MASTER NEGATIVE NO. 92-80766 MICROFILMED 1992 COLUMBIA UNIVERSITY LIBRARIES/NEW YORK as part of the "Foundations of Western Civilization Preservation Project" Funded by the WMENT FOR THE Reproductions may not be made without permission from Columbia University Library COPYRIGHT STATEMENT The copyright law of the United States ~ Title 17, United States Code - concerns the making of photocopies or other reproductions of copyrighted material... Columbia University Library reserves the right to refuse to accept a copv order if, in its judgement, fulfillment of the order would mvolve violation of the copyright law. AUTHOR: MACGILTON , ALICE KING TIILF: STUDY IN LATIN HYMNS . . . PLACE: BOSTON DA rii. [1918] COLUMBIA UNIVERSITY LIBRARIES PRESERVATION DEPARTMENT BIBLIOGRAPHIC MICROFORM TARGET Master Negative # Original Material as Filmed - Existing Bibliographic Record 245*7 M175 Restrictions on Use: *<'s^W!^ie^5H^«ffiffi^*s>^^**' ^ww MacGilton, Alice King. A study of Latin hymns, by Alice King MacGilton, A. M. Boston, R. G. Badger f 1918j 116 p. 19^"". {Lettered on cover: Classical studies) £$1.25t liil^liograpliy: p. 113-116. I. Tfymns. Latin - H i. t . % k ori t. i. Title. Library of Congress Copyright A 503316 O BV310.M3 18-17498 ■^ .... . «!■ K iM i i i mmmttimmmtukt^t* TECHNICAL MICROFORM DATA IB IIB REDUCTION RA.'Y\0.__J_l_J^ FILM SIZE:_iJjS_Kr_'±i._ IMAGE PLACEMENT: lA , DATE FILMED: W HLMEDBY: RESEARCrf PUBLK^ATIONS. INC WOODBRf^^7cT INITIALS / Association for Information and image iManagement 1100 Wayne Avenue, Suite 1100 Silver Spring, Maryland 20910 301/587-8202 Centimeter 12 3 4 5 Mil TTT Inches 1 I I I 6 iiliiii 7 8 9 10 11 iiiliiiiliiiiliiiiliiiiliiiiliiiiliii 12 13 1.0 I.I 1.25 i'|';l'["''["l|'i'i"|'|")'| 14 iiliiiil 15 mm 1^ M 2.5 1^1^ 2.2 H: 1^ £ lis, 2.0 u ^ u Ul*,u 1.8 1.4 1.6 MflNUFnCTURED TO flllM STflNDflRDS BY APPLIED IMAGE, INC. If ^ ' % i4 -•- iii 'fmmm^ x^'-%- m 5*i yu X, e^^.T LIBRARY li BADGER'S CLASSICAL STUDIES The Crimes of the Oedipodean Cycle. By Henry N. Bowman. A Study of Viigil'? Descriptions OF Nature. By Mabel Louise Anderson. Deception in Plautus, A Study in the Technique of Comedy. By Helen E. Wieand. A Study of Latin Hymns. By Alice King MacGilton, Latin Stems and Engush De- iiviTivES FOR Caesar. By Madge De Vore. Lyric Songs of the Greeks. Walter Petersen. Selections from Catullus. Mary Stewart. By By RICHARD O. BADGER, PUBLISHER, BOSTON A STUDY OF LATIN HYMNS sr ALICE KING MacGILTON, A. M. J BOSTON RICHARD G. BADGER THB GORHAM PRESS a. CopyrlBht, 1»H, by Rlch«ra O. Badnr All RighU R*MiT*d To MYRON REED SANFORD, L. H. D. OF THE Latin Department Ot MiDDLEBURY CoLLEGB Ol-S'l 30/ l^S.-l w\n MADE IN THE UNITED 1TATB8 OF AMERICA TXB QOSMAM Puss. BOSTOM. U. 9. A. PREFACE T- HIS volume is the result of a critical «''<1;" J °* JJ Tint ^^^^f^-^i^-'r^i^t:::^^ The treatment of the subject is »» near 7 suitable compendmm for a br.et stuay unique part of ^a- 1-ratu- T ^no^^^^^^^^^ ^^ hymns in thcj^P^"!"/" ^^fn *° ^ „^^,,, „f erence -* ^^X, vi^ j^^^^^^^ a place where the source-author b^emry^P ^^^.^^ ^^^^^^^^ each hymn may be found, vjrc* although to authorship and date °/ ^-^jij* ^'^t" sted. approximation to a penod '* g"^^^^*;^^ , ^.^der not , T'w!^rS" ruffitl'n^berof hymnsin familiar with ttic i^aim, ^^iVrtion representative ^e original ^^^fX^^XJ^T^^o^s so that ;*ryrS^-ialte^t.boo.inthestudyof ^Th:ltl?::^^-'dSrinal bias; its chief interest. . V JS b til fact that although pursued m a purely however hes "> t»>e«V^ ^^^^ ^j^^j^^.^„ ^ymns historical way, it '^"^•=^, "^^ ^'T^^.^ion of religious feel- as human l.n^a^e vet, in the opinion of S. W. D^SaT^thor TtX: Latin Hymn-Wrtters and tkejr Hymns, Prudentius fell little below the standard of the Silver Age. He always has been popular with scholars, and several editions of his works have appeared. His long poems with Greek titles have earned him the name of the first Christian poet. In reading the hj^ns of this cu - tured writer of the beginning of the fifth century, it ^ , a delightful experience to find Christian thought expressed in the language and style endeared to us by the master pieces of our favorite Roman poets. How striking the difference in the tone of Pagan verse and these lines: "Animae fuit haec domus olim Factoris ab ore creatae; Fervens habitavit in istis Sapientia principe Christo/' The "In exsequits- from which this stanza is quoted is a funeral hymn by Prudentius and the most sugg«trve of the classic lyrics in treatment and form of any Christian hymn that we have. His "Da, Puer, plectrum chorets 24 A Study of Latin Hymns brings to mind Horace though the motwe of the one who calls for music is so unlike that of the other, an Epicurean poet who is quaffing wine in the shade, and whose wreath of roses is for himself, and whose praise is for the muses. The fourth watch of the Romans, the dawn of day, was called by the Christians "cock-crow." Various writers refer to the bird that heralds the coming of the morning, but the ''Ales diet nuntius" of Prudcntius is deservedly the most famous instance. AD CALLI CANTUM Ales, dici nuntius, Lucem propinquam praecinit; Nos excitator mentium lam Christus ad vitam vocat. "Auferte" clamat, *Hectulos, Aegros, sopor os, desides, Castique recti ac sobrii Vigilate: iam sum proximus/ lesum ciamus vocibus, Flentes, precantes, sobrii: Intenta supplicatio Dormirt cor mundum vetat. Tu, Christe, somnum disiice; Tu rumpe noctis vincula; Tu solve peccatum vetus, Novumque lumen ingerel Dufficld translated the first stanza: "The bird, the messenger of day, Cries the approaching light J Study of Latin Hymns ^5 And thus doth Christ, who calleth us, Our minds to Life incite." We find the first allusion to the custom of making the sign of the cross in these verses from a prayer: "FaCj cum vocante somno Castum petis cubile, Frontem locumque cordis Crucis figura signet. Crux pellit omne crimen; Fugiunt crucem tenehrae; Tali dicate signo Mens fluctuare nescitf* These are eight of the twenty-eight vers« of *« ''^j/Jor D«- memento." The "Salvete flares martyrum ioBoly Innocents' day is justly famous, attractmg a score of translators. Thirty-two hymns general^ 'l^^^^, u *.««, the ocn of Prudent us; the two greatest are iXT'u^trt ' nutil." and the "Quicum.ue clistul .uaeritis:- Duffield gives the f o lowmg vemon of Ae ftrst and last stanzas of "No. et tenehrae et nubOc. "Night, clouds and darkness, get you gone! Depart, confusions of the earth 1 Light comes, the sky so dark and wan Brightens— it is the Saviour's birth! "How many are the dreams of dread Which by thy light are swept apart! 26 A Study of Latin Hymns Thou, Saviour of the sainted dead, Shine with calm luster in the heart!" « This hymn is one of the few very early ones that have a place in the Roman Breviary. Mr. Duffield^s transla- tion of the first and last stanzas of "Quicumque Chrtstum quaeritis" is as follows: "O ye who seek our Lord to-day, Lift up your eyes on high. And view Him there, as now you may, Whose brightness cannot die." «♦♦*** "To Him the prophets testified. In him their hearts rejoice— Our Father bids us seek His side To hear and heed His voice." The genuine religious fervor of this hymn shows how in the midst of the darkest of the DarkAgcs, in the time of greatest disorder and wretchedness, the lives of Christian men shine forth in works of mercy and in songs cxpressmg the faith which sustained them. Duffield says Prudentius "brightened Latin prosody by the presence of a livmg faith." , To the latter half of the fifth century belongs the celebrated hymn, ''Vexilla Regis prodeunt." Its author is Fortunatus, a courtier and, later in life, a priest. What we know of his life of adventure is interesting, for he was one of the first troubadours. He was the last great hymn- writer whose native tongue was Latin. He won dis- J Study of Latin Hymns 37 tinction by composing an Epithalamium for one queen and at the height of his popularity he became a priest at the desire of another. To Queen Radigunda, who later was canonized, and her Abbess Agnes he wrote many amusing lines which do not belong to this study save as they go to prove that our poet's inspiration sometimes was due to dainties sent him by his lady friends who greatly to their credit, were good cooks as well ^s good rehgteuses. The hymns of Fortunatus reveal genius though they have not the simple truth of those of the Ambrosian period and are at times marred by too much glitter. The skill of the secular singer of the court appears in artifices and elegan details. He wrote in the Latin of the decadence, but h^ artistic merit is so great that five of his hymns are well known and deservedly famous. The celebrated De Passione Christi" begins: "Vexilla Regis prodeunt Fulget cruets mysterium. Quo came carnis conditor Suspensus est patibulo/* of which Mrs. Charles gives us the following version, "The banner of the King goes forth, The Cross the radiant mystery. Where in a frame of human birth, Man's Maker suffers on the Tree." This is the most ancient of the seven great hymns and in the favorite unrhymed Ambrosian metre. It has eight stanzas. A Study of Latin Hymns 39 ii.i, jg J Study of Latin Hymns His other hymn on the Passion. "Pon.e 11"^""' fl^^ o,i proelium certaminis" has been the model of at lea.t four other hymns beginnnig -Pange, Ungua The open- ing of his Resurrection hymn. "Salve festa dies toto ven- eraMlis aevo" has also been copied. Of these three hymns of Fortunatus the first has twenty-four English trans- lators, the second found an imitator in Thomas Aqu.nas and all are widely known. A fine early hymn °n th<= «°^ is assigned to him "Cm. benedicta mtet ^"^ *«= ^"'T terra, pontus. aethera" which the hymnographer Thomas- ius attributes to him is one of the earliest hymns devoted to the praise of the Virgin Mary. Its subject as g.ven by DanW is "De Beata Virgine." The ^^^^^J^'J^Z of this hymn begins "0 gloriosa femina. this and the succeeding fifteen verses appear as a separate hymn m the Roman Breviary. His tr«ttn"».°^.*« "f..":"J unlike that of early writings where it is called the ac- cursed tree" and the change may be observed m his own work in which he first speaks of it as patibulum or gallows and later as the blessed Cross the venerated symbol of he Passion. It may have been the friendship of two gifted and saintly women that made Fortunatus capable of a true appreciation of feminine qualities for it certainly is true that a prominent place is given n his hymns to ascriptions of praise to the Blessed Virgin as the ideal of womanhood and the personification of spiritual grace. The Sixth Century The sixth century has among its hymn-writers one whose name is associated with a great advance in church music. Gregory the Great. The Gregorian chants are still in use in the services of the Church. Under him. because of the higher development of church music, the choir became much more prominent and the singmg often was done Jor the people rather than by them. From a devout monk. Gregory became a great statesman and held the keys of Saint Peter for thirteen years. He materially aided the Benedictine foundations whose order of scho - ars deserves the grateful admiration of the world of let- ters. He sent Augustine who was afterwards the Arch- bishop of Canterbury to be a missionary m Britain; his attention being attracted by the golden hair of the Anglo- Saxon slaves in Rome, he determined to make Angeh of the Angli. cii:„„ .-„ The prose works of Gregory are numerous, filling sev- eral volumes of Migne's Patrologia His famous P«- toral Rule was translated into Anglo-Saxon by Alfred th« Great. Nine hymns are attributed to hun. Luther thought his "Re>c Christe, factor ommum Ae best hymn ever written. The "Nocte surgentes. vigilemus omnes has Keble and Newman among its many translators and 'the "Ex more docti mysfuo," Dryden and Neale. The "Ecce jam noctis tenuatur umbra" has many English versions, the "Audi benigne Conditor," even more. His "Ecce tempus idoneum" is a noble hymn, and the power- ful "Sox atra rerum" is assigned to him by Mone. His style is Ambrosian. He uses phrases ^U "«.""f~- The poetic utterance of this time is well described by Gm- «,t who says "it is an action, having ceased to be a htera- ""Oregory's authorship of the "Veni, Creator Spiritus" the second of the seven great hymns and the one the £kM. 30 A Study of Latin Hymns Church honors by a place in the rite of ordination to the priesthood has been questioned. The 'Tent, Creator Spiritus" in its simple grandeur seems a work of inspira- tion. It is small wonder that it is made a matter of ser- ious controversy. In English one can read it in twenty- seven versions, although that of Bishop Cosin ranks first because nearest the original in spirit. Duffield puts the hymn two centuries later than Gregory^s time, and believes that it was written by Rabanus, a pupil of Al- cuin. One of the grounds of his opinion is that Gregory never wrote another hymn the equal of this. He, how- ever, goes on to say that Rabanus "used the art of verse to little purpose at times, but in a happy hour wrote the 'Ven'h Creatbr Spiritus/ " Rabanus was a scholar and this hymn appears in his Codex, and in one of his works there is a chapter that expresses its doctrine, but in spite of these facts, Mone and Wackernagel attribute it to Gregory. This disputed point illustrates the great difficulty of obtaining authentic authorship for any hymn which has not contemporary reference to its origin. It is, after all has been said, a question of little moment since the proof of the value of a hymn lies in itself. No greatness of an author can make a poor hymn a good one. Witness Glad- stone's "Jew pro me perforatusT If a hymn appeals to the heart of the Christian worshiper it does not require a renowned writer to give it enduring fame. Bede and Alcuin recall all that is worthiest in the his- tory of mediaeval education. Bede the Venerable studied at the monastery connected with what is now Durham Cathedral. He became a great Greek scholar, having six A Study of Latin Hymns 31 hundred monks for pupils, many of whom came from across the Channel to study with him. Bede's translation of the Gospel of Saint John into Anglo-Saxon was finished on his death-bed where "singing the 'Gloria/ he gave up the ghost." In the words of Mrs. Charles, "Such was the cahn of a Christian's death-bed in England over eleven hundred years ago." The first number in the first volume of Mone's Hymns of the Middle Ages is a long poem by Bede on the Creation, its last thirteen stanzas arc used as a hymn beginning "Post facta celsa Conditor/' March puts under his name ''Salve tropaeum glorm' and Daniel prints as his four lines beginning 'Traecursor altus lum- inis " but the only well authenticated hymns of Bede are "Hymnum canamus gloriae' and "Hymnum canentes martyrum" which are much admired. The latter is a very beautiful hymn for Holy Innocents' day. Duffield stts what he considers traces of the influence of Caedmon and Beowulf, but hints of Anglo-Saxon parallelism and aUit- eration are much less marked than in Alcuin. A few lines will illustrate Alcuin's style : "Te homo laudet alme creator Pectore, mente, pacis ambre Nou modo parva pars quia mundi est. *t The quaint simplicity of tiiis hymn of praise is admirable. Bede refers to two ancient hymns, thus establishmg their date to be certainly as early as the seventh century. "Apparebit repentina dies magna Domini." a very impres- sive composition which Neale thinks contains the germ of the celebrated "Dies Irae" and "Hymnum dicat «c A Study of Latin Hymns turba fratrum" which Bede describes as "hymnus Hit pulcherrimus." The Seventh Century The seventh century has no famous hymn-writer but has assigned to it one remarkable hymn "Urbs beata Je- rusalem" of which the "Angulare fundamentum suitab e for use at the dedication of a church forms a part. All authorities admit that there have been later additions to this hymn and so competent a critic as Neale believes the whole from Spain and of a later date than the seventh century. His reason is that its meter is the same as that of the forty-eight hymns peculiar to the Mozarabic Brevi- ary which is of Spanish origin. This Breviary contains many Ambrosiani which were evidently favorite hymns in Spain and their meter the iambic dimeter invariably was employed. Its use in Seneca's tragedies may have made it familiar to the early Christian writers of Latin The mediaeval Latin hymns originating in Ireland form another national group. Among these hymns the Prayer of Saint Patrick, of uncertain age and authorship, is ot interest : AD COMMUNIONEM Anima Christi, sanctifica me Corpus Christi, salva me. Sanguis Christi, inebria me. Aqua lateris Christi, lava me, Passio Christi, comforta me. A Study of Latin Hymns 33 O hone Jesu. exaudi me. Intra vulnera absconde me, Et ne permittas me separari a te. Ab hoste maligna dejende me. In hora mortis meae, voca me, Et jube me venire ad te, Ut cum Sanctis tuis laudem te. In saecula saeculorum. The most beautiful hymn of Irish origin is also a com- munion hymn: "Sancti venite Christi corpus sumite," admired both by Daniel and by Neale f- j^ -^-^j plicity. It is a favorite with many m Neale s excellent translation. The Eighth Century Towards the close of the eighth century at the court of Charlemagne, besides the teacher ff f -Jf„ ^^ other distinguished hymn-writer,— Paul the Deacon, fa strangeToincidence that his three best known hymns are Sout Saint John the Baptist. Caswell has made E,gU^ versions of all three: "0 nimis felix merm.ue «S- '-Antra deserti teneris," and "Vt *;-/^^- The last hymn is famous from the use made of its hrst Stanza : it Ut queant laxis Resonare fibris 34 A Study of Latin Hymns Mira gestorum Famuli tuorum. Solve polluti Labii reatum, Sancte Johannes! ** From the first syllables of each line Ut, Re, Mi, Fa, Sol, La, and possibly Si. the names of the tones of the diatonic scale have been derived. Its tune must have been of such a nature that each of these short lines began a degree of the scale higher than the preceding one, so that it was adopted as a mnemonic device for recalling pitch. Its use is associated with the name of Guido of Arezzo a musician of the eleventh century. The Ninth Century The ninth century opened with Charlemagne as Em- peror and continued the advance in education recently made. Rabanus Maurus as Abbot of Fulda permitted laymen to study with the monks. He shares with John Scotus Erigena the intellectual pre-eminence of the age. His writings fill six volumes of Migne's Patrologia and his Codex contains twenty hymns which Duffield thinks are his own compositions. This Hymnodia has an ap- propriate sacred song for every season, among them is the "Feni, Creator Spiritus'' which seems the work of a poet rather than a scholar. The very reason given that he is the learned author of a treatise on the Offices of the Holy Spirit is against the probability of such poetic in- spiration being his. His well known hymns are but two, A Study of Latin Hymns 35 "Tibi, Christe Splendor Patris" which Nealc has trans- lated and his "Christe, sanctorum decus angelorum" of which one of the several English versions can be found in the Hymns of the Ages, Walafrid Strabo who was a pupil of Rabanus after- ward became the Abbot of Reichenau, an abbey situated on an island in Lake Constance. Here when a youth he was a student and he gives in a scries of letters the program of a nine years' course of study at the monastery. Anno Domini 815, Latin and German primers kept the pupils busy; in 816, grammar, Bible history, and convcr- sational Latin; in 817, orthography and memorizing the entire Psalter in Latin; in 818, Bede's prosody, Cato, Scdulus and other Latin poets; in 819, rhetoric and practice in teaching begun; in 820, Bede's histories, the Latin writers of the Golden Age, and the Christian poets, Prudentius and Fortunatus; in 821, Boethius, dialectics and the codes of law; in 822, rhetoric and logic; and in 823, Homer, music, geography, geometry, and astron- omy. Strabo wrote a few hymns but they arc of little value compared with this detailed account of mediaeval education. Strabo was also a voluminous prose writer; biography, a treatise on the Divine Offices, and a Bible commentary help to make up the catalogue of his works. Of the few ninth century hymns the famous "Gloria, laus, et honor tibi sit, rex Christe redemptor/' a hymn for Pahn Sunday, was, according to tradition, sung in prison on that day in the year 812 by its author Thco- dolph the persecuted Bishop of Orleans. The story goes that the tyrant in passing heard the song and impressed cither by it, or the triumphant faith of the imprisoned fc 36 A Study of Latin Hymns Bishop, brought about his release. The ''Ave Maris Stella' the great hymn of the An- nunciation and the parent of all the hymns to the Virgin Mary, probably belongs to this age, although its exact date and its authorship are unknown. Mediaeval Music The ninth century gives us the sequence fully developed by Notker of the Monastery of St. Gall. It previously had been the custom to prolong the last syllable of the Alleluia to cover the time spent in carrying the Missal from one side of the altar to the other between the read- ing of the Epistle and the Gospel. The sequence in rhyth- mic prose gave a syllable to each tone sung and was a great improvement over the older artificial expedient of prolong- ing the ia through dozens of notes.* In speaking of the sequence "Sancti Spiritus adsit nobis gratia" which Dan- iel attributes to Notker, Mone calls it a troparion and prints the twenty-four prose sentences of Daniel's version in sixty-four short lines. He says further it takes the place of the "mill-groaning." This allusion to the abuses of the droning of the choir is illustrated by the follow- ing stanza: €t Terit mola farinula dum virgo parit tenera furfurum, cribratum, partum parit creatura creatorem parit tar a tantarizate, cor da vestra Deo praeparate/' etc. ALLELUIA Al-ie-lu . . . ia = SEQUENTIA Au-ro-ra lu-cis ru-ti-lat coe-lum launli-bus in-to-nat Glo-ri-a Patri, et Fi-li-o. et Spiri-tui Sancto ■- «-»HM»-* | ♦ ■ I * '« f*-^ m. Si -cut e-rat in principio. et nunc, et semper •See page 79 of the Appendix. £t in ue-cu-la saecu-lo-rum. A -men. 38 also this: A Study of Latin Hymnt "Quern nunc virgo peperit Verlazuis, zuis, xuis Verla susanyuna," etc. The sequence "Cantemus cuncti melodum nunc Alle- luia" is believed to be Notker's and the famous "Victimae paschali lauded which has ten translations also is at- tributed to him by some authorities. It is one of the few preserved in the Roman Missal. More famous yet is the wonderful ''Antiphona in morte' which in transla- tion still is used in the burial service of the Church of England and her branches: ft Media vita In morte sumus; Quern quaerimus adiutorem, Nisi te, Domine, Qui pro peccatis nostris Juste irascerisi Sancte Deus, sancte fortis, Sancte et misericors Salvator, Amarae morti Ne trad as nosT Rabanus makes this interesting allusion to antiphonal singing: 'Alternantes concrepando melos damus vocibus/' it A Study of Latin Hymns 39 which Neale translates: "Meetly in alternate chorus Bearing our responsive part." Antiphonal singing undoubtedly was used by the early Christians as there was precedent in Greek antiphons and the responsive rendering of the Hebrew Psalter in the synagogue worship. Pliny the younger refers to the Christians singing "secum invicem." The writings of Ignatius imply the use of responsive singing and the church at Antioch of the time of Constantine II is known to have had this custom. _ When Ambrose introduced the use of hymns he un- doubtedly added melodies to the music which had been simple chants. The wider range of the scales whid> he is believed to have founded on the Greek tetrachoids indicates this higher development of musical form. To the four scales of Ambrose, the Dorian, the Phrygian, the Lydian and the Mixed-Lydian, Gregory added three. The former the Authentic were scales in the keys of D, E F and G, and the latter the Plagal were in A, B, and C Gregory besides introducing Eastern innovations, in order to reform abuses, established a definite method of singing for all the services of the Church. He caused an authoritative Antiphonary to be made whidi was chained to the desk of St. Peter's Cathedral and the only form permitted. Copies of it were made and the Gregor- ian chant spread throughout the West. An Antiphony came into the possession of the Abbey of St. GaU whe« music especially was studied and Notker's work is an evi- 40 A Study of Latin Hymns dence of the advances made there. It may not be ill-timed to state briefly what music wa* at the time of the earliest hymns and sequences. Isidore, a writer in Gregory's time, gives this definition m his Sen- fence on Music. "Harmonious music is a modulation of the voice It is also the union of simultaneous sounds, buch harmony as existed must have been very rudimentary, but melody was highly developed according to the author of the article on plain chant in Grove's Dictionary of Music He declares no more wonderful succession ot single notes ever had been strung into melodies so adapted to the words which were sung. What was inaugurated in Gregory's time, if tradition is right, became highly developed by the thirteenth century when the "Tenebrae of Holy week and the "Exultet" of Easter Eve reach the depth of woe and the height of exultation. Judging by the plain chant of "Le Paroissien Noti"-^ note-book for priests now in use in the Roman Catholic Church- the tones succeed each other in intervals that harmonize with each other, with chromatic turn effects interspersed and ending with a major interval for the expression of joy, a minor interval for lamentation. To the ninth century belongs the first known attempt at a metrical treatment of the Psalms in a collection en- titled "Jd Dominum clamaveram." At this period also dialogues made out of the Gospel narratives were arrang- ed to be sung. This method of the so-called School ot Romanus fell into disuse by the tenth century and its ex- ktence was unknown to so thorough a student of ancient hymns as Neale. These dialogues must have been adapted to use in the mystery and miracle plays, and were pos- A Study of Latin Hymns 41 sibly the germ of the oratorio and even of the opera Th^ weTe like the sequences, rhythmic but not m strict metre The e is a mediaeval hymn, "De XI mille v.„mus. which is divided into what are called "responsona et ver- sus/' for instance: Ilesp. "Deo voto fuit naia placans cunctis, Deo grata Ursula regalis" then the versus expresses approval of what has been sung of the saint somewhat in the manner of the Gr«k d^oru. The introit, a sentence sung before and after thejp^ pointed Psalm, sometimes was introduced by - ^^e ve^ ^ phrase known as the tropus.U was later -^^ t^-V^ of a system of strophes called tketropartum. J^^ J^' sleeping guardian-the patron of my «>"l-*^^7 J rnv life" is a combination of three troparm. Three, four, riv made an ode, and eight or nine odes made a Ion This was probably an adjustment of words to *' AtTheT^nntg of the tenth century, Hucbald of Fl^det Jv« ruli for the or^anum or djaphony f^^ _ to authon« ^^-^^^^^ --e ^u^. ^^s^f^ octaves now forbidden, Dut ut. it^u St of counter-point, the voices only ^^^f "S^^ ^j^^, rivals When true harmony began « not known. Ritter sir n ^History of Music that the Gregorian pkm SiL and the folk-song are "the two factors which orm Isolation upon which all forms of our musical art rest. a I t ^ A Study of Latin Hymns Musical notation was very incomplete. The neumae. crooks and strokes of various shapes and in various posi- tions, were placed over the words to indicate pitch and duration of sound. Until the eleventh century only two lines of the stafiE were used when Guido of Artzzo who introduced solemnization added two more and so gave the neumae a more definite place. Measures were unknown and when they began to be used there were still but two kinds of notes: n longa and ■ brevis. In the early thirteenth century these were increased to four, m du- plex-longa, and ♦ semi-brevis being added. These signs are still used in the plain song books of priests and no measures indicated. Franco of Cologne at this date men- tions two kinds of time: the imperfect and the perfect, which was triple-time, the trinity being the syinbol of perfection. There was also in the Middle Ages a kind of counter-point, generally for three voices, which was called faux-bourdon. It consisted of a succession of chords ot the sixth accompanying the cantus firmus of a Gregorian chant. This was considered a frivolous invention m the fourteenth century. It certainly gave opportunity for mischievous choir boys to sing secular words as variations to the original chant and so to desecrate worship. The Tenth Century By the tenth century the invocation of the Virgin and the Saints became prominent and from that time on, hymns to their honor are in the majority. In Notker s sequence "De nativitate Domini" the fourth line reads, "Hodie seculo maris Stella est enixa novae salutts gaudta; this is the first use of the words marts stella known. In A Study of Latin Hymns 43 the Vulgate edition of the Bible, Gen. I lo, appellavU maria et vidit Deus quod esset bonum and Psalm XXIV 2 "super maria fundavit eum" were regarded as symbolic of Maria the Blessed Virgin, and she often is referred to as the sea or of it. This earliest known hymn addressed to her, while praying to her for peace, light, protection, and bona cuncta gives glory to her Son and contains these beautiful verses: "Vitam praesta puram, Iter para tutum, Ut videntes Jesum Semper collaetentur" and closes with a doxology. Mrs. Hemans's £f«»«^ Hymn is the best known of the hymns translatmg Ave Maris Stella" or written in imitation of it. This famous hymn has at least eight versions in English, many in every modem language, and is one of the few hymns of the kind to find a place in March's collection. ^ Mone's "Lateinische Hymnen des Mtttelalters. Vol- ume I has three hundred and twenty hymns singing of the glory of God and the Christian Faith; Volume II has three hundred hymns addressing the Virpn Mary, and Volume III, five hundred and ninety-five hymns laudmg the Saints. St. Anne, for instance, has twenty-five hymns or sequence, dedicated to her glory as mother of Mary and thus intimately connected with the scheme of salva- tion. Tributes are paid to saints and martyrs for therr good works or their especial gifts and graces and their aid invoked in harmony with these qualities. A line m a t* ft - ^ Study of Latin Hymns hymn about St. Ambrose reads, "Fitae meae r'Oecursum^ aTevident allusion to his wisdom and p.ety. The numer- Ihymns of this character indicate the d'-^;- ^ -J'^ the church in the West was develop.ng. .Often mthe^ hymns to be used on Saints' days the --P"-^ °* / ^J^ to the Deity are confined to the doxology at the close to uic i^t J Rlpssed Virein sometimes and even there the name ot the Hiesseo v irgu ■* Trie latter half of the tenth century belongs the -Ckoru, novae Jerusalem" which has a pla« m the old Breviary of England, but not in the Roman Breviary. It is a fine Whitsuntide hymn and has ^»-^f\^^^ English translators. This hymn .s attributed to Fulbert of Chartres, also the -Nuntium vobu fero de supernu which March assigns to Gregory under the Utle Ve epiphania." Thb Dawn of thb Modern Agb To the eleventh century, sometimes called the dawn of the modem age because it was a century o* »«g». belongs the coUection of Utin Hymns of the Anglo^a:'on C 3 preserved through the upheaval of the N^an conquest which was so to alter Bntish «sag«. Goth^ architecture, musical notation, and the -ent.on ofjr^- paper illustrate the varied act.vit.es of the age, wh.le JIbadours and crusaders flourished and a ^-t «1^- revival brings to the fore Hildebrand, Anselm of Can er- Zly, and pTetro Damiani, the flagellant. Hymn-wnte« we« not numerous, but to the eleventh century belongs the loveliest of Latin hymns: A Study of Latin Hymns 45 Vent, Sancte Spiritus, Et emitte coelitus Lucis tuae radium. Vent, pater pauperum. Vent, dator munerum. Vent, lumen cordium, Consolaior optime, Dulcis hospes animae, Duke refrigerium; In labore requies, In aestu temperies, In fletu solatium, lux beatissima, Reple cordis intima Tuorum fidelium! Sine tuo numine Nihil est in homine, Nihil est innnoxium. Lava quod est sordidum, Riga quod est aridum, Sana quod est saucium; Flecte quod est rigidum, Fove quod est f rigidum. Rege quod est devium! Da tuis fidelibus In te confitentibus Sacrum septenarium; Da virtutis meritum, Da salutis exitum, Da perenne gaudium! It is included in "the seven great hymns/* and is beyond question one of the three most beautiful hymns ^6 A Study of Latin Hymns to the Holy Spirit. Hymns so addressed are not numer- ous, but are remarkable for elevation of tone and depth o feeling. It has been the general bel.ef that Robert II of France, whom historians portray as an mefficent kmg but a beautiful character, was the author of the yem, Sancte Spiritus." He wrote several sequences, none ot them worthy of note. Duffield and others bel.eve .t was written by Hermann the Cripple, a scholarly and samtly monk of Reichenau, who was a celebrated writer on music. The famous sequence "Salve Regina mater muer- icordiae" is certainly Hermann's. He is known to have made a translation from the Arabic of Anstotle s Poettcs. His unusual character is shown in the fact that he who is surnamed Contractus (the cripple), k also called hdans- simus (most cheerful). Pietro Damiani already has been referred to as illus- trating Augustinian influence. Besides the hymns previ- ously mentioned as his, he wrote "Gravi me terrore pulsas, vitae dies ultimata" which has been described as the Dus Irae" of the day of death instead of the day of judgment. It is awful in its details of horror. His Easter hymn "Paschalis festi gaudium" and his "Paule. doctor egregte are of admitted merit. He wrote many hymns to the Virgin and the saints but his greatest hymn is Ad per- ennis vitae fontem" which Daniel calls a pearl for our treasury. It is not one of the seven hymns, but it might well Z as it is certainly superior to the "Stabat Mater speciosa." Mrs. Charles has translated it adequately and there are fourteen other English versions. Pietro, cardinal and flagellant, was an earnest jeformer. He was the author of the "Liber Gemorrhianus address- A Study of Latin Hymns 47 ed to Pope Leo IX exposing prevalent abuses. The flagellation which he advocated and practised was to be the antidote to self-indulgence. The Psalter was reated to an accompaniment of blows of the scourge. Every Psalm called for one hundred strokes, and so the whole required fifteen thousand 1 Of the hymns of unknown authorship of this century a very interesting "Cantus peregrinantium" has these lines : "Ducem nobis praebe, angelum adhibe, qui nos deducat ante tel Iter nostrum rege, ab hoste defende et ad propriam reduce! Dexteram extende, sinistram submove, et adversis nos defendel Neale's rendering of these verses is: "Thy faithful guardian send The angel who may tend And bring us to Thy holy seat. Defend our onward path, Protect from hostile wrath And to our land return our feet. Thy right hand be stretched out. Thy left be round about, In every peril that we meet! Mil 48 A Study of Latin Hymns There are some errors in the original text but the spirit is one of humility and sincere piety. Much of this Pilgrim's Song is as suitable a prayer for a traveler now as it was nine hundred years ago. The Twelfth Century In Latin hymnody no century was more productive of great things than the twelfth. The work of Marbod who was acknowledged to be the foremost poet of his day overlaps the preceding century. From him we have the finest specimen of rhymed Latin verse we possess : ORATIO AD DOMINUM Deus'homo, Rex coelorum, Miserere miserorum; Ad peccandum proni sumus, Et ad hutnum redit humus; Tu ruinam nostratn fulci Pietate iua dulci. Quid est homo, proles Adaef Germen necis dignum clade. Quid est homo, nisi vermis. Res infirma, res inermisT Ne digneris huic irasci. Qui noH potest mundus nasei: Noli, Deus, hunc damnare. Qui non potest non peccare; ludicare non est aequum Creaturam, non est tecum: Non est miser homo tanti, Ut respondeat Tonanti. Sicut umbra, sicut fumus, Sicut foenum facti sumus: Miserere, Rex coelorum. Miserere miserorum. A Study of Latin Hymns 49 There are no more musical couplets in any tongue than these eleven pairs of verses. It is evident that in Mar- bod's time the diphthong ae rhymed with e, vid. Adae, clade. This is doubtless regarded as a late-Latin corrup- tion by the restorers of the Roman method of pronuncia- tion. A specimen of Marbod's dactylic hexameter verse may be found in March's collection, a hymn on the Resurrection beginning, "Credere quid dubitem fieri quod posse probatur." His poem "De Gemmis"' containing the mythology of precious stones and their virtues was a great favorite in the Middle Ages. He was a good Bishop as well as a popular poet, governing wisely his diocese of Rennes. It is a rare experience to find an early hymn written by a woman. Besides the "A urea luce" of Elpis whose date is uncertain, we have in this century one hjrmn at- tributed to Hildegard, "O ignis Spiritus"' and one to the noted Heloise, "Requiescat a labored* It is to be re- gretted that both of these attributions are now disputed. The twelfth century offers the hymns of the two Ber- nards, Abelard, Peter the Venerable, Hildebert, and Adam of St. Victor. It speaks well for the training in Latin in the monasteries that it could be used so artistically by men of genius of whom it was not the native language. Trou- badours were singing in the tongues of the Northwest but churchmen were loyal to the language of Constantine and to the Western Church. They consecrated their talents to sacred song in the language made sacred by ecclesiastic association. Hildebert, Archbishop of Tours, wrote ten thousand venes. His prem to the three Persons of the Trinity is 50 A Study of Latin Hymns A Study of Latin Hymns 51 laden with theological distinctions that are ill-adapted to poetical treatment. Whatever the artistic defects of the ''Alpha et Omega, magne Dens*' a creed in rhyme, it is very lofty in tone and of deep import. It is difficult to imagine how so profound a theme could be better handled in verse. It has attracted several translators and its closing verses, beginning "Me receptet Sion ilia" are found in modern hymnals. Archbishop Trench and Neale rank them very high. . The foremost churchman of his age was Bernard of Clairvaux. He was in his youth under the English abbot, Stephen Harding, at Citeaux and from there went out to found Clairvaux, turning a desolate valley into a veritable garden of the Lord. Like Augustine, this twelfth century saint had a saintly mother. His four brothers followed him into the monastic life. Of a magnetic per- sonality, tall, thin and very fair, an earnest preacher, he was a marked figure in the world of his day. His life was full of activity, his hymns are full of quiet trustful- ness. This energetic missionary was a man of deep devo- tion and sincere piety. His famous hymn The Name of Jesus has come down to us in different forms. March gives ninety-six of the best verses. The hymn is divided easily into groups of stanzas, each group making a hymn of ordinary length. The first twenty lines are familiar to all in the beautifi|l version in English by Caswell which may be found in the Hymnal of the Episcopal Church : Jesus, the very Thought of Thee with Sweetness Fills the Breast, The Latin text is: DE NOMINE lESU lesu dulcis memoria ^ Dans vera cordis gaudia, Sed super mel et omnia Eius dulcis praesentia. Nil canitur suavius, Auditur nil iucundi%$s Nil cogitatur dulcius Quam lesus, Dei filius. lesu, spes poenitentibus Quam pius es petentihus, Quam bonus te quaerentibus Sed quid invenientibust Nee lingua valet dicer e, Nee litera exprimere Expertus potest credere Quid sit lesum diligere. These verses are a good illustration of iambic dimeter rhyming in fours. The Latin stanza quoted below is. the original of Ray Palmer's : ^ "Jesus Thou joy of loving hearts! Thou Fount of life! Thou Light of men! From the best bliss that earth imparts We turn unfilled to Thee again.' ml n lesu, dulcedo cordium, Fons vivus, lumen mentium, Excedens omne gaudium, Et omne desiderium-' jj 33 J Study of Latin Hymns i i A Study of Latin Hymns 53 This long hymn on the name of Jesus doubtless has been the inspiration of the many hymns of a similar nature in every language. St. Bernard's long poem "Jd unum quodlibet membrum Christi'* contains the "Salve Caput cruentatum" of which O Sacred Head now fVounded is the favorite English version. Other parts of this remarkable series of hymns are injured by painful details, especially the "Ad Latus" While the merit of St. Bernard's hymns is beyond ques- tion, their tone of intimacy, even of familiarity, led to dangerous extremes, and introduced a tendency to be lamented. They were, however, the utterance of an un- bounded love, of a faith new-born. It is said that the Gospel had a new meaning to him when he discovered "it was intended to comfort the human heart." Does not this experience, like similar ones of later times, make evi- dent a prevalent misunderstanding of the Gospel which gave rise to presenting Christ as the severe Judge rather than the merciful Redeemer? Two of the sayings of Bernard are worth recording, "He does not please who pleases not himself" and "Hold the middle line, unless you wish to miss the true method." Few men who have received canonization deserve the honor by such a variety of superior qualities as did this noble, earnest Christian priest. His opponent Abelard was a contrast to iiim in more than mere opinion. A brilliant thinker who overthrew the Scholastic doctrine of "universals," Abelard was of a domineering nature and harsh even to those he loved. Pride of intellect was his pitfall. His one hundred and six hymns are little known. To create songs that others will sing, one must have the heart of a singer. In Neale*s Mediaeval Hymns may be found a translation of Abe- lard's "Mittit ad Virginem" 2l hymn in dactylic dimeter verse on the Annunciation. Quite different was the character of his generous friend Peter the Venerable who received Abelard into the Abbey of Cluny when other doors were closed to him. Peter's "Mortis portis fractis fortis" M a stirring Easter hymn. The black monks of Cluny had a greater poet in the other Bernard whose long poem of three thousand lines, "De Contemptu Mundi" contains the verses on the Heav- enly Land which have given him enduring fame. From this part which is entitled "Laus patriae coelestis" Neale took the material for three great English hymns, Brief Life is here our Portion, For Thee, O Dear, Dear Coun- try, and Jerusalem the Golden. Neale also gives in The World is very Evil a version of the verses beginning: "Hora novissima, tempora pessima sunt, vigilemus. Ecce minaciter imminet arbiter ille supremus*' The hexameter verses are made very musical by a suc- cession of five dactyls. The Church is indebted to the Prior of Cluny for the most radiant picture of the City of the Christian's hope outside the Apocalypse. Adam of St. Victor was a poet whom the dialectical atmosphere of a theological school could not spoil. His fault to the ordinary reader is that his allusions are ob- scure and hb thought full of difficult symbolism. He is a theobgiani' poet (a favorite of both Neale and Trench) rather than one for the people, excepting in his master- 54 A Study of Latin Hymns pieces. In 1858, by the discovery of a manuscript, the number of his known hymns was increased from thirty- six to one hundred and eight. Of these March publishes eight, and translations of eleven are given in Neale's Mediaeval Hymns, His "Zyma vetus expurgitur" and ^'Simplex in essentia'* may not attract many readers but two of his hymns rank among the best, "Heri mundus exultavit** about St. Stephen, and "Veni, Creator Spir^ itus, Spiritus recreator" one of the famous hymns on the Holy Spirit. A remarkable hymn whose author is unknown, belongs to this period, the "Cum revolvo toto corde" which is plainly the precursor of the "Dies Irae," Take for example these verses: "Dies ilia, dies vitae Dies lucis inauditae Et mors ipsa morietur Qua nox omnis destruetur,'* • Its one hundred and eighty-four verses are divided oy Mone into five parts. It is more personal than the "Dies Irae" and has more about the rewards of the blessed. Mrs. Charles has an excellent translation of the last part. The Age of the Giants The thirteenth century, the age of Frands and Dom- inic, has been called the Age of the Giants, Of great hymn-writers it produced Thomas Aquinas, Bonaventura, Thomas of Celano, and Jacoponous. A Study of Latin Hymns 55 Of anonymous hymns, we notice "Recolamus sacram coenam" which is found in translation in the Lyra Eu- charistica. It contains the stanza: "He spake, before them all Still perfect Man He stood, Though what he ate and drank he named His very flesh and blood." The "O beata beatorum martyrum certamina' is a fine commemoration of the martyrs and has been trans- lated by Neale. Very early in this century disciples began to gather around Francis of Assisi, one of the most beautiful char- acters in the history of the Church. Among them was Thomas of Celano, who wrote the life of St. Francis and to whom is attributed the finest Latin hymn ever written, the "Dies Irae/'* It is perfect in form and it is said sound and sense never were more happily united in any poem in any tongue. Goethe, Scott, and Dr. Johnson are merely representative admirers of its greatness. Its use in the closing scenes of Faust and in The Lay of the Last Minstrel shows how universal is its application. That Scott repeated parts of it on his deathbed and that Dr. Johnson could not read the stanza beginning "Quaer- ens me"" without tears, show the strength of its appeal. It is used in the Roman Catholic ritual, and is as suitable for a burial service as for All Souls* day. Mozart's Requiem, completed as he was dying, is a worthy setting for this sublime hymn. The discriminating world is of ♦"DiVj Irae" with English Translation appendix p. 79. 36 d Study of Latin Hymns accord in ascribing to it preeminence. Written a century before the Divina Comedid by a countryman of Dante, it rises to the same height in its appreciation of the great issues of life from the mediaeval Christian standpoint. The popularity of the "Dies Irae" has brought it many translators, whose zeal has been out of all proportion to their ability as poets. One reads these versions from cur- iosity, but turns away in utter dissatisfaction. Students who attempt a translation, even with humiliating results, gain familiarity with every phrase, every word, which is worth securing at any price. In English, the triple rhym- ing verses have an artificial sound which detracts from the solemnity of the effect, and the closing trochaic foot is a weak ending without finality. Duffield mentions one hun- dred and fifty-four published English versions of which ninety-six are by American authors. In Latin the three rh5Tning words, from the repetition of the same vowel sounds, are like a solemn knell and remind one of the mu- sic of cathedral chimes. A few other hymns arc accred- ited to Thomas of Celano, but will not bear comparison with this masterpiece. This stanza will recall its marvel- ous power : "Quaerens me sedisti lassus, Redemisti crucem passus: Tantus labor non sit cassusi'* The last five stanzas of the hymn have not the merit of the great thirteen. With this one notable exception, the thirteenth cen- tury fell below its predecessor in creative work. The Latin passed on to the modem languages the perfection A Study of Latin Hymns 57 of rhyme and accentual metre it had attained and it began to take the place of honor that is still its own, one of dignity apart from everyday life. Of the four celebrated hymn-writers mentioned, all were Franciscan monks except the great Thomas Aquinas, who was a Dominican. This Order was founded seven years later than the Franciscan, and was famous for schol- arship, especially in dialectics and theology. Foremost among the scholars of his day, Thomas Aquinas found time to put his belief in the Real Presence into poetic form, in addition to writing his weighty treatises, which still are authoritative in the Roman communion. He felt as well as thought deeply on this subject, so his hymns arc touched with true emotion. His Pange, lingua, gloriosi Corporis mysterium, Sanguinisque pretiosi. • t» is much admired by Neale and venerated by all Catholics. His "O esca viatorum" is a favorite with Protestants also in Ray Pahner*s version O Bread to pilgrims given. The "Adoro Te devote, latens Deltas" is honored by a place in the Roman Missal. "Lauda, Sion, Salvatorem" has a dozen English translators. It was written to be sung on Corpus Christi Day, the Thursday after Trinity, which was set apart in 1261 for this observance. In 1215, the fourth Lateran Council had enunciated the authorized doctrine of transubstantiation in an attempt to silence the doubts of Churchmen and to bring to one mind the Chris- tian world concerning this greatest of Christian sacra- Mi 58 A Study of Latin Hymns A Study of Latin Hymns 59 ments. The early communion hymns in their simplicity and the later ones like the "O colenda Deitas" a prayer to be used at the raising of the Host, teach more of the truth by the inspiration of a "lifting of the heart to God" than any doctrinal exposition can. Bonaventura, the Franciscan friend of Thomas Aquinas, exemplified in his life and writings the gentler Christian graces. He is the author of the greatly admired "Horae de passione Jesu Christt* of which the last section **Ad Completorium : Qui jacuisti mortuus/' is very mov- ing. He wrote two other hymns on the Passion ''Chris- turn ducem" and the curiously figurative ''Quantum ha- mum caritas tibi praesentavit" His famous hymn on the cross, "Recordare sanctae crucis" carries its glorification to the height as the symbol of Salvation. The "Psalter- ium'* filling six hundred lines with the virtues and powers of the Virgin Mary has been attributed to Bonaventura. He is said to have written it as an aid to private devo- tions. The use of the rosary, a prayer device of Eastern devo- tees before the time of Christ, was in the thirteenth cen- tury taught by a monk of St. Dominic. There is a hymn to Christ which was to be used in saying beads but tiie "Ave Maria* many times repeated, with an occasional "Pater Noster/* soon became the established usage. The purpose was undoubtedly concentration of mind in long devotions. The second greatest hymn of the thirteenth century is the justly celebrated "Stabat Mater dolorosa,'* whose author was an eccentric Franciscan monk, who lived towards the close of the century. Jacoponus was a genius, more than half mad it seems, and yet sane enough to write his own epitaph as "a fool for Christ*s sake." He startled the world by his oddities and went so far in bold acts and utterances as to bring upon himself, for a time, the dire penalty of excommunication. One sus- pects his folly was assumed as a cloak for the zealous reformer. He died in 1306 singing the "Anima bene- dicta" the song of a blessed soul, and receiving his last communion. Of his hymns the "Cur mundus militat sub vana gloria" well expresses the contempt for all things earthly which his life showed. What others sang about, Jaco- ponus exemplified by indifference to any standards but spiritual ones: "Quam breve festum est haec mundi gloria Et umbra hominis sunt ejus gaudia" His "Cur relinquis Deus coelumf" is a fine hymn and has been translated well by DufHeld. A man who could write the "Stabat Mater dolorosa* was a true poet, one of the very greatest, and perhaps the last who deserves this title among the writers of Latin hymns. Before his day, hymns to the Virgin had become very numerous and afterwards were even more abundant, but this "Stabat Mater'* is the climax of them all, even its companion composition the "Stabat Mater speciosa" credited to Jaco- ponus but probably not his, falls far below it though both are ranked by Noyes among the seven great hymns. A hymn of this period of unknown authorship, Thomp- son thinks should have more English translators and gen- 60 A Study of Latin Hymns A Study of Latin Hymns 61 cral use in our time, it is the "Jesu, dulce medicamenf It has eight stanzas in four pairs. One is as follows: '*In adversis patientem in dolore fac gaudentem tua me dementia, in secundis temperatum in moerore non turbatum laetum in injuria J tt Reichenauer writes that it is 'Vm schdnes Lied durck seine Innigkeit und wohl geordnete Anlage, die eine edle Haltung giebtJ tt The Last of the Latin Hymns After the close of the thirteenth century there are few well-known hymns; those written to the Virgin and the Saints greatly increase in number. There are long poems composed on the "Angeli salutatio/' which in the Vulgate reads: ^'Ave Maria, gratia plena; Dominus tecum; Benedicta tu in mulieribus*' t To this the words of Elizabeth's salutation are added, "Benedictus Fructus ventris tuu' In the "Ave Maria,'* the name Jesus follows and then comes: "Sancta Maria ora pro nobis peccatoribus nunc et in hora mortis nostrae. Amen/' There are hymns in which each verse begins with one of these words. There are others founded in the same way upon the famous hymns in her praise. Her Seven Joys are the subject of several. "Omni die die Mariae'' has one hundred and twenty-six lines. The "Te Matrem laudamus*' modeled after the ancient "Te Deum laudamus" is preser/ed in the Roman Breviary. "Regina coeli laetare" and "Stella maris, O Maria*' are hymns of poetic value and among the Latin hymns which originated in Germany we find dating from the fifteenth century the lovely "Puer natus in Bethlehem" and the "Virginis in gremio" The Vir- gin's place of prominence in early hymns of the Nativity developed naturally in later ages into almost countless entire compositions in her honor. The last two volumes of Mone's Latin Hymns of the Middle Ages covering as they do the Dark Ages of liter- ature, have little of poetic value. They do, however, pre- serve among much inferior work, a few hymns expressing genuine feeling in melodious form. The subject matter of the third volume has a wide range, although certain saints often are honored. St. Ursula has many verses in her praise. The "Ave Martha gloriosa" portrays the devout woman of Bethany as patroness of Tarascon in place of the legendary Britomart. The napkin of St. Veronica has its song. The learned Doctors of the Church have their share of praise, St. Augustine being lauded at great length. No further back, however, than this age of decadence of Latin hymnody can be traced some excellent sequences. The "Majestati sacrosanctae" whose style suggests an earlier origin is one of the best. Mauburn's "Hen quid jaces stabulo" is a favorite with the translators. Its original can be found in March's Latin 62 A Study of Latin Hymns Hymns. '"Novum sidus exoritur' the oldest hymn on the Transfiguration belongs to this period. There are also at this time curious hymns partly Latin and partly in the vernacular; lower than this mixed form hymnody could not fall. After 1452, the Breviaries containing all the ritual except the mass were in use. To the Sarum Breviary we owe the 'Xollaudamus Magdalena' which Daniels calls a very sweet hymn, and two Transfiguration hymns "Coelestis formam gloriae" and "O nata lux de lumine/'^ From the Sarum Missal we also have "5i vis vere gloriari" which has been well translated by Neale, the prince of translators. Thomas a Kempis, who is beloved by the Christian world as the author of the celebrated Imitation of Christ, is credited with a few hymns ; Wackernagel publishes two. March has the '"Adversa Mundi tolera' on the grace of patience and the "Astant angelorum chori" about celestial joys. Mone gives ''Jerusalem luminosa' and "Nee quis- quam oculis videt." It is interesting to note that the "Imitatio Chrtsti" is in rhythmical prose. Take for m- stance these lines:* "A mans volat, currit et laetatur; Liber est, et non tenetur; Dat omnia pro omnibus j Et habet omnia in omnibus; Quia in uno summo super omnia quiescit Ex quo omne bonum fluit et procedit/' *Jfnitatio Christi Book I, chap. 5- A Study of Latin Hymns 63 From the York Processional of the sixteenth century we have three proses which begin "Salve festa dies, toto venerabilis aevo" following Fortunatus only in this open- ing verse. The humanists, both Protestant and Roman Catholic, of this age sing in a tongue foreign to their thoughts songs of praise which seem too much like Latin exercises. A few of Luther's Latin hymns, however, are spontane- ous outpourings of emotion and there are some other simple but good ones of this late day. From the "Society of Jesus" recently organized come hymns of unique style. They are full of a passionate devotion of the kind first manifested plainly in St. Ber- nard's poems. The "Dormi, fili, dormt* is of so intimate a nature as to seem more like a lullaby than a sacred song. One stanza will illustrate its style: "Quidquid optes, volo dare: dormij parve pupule! dormi, fili, dor mi carae matris deliciolaeJ jt Other famous hymns of Jesuit origin are "Pone luctum Magdalena" which has nine English translators, and the "Ecquis binas columbinas" which has a half-dozen and has a place in the original in both March's and Arch- bishop Trench's collections. The latter hymn is intensely emotional. "Altitudo, quid hie jaces'' and "Plaudite coelt'* are great favorites; the "Plaudite coeli" is a pre- cursor of the best modern Easter hymns with its refrain : *"Plaudite coeli" with English version appendix page 81. 64 'A Study of Latin Hymns tt Nam que revixit Sicuti dixit, Pius illaesus Funere Jesus!" To Xavicr, on doubtful evidence, is assigned the author- ship of the famous "O Deus, ego amo te. Nee amo te, ut salves me Aut quia non amantes te Aeterno punis igne,' >t From the prayer book of Mary Queen of Scots we have the following touching prayer which the world of her admirers loves to believe was her own composition. It was certainly on her lips in those last trying hours when her life was sacrificed because of its dangerous nearness to the throne of her cousin Queen : "O Domine Deus! Speravi in te; O care mi Jesu! Nunc libera me: In dura catena. In misera poena Desidero te; Languendo, gemendo, Et genuflectendo Adoro, imploro, Ut liberes me!'* A Study of Latin Hymns 65 It may be rendered: Lord, my God! 1 have hoped in Thee. My blessed Lord! deliver me: In tedious chains In bitterest pains 1 long for Thee. Fainting and crying, At Thy feet lying, I adore Thee, I implore Thee, O set me free! Collections of Hymns The Roman Breviary now in use was published in 1568 and superseded all the diocesan and provincial ones. It has been revised twice and now is published in four closely printed volumes of Latin text. It contains besides proper Psalms, prayers, and sermones from the Church Fathers, hymns introduced as needed for daily or occasional use. Pars Verna of the "Breviarum Romanum'* has ninety-one hymns; Pars A estiva, one hundred and eleven; Pars Autumnalis, ninety-two and Pars Hiemalis, eighty-six. There are a hundred and ninety different hymns; thirty- seven are printed in each of the four volumes and many others appear in more than one. It is a valuable collec- tion of old Latin hymns; among them we find some re- casts made to bring the Latin nearer to the classic form. To re-write in the interest of style sometimes weakens 66 A Study of Latin Hymns the presentation of the subject matter and thus results in a loss of vigor and freshness. Daniel prints fifty-five of these recasts in parallel columns with the old forms. The changes often are very slight, merely verbal with now and then a stanza revised beyond recognition. The Order of Cluny in a revision of the Paris Breviary which continued to be used, substituted new hymns for those which tradition had sanctioned. Instead of recasts, hymns were rewritten entirely. The Ambrosian hymn "Ad coenam Agni providi/" which in the Roman Breviary is ""Ad regias Agni dapes" is in Charles Coffin's revision "Forti tegente brachio/' Jean Santeul contributed to the edition of 1686 many excellent hymns, among them, Sainte-Beuve pronounces finest the **Stupete gentes, fit Deus hostia/' of which Duffield gives the Latin text. In the 1736 edition of the Paris Breviary the new hymns were twelve to one, only twenty-one old ones being re- tained, while there were eighty-five by Santeul and nearly a hundred by Charles Coffin, less gifted than Santeul, but a man of talent and a skillful writer of Latin verse. These hymns are too recent to be included in mediaeval collections. Newman's "Hymni Ecclesiae'' contains many and they may be read in English in the Hymns of the Paris Breviary translated by Williams. The student of Latin Hymns owes a debt of gratitude to their zealous collectors from the Middle Ages down to our day. German scholarship has done much to make the hymns accessible, Daniel's Thesaurus in five volumes ap- pearing from 1841-56, and the three volumes of Mone's "Lateinische Hymnen des Mittelalters'' in 1853. Migne's Patrologia — prose and verse — in two hundred and twen- A Study of Latin Hymns 67 ty-one volumes was published in Paris about the same date. Of English students, Newman, Neale, whose Latin essay on Sequences is printed in Daniel's Thesaurus, and Trench have each edited collections of Latin hymns. March published in 1875 a volume of Latin Hymns, con- taining one hundred and fifty well-chosen selections. Duf- field estimates that there are between four and five hun- dred Latin hymns suitable for present day use, although as in all literature the masterpieces are few. The Value of Latin Hymns The study of Latin Hymns is worth all the time and labor that have been or can be expended on it, since there is no other approach so direct to the ages in which they appear, as through these hymns which reveal the deepest desires, strongest hopes, and most sincere belief of minds that were among the best of their time. We seem to look into the eyes of the singers as we feel the emotions of these poet-souls of the past Christian ages. They wrote of what they knew, they praised what they prized. They share with us what they valued more than any earthly gain or renown, the spiritual heritage which was their refuge amid the storm and stress of a life even more exact- ing than ours, their shield against temptation, and their hope of eternal life. In the study of Latin Hymns we can trace the course of Christian life down through the ages. Those of the fourth century give a clearer expression of great funda- mental doctrines than do the hymns of later centuries. Every time of religious revival infuses a brighter glow of 68 A Study of Latin Hymns emotional fervor into the hymns of the period, just as in more recent years Wesley, Keble, and Moody found the hymn the natural utterance of penitence and newly awakened devotion. The subjective treatment found in the later Latin hymns both of Jesuit and of Protestant writers shows the change to belong to the age rather than to the shade of religious conviction of the poet. Hoffman attributes the effect that the best hymns have upon us to their simplicity and veracity. **Here,'* he says, "sounds the speech of a general confession of one heart and one faith." The appeal they make to us is convincing proof of the influence they have had for all these centuries on those who used them. This thought gives a new meaning to "the communion of saints." "All the faithful," in the words of Thompson, "are bound in spiritual brotherhood with those who held to the same Head and walked in the light of the same faith in by-gone centuries." Even the hymn-writers who differ most widely from each other and from ourselves as to the tenets of "the Faith once delivered to the Saints" when they sing of the manifestation of the love of God and pro- claim the good tidings of His Kingdom, speak a language every Christian understands and to which the heart re- sponds in the twentieth century as it has through all the Christian ages. APPENDIX NOTES I English Versions Of the more than five thousand Latin hymns accessible to him, Mr. Duffield indexed eight hundred and seventy hymns, recasts of hymns, and portions of hymns treated as whole hymns. Although only one in five of the number preserved, they are of especial interest because their merit has secured for them translation into English. Our Eng- lish hymnody has been enriched by versions of Latin hymns from the time of Chandler down to those of the present day. Their poetic excellence and loftiness of devotion make them of equal value to the student of liter- ature and to the historian of religious thought. II I. Breviaries The Breviaries and Missals of the Western Church are the sources of the Latin hymns we possess. About a hundred Breviaries were printed in the fifteenth and six- teenth centuries; others exist in manuscript form. The Paris Breviary was published in 1527, its new form in 1736. Part I of Newman's "Hymni Ecclesiae' 71 |i t n A Study of Latin Hymns is from the Paris Breviary of which the latest edition is largely the work of Jean Santeul and Charles Coffin. The first edition of the Roman Breviary was printed in 1 48 1 and the final form in 1631 to which a few addi- tions have been made in later years. The Roman Brevi- ary being the one used in the Roman Catholic Church of this country is the most accessible. It is also of present interest because in common use in our own land, and as its hymns belong to all ages it is more representative of Latin hymnody than any other of the Breviaries. Ill Hymns of the Roman Breviary One hundred and ninety Latin hymns are contained in the Roman Breviary proper; in the appendix to Pars Hiemalis there are three additional ones for the celebra- tion of the Holy Family. The following thirt>'-four hymns are printed in each of the four volumes: ft tf €* €t €t €€ Adspice in f ami Deus Alto ex Olympo vertice Ave maris Stella" Christe sanctorum decus Christo profusum Coelestis urbs Jerusalem Coelitum Joseph decus Deus tuorum militum Exult et or bis gaudiis ** »* t* »* ]" »t A Study of Latin Hymns 73 ff *> • '}> ft '*Fortem virili pectore "Hujus oratu Deus "Invicte martyr "Iste confessor Domini ''Jam lucis orto" "Jesu corona celsior" "Jesu corona virginum "Jesu Redemptor omnium ''Memento rerum Conditor" "Moerentes ocult* "Nunc Sancte nobis Spiritus "O gloriosa virginum" "Praeclara custos virginum" "Quem terra pontus sidera" "Rector potens" "Rerum Deus tenax "Sacris solemniis "Saevo dolorum "Sanctorum meritis "Te Joseph celebrent "Te lucis ante terminum" "Te splendor et virtus "Verbum supernum Virginis proles. . .Haec Virginis proles, . .Hujus '» it *t tj n .Jf tt *t *t Jt JJ This list is made up of those suitable for use through- out the Church year. Five hymns are for the Hours; five, about the Virgin Mary; three, about the Passion; two, about St. Joseph; and two, about the Holy Com- munion. The martyrs have seven hymns in their praise; 74 A Study of Latin Hymns A Study of Latin Hymns 75 the Confessors, three; the Angels, two; and the Apostles, one. Of the two remaining, one is "Urbs coelestis Jerusa- lem" and the other for use at the dedication of a church. Of the one hundred and fifty-nine hymns not included in every volume, twenty-seven appear three times, thirty- three twice and ninety-seven only once. The demands of especial occasions and seasons and the many definite cele- brations of Saints' days govern the arrangement. IV Dates of Published Translations With the revival of the study of primitive hymnody numerous translations into modern languages were made, especially into German and English; of the latter the following are the most noteworthy. In 1 83 1 the Rev. Isaac Williams published a volume containing twelve hymns. ' In 1837 Chandler's collection of one hundred and eight hymns appeared. In 1839, Hymns from the Paris Breviary by Williams came out. In 1845, the Rev. John Williams, afterwards Bishop of Connecticut, published a volume of forty translations. In 1849 Caswell who left the Church of England at the time that Newman did, brought out all the hymns of the Roman Breviary and Missal in an English version. In 1 85 1 and 1852 Neale published his first translations and in 1858, his famous Rhythms of Bernard of Clairvaux on the Celestial Country. In 1858 appeared The Voice of Christian Life in Song by Mrs. Charles. In 1889 Duifield's Latin Hymn-Writers and their Hymns was published containing many original transla- tions. English translations from various sources have appeared from time to time in periodicals but the best of these as well as of those of the authors mentioned above are found in modern hymnals. w w .-C- The Seven Great Hymns \t The seven great hymns according to Noyes who pub- lished them with English versions in 1865 are: : \^o^ • jt €t tt tt ti • tJ Vexilla Regis Veni, Creator Spiritus Veni, Sancte Spiritus Laus Patriae Coelestis Stabat Mater Dolorosa Mater Speciosa' Dies Irae, Dies ilia* Fortunatus Gregory the Great Hermann or Robert Bernard of Cluny Jacoponus Uncertain authorship Thomas of Celano VI "Le Paroissien Noti" *'Le Paroissien Note" contains the Mass, prayers for confession and preparation for th^ Holy Communion, the 76 A Study of Latin Hymns Way of the Cross, and the services for Holy days and Saints' days of the Church year. It has the music written on a four-lined staff with ncumae for unison or one-voiced singing, for all the chants and hymns, of which it contains the following number : Hymns, sixty-three Anthems (Antiphonal Chants), thirty-one Psalms, twenty-seven Prosae, ten Canticles, four Motets, four Responses, three Prayers (to be sung by the choir), two and two numbers unclassified, O filii et filiae and the impressive Rorate. The list given above is indexed. More than one musical form is provided for many of the Chants, thus giving some freedom of choice. , VII Hymns of the "Coeleste Palmetum" Of the thirty-eight hymns, not previously listed, from the "Coeleste Palmetum'' and the "Officium Majoris Hebdomadae/' the "Crux fidelis" and th Paint the awakening fields with green. Weave a carpet in your loom Of violets rare and roses bright And lilies many-hued and white. Currite plenis, Carmina, venis! Fundite laetum, Barbytha, metrum Namque revixit, Sicuti dixit, Pius illaesus Funere lesus! Plaudite montes, Ludite fontes; Resonent valles, Repetunt colles: lo revixit, Sicuti dixit, Pius illaesus Funere lesus t Give songs of joy free rein, Pour out ye lutes the glad refrain. For He is living, as he said. Our holy Lord unharmed is risen from the dead. Applaud ye mountains and play ye fountains; While happy valleys cry and echoing hills reply, Lo! He is living as He said, Our holy Lord, unharmed, is risen from the dead. INDEX OF LATIN HYMNS FROM THE COLLECTIONS OF MARCH, DANIEL, MONE, AND DUFFIELD SAINT BASIL'S HYMNAL LE PAROISSIEN NOTE AND THE ROMAN BREVIARY AND PSALMS AND CANTICLES FROM THE VULGATE EDITION OF THE HOLY BIBLE INDEX OF LATIN HYMNS PmST LINES OR TITLES Ad ooeli Clara Ad ooenam Agni protridi Ad99t9 fldele9 Ad99to tanota Trinitat Adjuvant no9 9orum Adoro Te d9Vot9 Ad p«r«nnto vita9 font9fn Ad r9girum A9t9ma ChrUti. .St gloriam A9t9ma ChrUti. .Et martifrum A9tema co9li gloria A9t9m9 rerum Conditor A9t9me Bex alti99iin9 Ah, homo perpende fragiU9 Agni pa90hali9 Agno9oat omne 9aeculum Agnu9 D9i in pa90ha Al99 di9i nuntiua j Alleluia I Alleluia I finita jam AlUWia duloe carmen Alleluia piie edite laudibue Alpha et Omega, magne DeiM AltitudOt quid hio jacee Alto ea Qlympo vertice Amane volat SOURCE COLLECTION Early Irish March Ambroaian Maroh 3CV or XVI Cen- tury Stead XIV Century Daniel IV XII Century Duffleld Thomas Aquinas March Pietro Damlani March Roman Breviary March Thomas A. Kem- pls March Thomas fi. Kem- pis March Xrv Century Daniel I Roman Breviary Daniel I Roman Breviary BreviarumRo- manuzn Ambroaian March Ambrosian BrarlaromBo- manum Ambrose March Gregory Daniel I and IV Canisius Duffleld Daniel V Fortunattts Daniel I and IV XIII Century Mone I Prudentius March XII Century Daniel 11 XI Century March Mozarabic Brev- March iary HUdebert March Jesuit Daniel II Roman Breviary Daniel I Thomas k Kem- Pis Duffleld 86 A Study of Latin Hymns A Study of Latin Hymns 87 Angelua ad Virginem Angulare fundamentum Anima Christi, aanctifica me Animae sacra aolemnia Anna, Mater pie, ov6 Annue Chriate, aaeculorum Antiphona de Spiritu Sancto Antra deaerti teneria Apparehit repentina magna dies Arte mira, miro conailio A aolia ortu cardine Ad uaque A aolia ortu cardine Et xiaque Aapice infami Deua ipae ligno Athleta Chriati nohilia Attolle paulum lumina Audi, henigne Conditor Audi noa. Rex Chriate Audi, tellua, audi Aurea luce et decore roaeo Aurora coelum, purpurat Aurora jam apargit polum Aurora lucia rutilat Ave caput Chriati gratum Ave caro Chriati cara Ave Chriati corpua verum Ave diea fulgentior Ave Hierarchia Ave maria atella Ave maria atella noatrum cor Ave Martha Ave Martha glorioaa Ave Mater qua natua eat or}>ia Pater Ave mitia Imperatrix Ave Porta Paradiai Ave quern deaidero Ave Regina ooelorum Vn or VIII Cen- tury Unkno\*Ti date XIV or XV Cen- tury Wamefrled VII Century Unknown Sedulius Anibrosian Roman Breviary Roman Breviary XVI or XVII Century Gregory XI Century XI Century Elpls Roman Breviary Ambrosian Ambrosian Gregory XI MS. XIV Cen- tury MS. XIV Cen- tury X Century March Daniel I Mone III Mone UI Daniel I Daniel I March March March March Breviarum Ro- manum Breviarum Ro- manum Daniel II March Daniel IV Daniel I and IV March Daniel I Daniel I and IV March Mon« I I I Daniel I Mone I Mone Mone II March Mone II Mone III Mone lU Mone Mone Mone Mone n II II Ave Rex qui deaoendiati Ave Verlmm inoamatum Beata Chriati paaaio Beata nobia gaudia Beate paator Petre Bella dum late XIV Century XV Century Bonaventura Ambrosian Roman Breviary Roman Breviary Benedicta aemper eat CantemiM cuncti melodium nunc Notker CeUorum civium inclyt a gaudia Hereford Hym- nal Chorua novae Jeruaalem Pulbert Chriate ooeleatia medicina Chriate cunctorum dominator Chriate lumen perpetuum Chriate precamur annue Chriate qui lux ea et diea Chriate Rex coeli Chriate Salvator omnium Chriate aanctorum deoua Franciscan Breviary Chriati corpua Ave Chriati corpua Ave aancta de Chriato profuaum aanguinem Chriatum ducem qui per crucem Circa thronum majeatatia Coeleatia formam gloriae Coeleatia uria Jeruaalem Coeli Deua aanctiaaime Coelitum Joaeph decua Coeloa aacendit hodie ColUtudemua Magdalena Conaora patemi luminia C' March March St Basil's Hymn Book March Daniel I and IV Daniel IV March Daniel IV March St Basil's Hymn Book Mone III March March March March at Basil's Hymn Book Mone Daniel IV March Daniel n Daniel IV Daniel IV March Breviarum Ro- manum March Daniel I March Breviarum Ko- manum March Daniel U Breviarum Ro- manum Daniel I and rv St Basil's Hymn Book Breviarum Ro- A Study of Latin Hymns 89 Feativia reaonent oompita Fortem virili peotore Fulgentia auctor aetheria Forti tegente braohio Oaude felim Anna Oaude Maria templum Gavde Maria virgo Dei gene- tria Oaude m^)rtalitaa Oaude virgo quae de ooelia Oloria laua et honor Oratea nunc omnea reddamua Oravi me terrore pulaaa Haec eat diea qua candidae Haec eat fldea orthodoxa Haeo eat diea iriumphalia Heri mundua exultavit Herodea hoatia impie Heu quid jacea atabulo Hio breve vivitur Hio eat diea verua Dei Hio eat qui Hodiemi Ituc diei aacramenti Hominia aupeme Conditor Hom^o Dei creatura Hora noviaaima tempora pea- aima Hora qui duotua tertia Hujua oratu Deua alma nobia Hymnum canamtta gloriae Hymnum oanentea martyrum Hymnum dioamua Domino Illuminana altiasimua Immenae coeli Conditor Imperaa aaxo Romaji Breviary 8t Basil's Hsrmn Book Antoniano St Basil's Hymn Book Ambrose March Charles Coffin Duffield Mone III Mone 11 Mone II Peter the Ven- erable March Mone II Theodulph March Notker March Pietro Damlani March Hlldebert March Urban VIII Breviarum Ro- manum XV Century Daniel IV Adam of St. Vic- tor March Sedulius March Maubum March Bernard of Cluny March Mosarabic Brev- iary March Alain of Lisle March Trondhjem Mis- sal Daniel V Roman Breviary March Ryckel Daniel IV Bernard of Chiny March Bonaventura March Roman Breviary Breviarum Ro- manum Bede March Bede March Ambrosian March Ambrosian March Gregory March Roman Breviary Breviarum Ro manum 90 In monte olivia A Study of Latin Hymns In profunda noctia umbro In sapientia diaponens omnia Intemi festi gaudia Inviote martyr unicum • Invictus heroa Numinia Ira juata Conditoria late oonfeaaor Domini ^Jam Chriatua aatra Jam facea lictor Jam laudemua Jam lucia orto aidere Jam meta noctia tranaiit Jam moeata quieaoe querela Jam morte victor Jam aexta aenaim volvitur Jam aol recedit igneua Jam aurgit hora tertia Jam toto aubditua veaper Jeruaalem luminoaa Jeau corona celaior Jeau corona martyrum Jeau corona virginwn Jeau decua angelicum Jeau dulcedo oordium Jeau dulce m,edicamen Jeau dulcia amor meua *I and J are often interchanged Roman Breviary BrevlarumRo- manum Roman Breviary Brevlarum Ro- manum XII Century Mone I Adam of St Vic- tor Daniel II Roman Breviary Brevlarum Ro- manum Roman Breviary Brevlarum Ro- manimi Roman Breviary Brevlarum Ro- manum Roman Breviary St BaeH'e Hymn Book Ambroslan Daniel I and IV Roman Breviary Brevlarum Ro- manum Mone Daniel I IV Dufldeld March and XV Century Ambroslan Hilary Prudentlue Roman Breviary Brevlarum Ro- manum Ambroslan March Roman Breviary Daniel I Ambroslan Daniel I and rv Roman Breviary Daniel IV Thomas k Kem- pls Mone I Ambroslan Brevlarum Ro- manum Roman Breviary Brevlarum Ro- mamim Ambroslan Daniel I and IV Bernard of Clalr- vaux March Bernard of Clalr- vaux March XII Century Daniel IV Frelburgr Brevi- Brevlarum Ro- ary manum In mediaeval Latin. A Study of Latin Hymns 91 Jeau dulcia memoria Jeau meae deliciae Jeau noatra redemptio Jeau Redemptor omnium Per- pea Jeau Redemptor omnium qu^m Jeau Rex admirahilia Jeau apea poenitentibua Kyrie cuncti potena Genitor Lauda mater Eccleaia Lauda 8ion Balvatorem Laua Tibi ait Legia flguria pingitur Lucia Creator optime Lucis largitor aplendki0 Lumen vium divinum Luatra nex qui jam pm-^git Lux alma Jeau mentium Lux ecoe aurgit aur^a Lux decora Magnae Deua potential Majeatati aacroaanct^^ Maria caatia oculia Martinae celebri plauditc Martyr Dei Venantiua Martyria ecce diea Agathae Matria aub alma Mediae noctia tempos 99t Media vita in morte aumm§ MemrCnto rerum Ceniflt)9r Me receptet Sion iUa Miria media repente libtr Mittit ad virginem Bemara 01 uiair- vaux March Jesuit Daniel U Ambroslan March X or XI Century Daniel I and IV Roman Breviary Daniel I Bernard of Clalr- vaux March Bernard of Clalr- vaux March Mone Odo of Cluny Daniel I and IV Thomas Aquinas March Mone Roman Breviary Brevlarum Ro- saanuia Omflonr BCiardk Bllarr Maroth >tone WWtUIMtlU Maroh Reman Breviary Brrvlarvm ll»- Ttuutftxn PradiBllua March Romaa BrsTlsnr Brtvlarum Ro* manum Ambro«lftii March XII CMitwnr I>anlel V Roman Hrerlary Breriarufli Ho- manum UrbAA VUI BrevianisQ Ro- inanuan Rnman Breviary Bnfvlansm R»- Damasus XUraa at nubila NuUia ta ganitor hlanditia Nunc Bancta noJHa Bpirittia Nuntium vo'bia faro da aupamia O haata baatorum martyrum O banigniaaima Jaau Chriata Obduaara polum nubila coali O bona patria O oolanda Daitaa O Daua ago amo Ta Nac amo O Daua ago amo Ta Nao prior O Daua optima O Domina Daua aparavi O aaoa xHatorum O filii et filiaa O gana baata coelitum O ganta falix hoapita O glorioaa femina O glorioaa virginum O ignia Spirittu Paracliti Ronuin Br«vUtry Brevianim Ro- manum P«ter th« Van- erable March Adam ©f St Vic- tor March Roman Breviary Breviarum Ro- manum Hlldebert March Thomas k Kem- piB Mone I Gregory March ^ Roman Breviary Breviarum Ro- manum XV Century Daniel IV Gregrory Daniel I and IV Prudentius Daniel I and IV Roman Breviary Breviarum Ro- manum Ambroslan Daniel I and IV Fulbert March XIV Century Daniel II Mone I Ambrosian Daniel I and IV Bernard of Cluny March Conrad of Gam- ing Mone I Xavier MarcJi Xavler Daniel II Stead Mary Queen of Scota March Jesuit March 1 XII Century March 1 Jesuit March 1 Roman Breviary Breviarum Ro- ^ manum Fortunatua Daniel I Roman Breviary St Basil* ■ Hymn Book ' HUdefard Daniil V lil O Jeau Dulciaaime cibua aalu- taris O Jesu mi dulcisaime O lux beata coelitum O lux beata Trinitaa O miranda vanitaa Omni die die Mariae Omnia expertem maculae Omnia mundi creatura O nata lux de lumine Jeau O nimia felix meritique celai O pania dulciasime O Pater aancte mitia Opea decuaque regium O Praeaul beatiaaime Optatua votis omnium O quanta qualia aunt ilia O qui aupemae gaudia O quot undia lacrymarum O rex aeterne Domine Omarunt terram germina O aacerdotum veneranda jura O aalutaria hoatia O aancta mundi Domina O aanctiaaima O piiaaima O sola magnarum urbium O aol aalutia intimia O atella Jacob fulgida O atella aancta Anna XV Century Bernard of Clalr- vaux Roman Breviary Ambrose Bernard of Clair- vaux Casimir Roman Breviary Alain of Lisle Sarum Breviary Paul the Deacon XII or XIII Cen- tury XV Century Urban VIII Ambrosian Abelard Roman Breviary Roman Breviary Ambrosian Abelard Paris Breviary XV Century Prudentlus Roman Breviary Roman Breviary 93 Mone I March St. Basil's Hymn Book March March Daniel II and IV Breviarum Ro- manum March Daniel I and IV Daniel I Daniel II and V Daniel I and IV Breviarum Ro- manum Mone March Duffield Breviarum Ro- manum St. Basil's Hymn Book March March St Basil's Hymn Book St. Basil's Hymn Book Mone St. Basil's Hymn Book March Breviarum Ro- manum Breviarum Ro- manum Mone III 94 A Study of Latin Hymns O ter foecundaa O ter jocundaa O Trinitaa Icuudabilis O V08 omnes qui transitia Pange lingua, .corporis mvs- terium Pange lingua . . diei praeconvum Pange lingika. .lauream cer- taminia Pange lingua. .Magdalena Pange lingua, .proelium Paraclitua increatua Parvulua noliia naadtur Parvum quando cemo Deum Paachale mundo gaudium Paachalia feati gaudium Pater aupemi luminia Patria aapientia Paule doctor egregie Placare Chriate aervulia Plauds feativo Plaudite coeli Plauau chorua laetabundo Pone htctum Magdalena Post facta celaa Conditor Poteatate non natura Praeclara cuatoa vvrginum Praecuraor altv^ luminia Primo die quo Trinitaa Puer natua in Bethlehem Puer nobis naadtur Pugnate Chriati mUitea Quaenam lingvxt tibi O lancea Quam dilecta tabemacula Quern nunc virjo peperit Jesuit March Mone I Mone Thomas Aquinas March • Mone Roman Breviary Breviarum Ro- manum Sarum Breviary Daniel Fortunatus March Hildebert March XVII Century Mone XVI Century March Roman Breviary Breviarum Ro- manum Pietro Damiani March Bellarmlne Daniel IV Benedict XII Daniel I and IV Pietro Damiani March Roman Breviary Breviarum Ro- manum Roman Breviary Breviarum Ro- manum Jesuit March Adam of St. Vic- Daniel II and tor V Jesuit March Bede Mone I Adam of St Vic- tor March Servite Breviary St. Basil's Hymn Book Bede Daniel I Roman Breviary Breviarum Ro- manum XV Century March XIV or XV Cen- tury Daniel I and IV Paris Breviary Duffleld Roman Breviary Breviarum Ro- manum Adam of St. Vic- tor March Mone II A Study of Latin Hymns 95 Quantum hamum oaritaa Qu>em terra pontua aethera Quern, terra pontua aidera Quicunque cerium, quaeritis Quicunque Chriatum quaeritia Quid aum miaer tunc dicturus Quid tyranne quid m,inaris Qui mutare solet Qui procedis ab utroque Quia novua coelia Qui aunt iati Quodcunque in orbe nexibua Quo me Dev,a amore Quum. ait om-nia homo Recolamua aacram, coenam Recordare aanctae crucis Rector Potena verax Deua Regali aolio fortia Iberiae Regina coeli . laetare Regis super ni nuntia Rerum Creator omnium Te Rerum Creator optime Rerum Deua tenax vigor Rex Deua immensi Rex glorioae m,artyrum Rex glorioae Praeaulum Rex sem,piteme coelitum Sacrae Chriati celebrem,ua coronae Sacra jam splendent Bonaventura Fortunatus Roman Breviary F r a n.c i s ca n Breviary Prudentlus Roman Missal Pietro Damiani Roman Breviary Adam of St. Vic- tor Roman Breviary Roman Breviary Jesuit Bernard of Clair- vaux XIV Century Bonaventura Ambroslan Urban VIII XIV Century Urban VIII Orarium (Eng- land) Ambrosian Ambroslan Eugenius Gregory Roman Breviary Roman Breviary March Daniel I and IV Breviarum Ro- manum Breviarum Ro- manum Daniel I Duffleld March Breviarum Ro- manum March Breviarum Ro- manum March Breviarum Ro- manum Daniel IV March Daniel V March Daniel I and IV Breviarum Ro- manum Daniel II Breviarum Ro- manum Duffleld Daniel I Daniel I and IV March Breviarum Ro- ma num Breviarum Ro- manum Breviarum Ro- manum Mone Roman Breviary Breviarum Ro- manum 96 A Study of Latin Hymns Sacria aolemnUa juncta aint 8aepe dum Chriati popultia Saevo dolorum turbine Thomas Aquinas Roman Breviary Roman Breviary 8alua aeterna indeficiena mundi Sarum Missal Salutia cketemae dator Salutia humanae aator Salvator mundi domine Salve caput cruentatum Salve crux arbor Salve feata diea . . Qua Deua de coelo Salve feata diea.. Qua Deua eocUaiam Salve feata diea.. Qua Deua infemum Salve feata diea . . Q%m aponao Salve Jeau paator bone Salve Jeau Rex aanctorum Salve Jeau aumme bonua Salve mundi aalutare Salve Regina mater miaeri- cordiae Salve aancta caro Dei Salve aancta faciea Salve aancta parena Salvete Chriati vulnera Salvete clavia et lancea Salvete florea martyrum Roman Breviary Roman Breviary VI or VII Cen- tury Bernard of Clair- vaux Adam of St. Vic- tor Daniel I Breviarum Ro- manum Breviarum Ro- manum Daniel II and V Breviarum Ro- manum Daniel I Daniel I and IV March Duffleld A Study of Latin Hymns 97 York Processi- onal Daniel II York Processi- onal Daniel II Fortunatus March York Processi- onal Daniel II Bernard of Clair- vaux Daniel IV Bernard of Clair- vaux Daniel IV Bernard of Clair- vaux Daniel IV Bernard of Clalr- vaux March Hermann Duffleld Xll Century Mone I Aegidius of Bur- gos Daniel I, II, IV and V Sedulius March Roman Breviary Daniel II Roman Breviary Breviarum Ro- manum Prudentius March Salve tropaeuni gloria Sancta Mater Sancte Spiritus adait nobia Sancti venite Chriati corpua Sanctorum meritia inclyta gaudia Sanctua genitor omnium in- genitua Sedibua coeli nitibua Sic patrea vitam Sicut chorda muaicorum Simplex in eaaentia Si via vere gloriari Somno refectia artubua Spea noatra aalua noatra Spiritus aancti gratia Splendor patemae gloriae Squalent arva soli pulvere Stabat mater dolorosa Stabat mater apecioaa Stella maria O Maria Stupete gentea Fit Deua hostia Summae Deua clementiae Mundique Summae Deua clementiae Sep- tern Summae parena clementiae Summi parentia filio Bummi parentia unioe Summi Regie cor aveto Bede March Roman Breviary Breviarum Ro- manum Notker Mone I Early Irish Daniel I and IV VI — ^IX Century Daniel I and IV Roman Breviary Roman Breviary Adam of St. Vic- tor Adam of St. Vic- tor Sarum Missal Ambrosian Ambrose Ambrose JacoiK>nua Jacoponus Jean Santeul Ambroslail Mone Breviarum Ro- manum Breviarum Ro- manum March Daniel II and V Daniel V Daniel I and rv Mone I Daniel I March March March March Mone II Duffleld Breviarum Ro- manum Roman Breviary Breviarum Ro- manum Roman Breviary Breviarum Ro- manum B'ranciscan Breviarum Ro- Brevlary manum Roman Breviary Breviarum Ro- manum Bernard of Clalr- vaux March 98 A Study of Latin Hymns A Study of Latin Hymns 99 Summis ad (xatra Surrexit Christits hodie Tandem audite me Te deprecante corporum Te didmus praeconio Te gestientem Te hom,o laudet alme Creator Te Joseph celebrent Telluris alme Conditor Telluris ingena Conditor Tellus et aethra jubilent Te lucis ante terminum Te mater alma numinis Te matrem, laudamus virginem Terit mola farinula Terret me dies terroria Te splendor et virtus Patria Te Trinitas Unitaa Tibi Christe splendor Patria Roman Breviary XIV Century Jesuit Roman Breviary Roman Breviary Roman Breviary Alculn Roman Breviary Roman Breviary Ambroslan Plavlus of Chalons Ambroslan Roman Breviary XV Century Qonella Roman Breviary Ambroslan Rabanus Tinctam ergo Chriati sanguine Roman Breviary Trinitas Unitas Deitas Tristes erant apostoli Tu natale solum protege Tu qui velattis facie Turbam jacentem pauperum Turtur inane nescit amare Tu Trinitatia Unitas nam Pierre deCorbell Ambroslan Roman Breviary Bona Ventura Roman Breviary HUdebert Ambroslan Tu Trinitatis Unitas orbe-m Roman Breviary Unde planctus et lament um Urbs beata Jerusalem Urbs Sion aurea Urbs Sion inclyta XV Century VIII Century Bernard of Cluny Bernard of Cluny Brevlarum Ro- manum March March Brevlarum Ro- manum Brevlarum Ro- manum Brevlarum Ro- manum March St. Basil's Hymn Book Daniel I March Daniel I Daniel I Brevlarum Ro- manum Mone II Duffleld Brevlarum Ro- manum Mone I Daniel I and IV Brevlarum Ro- manum Daniel V Daniel I Brevlarum Ro- manum March Brevlarum Ro- manum March Daniel I and IV Brevlarum Ro- manum Daniel I March March March Ut nunc ab alto Ut queant laxis resonare flbria Veni Creator SpiritUrS Mentes Veni Creator Spiritua Recrea- tor Veni jam veni Veni Redemptor gentium Veni Sancte Spiritus Venit e coelo Mediator alto Veni veni Emmanuel Verbum a Patre prodiena Verbum Dei Deo natum Verbum supemum A Patre Verbum supemum E Patris Verbum supemum prodiens Nee Vexilla Regis prodeunt Victimae paschali laudes Virgini Mariae laudes Virginis in gremio Virginis proles. .Haec Virginis proles . . Hujus Virgo plorana Virgo virginum praeclara Vita nostra plena bellis Vix in sepulcro Zyma vetua expurgetur Roman Breviary Brevlarum Ro- manum Paul the Deacon March Gregory March Adam of St Vic- tor March XI Century Duffleld Ambrose March Hermann March Roman Breviary Brevlarum Ro- manum XII Century Daniel II and rv XIV Century Mone I March Ambroslan Daniel I Roman Breviary Daniel I Thomas Aquinas Daniel I Fortunatus March Notker Daniel II and in Mone II XV Century Daniel V Roman Breviary Brevlarum Ro- manum IX Century Brevlarum Ro- manum Notker Daniel John of Gelssel Brevlarum Ro- ' manum Alain of Lisle March Roman Breviary Brevlarum Ro- manum Adam of St, Vic- tor Daniel 11 and V lOO A Study of Latin Hymns SUPPLEMENT March's Latin Hymns Arx firma Deus noster est Jesus pro me perforatus Luther-Buttmann Toplady-Gladstone The Breviarum Romanum Aeterne Rector siderum Aspice ut Verbum Patris Auctor beati saeculi Audiat miras audiens Audit tyrannus anxius Aurora soli Christe sanctorum decus Rector Coelestis Agni nuptias Coelestis aulae nuntius Coelo Redemptor praetulit Corpus domas jejuniis Custodes hominum psallimus Dum mente Christum Gentis Polonae gloria Gloriam sacrae celebremus omnes Sindonis Iste quern laeti colimus fideles Le Paroissien Noti Hymns O par ingenito Panis angelicus Tantum ergo Thuribii efferimus Bcllarmine Prudentis Fr. Lorenzini Bellarminc A Study of Latin Hymns 161 Prosae Ad Jesum accurrite Bone pastor Ecce panis Lauda Sion Tota pulchra es Votis Pater annuit Motets A dor emus in aeternum Memorare O Jesu Salus fons amoris Prayers Domine salvum Parce Domine Rorate Responses Domine non secundum Duo seraphim Homo quidam Anthems Alma Redemptoris Beata Dei genitrix Beata mater Calicem Christum Regem Da pacem I02 J Study of Latin Hymns Ego sum panis vivus Inviolata Integra Miserator Dominus O Adonai et dux O cUwis David O cor Jesu O Emmanuel O interiora sancta O oriens splendor O quam suavis est O radix Jesse O Rex gentium O sacrum O Sapientia Propter nimiam Qui pacem Requiescat super eum Sacerdos Sancta Maria Sicut novellae olivarum Sub tuum praesidium From the Coeleste Palmetum and the Officium Ma- joris Hebdomadae Hymni:^ Ave dulcis Mater Christi Ave Jesu Coelestis aulae gloria Cor Jesu, cor purissimum Crux fi^elis A Study of Latin Hymns 103 De Nomine Jesu (From stanzas not listed elsewhere) Amor Jesu dulcissimus Amor tuus continuus Cujus gustus sic afficit Jam quod quaesivi Jesu flos matris virginis Jesu in pace imperat Jesum quaeram in lectulo Jesu sole serenior Jesu summa benignitas Rex virtutum. Rex gloriae Salve Jesu Sana me et sanus ero Turn bam perfundam Tu mentis delectatio Domine Jesu, noverim me Fatalis agonis Gaude virgo Mater Christi Magne Joseph, fili David Nobis sancti Spiritus O Bina conjugalis O candidae Cohortes O Casibus probati O coelici Quirites O Digna lilietis O Ignati militantts O Lux beata Trinitas O Mater, O Senatus O ordo Nuntiorum O Redemptor Patrum 104 A Study of Latin Hymns O sancta Turba O Turba laureata O vos fideles Animae Salve Area foederis Salve horologium Salve mundi Domina Salve Pater Salvatoris Salve urbs refugii Salve Virgo florens Salve Virgo puerpera Salve Virgo sapiens Salve vulnus Spectabilis Senecta Stella coeli extirpavit Supplices offerimus Vectigal hoc am oris INDEX PSALMORUM Biblia Sacra Vulgatae Editionis Ad Dominutn Psalmus CXX Ad te Domine clamaho Psalmus XXVIII Ad te Domine levavi Psalmus XXV Ad te levavi oculos me as Psalmus CXXIII Afferie Domino Psalmus XXIX Attendite popule meus Psalmus LXXVIII Audite haec Psalmus XLIX Beati immaculati Psalmus CXIX Beati omnes Psalmus CXXVIII Beati quorum ' Psalmus XXXII Beatus qui intelligit Psalmus LXI Beaius vir qui non abiit Psalmus I Beatus vir qui timet Psalmus CXII A Study of Latin Hymns 105 Benedicam Dominum Benedic anima mea Domino et omnia Benedic anima mea Domino Domine Bencdictus Dominus Benedixisti Domine Bonum est confiteri Cantate Domino . . in consilio narrabo quoniam Dicant Dical et invocate Quis quoniam Cantate Domino Cantate Domino Coeli enarrant Confitebimur tibi Confitebor . . Confitebor . . Confitebor . . Confitemini . . Confitemini , . Confitemini . . Confitemini . . Confitemini . . Conserva me Domine Credidi Cum invocarem De profundis Deus auribus nostris Deus deorum Dominus Deus Deus meus ad te Deus Deus meus respice Deus in adjutorium Deus in nomine tuo Deus judicium tuum Deus laudem meam Deus misereatur nostri Deus noster refugium Deus quis similis erit tibi Deus repulisti nos Deus stetit Deus ultionum cantate laus quia Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus XXXIV cm CIV CXLIV LXXXV XCII XCVI CXLIX XCVIIl XIX LXXV CXI ' IX cxxxvin evil CXVIII cv CVI C XXXV I XVI cxv IV cxxx XLIV L LXIII XXII LXX LIV LXXII CIX LXVII XLVI LXXXIII LX LXXXII XCIV io6 A Study of Latin Hymns Deus veneruni gentes Psalmus LXXIX Dilexi quoniam Psalmus CXVI Diligam te Domine Psalmus XVIII Dixi Custodiam Psalmus XXXIX Dixit Dominus Psalmus CX Dixit injustus Psalmus XXXVI Dixit insipiens . . . Deus Psalmus LIII Dixit insipiens . . . Dominus Psalmus XIV Domine clamavi Psalmus CXLI Domine Deus meus Psalmus VII Domine Deus salutis Psalmus LXXXVIII Domine Dominus noster Psalmus VIII Domine exaudi . . . auribus Psalmus CXLIII Domine exaudi . . . et clamor Psalmus CII Domine in virtute tua Psalmus XXI Domine ne in furore , . Miserere Psalmus VI Domine ne in furore . . Quoniam Psalmus XXXVIII Domine non est exaltatum Psalmus CXXXI Domine probasti me Psalmus CXXXIX Domine quid multiplicati Psalmus III Domine quis habitabit Psalmus XV Domine refugium Psalmus XC Domini est terra Psalmus XXIV Dominus illuminatio Psalmus XXVI Dominus regit me Psalmus XXIII Dominus regnavit decorum Psalmus XCIII Dominus regnavit exsultet Psalmus XCVII Dominus regnavii irascantur Psalmus XCIX Ecce nunc benedicite Psalmus C XXX IV Ecce quam bonum Psalmus CXXXIII Eripe me de inimicis meis Psalmus LIX Eripe me Domine Psalmus CXL Eructavit cor meum Psalmus XLV Exaltabo te Deus Psalmus CXLV Exaltabo te Domine Psalmus XXX Exaudi . . . cum deprecor Psalmus LXIV Exaudi Deus deprecationem meam Psalmus LXI A Study of Latin Hymns 1Q7 . . . accelera , . . et salva me psalmum servile Exaudi Deus orationem meam Exaudi Domine Exaudiat te Dominus Expectans expectavi Exsultate Deo Exsultate justi Exsurgat Deus Fundamenta ejus Inclina Domine In convertendo In Domino confido In exitu Israel In te Domine speravi In te Domine speravi Jubilate Deo . . . Jubilate Deo . . . Judica Domine Judica me Deus Judica me Domine Laetatus sum Lauda anima mea Laudate . . . de coelis Laudate . . . in Sanctis Laudate . . . omnes gentes Laudate Dominum quoniam bonus Laudate nomen Laudate pueri Levavi oculos meos Magnus Dominus Memento Domine David Miserere . . . miserere Miserere . . . quoniam Miserere . , . secundum Misericordiam et judicium Misericordias Domini Nisi Dominus Nisi quia Dominus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus LV XVII XX XL LXXXI XXXIII LXVIII LXXXVII LXXXVI CXXVI XI CXIV XXXI LXXI LXVI C XXXV XLIII XXV CXXII CXLVI CXLVIII CL CXVI I CXLVII CXXXV CXIII CXXI XLV I II CXXXII LVII LVI LI CI LXXXIX CXXVI I CXXIV io8 A Study of Latin Hymns Noli aemulan Nonne Deo Non nobis Domine Notus in Judaea Deus Omnes gentes plaudite Paratum cor mcum Quam bonus Israel Deus Quant dilecta Quare fremuerunt Quemadmodum Qui confidunt Qui habitat Qui regis Israel Quid gloriaris Saepe expugnaverunt me Salvum me fac Deus Salvum me fac Domine Si vere utique Super flumina Te decet hymnus Usquequo Domine Ut quid Domine Ut quid Deus Venite exsultemus Verba mea auribus percipe Voce mea , . . ad Deum Voce mea . . , ad Dominum Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus Psalmus XXXVII LXII CXV LXXVI XLVII CVIII LXXIII LXXXIV II XLII CXXV XCI LXXX LII CXXIX LXIX XII LVIII CXXXVIl LXV XIII LXXIV X XCV V LXXVII CXLII INDEX CANTICORUM Audite coeli Canticum Moyai Deut. Cantemu8 Domino Canticum Moyai Exod. Confitebor tihi Domine Canticum Isaiae Isai. Domine audivi Canticum Habacuc Hab. Ego dixi Canticum Exechiae Isai. Exultavit cor meum Canticum Annae I Reg. In principio creavit Deua Canticum Creationia Gen. Qui aponte obtuUatia Canticum Dehborae Jud. XXXII XV XII III XXXVIII II I V J Study of Latin Hymns 109 Benedioite omnia opera Patrum Hymnua APOCRYPHA Canticum trium puerorum Eooleaiaatioua NOVUM TESTAMENTUM Cantica et Hymni (Dan, te.) XLIV EVANGELIUM SECUNDUM LUCAM Benedictus Dominus Deus Israel Magnificat anima mea Nunc dimittis servum tuum in pace ACTUS APOSTOLORUM Domine iu es qui fecisti caelum EPISTOLAE PAULI 168 I46 II J9 IV 4 Et manifeste magnum est Nam si eommortui sumus Rex regum et Dominus Surge qui dormis APOCALYPSIS Alleluia quoniam regnavit Dominus Dignus es Domine Dignus est Agnus Et Spiritus et sponsa dicunt Factum est regnum hujus mundi Gratia vobis et pax Ostendam tibi sponsam (Jerusalem) Magna et mirabilia sunt opera tua (Moysi et Agni) I Tim. III 16 II Tim. II II I Tim. VI IS Eph. V 14 XIX 6 V 9 V 12 XXII 17 XI 15 I 4 XXI 9 XV 3 no A Study of Latin Hymns CANTICA ECCLESIAE Credo in Deum. . .Creator em coeli et terrae Credo in unum Deum Patrem omnipotentem factorem Gloria in excelsis Te Deum laudamus Ter Sanctus '• Quicumque vult salvus esse BIBLIOGRAPHY BIBLIOGRAPHY I Latin Text Latin Hymns F. A. March (Edition of 1879) Latin Hymn-Writers and their Hymns S. W. Dufficld (Edition of 1889) Thesaurus Hymnologicus H. A. Daniel (Leipzig 1841-56) Volume I Hymns Volume II Sequences Volume III Hymns of the Greek and Syrian Churches Volume IV Hymns Volume V Sequences Lateinische Hymnen des Mittelalters F. J. Mone (Freiburg 1853) Volume I Gott und die Engel Volume II Marienlieder Volume III Heiligenlieder Breviarum Romanum Authorized Edition Pars Hiemalis Pars Verna Pars A estiva Pars Autumnalis Biblia Sacra Vulgatae Editionis Liber Psaimorum 113 114 A Study of Latin Hymns Cantica et Hymni Ecclesiae Cantica Ecclesiae Symbola Apocrypha Benedicite omnia opera Patrum Hymnus {Ecclesiasticus) Carmina Matthiac Casimiri c Societate Jesu St, Basil's Hymn Book The Basilian Fathers Le Paroissien Note J. A. Langlais, Libraire-Editeur, 1888 Sacred Latin Poetry Curtis C. Bushncll, 1902 Agricola: Cap. 1-7 and 43-47 Tacitus De Origine Spectaculorum TertuUianus Contra Symmachum Ambrosius De Idolorum Vanitate Cyprianus De Mortibus Persecutorum Lactantius Ad Magnum Oratcrem Urbis Romae Hieronymus De Modo Juventutis Erudiendae Augustinus A Study of Latin Hymns 1^5 II English, German and French Text March, Notes on Latin Hymns Duffield, Latin Hymn-Writers and their Hymns Thompson, Unknown and Less Known Hymn-Writers Duffield, Index to Translated Hymns Daniel, Thesaurus Hymnologicus, Notes Neale, Sequences (An introduction to the fifth volume of the above) Mone, Lateinische Hymnen des Mittelalters Campbell, Latin Hymns and Hymn Makers Walsh, Latin Hymns of the Thirteenth Century Bushnell, Notes on Sacred Latin Poetry Stead, Notes in Hymns that have Helped Van Buren, Christian Hymnody, with Notes on Latm Hymn-Writers Wright, Essay on Latin Hymns, (An Introduction to the above) Charles, The Voice of Christian Life in Song Encyclopedia Britannica, Latin Hymns Johnson, Essay on the ''Dies Irae' Ritter, History of Music ^ . r Anonymous, Le Paroissien Note (Roman Catholic Chant Book) Caswell, Preface to Lyra Catholica Neale, Primitive Liturgies: Notes to Greek originals of St. Mark^s, St. James\ St. Clement's, St. Chrysos- tom's, and St. Basil's Augustine, Exposition on the Psalms, Post-Nicene Fathers, Vol. VIII ii6 A Study of Latin Hymns Hilary, The Holy Trinity, Post-Nicene Fathers, Vol. IX Watson, Hilary's Hymns, (In the introduction to the above) English Versions Used in Comparative Study Lyra Apostolica Keble, Newman and others Lyra Eucharistica Edited by Shipley Original Sequences and Hymns Neale Introits and Anthems From Hymns Ancient and Modern Poems Trench Catena Dominica Alexander Christ in Song Scha£E Mediaeval Hymns Neale Lyra Catholica Caswell Latin Hymns Van Buren Hymnal Adopted by the Episcopal Church The English Hymnal Used by the Church of England ■^; DUE DATE tFO 1 7 1121 o g [ J