a> For translations see Helen J. Waddell, <i>Medieval Latin Lyrics</i> (London, -1929); <i>The Wandering Scholars</i> (New York, 1949), new edition.</div> -<div class="fndef"><a class="fn" href="#frx7_3" id="fnx7_3">[3.]</a> P. S. Allen, <i>Romanesque Lyric</i> (<a href="#fnx4_28">ch. 4, note 28</a>), Ch. XII, especially p. 223.</div> -<div class="pb" id="Page_122">122</div> -<div class="fndef"><a class="fn" href="#frx7_4" id="fnx7_4">[4.]</a> F. J. E. Raby, <i>History of Secular Latin poetry in the Middle Ages</i>, 2 vols. -(Oxford, 1934) II, 332.</div> -<div class="fndef"><a class="fn" href="#frx7_5" id="fnx7_5">[5.]</a> E. M. Sanford, “Were the Hymns of Prudentius actually sung?” <i>Classical -Philology</i> 31 (1936) 71.</div> -<div class="fndef"><a class="fn" href="#frx7_6" id="fnx7_6">[6.]</a> For the texts of liturgical plays, see K. Young, <i>The Drama of the Medieval -Church</i>, 2 vols. (Oxford, 1933).</div> -<div class="fndef"><a class="fn" href="#frx7_7" id="fnx7_7">[7.]</a> B. M. Peebles, “O Roma nobilis,” <i>Amer. Benedictine Review</i>, I (1950) no. 1.</div> -<div class="fndef"><a class="fn" href="#frx7_8" id="fnx7_8">[8.]</a> R. Stroppel, <i>Liturgie und geistliche Dichtung</i> (Frankfurt am Main, 1927) -53-5: S. Singer, “Karolingische Renaissance,” <i>Germanisch-Romanisch Monatschrift</i>, -13 (1925) 200-1.</div> -<div class="fndef"><a class="fn" href="#frx7_9" id="fnx7_9">[9.]</a> K. E. Wackernagel, <i>Das deutsche Kirchenlied etc.</i>, 5 vols. (Leipzig, 1864-77) -vol. I.</div> -<div class="fndef"><a class="fn" href="#frx7_10" id="fnx7_10">[10.]</a> K. Meyer, Selections from <i>Ancient Irish Poetry</i> (London, 1911) <i>Introd.</i> 13.</div> -<div class="fndef"><a class="fn" href="#frx7_11" id="fnx7_11">[11.]</a> J. Pokorny, <i>Die älteste Lyrik der grünen Insel</i> (Halle S., 1923) 13, 14.</div> -<div class="fndef"><a class="fn" href="#frx7_12" id="fnx7_12">[12.]</a> W. Meyer, “Liturgie, Kunst und Dichtung in Mittelalter,” <i>Gesammelte -Abhandlungen</i> (Berlin, 1905) 371.</div> -<div class="fndef"><a class="fn" href="#frx7_13" id="fnx7_13">[13.]</a> P. von Winterfeld, “Stilfragen der lateinischen Dichtung des Mittelalters,” -<i>Deutsche Dichter des lateinischen Mittelalters</i> (München, 1922) 440.</div> -<div class="fndef"><a class="fn" href="#frx7_14" id="fnx7_14">[14.]</a> Washington, D. C., Catholic Un. Press, 1942, especially p. 221, 231, 248, -266.</div> -<div class="fndef"><a class="fn" href="#frx7_15" id="fnx7_15">[15.]</a> H. Koht, “Medieval Liberty Poems,” <i>Amer. Hist. Review</i>, 48 (1943) no. 2, -281-290.</div> -<div class="fndef"><a class="fn" href="#frx7_16" id="fnx7_16">[16.]</a> H. Spanke, “Über das Fortleben der Sequenzenform in den Romanischen -Sprachens,” <i>Zeitschrift f. Rom. Philol.</i> 51 (1931) 309-334.</div> -<div class="fndef"><a class="fn" href="#frx7_17" id="fnx7_17">[17.]</a> E. A. Peers. <i>Ramon Lull</i> (London, 1929) 140.</div> -<div class="fndef"><a class="fn" href="#frx7_18" id="fnx7_18">[18.]</a> See translation by H. C. Robbins, 1939, “Most High, Omnipotent, Good -Lord.”</div> -<div class="fndef"><a class="fn" href="#frx7_19" id="fnx7_19">[19.]</a> For a brief account, see J. Pulver, “Laudi spirituali,” <i>Musical Opinion</i>, -March, 1938, 503-4; April, 1938, 602-3; May, 1938, 691-2.</div> -<div class="fndef"><a class="fn" href="#frx7_20" id="fnx7_20">[20.]</a> See <a href="#c11">Bibliography</a> for these titles.</div> -<div class="fndef"><a class="fn" href="#frx7_21" id="fnx7_21">[21.]</a> Dom Jean Stéphan, <i>The Adeste fideles</i>, “Publications,” Buckfast Abbey, -South Devon, England, 1947. Translation, Frederick Oakeley.</div> -<div class="fndef"><a class="fn" href="#frx7_22" id="fnx7_22">[22.]</a> M. Britt, <i>Hymns of the Breviary and Missal</i> (New York, 1922, 1948), a -standard and indispensable work.</div> -</div> -<div class="pb" id="Page_123">123</div> -<h2 id="c11">Bibliography</h2> -<h3 class="biblio">I. <span class="sc">Bibliographies</span></h3> -<p class="biblio">Leclercq, L., Article “Hymnes”, <i>Dictionnaire d’archéologie chrétienne et de liturgie</i>. -Contains extensive bibliography upon the subject of medieval hymnology.</p> -<p class="biblio">Farrar, C. P. and Evans, A. P., <i>Bibliography of English Translations from medieval -sources</i>. New York, 1946. Hymns, 2025-2045.</p> -<p class="biblio">Raby, F. J. E., <i>History of Christian-Latin poetry from the beginning to the close -of the Middle Ages</i>. Oxford, 1927. Bibliography classified by authors and -periods.</p> -<p class="biblio">Reese, G., <i>Music in the Middle Ages</i>. New York, 1941. Contains extensive bibliography -including many periodical articles.</p> -<h3 class="biblio">II. <span class="sc">Collections and Indices</span></h3> -<p class="biblio"><i>Analecta hymnica medii aevi</i>, edited by C. Blume and G. M. Dreves, 55 vols. Leipzig, -1886-1922. Introductions most informative.</p> -<p class="biblio"><i>Analecta liturgica</i>, part 2, vols. I, <i>Thesaurus hymnologicus</i>; II, <i>Prosae</i>, edited by E. -Misset and W. H. J. Weale. Insulis et Brugis, 1888-1902.</p> -<p class="biblio">Blume, C. and Dreves, G. M., <i>Hymnologische Beiträge</i> (Quellen und Forschungen -zur Geschichte der lateinischen Hymnendichtungen, 2 vols.). Leipzig, 1897-1901.</p> -<p class="biblio">Chevalier, C. U. J., <i>Repertorium hymnologicum</i>, catalogue des chants, hymnes, proses, -sequences, tropes, 6 vols. Louvain, Bruxelles, 1892-1920. Published as supplements -to the <i>Analecta Bollandiana</i>.</p> -<p class="biblio">Daniel, H. A., <i>Thesaurus hymnologicus</i>, 5 vols. Lipsiae, 1855-1856, 2nd edition.</p> -<p class="biblio">Gaselee, S., <i>The Oxford Book of medieval Latin verse</i>. Oxford, 1928.</p> -<p class="biblio">Germing, M., <i>Latin hymns</i>. Chicago, 1920. Text book.</p> -<p class="biblio">del Grande, C., <i>Liturgiae preces hymni Christianorum e papyris collecti</i>. Neapel, -1934.</p> -<div class="pb" id="Page_124">124</div> -<p class="biblio">Grenfell, B. and Hunt, A., <i>Oxyrhynchus papyri, Part XV</i>. London, 1922.</p> -<p class="biblio">Harris, R. and Mingana, A., <i>The odes and psalms of Solomon, I. Text, II. Translation</i>. -Manchester, 1916-1920.</p> -<p class="biblio">Hurlbut, S. A., <i>Hortus conclusus, Medieval Latin hymns with English renderings</i>, -10 parts. Washington, D. C., 1930-1936.</p> -<p class="biblio">Kehrein, J., <i>Lateinische Sequenzen des Mittelalters</i>. Mainz, 1873. The most extensive -collection of sequences made up to that date.</p> -<p class="biblio">Mc Dougall, A. G., <i>Pange lingua: breviary hymns of old uses with an English -rendering</i>. London, 1916.</p> -<p class="biblio">Mearns, J., <i>Canticles of the Christian Church eastern and western in early and -medieval times. Cambridge</i>, 1914.</p> -<p class="biblio">Merrill, W. A., <i>Latin hymns</i>. New York, 1917. Text book.</p> -<p class="biblio">Mone, F. J., <i>Lateinische Hymnen des Mittelalters</i>, 3 vols. Freiburg im Breisgau, -1853-1855.</p> -<p class="biblio">Morel, G., <i>Lateinische Hymnen des Mittelalters</i>, grösstentheils aus Handschriften -schweizerischen Kloster, als Nachtrag zu den Hymnensammlungen von Mone, -Daniel & Andern. Einsiedeln, 1866.</p> -<p class="biblio">Neale, J. M., <i>Hymni ecclesiae e breviariis quibusdam et missalibus Gallicanis, Germanis, -Hispanis, Lusitanis desumpti</i>. Oxford, 1851.</p> -<p class="biblio">——, <i>Sequentiae ex missalibus Germanis, Anglicis, Gallicis, aliisque medii aevi, -collectae</i>. London, 1852.</p> -<p class="biblio">Newman, J. H., <i>Hymni ecclesiae</i>, London, 1838, 1865.</p> -<p class="biblio">Phillimore, J. S., <i>The hundred best Latin hymns</i>. London, 1926. Attractive anthology.</p> -<p class="biblio"><i>Poetae latini aevi Carolini in Monumenta Germaniae Historica.... Poetarum latinorum -medii aevi</i>, vol. iv, edited by P. von Winterfeld. Berlin, 1923.</p> -<p class="biblio">Roth, F. W. E., <i>Lateinische Hymnen des Mittelalters</i>. Augsburg, 1887. Intended as -a supplement to larger collections.</p> -<p class="biblio">Wackernagel, K. E., <i>Das deutschen Kirchenlied</i>, 5 vols. Leipzig, 1864-1877. Vol. I -contains Latin hymns.</p> -<p class="biblio">Walpole, A. S., <i>Early Latin hymns</i>. Cambridge, 1922.</p> -<p class="biblio">Weale, W. H. J., <i>Analecta liturgica</i>, Part II, vols. I, II, <i>Thesaurus hymnologicus—Prosae</i>. -Insulis et Brugis, 1888-1902.</p> -<h3 class="biblio">III. <span class="sc">History and Authors of Latin Hymns</span></h3> -<p class="biblio">Allen, P. S., <i>Mediaeval Latin lyrics</i>. Chicago, 1931.</p> -<p class="biblio">Baldwin, C. S., <i>Medieval rhetoric and poetic</i>. New York, 1928.</p> -<div class="pb" id="Page_125">125</div> -<p class="biblio">Bardenhewer, O., <i>Geschichte der altkirchlichen Literatur</i>, 5 vols. Freiburg in Breisgau, -1912-1932.</p> -<p class="biblio">Beck, C., <i>Mittellateinische Dichtung</i>. Berlin, 1927.</p> -<p class="biblio">Benson, L. F., <i>Hymnody of the Christian church</i>. New York, 1927.</p> -<p class="biblio">Biraghi, L., <i>Inni sinceri e carmi di Sant’Ambrogio</i>. Milano, 1862.</p> -<p class="biblio">Blume, C., Articles “Hymn”, “Hymnody and Hymnology.” <i>Cath. Enc</i>.</p> -<p class="biblio">Coulter, C. C., “Latin hymns of the Middle Ages”, <i>Studies in Philology</i>, 21 (1924) -571-585.</p> -<p class="biblio">DeGhellinck, J., S. J., <i>Littérature Latine au Moyen Age</i>, 2 vols. Paris, 1939.</p> -<p class="biblio">——, <i>Littérature Latine au XIIe Siècle</i>, 2 vols. Brussels, 1946.</p> -<p class="biblio">De Labriolle, P., <i>Histoire de la Littérature latine chrétienne</i>. Paris, 1924. Translation -by H. Wilson, <i>History and Literature of Christianity from Tertullian to -Boethius</i>. New York, 1925.</p> -<p class="biblio">Donahue, D. J., “The sacred songs of the Middle Ages”, <i>Cath. Hist. Rev.</i>, N. S. vol. -3 (1923) 217-235.</p> -<p class="biblio">Dreves, G. M., <i>Ein Jahrtausend lateinischer Hymnendichtung</i>, Eine Blütenlese aus -den Anal. hymn. mit literarhistorischen Erläuterungen, 2 vols. Leipzig, 1909.</p> -<p class="biblio">Duckett, E. S., <i>Gateway to the Middle Ages</i>. New York, 1938.</p> -<p class="biblio">——, <i>Latin writers of the 5th century</i>. New York, 1930.</p> -<p class="biblio">Dudden, F. H., <i>Gregory the Great. His place in history and thought</i>, 2 vols. New -York, 1905.</p> -<p class="biblio">——, <i>The life and times of St. Ambrose</i>, 2 vols. Oxford, 1935.</p> -<p class="biblio">Duffield, S. W., <i>The Latin hymn-writers and their hymns</i>. New York, 1889.</p> -<p class="biblio">Ebert, A., <i>Allgemeine Geschichte der Literatur des Mittelalters im Abendlande</i>, 3 -vols. Leipzig, 1880-1889. 2nd edition of vol. I.</p> -<p class="biblio">Gastoué, A., “Proses et séquences”, <i>Tribune d. S. Gervais</i> (1922), 69-72; “Les -origines liturgiques latines de la séquence”, 153-158; “Les types byzantins de la -séquence”, (1923) 1-6.</p> -<p class="biblio">Gautier, L., <i>Oeuvres poétiques d’Adam de Saint-Victor</i>. Paris, 1881.</p> -<p class="biblio">Gillman, F. J., <i>Evolution of the English hymn</i>. New York, 1927.</p> -<p class="biblio">Heider, A. B., <i>The Blessed Virgin in early Christian Latin poetry</i>. Washington, D. C., -1918.</p> -<p class="biblio">Hélin, M., <i>History of medieval Latin literature</i>. New York, 1949. Translated by -J. C. Snow from <i>Littérature d’occident: Histoire des lettres Latines du Moyen -Age</i>.</p> -<div class="pb" id="Page_126">126</div> -<p class="biblio">Hughes, H. V., Dom Anselm, <i>Latin Hymnody</i>. London, 1922.</p> -<p class="biblio">Julian, J., <i>Dictionary of hymnology</i>. London, 1925.</p> -<p class="biblio">Kayser, J., <i>Beiträge zur Geschichte und Erklärung der ältesten Kirchenhymnen</i>, 2 -vols. Paderborn, 1881, 1886.</p> -<p class="biblio">Koebner, R., <i>Venantius Fortunatus</i>. Leipzig, 1915.</p> -<p class="biblio">Kroll, J., <i>Die christliche Hymnodik bis zu Klemens von Alexandreia</i>. Königsburg: -Prog. d. Ak. von Braunsberg, 1921-2. s. 47-98.</p> -<p class="biblio">——, “Die Hymnendichtung des frühen Christentums”, <i>Die Antike</i>, 2 (1926) 258-281.</p> -<p class="biblio">Kuhnmuench, O., S. J., <i>Early Christian Latin poets from the 4th-6th century</i>. Chicago, -1929.</p> -<p class="biblio">Lynch, C. H., <i>St. Braulio, Bishop of Saragossa</i>. Washington, D. C., 1938.</p> -<p class="biblio">Mac Gilton, A. K., <i>Study of Latin hymns</i>. Boston, 1918.</p> -<p class="biblio">Manitius, M., <i>Geschichte der christlich-lateinischen Poesie bis zur Mitte des 8. Jahrhunderts</i>. -Stuttgart, 1891.</p> -<p class="biblio">——, <i>Geschichte der lateinischen Literatur des Mittelalters</i>, 3 vols. München, 1911-1931.</p> -<p class="biblio">Maryosip, M., <i>The oldest Christian hymn-book</i>. Temple, Texas, 1948.</p> -<p class="biblio">Meyer, W., <i>Der Gelegenheitsdichter Venantius Fortunatus</i>. Berlin, 1901.</p> -<p class="biblio">Misset, E. et Aubry, P., <i>Les Proses d’Adam de Saint-Victor</i>, texte et musique. Paris, -1900.</p> -<p class="biblio">Myers, W. N., <i>The hymns of Saint Hilary of Poitiers in the codex Aretinus</i>. Phila., -1928.</p> -<p class="biblio">Peebles, B. M., “Fortunatus, poet of the Holy Cross”, <i>Amer. Church Monthly</i>, 38 -(1935) 152-166.</p> -<p class="biblio">——, <i>The Poet Prudentius</i>. Boston College Candlemas Lectures on Christian -Literature: no. 2. New York, 1951.</p> -<p class="biblio">Phillips, C. S., <i>Hymnody past and present</i>. London, 1937.</p> -<p class="biblio">Rand, E. K., <i>Founders of the Middle Ages</i>. Cambridge, 1928.</p> -<p class="biblio">Sage, C. M., <i>Paul Albar of Cordova: Studies on his life and writings</i>. Washington, -D. C., 1943.</p> -<p class="biblio">Tardi, D., <i>Fortunat. Étude sur un dernier représentant de la poésie latine le Gaule -merovingienne</i>. Paris, 1927.</p> -<p class="biblio">Trench, R. C., <i>Sacred Latin poetry</i>. London, 1874.</p> -<p class="biblio">Weyman, C., <i>Beiträge zur Geschichte der christlich-lateinischen Poesie</i>. München, -1926.</p> -<div class="pb" id="Page_127">127</div> -<p class="biblio">Wilmart, A. Dom, <i>Auteurs spirituels et textes dévots du moyen âge Latin. Études -d’histoire litteraire</i>. Paris, 1932.</p> -<p class="biblio">——, “Le Psautier de la reine, N. XI, sa provenance et sa date”, <i>Revue Bénédictine</i>, -July-Oct. 1911, 341 ff.</p> -<p class="biblio">Wrangham, D. S., <i>Liturgical poetry of Adam of St. Victor</i>. London, 1881.</p> -<h3 class="biblio"><span class="sc">IV. Hymns and Liturgy</span></h3> -<p class="biblio"><i>Antiphonarium Hartkeri, saec.</i> XI, St. Gall MS, 390-391, p. 15-16. <i>Paléographie -Musicale</i>, Deuxième Série, Tome 1.</p> -<p class="biblio"><i>Antiphonary of Bangor</i>, An early Irish manuscript in the Ambrosian Library at Milan, -edited by F. E. Warren. Henry Bradshaw Society Pub. vols. 4, 10. London, -1893, 1895.</p> -<p class="biblio">Batiffol, P., <i>Études de liturgie et d’archéologie chrétienne</i>, Ch. VI, <i>La Chandeleur</i>, -193-215. Paris, 1919.</p> -<p class="biblio">——, <i>History of the Roman Breviary</i>. Translated from the 3rd French edition by -A. M. Baylay. London, 1912.</p> -<p class="biblio">Bishop, E., <i>Liturgica historica</i>, Oxford, 1918.</p> -<p class="biblio">——, “Spanish Symptoms”, <i>Theological Studies</i>, 8 (1907) 278-294.</p> -<p class="biblio">——, <i>The Mozarabic and Ambrosian Rites</i>. London, 1924.</p> -<p class="biblio">Blume, C., Der cursus S. <i>Benedicti Nursini und die liturgischen Hymnen des 6.-9. -Jahrhunderts</i>. Leipzig, 1908.</p> -<p class="biblio">——, <i>Unsere liturgischen Lieder</i>. Regensburg, 1932.</p> -<p class="biblio">Bohatta, H., <i>Bibliographie des livres d’heures</i> etc. Wien, 1924, 2nd ed.</p> -<p class="biblio"><i>Breviarium Gothicum</i>, edited by A. Lorenzana. Madrid, 1775. See Migne, <i>P. L.</i>, 86.</p> -<p class="biblio">Britt, M., <i>Hymns of the Breviary and Missal</i>. New York, 1922, 1948.</p> -<p class="biblio">Buchanan, E. S., <i>An early Latin song-book</i>. New York, 1930. 13th C. Ms.</p> -<p class="biblio">Burgess, H., <i>Select metrical hymns and homilies of Ephrem Syrus</i>. London, 1855.</p> -<p class="biblio">Chambers, J. D., <i>Divine worship in England</i> in the 13th and 14th, contrasted with -and adapted to that in the 19th C. London, 1877.</p> -<p class="biblio">Chatfield, A. W., <i>Songs and hymns of the earliest Greek Christian poets</i>. London, -1876.</p> -<p class="biblio">Dowden, J., <i>Church year and kalendar</i>. Cambridge, 1910.</p> -<p class="biblio">Duchesne, L., <i>Origines du culte chrétien</i>. Translation <i>Christian worship: origin and -evolution</i> from the 3rd French edition by M. L. McClure. London, 1904.</p> -<p class="biblio">Durandus, Gulielmus, <i>Rationale divinorum officiorum</i> (1286). Lugduni, 1612.</p> -<p class="biblio">Fisher, A. H., <i>Cathedral church of Hereford</i>. London, 1898.</p> -<div class="pb" id="Page_128">128</div> -<p class="biblio">Fortescue, A., <i>Concerning Hymns</i>. See Introduction to A. G. McDougall, <i>Pange -lingua</i>, above.</p> -<p class="biblio">——, <i>The Mass: a study of the Roman liturgy</i>. London, 1914.</p> -<p class="biblio">Gautier, L., <i>Histoire de la Poésie liturgique au Moyen Age. Les Tropes.</i> Paris, 1886.</p> -<p class="biblio"><i>Hereford Breviary</i>, edited by W. H. Frere and L. E. G. Brown. Henry Bradshaw -Society Pub. vols. 26, 40. London, 1904, 1911.</p> -<p class="biblio"><i>Horae Beatae Mariae Virginis or Sarum and York Primers</i>, edited by E. Hoskins. -London, 1901.</p> -<p class="biblio"><i>Horae Eboracenses, Prymer or Hours of the B. V. M.</i>, edited by C. Wordsworth. -Surtees Society Pub. vol. 132. London, 1919.</p> -<p class="biblio"><i>Hymnale secundum usum ... ecclesiae Sarisburiensis</i>, edited by A. C. Wilson and -Dr. Stubbs. Littlemore, 1850.</p> -<p class="biblio"><i>Hymnarium Sarisburiense</i>. London, 1851. Incomplete.</p> -<p class="biblio"><i>The Hymner</i>, Translations of the hymns from the Sarum Breviary together with -sundry sequences and processions. London, 1905.</p> -<p class="biblio"><i>Hymns, Ancient and Modern</i>, historical edition. London, 1909. Introduction by -W. H. Frere on history of hymns, treats Latin hymns from liturgical point of -view.</p> -<p class="biblio"><i>Irish Liber Hymnorum</i>, edited by J. H. Bernard and R. Atkinson. Henry Bradshaw -Society Pub. vols. 13, 14. London, 1897, 1898.</p> -<p class="biblio"><i>Jahrbuch für Liturgiewissenschaft</i>, edited by O. Casel, O. S. B. Münster i. W., -1921-1934. Vol. xiv (1934) was published in 1938. Invaluable bibliography -for every field of medieval hymnology. Many reviews of articles otherwise unobtainable.</p> -<p class="biblio">Jones, W. H., <i>Diocesan histories: Salisbury</i>. London, 1880.</p> -<p class="biblio"><i>Latin hymns of the Anglo-Saxon church</i>, edited by J. Stevenson. Surtees Society -Pub. vol. 23. Durham, 1851.</p> -<p class="biblio">McClure, M. L. and Feltoe, E. L., <i>The Pilgrimage of Etheria</i>. Translations of Christian -literature, Series III, Liturgical texts. London, 1919.</p> -<p class="biblio"><i>Manuale et processionale ad usum insignis ecclesiae Eboracensis</i>, edited by W. G. -Henderson. Surtees Society Pub. vol. 63. Durham, 1875.</p> -<p class="biblio">Maskell, W., <i>Ancient liturgy of the church of England</i>. Oxford, 1882. 3rd edition.</p> -<p class="biblio">——, <i>Monumenta ritualia ecclesiae Anglicanae</i>, 3 vols. Oxford, 1882. 2nd edition.</p> -<p class="biblio">Mearns, J., <i>Early Latin hymnaries</i>, an index of hymns in hymnaries before 1100, -with an appendix from later sources. Cambridge, 1913.</p> -<p class="biblio"><i>Missale ad usum insignis ecclesiae Eboracensis</i>, edited by W. G. Henderson. Surtees -Society Pub. vols. 59, 60. Durham, 1874.</p> -<div class="pb" id="Page_129">129</div> -<p class="biblio"><i>Missale ad usum percelebris ecclesiae Herfordensis</i>, edited by W. G. Henderson. -Leeds, 1874.</p> -<p class="biblio"><i>Missale mixtum</i>, edited by A. Lesley, S. J. Rome, 1755. See Migne, P. L. 86.</p> -<p class="biblio"><i>Mozarabic Psalter</i>, edited by J. P. Gilson. Henry Bradshaw Society Pub. vol. 30. -London, 1905.</p> -<p class="biblio">Neale, J. M. and Forbes, G. H., <i>The ancient liturgies of the Gallican church</i>. Burntisland, -1855.</p> -<p class="biblio"><i>Ordinale and customary of the Benedictine nuns of Barking abbey</i>, edited by J. B. L. -Tolhurst. Henry Bradshaw Society Pub. 2 vols. London, 1927, 1928.</p> -<p class="biblio">Ornsby, G., <i>York: diocesan histories</i>. London, no date.</p> -<p class="biblio">Phillott, H. W., <i>Hereford: diocesan histories</i>. London, no date.</p> -<p class="biblio"><i>Processional of the nuns of Chester</i>, edited by J. W. Legg. Henry Bradshaw Society -Pub. vol. 18. London, 1899.</p> -<p class="biblio"><i>Processionale ad usum ... Sarum</i>, edited by W. G. Henderson. Leeds, 1882.</p> -<p class="biblio"><i>Prymer</i>, edited by H. Littlehales. Early English Text Society, original series 105, -109. London, 1895, 1897.</p> -<p class="biblio">Rock, D., <i>Church of our fathers as seen in St. Osmund’s rite for the cathedral of -Salisbury</i>, 4 vols. Edited by G. W. Hart and W. H. Frere. London, 1903-1904.</p> -<p class="biblio"><i>Sarum Missal</i>, edited by J. W. Legg. Oxford, 1916.</p> -<p class="biblio"><i>Sarum missal</i>, done into English by A. H. Pearson. London, 1884. 2nd edition.</p> -<p class="biblio"><i>Sarum missal</i>, translated by F. E. Warren. London, 1911. (Library of liturgiology -and ecclesiology for English readers, vols. 8 and 9.)</p> -<p class="biblio"><i>S. Silviae, quae fertur, Peregrinatio ad loca sancta, CSEL 39.</i> 35-101. Vindobonae, -1898.</p> -<p class="biblio">Stroppel, R., <i>Liturgie und geistliche Dichtung 1050-1300</i>. Frankfurt am Main, 1927.</p> -<p class="biblio">Swete, H. B., <i>Church services and service books before the Reformation</i>. London, -1896.</p> -<p class="biblio">Thalhofer, V. and Eisenhofer, L., <i>Handbuch der katholischen Liturgik</i>, 2 vols. Freiburg -im Breisgau, 1912.</p> -<p class="biblio"><i>Tropary of Ethelred</i>, published in <i>Missale ... Eboracensis</i>, above.</p> -<p class="biblio"><i>Winchester troper</i>, edited by W. H. Frere. Henry Bradshaw Society Pub. London, -1894.</p> -<p class="biblio">Wordsworth, C., <i>Ceremonies and processions of the cathedral church of Salisbury</i>. -Cambridge, 1901.</p> -<p class="biblio">——, <i>Notes on mediaeval services in England</i>. London, 1898.</p> -<p class="biblio">——, and H. Littlehales, <i>The old service books of the English church</i>. London, 1904.</p> -<p class="biblio"><i>York breviary</i>, edited by J. H. Srawley. Surtees Society Pub. vols. 71, 75. Durham, -1880, 1883.</p> -<div class="pb" id="Page_130">130</div> -<h3 class="biblio"><span class="sc">V. Hymns and Medieval Culture, especially Art, Drama, Literature and Music</span></h3> -<p class="biblio"><i>Acta Sanctorum</i> quotquot orbe coluntur ... collegit Joannes Bollandus etc., 1643 -et seq.</p> -<p class="biblio">Addison, J. T., <i>Medieval Missionary</i>. A study of the conversion of northern Europe -A. D. 500-1300. New York, 1936. This book supersedes earlier works.</p> -<p class="biblio">Allen, P. S., <i>Romanesque lyric</i>. Chapel Hill, 1928.</p> -<p class="biblio">Altamira, R., <i>History of Spanish Civilization</i>, translated by P. Volkov. London, 1930.</p> -<p class="biblio"><i>Ante-Nicene fathers</i>, vol. VIII. American Reprint. Buffalo, 1886. For Apocryphal -books of the N. T.</p> -<p class="biblio"><i>Antiphonale monasticum</i> pro diurnis horis ordinis Sancti Benedicti a solesmensibus -monachis restitutum. Parisiis, Tornaci, Romae. 1935. For Gregorian music.</p> -<p class="biblio"><i>Apocryphal New Testament</i>, edited by M. R. James. Oxford, 1924.</p> -<p class="biblio">Blume, C., “Hymnologie und Kulturgeschichte des Mittelalters”, in <i>Festschrift f. -Georg von Hertling</i>. Kempten, 1913. Pp. 117-130.</p> -<p class="biblio">Brehier, L., <i>L’art chrétien</i>. Paris, 1928. 2nd edition.</p> -<p class="biblio">Brown, C., <i>English lyrics of the 13th century</i>. London, 1932.</p> -<p class="biblio">——, <i>Religious lyrics of the 14th century</i>. Oxford, 1924.</p> -<p class="biblio">——, <i>Religious lyrics of the 15th century</i>. Oxford, 1939.</p> -<p class="biblio">——, <i>Register of Middle English religious and didactic verse</i>, Pt. II. Oxford, 1920.</p> -<p class="biblio">Burdach, K., <i>Vorspiel</i>, Bd. I. Über den Ursprung des mittelalterlichen Minnesangs, -Liebesromans und Frauendienstes. Halle S., 1925.</p> -<p class="biblio">Chambers, E. K., <i>Mediaeval Stage</i>, 2 vols. Oxford, 1903.</p> -<p class="biblio">Clark, J. M., <i>The abbey of St. Gall as a center of literature and art</i>. Cambridge, 1926.</p> -<p class="biblio">Cohen, G., <i>Histoire de la mise en scène dans le théatre religieux français du moyen -âge</i>. Paris, 1926. Fine bibliography.</p> -<p class="biblio">Creizenach, W., <i>Geschichte des neueren Dramas</i>, vol. I. Halle, 1911.</p> -<p class="biblio">Cutts, E. L., <i>Parish priests and their people in the Middle Ages</i>. London, 1914.</p> -<p class="biblio">Delehaye, H., <i>Les legendes hagiographiques</i>. Bruxelles, 1905.</p> -<p class="biblio">Diehl, C., <i>Manuel d’art Byzantin</i>. Paris, 1910.</p> -<p class="biblio">Dill, S., <i>Roman Society in Gaul in the merovingian age</i>. London, 1926.</p> -<p class="biblio">Douglas, W. C., <i>Church music in history and practice</i>. New York, 1937.</p> -<p class="biblio">Drake, M. and W., <i>Saints and their emblems</i>. London, 1916.</p> -<p class="biblio">Duchartre, P. L., <i>Mittelalterliche Plastik in Frankreich</i>. München, 1925.</p> -<p class="biblio">Evans, J., <i>Monastic life at Cluny, 910-1157</i>. London, 1931.</p> -<p class="biblio">Farmer, H. G., <i>Historical facts for the Arabian musical influence</i>. London, 1930.</p> -<p class="biblio">——, <i>History of Arabian music to the XIIIth C.</i> London, 1929.</p> -<div class="pb" id="Page_131">131</div> -<p class="biblio">Fellerer, K. G., <i>Beiträge zur Musikgeschichte Freisings</i> etc. Freising, 1926.</p> -<p class="biblio">Gams, Dom P. B., <i>Die Kirchengeschichte von Spanien</i>, 5 vols. Regensburg, 1862-1879.</p> -<p class="biblio">Garcia Villada, <i>Historia eclesiástica de España</i>, 3 vols. in 5. Madrid, 1929-1936.</p> -<p class="biblio">Gasquet, F. A., <i>Parish life in mediaeval England</i>. London, 1907.</p> -<p class="biblio">Gautier, L., <i>La poésie religieuse dans les cloîtres des IXe-XIe siècles</i>. Paris, 1887.</p> -<p class="biblio">Gougaud, L., <i>Les chrétientés Celtiques</i>. Paris, 1911.</p> -<p class="biblio">Gourmont, R. de, <i>Le Latin mystique</i>; les poetes de l’antiphonaire et la symbolique au -moyen âge. Paris, 1913.</p> -<p class="biblio">Hauttmann, M., <i>Die Kunst des frühen Mittelalters</i>. Berlin, 1929.</p> -<p class="biblio">Higginson, J. V., <i>Revival of Gregorian chant</i>. Papers of the Hymn Society of -America, XV. New York, 1949.</p> -<p class="biblio">Jacopo de Voragine, <i>Golden legend</i>. Lives of the saints as Englished by William -Caxton, 7 vols. <i>Temple Classics</i>, edited by F. S. Ellis. London, 1900.</p> -<p class="biblio">Jeanroy, A., <i>Le théatre religieux en France du XIe au XIIIe siècles</i>. Paris, 1924.</p> -<p class="biblio">——, <i>Les origines de la poésie lyrique en France au moyen âge</i>. Paris, 1925.</p> -<p class="biblio">Kretzman, P. E., <i>The liturgical element in the earliest forms of the medieval drama</i>. -Un. of Minnesota Studies in Language and Literature, no. 4, 1916.</p> -<p class="biblio">Künstle, K., <i>Ikonographie der Heiligen</i>. Freiburg im Breisgau, 1926.</p> -<p class="biblio">Lang, P. H., <i>Music in western civilization</i>. New York, 1941.</p> -<p class="biblio">Lévi-Provençal, E., <i>La civilization arabe en Espagne, vue general</i>. Le Caire, 1938.</p> -<p class="biblio">Luchaire, A. (D.J.A.) <i>Social France at the time of Philip Augustus</i>, translated from -the 2nd French edition by E. B. Krehbiel. New York, 1912.</p> -<p class="biblio">Mâle, E., <i>L’art religieux du XIIe siècle en France</i>. Paris, 1922.</p> -<p class="biblio">——, <i>L’art religieux du XIIIe siècle en France</i>. Paris, 1923.</p> -<p class="biblio">——, <i>L’art religieux de la fin du moyen âge en France</i>. Paris, 1922.</p> -<p class="biblio">——, <i>L’art allemand et l’art français du moyen âge</i>. Paris, 1922.</p> -<p class="biblio">Meyer, K., <i>Selections from ancient Irish poetry</i>. London, 1911.</p> -<p class="biblio">Meyer, W., <i>Gesammelte Abhandlungen zur mittellateinischen Rythmik</i>, 2 vols. in 1. -Berlin, 1905.</p> -<p class="biblio">Müller, H. F., “Pre-history of the mediaeval drama”, <i>Zeitschrift für romanische Philologie</i>, -Bd. 44 (1924) 544-575.</p> -<p class="biblio">Nelson, P., <i>Ancient stained glass in England</i>. London, 1913.</p> -<p class="biblio">Owst, G. R., <i>Preaching in medieval England</i>. Cambridge, 1926.</p> -<p class="biblio">Prior, E. A. and Gardner, A., <i>An account of medieval figure-sculpture in England</i>. -Cambridge, 1912.</p> -<div class="pb" id="Page_132">132</div> -<p class="biblio">Pokorny, J., <i>Die älteste Lyrik der grünen Insel</i>. Halle S., 1923.</p> -<p class="biblio">Quasten, J., <i>Musik und Gesang in den Kulten der heidnischen Antike und christlichen -Frühzeit</i>. Münster im W., 1930.</p> -<p class="biblio">Raby, F. J. E., <i>A history of secular Latin poetry in the M. A.</i>, 2 vols. Oxford, 1934.</p> -<p class="biblio">Riaño, J. F., <i>Critical and bibliographical notes on early Spanish music</i>. London, 1887.</p> -<p class="biblio">Schroeder, Sister M. J., <i>Mary-Verse in Meistergesang</i>. Washington, D. C., 1942.</p> -<p class="biblio">Sedgwick, W. B., “Origin of rhyme”, <i>Revue Bénédictine</i>, 36 (1924) 330-346.</p> -<p class="biblio">Singer, S., <i>Die Dichterschule von St. Gallen</i>. Leipzig, 1922.</p> -<p class="biblio">Spanke, H., <i>Deutsche und französische Dichtung des Mittelalters</i>. Stuttgart, 1943.</p> -<p class="biblio">——, “Zur Geschichte der spanischen Musik des Mittelalters”, <i>Hist. Vierteljahrschrift</i>, -28 (1934), 737-66.</p> -<p class="biblio">Steinen, W. von den, <i>Notker der Dichter und seine geistliche Welt</i>, 2 vols., Bern, -1948. Reviews and supersedes earlier literature on Notker. Vol. II contains complete -works of Notker.</p> -<p class="biblio">Strzygowski, J., <i>Origin of Christian church art</i>, translated by Dalton and Braunholtz. -Oxford, 1923.</p> -<p class="biblio">Taylor, H. O., <i>The medieval mind</i>, 2 vols. New York, 1914.</p> -<p class="biblio">Trend, J. B., <i>The music of Spanish history to 1600</i>. London, 1926.</p> -<p class="biblio">Turner, W., “Irish teachers in the Carolingian revival of learning”, <i>Cath. Un. -Bulletin</i>, XIII, Washington, D. C., 1907, pp. 382, 562.</p> -<p class="biblio">Van Doren, Dom R., <i>Étude sur l’influence musicale de l’abbaye de Saint-Gall</i>. Louvain, -1925.</p> -<p class="biblio">Wagner, P., <i>Einführung in die Gregorianischen Melodien</i>, London, 1907.</p> -<p class="biblio">——, “Morgen- und Abendland in der Musikgeschichte”, <i>Stimmen der Zeit</i>, Bd. 114 -(1927) 131-145.</p> -<p class="biblio">——, “Der mozarabische Kirchengesang und seiner Überlieferung”, in Finke, H., -<i>Gesammelte Aufsätze zur Kulturgeschichte Spaniens</i>, Reihe I, Bd. I, p. 102-141. -Münster, 1928.</p> -<p class="biblio">Ward, J. B., <i>Gregorian Chant II</i>. Belgium, 1949.</p> -<p class="biblio">Wehrle, W. O., <i>The macaronic hymn tradition in medieval English literature</i>. Washington, -D. C., 1933.</p> -<p class="biblio">Wells, J. E., <i>Manual of the writings in middle English 1050-1400</i>. New Haven, -1916.</p> -<p class="biblio">Von Winterfeld, P., “Die Dichterschule St. Gallens und der Reichenau unter der -Karolingern und Ottonen”, “Stilfragen der lateinischen Dichtung des Mittelalters”, -<i>Deutsche Dichter</i>, p. 402-422, 423-444. München, 1922.</p> -<div class="pb" id="Page_133">133</div> -<p class="biblio">Woerdeman, Dom J., “The source of the Easter play”, <i>Orate Fratres</i>, 20 (1946), -Apr. 25, p. 262-272.</p> -<p class="biblio">Young, K., <i>The drama of the medieval church</i>, 2 vols. Oxford, 1933.</p> -<h3 class="biblio"><span class="sc">Ruth Ellis Messenger</span> -<br /><span class="sc">Publications</span></h3> -<p class="biblio"><i>Ethical Teachings in the Latin Hymns of Medieval England</i>, Columbia Un. Studies -in History, Economics and Public Law (New York, 1930) 210 p.</p> -<h3 class="biblio"><i>Articles</i></h3> -<dl class="undent"><dt><i>Papers of the Hymn Society of America</i>, Editor, Carl F. Price, New York.</dt> -<dd>No. III, “The Praise of the Virgin in Early Latin Hymns,” 1932, reprinted 1944, 10 p.</dd> -<dd>No. IX, “Christian Hymns of the First Three Centuries,” 1942, reprinted 1949, 25 p.</dd> -<dd>No. XIV, “Latin Hymns of the Middle Ages,” 1948, 14 p.</dd></dl> -<dl class="undent"><dt><i>Transactions and Proceedings of the American Philological Association</i></dt> -<dd>“Hymns and Sequences of the Sarum Use,” vol. 59 (1928) 99-129.</dd> -<dd>Abstract: “Origin of the Sequence,” vol. 64 (1933) lxv-lxvi.</dd> -<dd>“The Descent Theme in Medieval Latin Hymns,” vol. 67 (1936) 126-57.</dd> -<dd>“Whence the Ninth Century Hymnal?,” vol. 69 (1938) 446-64.</dd> -<dd>“Recent Studies in Medieval Latin Hymns,” vol. 71 (1940) 248-261.</dd> -<dd>“The Mozarabic Hymnal,” vol. 75 (1944) 103-126.</dd> -<dd>“Salve Festa Dies,” vol. 78 (1947) 208-222.</dd> -<dd>“Medieval Processional Hymns before 1100,” vol. 80 (1949) 375-392.</dd> -<dd>“Processional Hymns of the Later Middle Ages,” vol. 81 (1950) 185-199.</dd></dl> -<dl class="undent"><dt><i>Miscellaneous articles</i></dt> -<dd><i>Catholic Choirmaster</i></dd> -<dd class="t">“Notker Balbulus,” Sept. 1946, 101-5, 139.</dd> -<dd class="t">“Sancta Maria quid est?,” June, 1950, 59-61, 81.</dd> -<dd class="t">“Rabanus Maurus,” Summer, 1951, 55-57.</dd> -<dd><i>Classical Outlook</i></dd> -<dd class="t">“Medieval Easter Hymns,” April, 1944, 65-6.</dd> -<dd class="t">“Adam of St. Victor,” Feb., 1947, 49-51.</dd> -<dd class="t">“Greek Hymns of the Nativity,” Dec., 1948, 25-6.</dd> -<dt class="pb" id="Page_134">134</dt> -<dd class="t">“The Eighth Day,” May, 1950, 88-9.</dd> -<dd><i>Classical Weekly</i></dd> -<dd class="t">“The Legend of St. Agnes in Early Latin Hymns,” Nov. 29, 1943, 75.</dd> -<dd class="t">“The Legend of St. Eulalia in Mozarabic Hymns,” Oct. 9, 1944, 12-3.</dd> -<dd class="t">“Hymns in the Horae Eboracenses,” Jan. 15, 1945, 90-5.</dd> -<dd><i>Folia</i></dd> -<dd class="t">“Sources of the Sequence Scalam ad Caelos,” May, 1947, 55-63.</dd> -<dd class="t">“Classical Influence in the Hymns of St. Ambrose,” vol. 4, nos. 1-3 (1949) 1-5.</dd> -<dd class="t">“Aurelius Prudentius Clemens,” vol. 6, no. 2 (1952) 78-99.</dd> -<dd><i>The Hymn</i></dd> -<dd class="t">“John Mason Neale, Translator,” Oct., 1951, 5-10.</dd> -<dd><i>Speculum</i></dd> -<dd class="t">“Hymnista,” Jan., 1947, 83-4.</dd> -<dd><i>Traditio</i></dd> -<dd class="t">“Mozarabic Hymns in Relation to Contemporary Culture in Spain,” vol. 4 (1946) 149-77.</dd></dl> -<div class="pb" id="Page_135">135</div> -<h2 id="c12">Index</h2> -<h3 id="sc27"><span class="sc">Index of Latin Hymns</span></h3> -<p class="center"><a class="ab" href="#index_A">A</a> <span class="ab">B</span> <a class="ab" href="#index_C">C</a> <a class="ab" href="#index_D">D</a> <span class="ab">E</span> <a class="ab" href="#index_F">F</a> <a class="ab" href="#index_G">G</a> <a class="ab" href="#index_H">H</a> <a class="ab" href="#index_I">I</a> <a class="ab" href="#index_J">J</a> <span class="ab">K</span> <a class="ab" href="#index_L">L</a> <a class="ab" href="#index_M">M</a> <a class="ab" href="#index_N">N</a> <a class="ab" href="#index_O">O</a> <a class="ab" href="#index_P">P</a> <a class="ab" href="#index_Q">Q</a> <a class="ab" href="#index_R">R</a> <a class="ab" href="#index_S">S</a> <a class="ab" href="#index_T">T</a> <a class="ab" href="#index_U">U</a> <a class="ab" href="#index_V">V</a> <span class="ab">W</span> <span class="ab">X</span> <span class="ab">Y</span> <span class="ab">Z</span></p> -<dl class="index"> -<dt class="center" id="index_A"><b>A</b></dt> -<dt><i>Ad cenam agni providi</i>, <a href="#Page_17">17</a>, <a href="#Page_34">34</a></dt> -<dt><i>Ad honorem regis summi</i>, <a href="#Page_56">56</a></dt> -<dt><i>Ad perennis vitae fontem</i>, <a href="#Page_49">49</a>, <a href="#Page_103">103</a></dt> -<dt><i>Adae carnis gloriosae</i>, <a href="#Page_1">1</a>, <a href="#Page_6">6</a></dt> -<dt><i>Adeste fideles</i>, <a href="#Page_80">80</a></dt> -<dt><i>Aeterna caeli gloria</i>, <a href="#Page_34">34</a></dt> -<dt><i>Aeterna Christi munera</i>, <a href="#Page_8">8</a>, <a href="#Page_17">17</a>, <a href="#Page_34">34</a>, <a href="#Page_86">86</a></dt> -<dt><i>Aeternae lucis conditor</i>, <a href="#Page_17">17</a></dt> -<dt><i>Aeterne rerum conditor</i>, <a href="#Page_3">3</a>, <a href="#Page_17">17</a>, <a href="#Page_33">33</a></dt> -<dt><i>Ales diei nuntius</i>, <a href="#Page_34">34</a></dt> -<dt><i>Alleluia piis edite laudibus</i>, <a href="#Page_14">14</a>, <a href="#Page_88">88</a></dt> -<dt><i>Alma redemptoris mater</i>, <a href="#Page_79">79</a></dt> -<dt><i>Altus prosator</i>, <a href="#Page_14">14</a></dt> -<dt><i>Angelus ad virginem</i>, <a href="#Page_79">79</a></dt> -<dt><i>Annua, sancte Dei, celebramus festa diei</i>, <a href="#Page_67">67</a></dt> -<dt><i>Ante saecula qui manens</i>, <a href="#Page_1">1</a></dt> -<dt><i>Apostolorum passio</i>, <a href="#Page_61">61</a></dt> -<dt><i>Audi, iudex mortuorum</i>, <a href="#Page_66">66</a></dt> -<dt><i>Aurora iam spargit polum</i>, <a href="#Page_34">34</a></dt> -<dt><i>Aurora lucis rutilat, <a href="#Page_17">17</a></i>, <a href="#Page_34">34</a></dt> -<dt><i>Ave maris stella</i>, <a href="#Page_16">16</a>, <a href="#Page_91">91</a></dt> -<dt><i>Ave vivens hostia</i>, <a href="#Page_50">50</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_C"><b>C</b></dt> -<dt><i>Caeli Deus sanctissime</i>, <a href="#Page_33">33</a></dt> -<dt><i>Cantemus cuncti melodum nunc Alleluia</i>, <a href="#Page_45">45</a>, <a href="#Page_98">98</a></dt> -<dt><i>Certum tenentes ordinem</i>, <a href="#Page_17">17</a></dt> -<dt><i>Chorus novae Ierusalem</i>, <a href="#Page_49">49</a></dt> -<dt><i>Christe caeli Domine</i>, <a href="#Page_17">17</a></dt> -<dt><i>Christe precamur adnue</i>, <a href="#Page_17">17</a></dt> -<dt><i>Christe qui lux es et dies</i>, <a href="#Page_17">17</a>, <a href="#Page_34">34</a></dt> -<dt><i>Christo nato, rege magno</i>, <a href="#Page_67">67</a></dt> -<dt><i>Claro paschali gaudio</i>, <a href="#Page_16">16</a></dt> -<dt><i>Conditor alme siderum</i>, <a href="#Page_16">16</a></dt> -<dt><i>Congregavit nos in unum Christi amor</i>, <a href="#Page_69">69</a></dt> -<dt><i>Consors paterni luminis</i>, <a href="#Page_33">33</a></dt> -<dt><i>Corde natus ex parentis</i>, <a href="#Page_4">4</a></dt> -<dt><i>Crux benedicta nitet</i>, <a href="#Page_5">5</a>, <a href="#Page_65">65</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_D"><b>D</b></dt> -<dt><i>Dei fide qua vivimus</i>, <a href="#Page_17">17</a></dt> -<dt><i>Deus aeterni luminis</i>, <a href="#Page_17">17</a></dt> -<dt><i>Deus creator omnium</i>, <a href="#Page_3">3</a>, <a href="#Page_17">17</a>, <a href="#Page_33">33</a></dt> -<dt><i>Deus immensa trinitas</i>, <a href="#Page_31">31</a>, <a href="#Page_94">94</a></dt> -<dt><i>Deus qui caeli lumen es</i>, <a href="#Page_17">17</a></dt> -<dt><i>Deus qui certis legibus</i>, <a href="#Page_17">17</a></dt> -<dt><i>Deus qui claro lumine</i>, <a href="#Page_17">17</a></dt> -<dt><i>Dicamus laudes Domino</i>, <a href="#Page_17">17</a></dt> -<dt><i>Diei luce reddita</i>, <a href="#Page_17">17</a></dt> -<dt><i>Dies irae</i>, <a href="#Page_50">50</a>, <a href="#Page_60">60</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_F"><b>F</b></dt> -<dt><i>Fefellit saevam verbum factum te, caro</i>, <a href="#Page_1">1</a></dt> -<dt><i>Fulgentis auctor aetheris</i>, <a href="#Page_17">17</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_G"><b>G</b></dt> -<dt><i>Gloria, laus et honor</i>, <a href="#Page_29">29</a>, <a href="#Page_65">65</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_H"><b>H</b></dt> -<dt><i>Heri mundus exultavit</i>, <a href="#Page_47">47</a>, <a href="#Page_101">101</a></dt> -<dt><i>Hic est dies verus Dei</i>, <a href="#Page_17">17</a></dt> -<dt><i>Hymnum dicat turba fratrum</i>, <a href="#Page_2">2</a>, <a href="#Page_14">14</a>, <a href="#Page_76">76</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_I"><b>I</b></dt> -<dt><i>Iam lucis orto sidere</i>, <a href="#Page_33">33</a></dt> -<dt><i>Iam sexta sensim volvitur</i>, <a href="#Page_17">17</a></dt> -<dt><i>Iam surgit hora tertia</i>, <a href="#Page_3">3</a>, <a href="#Page_17">17</a></dt> -<dt><i>Illuminans altissimus</i>, <a href="#Page_17">17</a></dt> -<dt><i>Immense caeli conditor</i>, <a href="#Page_33">33</a></dt> -<dt><i>Imperator magne, vivas</i>, <a href="#Page_69">69</a></dt> -<dt><i>Intende qui regis</i>, <a href="#Page_17">17</a></dt> -</dl> -<div class="pb" id="Page_136">136</div> -<dl class="index"> -<dt class="center" id="index_J"><b>J</b></dt> -<dt><i>Jesu corona virginum</i>, <a href="#Page_34">34</a></dt> -<dt><i>Jesu dulcis memoria</i>, <a href="#Page_49">49</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_L"><b>L</b></dt> -<dt><i>Laetetur omne saeculum</i>, <a href="#Page_72">72</a></dt> -<dt><i>Lauda Sion Salvatorem</i>, <a href="#Page_50">50</a>, <a href="#Page_60">60</a>, <a href="#Page_105">105</a></dt> -<dt><i>Laudes omnipotens, ferimus tibi dona colentes</i>, <a href="#Page_68">68</a></dt> -<dt><i>Lucis creator optime</i>, <a href="#Page_16">16</a>, <a href="#Page_33">33</a></dt> -<dt><i>Lux ecce surgit aurea</i>, <a href="#Page_34">34</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_M"><b>M</b></dt> -<dt><i>Magna et mirabilia</i>, <a href="#Page_17">17</a></dt> -<dt><i>Magnae Deus potentiae</i>, <a href="#Page_33">33</a></dt> -<dt><i>Magnum salutis gaudium</i>, <a href="#Page_65">65</a></dt> -<dt><i>Martyr Dei qui unicum</i>, <a href="#Page_34">34</a></dt> -<dt><i>Mediae noctis tempus est</i>, <a href="#Page_14">14</a>, <a href="#Page_17">17</a></dt> -<dt><i>Meridie orandum est</i>, <a href="#Page_17">17</a></dt> -<dt><i>Morte Christi celebrata</i>, <a href="#Page_52">52</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_N"><b>N</b></dt> -<dt><i>Nocte surgentes vigilemus omnes</i>, <a href="#Page_12">12</a>, <a href="#Page_87">87</a></dt> -<dt><i>Nox atra rerum contegit</i>, <a href="#Page_33">33</a></dt> -<dt><i>Nox et tenebrae et nubila</i>, <a href="#Page_34">34</a></dt> -<dt><i>Nunc sancte nobis spiritus</i>, <a href="#Page_33">33</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_O"><b>O</b></dt> -<dt><i>O lux beata trinitas</i>, <a href="#Page_33">33</a></dt> -<dt><i>O quanta qualia</i>, <a href="#Page_49">49</a></dt> -<dt><i>O Roma nobilis</i>, <a href="#Page_76">76</a></dt> -<dt><i>O sola magnarum urbium</i>, <a href="#Page_4">4</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_P"><b>P</b></dt> -<dt><i>Pange lingua, gloriosi corporis mysterium</i>, <a href="#Page_50">50</a>, <a href="#Page_71">71</a></dt> -<dt><i>Pange lingua, gloriosi proelium certaminis</i>, <a href="#Page_5">5</a>, <a href="#Page_50">50</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a></dt> -<dt><i>Perfectum trinum numerum</i>, <a href="#Page_17">17</a></dt> -<dt><i>Plasmator hominis Deus</i>, <a href="#Page_33">33</a></dt> -<dt><i>Postmatutinis laudibus</i>, <a href="#Page_17">17</a></dt> -<dt><i>Primo dierum omnium</i>, <a href="#Page_33">33</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_Q"><b>Q</b></dt> -<dt><i>Quem terra pontus aethera</i>, <a href="#Page_16">16</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_R"><b>R</b></dt> -<dt><i>Recordare sanctae crucis</i>, <a href="#Page_50">50</a></dt> -<dt><i>Rector potens verax Deus</i>, <a href="#Page_33">33</a></dt> -<dt><i>Rerum creator optime</i>, <a href="#Page_33">33</a></dt> -<dt><i>Rerum Deus tenax vigor</i>, <a href="#Page_33">33</a></dt> -<dt><i>Rex aeterne Domine</i>, <a href="#Page_17">17</a></dt> -<dt><i>Rex gloriose martyrum</i>, <a href="#Page_34">34</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_S"><b>S</b></dt> -<dt><i>Salve festa dies.... Qua deus infernum vicit</i>, <a href="#Page_73">73</a>, <a href="#Page_110">110</a></dt> -<dt><i>Sacrata libri dogmata</i>, <a href="#Page_68">68</a></dt> -<dt><i>Salve festa dies.... Qua Christi mater visitat</i>, <a href="#Page_71">71</a></dt> -<dt><i>Salve festa dies.... Qua fuit assumpta Maria</i>, <a href="#Page_72">72</a></dt> -<dt><i>Salve, lacteolo decoratum sanguine festum</i>, <a href="#Page_67">67</a></dt> -<dt><i>Salve redemptoris mater</i>, <a href="#Page_47">47</a></dt> -<dt><i>Sancta Maria, quid est?</i>, <a href="#Page_69">69</a></dt> -<dt><i>Sancti spiritus assit nobis gratia</i>, <a href="#Page_42">42</a>, <a href="#Page_95">95</a></dt> -<dt><i>Sancti venite Christi corpus sumite</i>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_89">89</a></dt> -<dt><i>Sanctorum meritis inclita gaudia</i>, <a href="#Page_34">34</a></dt> -<dt><i>Sator princepsque temporum</i>, <a href="#Page_17">17</a></dt> -<dt><i>Sic ter quaternis trahitur</i>, <a href="#Page_17">17</a></dt> -<dt><i>Solus ad victimam procedis, Domine</i>, <a href="#Page_49">49</a></dt> -<dt><i>Somno refectis artubus</i>, <a href="#Page_33">33</a></dt> -<dt><i>Splendor paternae gloriae</i>, <a href="#Page_3">3</a>, <a href="#Page_7">7</a>, <a href="#Page_17">17</a>, <a href="#Page_33">33</a>, <a href="#Page_84">84</a></dt> -<dt><i>Stabat mater dolorosa</i>, <a href="#Page_51">51</a>, <a href="#Page_53">53</a>, <a href="#Page_60">60</a>, <a href="#Page_108">108</a></dt> -<dt><i>Suffragare trinitatis unitas</i>, <a href="#Page_14">14</a></dt> -<dt><i>Summae Deus clementiae</i>, <a href="#Page_33">33</a></dt> -<dt><i>Summe confessor sacer</i>, <a href="#Page_34">34</a></dt> -<dt><i>Summus et omnipotens genitor</i>, <a href="#Page_68">68</a></dt> -<dt><i>Surrexit quia Christus a sepulchro</i>, <a href="#Page_67">67</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_T"><b>T</b></dt> -<dt><i>Te lucis ante terminum</i>, <a href="#Page_34">34</a></dt> -<dt><i>Telluris ingens conditor</i>, <a href="#Page_33">33</a></dt> -<dt><i>Tempora florigero rutilant</i>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_65">65</a></dt> -<dt><i>Tempus noctis surgentibus</i>, <a href="#Page_17">17</a></dt> -<dt><i>Ter hora trina volvitur</i>, <a href="#Page_17">17</a></dt> -<dt><i>Tu trinitatis unitas</i>, <a href="#Page_33">33</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_U"><b>U</b></dt> -<dt><i>Urbs beata Jerusalem</i>, <a href="#Page_16">16</a></dt> -<dt><i>Urbs Sion aurea</i>, <a href="#Page_49">49</a></dt> -<dt><i>Ut queant laxis resonare fibris</i>, <a href="#Page_26">26</a>, <a href="#Page_92">92</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index_V"><b>V</b></dt> -<dt><i>Veni, creator spiritus</i>, <a href="#Page_29">29</a>, <a href="#Page_93">93</a></dt> -<dt><i>Veni redemptor gentium</i>, <a href="#Page_3">3</a></dt> -<dt><i>Veni sancte spiritus</i>, <a href="#Page_48">48</a>, <a href="#Page_60">60</a></dt> -<dt><i>Verbum supernum prodiens</i>, <a href="#Page_16">16</a></dt> -<dt><i>Versus ad descensum fontis</i>, <a href="#Page_68">68</a></dt> -<dt><i>Vexilla regis prodeunt</i>, <a href="#Page_5">5</a>, <a href="#Page_50">50</a>, <a href="#Page_64">64</a>, <a href="#Page_85">85</a></dt> -<dt><i>Victimae paschali laudes</i>, <a href="#Page_47">47</a>, <a href="#Page_75">75</a></dt> -<dt><i>Virginis proles opifexque</i>, <a href="#Page_34">34</a></dt> -</dl> -<div class="pb" id="Page_137">137</div> -<h3 id="sc28"><span class="sc">General Index</span></h3> -<p class="center"><a class="ab" href="#index2_A">A</a> <a class="ab" href="#index2_B">B</a> <a class="ab" href="#index2_C">C</a> <a class="ab" href="#index2_D">D</a> <a class="ab" href="#index2_E">E</a> <a class="ab" href="#index2_F">F</a> <a class="ab" href="#index2_G">G</a> <a class="ab" href="#index2_H">H</a> <a class="ab" href="#index2_I">I</a> <a class="ab" href="#index2_J">J</a> <span class="ab">K</span> <a class="ab" href="#index2_L">L</a> <a class="ab" href="#index2_M">M</a> <a class="ab" href="#index2_N">N</a> <a class="ab" href="#index2_O">O</a> <a class="ab" href="#index2_P">P</a> <span class="ab">Q</span> <a class="ab" href="#index2_R">R</a> <a class="ab" href="#index2_S">S</a> <a class="ab" href="#index2_T">T</a> <span class="ab">U</span> <a class="ab" href="#index2_V">V</a> <a class="ab" href="#index2_W">W</a> <span class="ab">X</span> <a class="ab" href="#index2_Y">Y</a> <span class="ab">Z</span></p> -<dl class="index"> -<dt class="center" id="index2_A"><b>A</b></dt> -<dt>Abelard, <a href="#Page_49">49</a></dt> -<dt>Adam of St. Victor, <a href="#Page_46">46</a>-7, <a href="#Page_51">51</a>, <a href="#Page_55">55</a>, <a href="#Page_70">70</a></dt> -<dt>Advent, <a href="#Page_4">4</a>, <a href="#Page_16">16</a>, <a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a href="#Page_50">50</a></dt> -<dt>Aetheria, <a href="#Page_61">61</a>-2</dt> -<dt>Alcuin, <a href="#Page_21">21</a>, <a href="#Page_26">26</a>, <a href="#Page_37">37</a></dt> -<dt>Alfonso X of Castile, <a href="#Page_78">78</a></dt> -<dt>Amalarius of Metz, <a href="#Page_26">26</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_39">39</a></dt> -<dt>Ambrose, B. of Milan, <a href="#Page_2">2</a>, <a href="#Page_8">8</a>, <a href="#Page_56">56</a>, <a href="#Page_63">63</a></dt> -<dt>Ambrosian chant, <a href="#Page_7">7</a></dt> -<dt>Arabian influences, <a href="#Page_31">31</a>, <a href="#Page_54">54</a></dt> -<dt>Ascension, <a href="#Page_44">44</a>, <a href="#Page_63">63</a>, <a href="#Page_70">70</a></dt> -<dt>Augustine, St., <a href="#Page_3">3</a></dt> -<dt>Aurelian, B. of Arles, <a href="#Page_9">9</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_B"><b>B</b></dt> -<dt>Bangor Antiphonary, <a href="#Page_14">14</a>, <a href="#Page_76">76</a></dt> -<dt>Benedict, St., <a href="#Page_9">9</a>, <a href="#Page_11">11</a>-2</dt> -<dt>Benedictine Order, <a href="#Page_9">9</a>, <a href="#Page_11">11</a>, <a href="#Page_20">20</a>, <a href="#Page_27">27</a></dt> -<dt>Benedictine Rule, <a href="#Page_11">11</a>, <a href="#Page_20">20</a>, <a href="#Page_25">25</a></dt> -<dt>Bernard of Cluny (Morlaix), <a href="#Page_49">49</a></dt> -<dt>Bonaventura, <a href="#Page_50">50</a></dt> -<dt>Book of Hours, <a href="#Page_53">53</a></dt> -<dt>Braulio, B. of Saragossa, <a href="#Page_13">13</a></dt> -<dt>Breviary, Roman, <a href="#Page_80">80</a>, <a href="#Page_81">81</a></dt> -<dt>“By the Cross her vigil keeping,” <a href="#Page_51">51</a>, <a href="#Page_108">108</a></dt> -<dt>Byzantine influences, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_36">36</a>, <a href="#Page_40">40</a>, <a href="#Page_42">42</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_C"><b>C</b></dt> -<dt>Caesarius, B. of Arles, <a href="#Page_9">9</a></dt> -<dt><i>Cambridge Songs</i>, <a href="#Page_75">75</a></dt> -<dt>Canonical Hours, <a href="#Page_9">9</a></dt> -<dt><i>Cantico di fratre sole</i>, <a href="#Page_78">78</a></dt> -<dt><i>Cántigas de Santa María</i>, <a href="#Page_78">78</a></dt> -<dt><i>Carmina Burana</i>, <a href="#Page_58">58</a>, <a href="#Page_75">75</a></dt> -<dt>Carol, <a href="#Page_79">79</a></dt> -<dt><i>Cathemerinon</i>, <a href="#Page_3">3</a></dt> -<dt>Celtic Hymns, <a href="#Page_14">14</a>-5</dt> -<dt>Celtic influences, <a href="#Page_21">21</a>-2, <a href="#Page_27">27</a>, <a href="#Page_44">44</a></dt> -<dt>Charlemagne, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a></dt> -<dt>Charles the Bald, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_25">25</a></dt> -<dt>Columba, St., of Iona, <a href="#Page_14">14</a></dt> -<dt><i>Conductus</i>, <a href="#Page_73">73</a></dt> -<dt>Corpus Christi, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>, <a href="#Page_71">71</a></dt> -<dt>Council of Braga (563), <a href="#Page_10">10</a></dt> -<dt>Council of Laodicea (364), <a href="#Page_10">10</a></dt> -<dt>Council of Orleans (511), <a href="#Page_63">63</a></dt> -<dt>Council of Toledo, IV, (633), <a href="#Page_13">13</a></dt> -<dt>Council of Tours (567), <a href="#Page_11">11</a></dt> -<dt>Council of Girona (517), <a href="#Page_63">63</a></dt> -<dt>“Creator-Spirit, all Divine,” <a href="#Page_29">29</a>, <a href="#Page_93">93</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_D"><b>D</b></dt> -<dt>Damasus, Pope St., <a href="#Page_2">2</a></dt> -<dt>“Draw nigh and take the body of the Lord,” <a href="#Page_15">15</a>, <a href="#Page_89">89</a></dt> -<dt>Durandus, B. of Mende, <a href="#Page_70">70</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_E"><b>E</b></dt> -<dt>Easter, <a href="#Page_16">16</a>, <a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a href="#Page_47">47</a>, <a href="#Page_52">52</a>, <a href="#Page_65">65</a>, <a href="#Page_67">67</a>, <a href="#Page_70">70</a></dt> -<dt>Epiphany, <a href="#Page_4">4</a>, <a href="#Page_32">32</a></dt> -<dt>Eugenius II, Primate of Toledo, <a href="#Page_13">13</a></dt> -<dt>Eulogius, Archb. of Cordova, <a href="#Page_30">30</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_F"><b>F</b></dt> -<dt>“Father we praise Thee,” <a href="#Page_12">12</a>, <a href="#Page_87">87</a></dt> -<dt>Fortunatus, Venantius, <a href="#Page_4">4</a>, <a href="#Page_11">11</a>, <a href="#Page_27">27</a>, <a href="#Page_64">64</a></dt> -<dt>Francis, St. of Assisi, <a href="#Page_78">78</a></dt> -<dt>Fulbert, B. of Chartres, <a href="#Page_49">49</a></dt> -<dt>Fulda, <a href="#Page_11">11</a>, <a href="#Page_25">25</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_G"><b>G</b></dt> -<dt><i>Gaudeamus igitur</i>, <a href="#Page_75">75</a></dt> -<dt>Greek influences, <a href="#Page_23">23</a>, <a href="#Page_27">27</a>, <a href="#Page_38">38</a>, <a href="#Page_42">42</a></dt> -<dt>Gregorian chant, <a href="#Page_12">12</a>, <a href="#Page_81">81</a></dt> -<dt>Gregory the Gt., Pope St., <a href="#Page_12">12</a>, <a href="#Page_14">14</a>, <a href="#Page_23">23</a>, <a href="#Page_27">27</a>, <a href="#Page_36">36</a>, <a href="#Page_63">63</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_H"><b>H</b></dt> -<dt>“Hail, Sea-Star we name Thee,” <a href="#Page_16">16</a>, <a href="#Page_91">91</a></dt> -<dt>“Hail thee, festival day,” <a href="#Page_73">73</a>, <a href="#Page_110">110</a></dt> -<dt>Hartmann of St. Gall, <a href="#Page_67">67</a></dt> -<dt>Hilary B. of Poitiers, <a href="#Page_1">1</a>, <a href="#Page_74">74</a></dt> -<dt><i>Horae</i>, <a href="#Page_53">53</a>, <a href="#Page_58">58</a></dt> -<dt>Hymn cycles, <a href="#Page_9">9</a>-10</dt> -<dt><i>Hymnarium or hymnary</i>, <a href="#Page_24">24</a>, <a href="#Page_44">44</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_I"><b>I</b></dt> -<dt>Ildefonsus, Primate of Toledo, <a href="#Page_13">13</a></dt> -<dt>“In flowing measures,” <a href="#Page_26">26</a>, <a href="#Page_92">92</a></dt> -<dt>Isidore of Seville, <a href="#Page_1">1</a>, <a href="#Page_13">13</a>, <a href="#Page_30">30</a>, <a href="#Page_65">65</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_J"><b>J</b></dt> -<dt>James, St., of Campostella, <a href="#Page_56">56</a></dt> -<dt><i>Jumièges Antiphonary</i>, <a href="#Page_41">41</a></dt> -<dt>Jerome, St., <a href="#Page_1">1</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_L"><b>L</b></dt> -<dt><i id="xlater">Later Hymnal</i>, <a href="#Page_19">19</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>-5, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>, <a href="#Page_33">33</a></dt> -<dt><i>Laude al crucifisso</i>, <a href="#Page_78">78</a></dt> -<dt>Laudi spirituali, <a href="#Page_78">78</a></dt> -<dt>Lent, <a href="#Page_32">32</a></dt> -<dt>Louis the Pious, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_25">25</a>, <a href="#Page_30">30</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_M"><b>M</b></dt> -<dt>Macaronic verse, <a href="#Page_58">58</a></dt> -<dt>Mary the Virgin, St., feasts of, <a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a href="#Page_47">47</a>, <a href="#Page_64">64</a>, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>, <a href="#Page_72">72</a></dt> -<dt class="pb" id="Page_138">138</dt> -<dt>Metrical forms of Latin hymns, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_65">65</a>, <a href="#Page_74">74</a>, <a href="#Page_76">76</a></dt> -<dt>Metz, <a href="#Page_20">20</a>, <a href="#Page_37">37</a>, <a href="#Page_41">41</a></dt> -<dt><i>Modus</i>, <a href="#Page_43">43</a>, <a href="#Page_75">75</a></dt> -<dt>Monte Cassino, <a href="#Page_16">16</a>, <a href="#Page_20">20</a></dt> -<dt>Mozarabic Hymns, <a href="#Page_12">12</a>-4, <a href="#Page_30">30</a>-1, <a href="#Page_54">54</a>, <a href="#Page_59">59</a></dt> -<dt>Music, <a href="#Page_6">6</a>-7, <a href="#Page_12">12</a>, <a href="#Page_20">20</a>, <a href="#Page_22">22</a>, <a href="#Page_27">27</a>-8, <a href="#Page_35">35</a>, <a href="#Page_39">39</a>, <a href="#Page_43">43</a>, <a href="#Page_73">73</a>, <a href="#Page_81">81</a>-2</dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_N"><b>N</b></dt> -<dt>Nativity, <a href="#Page_8">8</a>, <a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a href="#Page_67">67</a></dt> -<dt>Neumes, <a href="#Page_27">27</a>, <a href="#Page_38">38</a>-9</dt> -<dt><i>Ninth Century Hymnal</i>, see <a href="#xlater"><i>Later Hymnal</i></a></dt> -<dt>Notker Balbulus, <a href="#Page_22">22</a>, <a href="#Page_39">39</a>, <a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_45">45</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_77">77</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_O"><b>O</b></dt> -<dt>“O glorious immensity,” <a href="#Page_31">31</a>, <a href="#Page_94">94</a></dt> -<dt>“O Splendor of God’s glory,” <a href="#Page_3">3</a>, <a href="#Page_84">84</a></dt> -<dt><i>Old Hymnal</i>, <a href="#Page_10">10</a>, <a href="#Page_12">12</a>, <a href="#Page_17">17</a>, <a href="#Page_30">30</a></dt> -<dt>Osmund, B. of Salisbury, <a href="#Page_52">52</a></dt> -<dt>Otfried the Frank, <a href="#Page_76">76</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_P"><b>P</b></dt> -<dt>Palm Sunday, <a href="#Page_65">65</a>, <a href="#Page_70">70</a></dt> -<dt>Passion, <a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a href="#Page_62">62</a></dt> -<dt>Paulus Diaconus, <a href="#Page_21">21</a>, <a href="#Page_26">26</a></dt> -<dt>Peckham, John, Archb. of Canterbury, <a href="#Page_50">50</a></dt> -<dt>Pentecost, <a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a href="#Page_48">48</a></dt> -<dt><i>Peristephanon</i>, <a href="#Page_3">3</a>, <a href="#Page_75">75</a></dt> -<dt>Peter Damian, <a href="#Page_49">49</a></dt> -<dt><i>Phos hilaron</i>, <a href="#Page_62">62</a></dt> -<dt>Pilgrimage hymns, <a href="#Page_56">56</a></dt> -<dt>Pippin, <a href="#Page_11">11</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_22">22</a></dt> -<dt>“Praise, O Sion, praise thy Saviour,” <a href="#Page_50">50</a>, <a href="#Page_105">105</a></dt> -<dt><i>Processional</i> (Book), <a href="#Page_53">53</a>, <a href="#Page_70">70</a></dt> -<dt>Processions (Litany), <a href="#Page_63">63</a>, <a href="#Page_68">68</a></dt> -<dt>Processions (Station), <a href="#Page_63">63</a></dt> -<dt><i>Primer</i>, <a href="#Page_53">53</a></dt> -<dt><i>Prosa</i> or <i>prose</i>, <a href="#Page_35">35</a>, <a href="#Page_37">37</a>, <a href="#Page_41">41</a></dt> -<dt>Prudentius (Aurelius Prudentius Clemens), <a href="#Page_3">3</a>, <a href="#Page_8">8</a>, <a href="#Page_27">27</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a></dt> -<dt><i>Psalmi idiotici</i>, <a href="#Page_10">10</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_R"><b>R</b></dt> -<dt>Rabanus Maurus, <a href="#Page_26">26</a>, <a href="#Page_29">29</a>, <a href="#Page_67">67</a></dt> -<dt>Radbert of Corbie, <a href="#Page_26">26</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a></dt> -<dt>Reichenau, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_30">30</a>, <a href="#Page_69">69</a></dt> -<dt>Roman chant, <a href="#Page_7">7</a>, <a href="#Page_20">20</a></dt> -<dt>Roman Rite, <a href="#Page_12">12</a>, <a href="#Page_20">20</a>, <a href="#Page_52">52</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_S"><b>S</b></dt> -<dt>St. Gall (monastery), <a href="#Page_11">11</a>, <a href="#Page_22">22</a>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a href="#Page_59">59</a>, <a href="#Page_66">66</a>-70 (passim), <a href="#Page_72">72</a>, <a href="#Page_73">73</a></dt> -<dt>St. Martial, <a href="#Page_24">24</a>, <a href="#Page_37">37</a>, <a href="#Page_41">41</a>, <a href="#Page_77">77</a></dt> -<dt>Saints, feasts of, <a href="#Page_8">8</a>, <a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a href="#Page_47">47</a>, <a href="#Page_56">56</a>, <a href="#Page_61">61</a>, <a href="#Page_67">67</a>, <a href="#Page_72">72</a>, <a href="#Page_75">75</a></dt> -<dt>Salisbury, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>, <a href="#Page_70">70</a></dt> -<dt>Sarum, see Salisbury</dt> -<dt>Savonarola, <a href="#Page_78">78</a></dt> -<dt>Sedulius, <a href="#Page_13">13</a>, <a href="#Page_27">27</a>, <a href="#Page_29">29</a></dt> -<dt>Sergius, Pope (687-701), <a href="#Page_63">63</a>-4</dt> -<dt>Sequence, origin of, <a href="#Page_35">35</a>-40</dt> -<dt>“Sing alleluia forth,” <a href="#Page_14">14</a>, <a href="#Page_88">88</a></dt> -<dt>Solesmes, <a href="#Page_28">28</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_T"><b>T</b></dt> -<dt>“The grace of the Holy Ghost,” <a href="#Page_42">42</a>, <a href="#Page_95">95</a></dt> -<dt>“The strain upraise,” <a href="#Page_45">45</a>, <a href="#Page_98">98</a></dt> -<dt>“The banners of the king,” <a href="#Page_5">5</a>, <a href="#Page_85">85</a></dt> -<dt>“The eternal gifts of Christ the King,” <a href="#Page_8">8</a>, <a href="#Page_86">86</a></dt> -<dt>Theodulphus, B. of Orleans, <a href="#Page_26">26</a>, <a href="#Page_28">28</a>, <a href="#Page_31">31</a>, <a href="#Page_67">67</a></dt> -<dt>Thomas Aquinas, St., <a href="#Page_50">50</a>, <a href="#Page_55">55</a>, <a href="#Page_71">71</a></dt> -<dt>Thomas of Celano, <a href="#Page_50">50</a></dt> -<dt>“To the fount of life eternal,” <a href="#Page_49">49</a>, <a href="#Page_103">103</a></dt> -<dt>Trinity, <a href="#Page_32">32</a>, <a href="#Page_44">44</a></dt> -<dt><i>Troparium</i> or <i>tropary</i>, <a href="#Page_44">44</a>, <a href="#Page_52">52</a></dt> -<dt><i>Trope</i>, <a href="#Page_37">37</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_V"><b>V</b></dt> -<dt>Vernacular religious lyrics, <a href="#Page_77">77</a>-9</dt> -<dt><i>Versus</i>, <a href="#Page_66">66</a></dt> -<dt>Villon, François, <a href="#Page_78">78</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_W"><b>W</b></dt> -<dt>Walafrid Strabo, <a href="#Page_26">26</a>, <a href="#Page_30">30</a>, <a href="#Page_67">67</a>, <a href="#Page_69">69</a></dt> -</dl> -<dl class="index"> -<dt class="center" id="index2_Y"><b>Y</b></dt> -<dt>“Yesterday with exultation,” <a href="#Page_47">47</a>, <a href="#Page_101">101</a></dt> -</dl> -<h2>Transcriber’s Notes</h2> -<ul> -<li>Generated an original cover image for free and unrestricted use with this eBook.</li> -<li>Copyright notice provided as in the original—this e-text is public domain in the country of publication.</li> -<li>Silently corrected palpable typos; left non-standard spellings and dialect unchanged.</li> -<li>In the text version only, italicized text is delimited by _underscores_.</li> -</ul> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's The Medieval Latin Hymn, by Ruth Ellis Messenger - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MEDIEVAL LATIN HYMN *** - -***** This file should be named 54150-h.htm or 54150-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/4/1/5/54150/ - -Produced by Stephen Hutcheson, Dave Morgan and the Online -Distributed Proofreading Team at http://www.pgdp.net - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright 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