P A N G E L I N G V A B R E V I A R Y H Y M N S O F O L D V S E S W I T H A N E N GL I S H R E N D E R I N G

BY A L A M c D OV A L N G. G L £5 A N I N T R O D V CT I O N B Y A D R I A N F O RT E S CV E

L O N D O N B U R N S £5 O A T E S 2 8 O R C H A R D S T R E E T W

T R A N S L A T O R ’S F O R E W O R D

AL THOUGH it has seemed good to th e Chu rch tha t the a ncie nt loca l orders of saying a n d singing the Divine Ofice shou ld in most cases be a bolished in favo ur of the use of tha t City which is the centre a n d head of the Chu rch on ea rth there a re nevertheless man arts o the o ld and , y p f superseded rites which do n ot merit complete oblivion ; and since their h mns a re their most individual eatures a rdin y f , fi g a s they do a lmost the only opportu nity for unfettered com ' osition in the scheme o the Brev ia r O zce the followin p f y fl , g ' seleft ion has been made therefrom in the belief that their very real though rugged bea uty will appea l to those who find the thoughts of all but forgotten fellow Catholics a n a id a nd sp ur ‘ to h i o i I i ho ed that t a t e r own dev t on . t s p he m ny defecZs of the work will n ot deter its readers from seeking for themselves a share of those jewels so easily to be found in the setting of mediaeva l books evotio of d n .

M r thanks a re due to the Editor of the N a tion for per “ mission to reproduce here the tra nslation of Te centies mille ” le io um an li which irst a ea red in is a n e h er . g g , f pp p p

A G c . M D . .

2 A r 1 6 0 p il 1 9 .

THE CONTENTS

P A GE. ON ERNI NG HYMNS ADRI A I N T RODV CTI ON : C C . By N F OR TE S CVE

1 EV S AETERN I LV MI N I S or MOR I G . D f N N This hymn is appointedfor use at L auds of Tuesday in the Moz arahic v a The r eren ce in l ne 8 to the Hol S t as roceed n Bre i ry . ef i y piri p i g s its nt ui h Mo a ab c Use rom the Father onl tes e to a i . T e f y, tifi e ty z r i ,

as is well known is ollowed to th s da in some churches in S a n . , f i y p i

2 HRI STE L V X MVN DI SAL V S ET POTESTAS r EVE I G . C fl N N This h mn is also aken rom the Mo a ab c books where it a ea s y t f z r i , pp r i s s the h d S un da a er E han in the oj t e of Ve per on t ir y ft pip y .

CVN CTORVM REX OMN I POT EN S or ADVE T 3 . f N an ds Adv nt The Moz arabic hymn fir L in e .

SVRGEN TES AD T E OMI NE or HRI STMA S 4 . , D f C h s h is ken om th r v ar o th Mon s o Se ve n us T i ymn ta fr e B e i y f e a tery f S. ri l d i us d i th c o Mat ns t h s mas t s at N a es an s e n e o e i a . I p , fi f C ri t i also oun d in man o her S an sh and I al an h mnar es in wh ch it f y t p i t i y i , i is n used s e al m dn ht h mn ofte a a f ri i ig y .

O BEATA GAVDE I N FAN T I A or HRI S TMA S 5. f C Th s h mn or ather carol is ound in a brevia or the d ocese o i y , r , f ry f i f

or o di San Se olc o r nted at Ven ce in 1 8 1 . I t is a aren l B g p r , p i i 4 pp t y n ot n en ded or l tu cal use as is laced b sel at the end i t f i rgi , it p y it f Qf ‘ h al Th h m ar an em nt s m t e Sanctor e . e r y e r g e i ore intricate than is usual n el us o in L ati r igio p etry .

6 AVRES AD NOSTRA S DEI TATI S P RE ES r L E T . C fi N Found in ante T dent ne Roman brevia es th s h mn has now been ri i ri , i y s d b h 'salu tis i im is I ts l ss s u e sede t e 0 so n t . o i much to be re p r y , ’ retted as it is one the mos beaut ul exam les mediaeval h mnod g , of t if p of y y .

S MMI L ARGI TOR PRA EMI I r L E T 7 . V fi N From the Sarum Breviary ofice of L au ds in the third andfiurth weeks o L ent I n some othe tes is a o nted r use at om l ne du n f . r ri it pp i fi C p i ri g

the same season . I t obab dates om the h een th centu pr ly fr t irt ry. C I S AV C TOR L EMENS L MEN I MM V 8 . L V V EN S M b r L E T C , / N Appointedfir use in the Moz arabic Breviary at Compline throughou t

L ent . The ex is ver co u t t y rr pt. T E GEN T I ES MI L L E L EGI ON V M A 9 . NGEL I fir EA S TER This hy mn is used in the Moz arabic Bre viary at Vespers from E aster da to the Ascens on an d is also oun d in the A n lo-Saxon H mna y i , it f g y ry in the o ce o S M ch l The L n t n sh s h . ae . a he S a i ver on w ch fi f i ti of p i , i is he e ollowe d is x em l d b s d llac r ll A e e e a e e . . e stc o ste ae n i r f , tr y , g , f , g or A n o s o he etc f g ( tr p . vii YA GE V I TA SAN CTORV M DECVS AN GEL ORV M r EASTER , fi Foun d in man old Gallic an d German brev a ies this ex u s e h mn y i r , q i it y m n r us b P rot s ants has been translated into Ger a fi e y e t .

NO BI S OL Y MPO REDDI T VS for the A SCE NSI O N A h mn b San al ns Vittorinus ean- a is e de San euil 1 6 0 y y t i (j B pt t t , 3 t u d on th O v th Ascens on I t s taken used a L a s e tta e of e i . i rom the P a isian revia a com ila on used wi h local va iations f r B ry , p ti t r hrou h almos the whole o Fran ce un il 1 8 when it was su t g t f t 7 3 , p ss d b the Hol S ee n avour o the Roman i e pre e y y i f f r t .

GRATI A TVA SPI RI TVS or P E N TE O S T , f C h nt s v d t l wh t MS . re er e l ere it s From a een ce ur a S. Ga o m fif t y p , f r “ ” t l h l he mn p art of a L i t e Ofice of t e Ho y Spirit . T hy bears a ma ked resemblan ce to the V e n i e ato r Cr r.

’ ADEST O PATER DOMI N E for the HOL I TRI NI TY Found in several manuscript Fran ciscan an d other breviaries of the h t n h n d ll win c n u es t ir ee t a fi o g e t ri .

REFV L SI T AL MAR D I ES L V C I S CAN DI DVS for the P VRI F I CA TI ON OF OVR L AD Y

From the Severinian H mnar v de N o Th s me re is ver y y ( i . i t y comm n u d or th P ro e h mns o h s monas I n o her U s o ly se f e p r y f t i tery . t se s lmo t c n n d to h mns in honour P e er n d P ul h h i a s o e SS. t a a w ic it fi y of , or some nex l cable eason are almos a lwa s w it en in his rm f i p i r t y r t t fi .

PENDEN S I N CRV CI S C ORN I BV S jb r the S EV EN DOL O VRS 42 This hymn isfound in many manuscript P olish and B ohemian hymnaries th r th n u of e fou teen ce t ry .

CHRI ST E SV PREME DOMI NA T OR AL ME fir the I NVE N TI ON OF THE CROSS A wel th cen u Ge man h mn t f t ry r y .

I ESV RE EMPT O R O MN I V M or S C OL VMBA D f . Th s h mn is oun d in two or hree een h centu I sh brev a es i y f t fift t ry ri i ri . The play upon the name Colu mba in line 7 fin ds a parallel in the Gos el or the eas o the Sa nt p f f t f i .

E E V OT I VA RECOL VN T V R FESTA or S AL BA CC f . N The cult S Alban in the Middle A es exten ded ar be ond th l m of . g f y e i its if these islands : this hymn is taken from a breviary prin ted at L ubeck in 1 49 7

viii FEL I X PER OMNES FEST V M MV N DI CARDI N ES for SS P ETER A N D P A V L .

s P e e and P aul accord n This hymn was sung at First Ve pers of SS. t r i g to the Use o the hu rch o York wh ch was ollowed o old throu hou t f C f , i f f g th south The seven th the north of Englan d as that of Saru m was in e . ve se in a sl htl al e ed orm now ms a t o the evia Ves e r , ig y t r f , fir p r f Br ry p r h mn or the east and the our h an d th ve ses are also e a ned y f f , f t fif r r t i

l sts o S P e e . in the Breviary for use on the esser fea f . t r

I ESV AMOR V N I CE or S BER ARD f . N This beau tiful hymn is from a Cluniac breviary of the fourteenth cen ur t y . OMN I VM C HRI ST E PA RI T ER T VORV M for AL L SA I NTS F om th n l - ax v Thes are the concludin verses o r e A g o S on Bre iary . e g f a lon er h mn h iste u i u irtu s s ato e t u o caris which is un d g y , C r q r , fi l v h c nt at length in the Stu ttgart Breviary of the e e ent e ury .

AL MA CVN CTORV M CEL EBREMV S OMNES fir the same F m the v ro Se erinian Hymnary .

REGI S I MMENSI MI L I T I S T RI V MPHI S for A P O S TL ES From the S everinian H mna y ry .

D EV S I MMENSA T RI NI TA S for MARTYRS F om the Moz ar b c re v a r a i B i ry .

SA N CT E ONFESSOR MERI TI S BEAT E r O N FESS ORS C , fi C Rhaban us Mau us ob 6 A chbisho o Ma n and author o By r , . 8 5 , r p f i z , f / man o the best-known h mns o the hu ch includ n V e n i e ato y f y f C r , i g Cr r, h ris te san fio ru m de cu s an e lo ru m San ao ru m m e ritis in cl ta C g , y i t h h h b e s l au a e c. T s mn does not a ear to ave e n u ed itu icall . g d , i y pp rg y

A TE CL AMAMV S AV I N OS or OVR L AD Y , D f A n evening p rayer to Our L ady from a fifteenth centu ry French b ev a r i ry.

O MARI A PI I SSI MA for the same F om t n h c M S reserved at Man ua a ee t n u . r fif e t ry . p t

REFV L G EN T CL ARA HV I VS T EMPL I CVL MI N A for the DEDI CA TI ON of a CHVRCH F om the S v i H mn r e eri n an y ary . A VCTOR SAL V TI S HOMI N V M

These ve beauti ul ve ses are o n d in a twel th c n tu M now ry f r f u f e ry S . in the odle an L b a at Ox d The are ev dentl a ra ment B i i r ry for . y i y f g o a lon e com os on The al habetical a an emen t the n t al f g r p iti . p rr g of i i i letters o the stro hes is a common eature L at n h mn od the best f p f of i y y, known exam le bein the resent b ev a h mn or L auds o h stmas p g p r i ry y f f C ri , A so lis o rtu s ca din e r . ix

C ON C ERN I N G HY MN S

B T A DRI A N FORTE SCUE

T HE A R L ST C HR ST A N HY N S I . E IE I I M L THOU GH in one sense the hym n is the latest fi addition to the Divine of ce, in another it

is the oldest form of Christian prayer . It F r depends on what we mean by a hym n . o “ ' instance, is the Te Deum a hymn Most

people would say not . It is certainly not d d composed in metre . It is prose, ivi ed into verses like H mn us am the Psalms . Yet its title in the Breviary is y sia nus I f bro . then by hymns we mean poems in regular metre, either by accent or by quantity, they are a late fi L n addition to the of ce that exists only in the ati West . till There are no hymns, in this sense, the fourth century ; n n o fli ce they were o t admitted to the Roma till the twelfth .

No Eastern rite to this day knows this kind of hymn . n d fi I dee , in our Roman rite we still have the archaic of ces an d o étave of the last days of Holy Week of the Easter , which, just because they are archaic, have no hymns . But there is another kind of hymn that goes back to the very dawn of the Christian religion, that still remains, t not only in all the Eastern rites but in hat of Rome too . o n This is the unmetrical hymn, formed the model of the psalms . It would seem as if the first Christians deliberately avoided poems in metre . They must have been familiar n with them . Both the Greek and the Lati languages had n an abunda ce of lyric poetry before the time of Christ . It would have been easy to write religious verse in those di metres . But they d not ; and when later in the East somethin g of the ki n d first appeared it was sternly dis c u ra e o g d. n But they sang . Some sort of cha ting was inevitable

in public prayers where all present took part . Besides, n music was always a natural way of stirring up e thusiasm, x1 b étio n to which the Christian Church had no sort of o je . “ P au l s ea k to ea ch other in sa lms St . tells his converts to p p a n d h mns a nd s ir it ual ca nticles sin in and makin m elod y p , g g g y ” f th L ord n rom their heart to e . (Eph v, What the did they sing 'The first little community of poor folk could hardly rise to the grand classical metres of Greek had fi poetry . Then they seem to have a de nite feeling against such metres . This classical poetry savoured too much of the world an d its dangerous sweetness . Most lyrics were erotic . To the Christian poetry was part of e what he most hated and feared, the world with its attra

Go d. tions to lead men from That stern early Christian , living from day to day with the sword of the Roman n n magistrate over his head , livi g always with the red daw of the Last Day in his eyes, had no use for sweet metres, any more than he had for other arts . To him the fashion of

d . this world, with all its pretty toys, was alrea y passing away fi There is no doubt as to what he sang, in the rst place

He sang the Psalms of David . Christians had one book fi that was, at rst, their whole literature, the Bible . In the fi rst generation it was the Old Testament . The New 1 Testament was only then being formed . In the Old

Testament they found all they wanted, the history of the d worl as they knew it, prophecies that told them of an d Christ, the words of God to guide their life, prayers hymns . They sang the psalms, of course, in Greek . To d d n them psalms were what they are to us, prose divi e i to 2 n short paragraphs . So in awe they sang the threateni g psalms ; when they were j oyful they sang the happy ones .

1 Alth o ugh th e N ew T e stam e n t is n o w so m u ch m o re im p o rtan t to u s th an th e Old w e m u st re m e m b e r th at th e a ch e t e o f th e an o n o f , r yp C Sc i tu e is th e Old T e stam e n t A t fi st th at was th e wh o le Bib le to r p r . r , Ch istian s as to e ws Wh e n th e o e r J . ap stl s sp e ak o f Scrip ture th ey m e an th e Old T e stam e n t o n l . I n e e d th e wa in which th e b o o ks o f th e y d , y N e w T e stam e n t cam e to b e c o n side re d c an o n ical was by m akin g th e m e u al to th o se o f th e Old q . 2 Eve n in He b re w th e rhythm o f th e psalm s is so m e thin g very differ e n t o m th at o f G re e k an d L atin i m ik h w fr p o e try . I t s u ch m o re l e w at e sh o ul all rh thm i o se in a alle l an d an tith e ti h ase s d c y c pr p r c p r . X 11 We do not know how they sang them . The only thing of which we can b e quite certain is that they did not sing b e in anything approaching our plainsong psalm tones, cause they did not know the diatonic scale .

Then, since the spirit will not be quenched, the early d o n Christian sometimes sang wor s of his w . The psalms m were the ain thing . They were in the Canon, they were the official hymns of the Church from the beginning ; the Jewish converts brought them with them from the Syna L fogue . The hymn that Our ord sang as he went out rom the Supper to the Garden, the night before he died d . the (Mt xxvi, was a psalm , no oubt one of Hallel n d e . psalms at the of the Paschal Supper But, besides fi this, the rst Christians sang impromptu words of their own, praising God through Christ, as the Spirit moved did them . When they so they sang on the li n es of the familiar psalms of David . Where else should they get ' fi their model So these rst Christian hymns, all the t earliest hymns, are prose songs in short paragraphs, buil a up like the psalms of the Ps lter .

We have examples in the New Testament . St . Paul quotes one . He writes to his Ephesians

Wherefore it is s aid :

Awake thou s lee er p , a nd a rise from the dead , a nd Christ sha ll enli hten thee E h g . ( p . iv,

in There are two other examples the Pastoral Epistles , in which everyone sees examples of this earliest Christian On I 1 e . 6 . . poetry . is in Tim iii , St Paul speaks of the ” reat m ster o iet g y y f p y, and goes on

Which was s hown in the esh fl , u sti ed in the s irit j fi p , a ea red t o an els pp g , was rea ched to Gen tiles p , was believed in the world , taken l up to g ory . x m - f 2 . 11 1 1 1 In Tim , 4 , he says that there is a aithful saying

If we die with him we s ha ll live with him, e bear with him we s ha ll rei n with him if w g , we den him he will den us if y y , i we believe n ot in him he will rema in faithfu l f , , ot den himself he can n y .

None of these verses shows an y trace of metre in the

Greek . There is a rough sequence of accent in them , hardly m ore than you would fin d in any such groups of fin d short phrases, j ust as we in the Greek psalms . They could very well be chanted to music of free rhythm . We sho uld call them rhythmic prose . But we have in the M a n ificat very Gospels examples of the same thing . The g , Be n e diétu s , Nunc dimittis are just such Christian psalms o l formed on the model of the d ones . After the time of the New Testament Christians went on composing, perhaps improvising, such psalms . Pliny tells “ d n us that they met together before awn , to sing a hym ” 1 . d n to Christ as a god It woul be such a hym as these . When Justin Martyr ’s “ President of the brethren ” ” 2 an d sent up praise glory to the Father of all, no di doubt he d so in such rhythmic phrases . And we have still one or two wonderful examples of this earliest 3 Christian poetry . One is quoted by St . Basil . It is often A h . t e n o e n e s attributed to St g , who was a martyr in the second century . In any case, it is probably the oldest

Christian hymn we have, after those of the New Testa ment . Kindly light of holy glory o the immortal hea ven Father f ly , hol blessed y , , es us Christ ff .

1 ’ Th e o u n er Plin s le tte r to T a an e 6 al in T e ub n e r y g y r j ( p . 9 , . 2 1 p . 3 . 2 3 1 A ol. lxv 1 De S i i u santto xxxu p p r t , 7 3 , X I V Comin to the settin o the s un g g f , se in the even in li ht e g g g , we sing the Father and Son

a d Hol Ghost God. n y , I t is right at a ll times thee with u re voices to ra is e p p , o G d S n of o .

lor all the world gives thee g y .

This hymn is still sung in the Byzantine rite, in the “ ” even ing service at the li hting of lamps . Its venerable the fi antiquity, its fragrance o rst centuries make it one 1 of the greatest of all Christian hym n s .

The Apostolic Constitutions quote another hymn, hardly less venerable

We ra ise thee p , we sin to thee g , e bless thee or th rea t lor w f y g g y , L ord Kin g , Father o Christ the immacu late L amb who takes a wa f , y the s in o th e world f , To thee ra is e is due p , to thee a h mn y , to thee lor g y, God and F a ther b th Son in the Ho Ghost , y y ly , 2 er a n eve Amen . for ev d r .

The latter part of this hymn Te de ce t laus is sung ’ 3 Be n e diét s at the end of Matins according to St . rule .

1 Wh do w e n e ve r sin it in o ur ch u c he s 'Th e e are a do e n y g , r r z in n lish s Wh e e co u ld an o n e fin d b e tran slatio n s E g ver e . r y a tte r e ve n in g h m n th an this o m in i h t do wn o m th e ata o m b s 'O ur h m n y , c g r g fr c c y b o o k s k n o w n o th in o f su ch a t e asu e as this an d ive u s a e s o f o o g r r , g p g p r se n tim e n t in o e e l lin e s b so m e te n th - ate m o de n ve rsifie r d gg r y r r . 2 ons A as vii 8 C t. p t . , , 4 . 3 C a . xi. T e de ce t lau s is u blish e d with its lain so n m e lo d p p , p g y, by th e So le sm e s m o n k s in th e Manu ale pro Benedifl ionibus et P ro

cessionibus 1 . N o thin b e tte c o uld b e o u n d to sin at h p . 7 g r f , g t e e n d o f an e ve n in se vice g r . XV Then there are two such hymns that we all know very

. well, the Gloria in excelsis Deo and the Te Deum “ ” 1 “ The Gloria in excelsis is Greek, the Te Deum e rfe ét Latin . Either is a p example of the early Christian d hymn , before metre was use . salm i idio tici These hymns were private psalms (p ) . an d They are often treated simply as psalms, sung with fi’i 2 the canonical ones in the o ce .

I I HY N S I N A ST R R T S . M E E N I E GI So in the first three centuries there grew up a flo u rish n ing school of Christia poetry . It was real poetry, though

it was not in metre . It was poetry in the same sense as I t n the psalms . has left but few rem ants in the West ;

but it developed greatly in the East . To this day, the

Eastern rites contain a vast amount of such prose poems .

To take the most obvious example, the canonical hours of the Byzantine rite are composed for a great part n of them . If you take up a Byzantine Horologio or a volume of the M e n aia you will fin d pages of such H e irm o s prose hymns under various names, , Troparion , Katab asia Kontakion , , Kathisma, Oikos, and so on . Ar ranged in the great Canon they form the heart of the L n Orthros (our auds) . These little hymns co sist of about

six to eight lines each . They have a rough rhythm by

accent, so rough that they cannot be counted as more

than rhythmic prose . There is often rime at the end of

the lines, more or less completely carried out, sometimes an assonance of vowels that does not amount to what

we should call rime . There is constantly rhythm of

meaning, if not of sound . The same idea is repeated in d ff in i erent words, or the same phrase recurs, as the

psalms . As an example of Greek liturgical hym n s a fragmen t

1 I i in s t s on . A as vn C t p t . , , 47 2 A s we still sin th e A th an asran r at Matin s g c e e d . d . of the famous Gol en Canon, composed by St John Damascene (T about 7 54) m ay serve :

' ’ The a o R esurrett ion D y f , d let us ma ke lorious the P asch the P asch o the L or . g , f from death to life fro m ea rth to heaven Christ our God , , has led us , e a s w sing his vittory.

L et us clea n se o ur s enses , i ht o his risin a nd we s ha ll see Christ ra diant in the l g f g , we s h all hea r him reet us clea rl g y , a in h s i r s we s g i v tto y .

The hea vens rejoice and the earth is glad ; a ll the world s een and unseen kee s this feast , , p , for Christ ou r ev erlasting joy ha s m ba ck to life co e .

That is the first Ode of the Canon . The ninth is

Be enli hten ed n ew erusa lem b e en li htened g , 7 , g , o t o o t e f r he gl ry f the L ord is risen in he . Sion le an e ap d rejoic . ’ And do thou r oice a ll h o Theoto kos ej , ly , or th child has rise a a i f y n g n .

O blessed hol a nd most s weet romise , y p , tha t th il be e ou w t with us a ll day s to the nd. These a re th words Christ who ca nst n ot deceive y , , , a nd we tru t h i o e s in t em w th rm h e r oice . , g , fi p j

O reat a nd most sa cred P a sch o Christ g f , rant Wisdom P ower a nd Word o God g , , f , tha t we may see thy presen ce in thy kingdom 1 I n the da tha t ha s n o even in y g .

1 ’ Th e who le G o lde n an o n is in L e u ie n s e ditio n o f St o h n C q . J D am as e n e V e n i e - i 6 8 68 6 . I t is su n . at th e O rthro s c ( c , , pp 5 g o f Eas te Da r y. xvii n n Such jagged li es, with a suggestio of rhythm , give h a fair idea of t e Greek . They sing these Troparia to melodies whose rhythm is as free as that of the words . fi There are psalms in the Byzantine of ce too . But the psalms have never held so great a place with them as with He irm o i an d us . These , Troparia, so on, are the charac ris ic n te t feature . They have an e ormous number of them an d still compose them . There are all sorts of rules for composing a Troparion . Although its rhythm is so free, s u b e ét it is j to many laws as to the sequence of ideas, the B z an length of the lines, repetitions, etc . To compose a y ti n e Troparion co rre étly is quite as difficult as to write a r co re ét Ambrosian hymn . Such is the only kind of poetry the Byzantine rite n n admits . There have been disti guished Greek Christia poets in the ordinary sense, who wrote of Christian ideas in the classical lyric metres . But their verses have never n been admitted to liturgical use . Moder Greeks too have n o r a number of religious poems, neither better worse - than their patriotic poetry and love songs . But they n ever sing them in church . They seem still to keep the

idea that metrical poetry is of the world, not suitable for

the house of God .

T HE L D A N FF III . O RO M O I CE 1I In the West the development has been curiously differ

e n t . Beginning by being much sterner than the Greeks, fi n as to the composition of the of ce, Lati s ended by being

more lax . fi At rst Latins, especially Romans, did not approve of that prolific development of human compositions in the fi fi Divine of ce . While Greeks were lling their canonical n hours with Troparia writte by contemporary people, the West was sternly reje étin g almost everything that was fi not holy Scripture . So, for the rst six centuries or so , the chief difference in the office between East and West was that in the East it was made up largely of the prose xvm

n century had composed new psalms , which were su g by 1 n many people with delight. Then, in the fourth ce tury, n came regular poems on Christia themes . It is sometimes said that the arch - heretic Arius was the first to write such poems. If so, this may perhaps account for the way the n Eastern Church put down the Whole te dency . Arius hit fi in upon the happy idea of tting Christian, his case here ’ - n tical, words to well k own tunes, sailors songs, and songs had l of travellers . He a beautifu voice himself ; so, says P hilo sto r iu s n d g , he insi uate his impious ideas into ” 2 simple hearts by the charm of his music . But heretics n e s io s were not alone in making use of metrical songs . S y 1 t of Cyrene (T about 4 5, not a very or hodox person) and

‘ z i z s ’ St . Gregory of N a an o ( l 3 9 0) were famous Christian poets . They used the old Greek lyric metres, and so L fi wrote hymns like the atin hymns of our of ce . But the - n Greek speaking Church would have none of these hym s . This does not mean that people were forbidden to si n g them . This new Christian poetry had a great vogue . But it was not sung in church . It never became part of the fi n liturgical of ces . Yet it was from this source that hym s , in the usual modern sense, came to us in the West .

ST . H L A RY V . I ( I Whenever we speak of Latin hymns we thi n k of

St . Ambrose as their founder . That is a true concept . It is the immortal glory of Ambrose to have i n troduced to the West that form of prayer which was to have so enormous a development . Ambrose is the father of

Latin hymns . But he was not the first Latin to write

hymns . Before him comes the unsuccessful attempt n o f P o iétie rs of a other great Latin father, St . Hilary

‘ (1 Both Hilary an d Ambrose learned from the East n that Christian lyric poetry could be writte . St . Hilary 6 0 6 . was in exile, among Greeks from 3 5 to 3 Here he

1 Eu se biu s H E vn 2 , . . , , 4 . 2 So ate s H i l s H 11 2 E v Phi o t . E . cr , . . , , 3 ; . , , xx heard Greek metrical hymns . When he came home to L S t . Gaul he tried to write them in atin . Isidore of Seville says he is the first who was famous for writing ” 1 L hymns . ater a great number of hymns were attributed

. . 1 8 8 to St . Hilary, as to St Ambrose It was not till 7 h that t ree fragments were discovered which we may say, with reasonable certainty, are really his composition . Gam m u rin i These were found by J . F . in the same manu script at Arezzo in which he discovered the Peregrina ” Silu ia tio e . After much discussion it seems now that these fragments have established themselves as authentic . al Two of them are acrostics in phabetical order . The fi ’ metre of the rst is Horace s glyco nic line , alternating with the shorter asclepiad (with licences) . It begins hf l Ante saecula q u ijmanen s sem ue na te sem e r ut est a ter pq ,[ p /p , n a mgue/te sin e gu odo 2 dici ni a t t uod ate s z t o t er es r tes . , j p , [g p ,/p ’ St . Hilary s hymns are not such as would become popular . They are theological treatises in verse, the same d de Trin itate i kin of discussions as in his work . Nor d d they become popular . There is no evidence that any hymn really by him was adopted later into a service of

C . the hurch . As far as St Hilary is concerned we must count the attempt to introduce Christian lyric poetry in the West as a failure .

V I ST A BROS . . M E ( I All the more remarkable is the instant success of m St . A brose (T He too had constant intercourse n with the East, as his letters show, though he never we t

1 l s i M P .L l iii s a De ecc e . O cn s 6 . St e o m e s fi , , ( xxx , . J r y Hila w o te a wh o le b o o k o f h m n s de V s illustr ry r y ( iri . 2 Th e te t o f th e th e e h m n s is in D e ve s : A naletta h mnica x r y r y , 1 to m . . xxi there . From the Eastern Churches Ambrose borrowed two innovations which were to have a profound e ffe ét on n Western services . One was the antiphonal man er of

singing psalms, the other was the use of metrical hymns . Be fo re his time psalms in the West had been sung by n one ca tor, as a solo, the people adding only the last n u e ms of each verse, or repeating the same verse between I n u ita those of the cantor, much as we still sing the

to riu m . at Matins At Antioch they had another way, n two choirs Singing alter ate verses . Isidore of Seville says this Greek custom was like two Seraphs singing in turn, that Ambrose brought this custom to Milan, and 1 from Milan it spread throughout the West . The other n Greek custom was that of singi n g metrical hym s . We have seen that, although the Byzantine rite would not n n fi allow such hym s i to its of ce, there were, in the fourth n ce tury, poets who wrote them . Ambrose, himself a poet, composed hymns of the same kind in Latin . He chose a singularly simple metre, easily learned, and taught the n n o people of Milan to si g them . They were t yet part fi n of the Divine of ce . For ma y years still, especially at f n Rome, it was elt that metrical hym s were too light, too popular a thing to allow in liturgical services . But, from the time of St . Ambrose, the hymns were there . They n gained in popularity year by year, till at last eve the severe co n servatism of Rom e gave way an d admitted them to the Canonical hours . n 8 Ba On Palm Su day, 3 5, Ambrose was holding the P o rtian a n n the silica at Mila agai st Arians . The Em e ro r n n n - 2 n p (Vale ti ia II , 3 7 5 3 9 ) se t soldiers to seize the church . The Catholic people gathered round their n bishop and held it agai st the soldiers outside . Till Maundy Thursday they were besieged in the church ;

wa . then, at last, the Emperor gave St Monica was n amo g the people in the church . I St . Augustine was n not in the church , he was at Mila at the time . To carry

1 De eccl O i i l iii . j , , 7 xxx , 743 xxii the people through those long an xious days Ambrose d n e w ma e them take turns in singing psalms, in his anti

an d . . phonal way, the hymns he had composed St Augus “ tine tells u s all about it : The good people spen t the nights in the church, ready to die with their bishop, thy n serva t . There was my mother too, taking a great part

n t . in the a xie y and in the vigils And I myself, though I h ad not yet been enlightened by the Holy Ghost (it was before his baptism) , was excited, because the whole city n was disturbed and alarmed . Then it was arra ged that hymns and psalms should be sung, after the custom of

Eastern parts, lest the people should be worn out with anxiety and fatigue . From that day to this the custom n has been kept ; ma y, indeed nearly all, thy flocks through ” 1 m f out the world have copied it . So these two ele ents o n an d n Divine service, the alter ate singing of psalms hym s, fi Am an d n were rst introduced by St. brose at Milan, the spread from that city all over the West . For his hymns he chose what was perhaps the simplest of the lyric metres, b fi Iambic dimeters . These are used y Horace in his rst d ten Epo es alternately with Trimeters . Ambrose uses nothing but lines of four Iambi each . We know this metre very well ; it is the o n e in which by far the greater number of our Breviary hymns are written . With the necessary change of the Iam bus to a foot of two syllables - o n n with the stress accent the seco d, we know it in English hym n s as Long Metre

O blest Crea tor o the li ht f g , ’ Who ma k st the da with radiance bri ht y g , ’ And o er the forming world didst ca ll The li ht from cha os rst o all g fi f .

It is not a very exciting measure . The unchanging repetition of Iambi in sets of four m ay even seem weari some when we compare it with the variety of metres in Horace . But no doubt St . Ambrose knew best in

A u . Con ix . g fi, , 7 XXI II r choosing it . It is simple and so suitable for popula singing ; it is easy to fit to simple melodies and easily

remembered . In any case, because of his choice this plain [ little measure has acquired enormous importance . t is so much the usual metre of L atin hymns that the Church

supposes it always as the normal one . She provides special

Doxology verses for hymns of this metre in the seasons,

an d does not trouble about any other . re li i To people who, till then , had known no metrical g

e s . ous poetry, the sw etness of the e hymns of St Ambrose b seemed almost magical . The Arians accused him of e W l itching the peop e with the charm of his hymns . He a o f does not deny the ch rge, but says that the confession 1 ff él: the Trinity has indeed a magic e e . St . Augustine describes his emotion when he heard the peo ple of Milan “ sing these hymns : How I wept when I heard those an d d hymns chants, thrilled by the sweet soun of thy

Church . The music sounded in my ears, and thy truth

then spoke to my heart ; religion burned in me , my tears ” 2 flowed and yet I was glad in them . When his mother d die , he says that he found peace only in repeating one ’ “ n of St . Ambrose s hymns : Then I slept a d I watched again ; I found no little comfort to my sorrow when alone b e d in my I remembered the true verses of thy Ambrose, that thou art

Deus crea tor omniu m , poligu e refior u estiens diem decoro lumine , ' noti em so ora ra tia p g ,

A rtus solutos ut q uies reddat la boris usu i mentesq u e fessas a lleuet lutt us ue solu at a uxios g . n wonderful li es, all the more moving

1 m xvi 1 0 1 Se o c. Auxent. r 3 4 , 7 2 3 Con ix 6 on ix 1 2 2 fi, , . C f., , , 3 . xxiv n their true Roman severity . Augustine is not the o ly mourner who has found comfort in that hymn .

St . Altogether he quotes four hymns by Ambrose . “ ” “ o n e : A e te rn e re This Deus creator omnium , then ” 1 ” 2 co n dito r an d rum , Iam surgit hora tertia, Intende ” 3 d an d d qui regis Israel, which is also quote referre to Ambrose by Celestine I (4 2 2 -4 3 Such evidences are of d special value, because there is great oubt as to which of - the many so called Ambrosian hymns really are authentic . The fashion set by the Saint became so popular that he had innumerable imitators . These hymns, all written in imita “ tion of his, in the same metre, were called Ambrosian as a n n general name . Indeed for many ce turies hym us ambro sianus was the usual name for a religious poem in Iambic “ St Be n e diét dimeters . . nearly always calls this ambrosi ” 5 ” dis tin ét salm u s idio ticu s . anus , as from the older p A Council at Tours in 567 speaks of the Ambrosian hymns we have in the Canon (meaning in the office) ” 6 These are

d b . not hymns compose y St Ambrose, but all those of 2 - 6 this class . When Pope Gelasius I (49 4 9 ) wrote hymns, he could think of no other way of making them ; the L iber P ontificalis describes his work by saying : He also ” 7 made hymns in imitation of Ambrose . This being so, it is evident that we cannot consider all the immen se number of s o -called Ambrosian hymns as authentic com f o . . positions St Ambrose The question arises, which are really his 'There was a time when critics were disposed d to a mit none as genuine, except those four of which we dire ét d have external evi ence in St . Augustine . The latest critics now admit more . Father Dreves, who became perhaps e ét L a the chiefauthority in Europe on the subj of tin hymns, allows fourteen as certainly authentic, four more as prob

l ‘ Ret a i 1 r ti 2 1 . . , , 2

De N at . et G at l iii liv r . x , 74 x , 3 S e m de u a D i c . 2 . 2 N at . i r 3 7 , p xxx x, 4 I n his s e e ch at th e Ro m an S n o o f 0 Man si iv co l 0 p y d 43 ( , , . 55 , 6

E. . Re ula S Ben 1 g g . , 3 . 6 7 Man i x 0 s i 8 . Ed D u h e sn e i 2 , , 3 . c , , 55. X X V ‘ n able . Besides those quoted above the best know will be “ Ae te rn a Christi munera, for the feast of Apostles at X ’ d Matins . Franz aver Kraus s ju gement is worth quoting d an d The highest truths eeply felt expressed in language, d v if simple, yet full of ignity, give a great poetic alue to ’ ” 2 St . Ambrose s hymns .

I I T HE F T P R O D OF TI V . IRS E I LA N HYMNS 'I The movemen t begun by St . Ambrose was to have far n reaching conseque ces . Long before metrical hymns were allowed at the canonical hours a great crowd of imitators and followers carried on what he had begun . In the writing of Latin hymns there are three obvious periods d to istinguish . The primitive period, from St . Ambrose to about the time of Charles the Great ( 8 0 0 - 8 1 4) is the n m a n ifi most important . It contai s a great quantity of g “ cent hymns . Besides the many anonymous Ambrosian a A ure hymns, these poets should be mentioned speci lly . lius P rudentius Clemens , a Spaniard (T about wrote n Ales diei untius that we sing at Lauds on Tuesdays , ” n the sple did Christmas hymn Corde natus ex Parentis, “ our hymn for the holy I n n ocents ; Salu e te flores mar ” t ru m an d n o w n y , others , alas, too little k own by our n people . Prudentius is certainly our seco d greatest hymn Caelius Sed li n . u us writer, after St Ambrose . , probably a Roma , d fi m in the mid le of the fth century, wrote the Christ as ” 3 L : o rtu s n hymn at auds A solis cardi e, and a poem in hexameters of which parts have been adopted in the

1 al b - A n ett a m. L . . 1 0 2 1 o llo win L . Bira hi : I nn s ncer e y pp , f g g i i i c m di mb o M l n a S. A o i a r i r gi ( , ' - Real Enz klo cidie l. 6 6 Se e also T e n ch : S ac ed L atin P oe r y p , 7 . r r t y He s ak in n hin L o n o n 1 8 . e s o f th e h m n s as h av o t so t ( d , 74, p p y g g f , e rh a s little th at is te n de b u t in ste ad i o n s t e n th an d th e o ld Ro m an p p r, r r g Sto icism t an s o m e d b h istian it r f r y C r y. T his is th e b e gin n in g o f an alphab e tic acro stic hym n o n all o ur ’ L o rd s li e We h ave an o th e a m e n t o f it fo r th e E i han : Ho stis f . r fr g p p y He ro de s im pie (n o w Crude lis He ro de s XXV I

Nevertheless there are scores of exquisite mediaeval

u . hymns , including those of St . Thomas Aq inas One

may name a handful of writers chosen almost at random . Wi o n p , the Burgundian chaplai of Konrad II (T about “ ” Viétim ae aschali Herma nn the L a me wrote p . He rrim an n u s Co n traétu s ( ) , Monk at Reichenau (T “ ” “ is author of Alma Re de m pto ris Mater an d Salue ” St P eter Da mian 1 0 2 Regina . . (T 7 ) wrote a most beauti “ : u itae ful hymn, now too little known Ad perennis ” Berna rd o M orlas fontem . f , monk at Cluny (about ” 1 Co n te m tu wrote a long poem de p mundi , that

u . Dr . Neale has made famo s in England by his translation “ The tran slation begins : The world is very evil ; the ” - “ times are waxing late . The well known verses, For O “ ” thee, dear, dear country, and Jerusalem the golden , n are taken from this . Ber ard of Morlas is also author of “ ” d i P eter the hymn to our La y Omni die d e Mariae . “ Abela rd 1 1 2 (T 4 ) wrote, O quanta qualia sunt illa sab ” ‘ d o V A a m St . i r . . tto bata Some, including Dr Neale, count f 1 1 2 (Augustinian Canon at Paris, T 9 ) the greatest of all

mediaeval poets . He wrote a number of sequences for d feasts , none of them use as sequences now, though all fi “ L would make magni cent hymns . audes crucis atto ” “ “ Z m a u e tu s ex u r e tu r lamus, y p g (for Easter) , Heri ” e xs u ltau it ; S mundus (for St tephen) , Roma Petro ” f lo rie tu r o r St . . g ( . Peter and St Paul) are by him . But one cannot make a list of even the chief n ames of n - mediaeval hym writers where so many are great . Every St Th a one knows the immortal Eucharistic hymns of . om s Aguinas (T 1 The Middle Ages brought all m anner of further de - v elo pm e n ts . Rhythm by stress accent instead of by quan

tity, never absent from the possibilities of Latin poetry,

spread greatly . Besides hymns in the now recognized -o ffice s sense there were rime , arrangements of the whole

Canonical hours in verse ; there were tropes, verses inter calate d into liturgical texts , proses and sequences, which n o an d obeyed law of scansion , hymns religious songs for xxvm s o - l private use, cal ed Macaronic verses, that is, partly in L an d u atin partly in the v lgar tongue, carols, glosses in d - verse which took each wor of some well known prayer, “ ' “ the Pater noster or Aue Maria, and made a verse an d n ff on it . There were psalms in verse eve bu oonery th e raétice on Christian texts . It was commonest p to d write hymns on the mo el of other older ones . That is why we have man y cases of two hymns beginning with ’ “ ” S b e t . the same words . Thomas s Pange lingua has come even more famous than the original “ Pange lingua ” d E n V e n an tiu s o rtu n atu s d . d of F , on which he mo elle it rime, assonance, alliteration become 'common . There are all kinds of new metres . The trim garden planted by f St . Ambrose has become a wilderness of Wild lowers . In all this mediaeval religious poet there is much that we could not use now . Many o the hymns are b ad fu quite , many are frigid compositions containing d tile tricks, puns, misinterprete quotations of Scripture,

d . twiste concepts, whose only point is their twist But there is an amazing amount of beautiful poetry that we could still use . If we are to have vernacular hymns at do o ld ' all, why we not have translations of the ones Those of the present Roman Breviary are the first that Bu t suggest themselves . they are by no means the only

' a ones, they are not even always the best part from the ’ faét that nearly all have been spoilt by Urban VI I I s d isastrous revision .

I X T H I R D P R O D . E I ( I The third period of Latin hymn-writing is the modern time, from the Council of Trent . Of this nothing special shall be said here . Whatever good the Renaissance may have done in fi other ways , there can be no question that it was nally d isastrous to Christian hymns . There came the time when no one could conceive anything but the classical an d metres classical language . So they wrote frigid imi xxix n tatio n s of classical lyrics . It is the time whe people e ffe étive thought it to call heaven Olympus , to apply

pagan lan guage to God and his saints . There is nothing f to be done with this stuf but to glance at it, shudder,

an d pass on . The reason why the Ren aissan ce hymns are so utterly fi n o b a an d nally bad is t that the real classical poetry is d. n an d On the co trary, Horace his metres are exceedingly

beautiful . The reason is that those absurd Renaissance

people did not realize that, because an original is beautiful, s it does not follow that a bad imitation will be . A time n went on hymns became worse . The seve teenth century i n brought those strange hymns composed n Fra ce, whose metrical co rre étn e s s is poor compensation for their utter wan t of inspiration . Through the eighteenth and nine L te e n th centuries people still wrote atin hymns . They h ad become by now like the Latin verse of Oxford Dons, co rre ét enough according to the rules (it seems as if their co rre étn e s s f writers are conscious that is all they can of er) , co rre ft an , too, in sentiment, with here and there ingenious d little trick of i eas, an apt parallel or a clever inversion . But there is not a trace left of the feeling of Ambrose and d fire Pru entius, not a spark of the nor a ray of the grace d . L of old hymns In eed, we may not hope for real atin n o w d poetry any more, because Latin is a ead language to all of us . However well a man may read, write, or even n n speak Latin now, it is always a foreig la guage to him , ’ d fi n o n acquire arti cially . It is o e s mother tongue . Does a man ever write real poetry in an acquired language '

X H . H Y M NS I N T E DIV I N E O FFI CE

( I dis tin ét There is now another question, quite from that n an d s of the origi development of the hymns themselve , namely, when were they admitted into liturgical services ' x It is not easy to answer this e aétly. Their admission was a gradual process ; it took place almost everywhere else be ore at Rom e . xxx ex e ét n m We should p Milan , the home of Wester hy ns, fi to be the first to admit them to its of ce . Perhaps it was

so ; there seems little evidence either way . Indeed, in most local Churches it is difficult to say at what moment fi hymns were recognized as part of the of ce . Even when l they were sung, and sung in church , they seem sti l to be - looked upon as non liturgical devotions . Their position an d was like that of our vernacular hymns prayers now . d d They were known, allowe , encourage even by the authorities ; but they were not part of the liturgical serv

ices . Often hymns were sung at the end of a liturgical fi of ce, as we say English prayers at the end of low Mass . There are cases where it is specially provided that hym n s in should be sung, not church , but in some other place, ’ Be n e diét s ul fi a chapel or oratory. St . r e seems the rst fi certain case of hymns recognized as part of the of ce . He i n cludes the hym n am b ro s ian u s in the Canonical “ N o étu rn s hours ; for instance, in the after the Venite ” “ ” 1 e xsu lte m u s psalm s e q u atu r am b ro s ian u s ; at A inde ” 2 d : am b ro s ian u s u e rsu s Lau s responsorium , , , canticum , an d . the so on The monks, then, had their hymns before secular clergy . In the same sixth century a Council at “ Tours ( 56 7) says that they have Ambrosian hymns in ” 3 the Canon . On the other hand, the second Council of “ 6 : Braga, in 5 3 , forbids them Except the psalms or o ld n canonical Scriptures of the new and Testame ts, s hall nothing composed poetically be sung in church , as ” 4 d A o b ard 8 0 the holy canons comman . g of Lyons (T 4 ) tried to introduce a form of the Divi n e office which d n d shoul consist of texts of Scripture o ly . He woul not n have a tiphons which are not Scriptural . Naturally he d was strongly oppose to hym n s . He says The venerable councils of the fathers forbid an y kind of popular psalms le b e io s salm o s (p p ) to be sung in church , or anything ” 5 composed poetically . But in spite of the opposition,

1 Re ula 8 n . Be . c . . Ab o ve xxvu g , 9 , p . . an o n xii Man si ix C ( , , 5 De diuina P salmod a civ i , m i hymns obtai n ed a place in the office in Gaul and Spain . The

in 6 . fourth Council of Toledo , 3 3 , takes up their defence It explains that the liturgy contains many elements which ” are not taken from the Bible, the Gloria Patri , Gloria ”

co lle ét s . in excelsis, So, says the Council, hymns are no more to be condemned than these . Those of St . Hilary ' an d St . Ambrose are recommended especially By the n seve th century hymns are established, as elements of the fi of ce, in Gaul and Spain . Long and determined opposition continued at Rome

. charaéte ristic itself It is of the local Roman Church that, for cen turies after the monks and churches north of the d h Alps had a mitted hymns, she would still have not ing of this innovation . n It is true that we hear of hymns su g at Rome, of hymns composed by Popes, long before the twelfth Am ari s 8 0 th e century . al u of Metz (T about 5 ) describes Roman rite in such a way as to exclude the singing of de hymns . Yet in the supplement to his fourth book, ecclesiasticis O ciis fi (written in the ninth century) , we “ fin d : As is the custom of the monks so do we ” 2 imitate them in Ambrosian hymns . That applies to Wal fri Rome . a d Strabo (n inth century) implies that 3 d hymns were sung at Rome . On the other han , not only do other writers who describe the Roman office at this time (M icro lo gu s) say nothing about hymns ; there d Be le th are even positive evi ences against their use . John

(twelfth century) speaks of hymns sung in other churches, not at Rome, shows that he dislikes them , and points out the superior praétice b y which in some places (Rome “ d itself) the hymn of Blesse Mary, namely the Mag n ificat , is put in the place of a hymn , and no other is ” 4 sung . Even in the twelfth century, when hymns were I Can 1 M an si i C . i . This i h e . D Can o n is n t . 3 ( , x , C , , , c . de onsecr 54, C . 2 ‘ De eccl O i M l V P is . v 8 in abi lo n : e era Analecta a f , , 4 ; t ( r ,

. . T his su le m e n t is n o t b Am alariu s h im s e l p 9 9 pp y f. 3 De Rebus eccles 2 iv 6 B . 5 cx , 9 5 , ) . Rat on l 2 M i a e . . P . L i 8 i , 5 . cc , 5 , C . xxxii beginning to claim their place at Rome, the Antiphonary ’ S : of t . Peter s has a rubric for the Terce hymn This is ” 1 not said in choir, but we sing it in other oratories .

The only way to reconcile these statements is that,

although hymns were known and sung at Rome, they were excluded from the liturgical office till the twelfth

century .

By that time they were sung everywhere else ; so, at

an d d . last, Rome gave way a mitted them also Hymns are a recognized part of the Roman Divine office from 2 the twelfth century .

X I T R S . ME E ll With regard to the metres of our hymns we must note first that two methods of measuring rhythm exist from 3 d the Very beginning . In classical poetry we are accustome

a it n o . to scansion by q u n t y . That is t the only possibility Even before Christianity there were popular Latin songs ’ - d . d measure by stress accent When Caesar s legions marche , S i nging : Mille occidimus mille Sa rmatas , 4 mille mille P ersas uaerimus a .

h - they ad found a rhythm by stress accen t . So there were Th e ad always these two systems . noble language m itte d metre by quantity only ; at the same time vulgar

1 T o m asi : O era omn a e d V e o si Ro m e 1 8 vo l iv , p i ( . zz , , 74 . , 1 6 8 p . 2 Duran du s o f M e n e T 1 2 6 k n o ws all ab o u t h m n s in th e o ffice d ( 7 ) y . He e sc ib e s th e i la e at Matin s a te th e I n u itato riu m an d in th e d r r p c , f r o th e r h o u s u s t as we h ave th e m n o w Ra onale v 2 r , j ( ti , , c . , 3 “ As am o n th e Ro m an s th e a an e m e n t o f wo ds in th e v s , g , rr g r er e was n o t m ade with o u t e a d to th e i acce n ts so also did th e allo w an r g r r , y ” e ffe ét o f acc e n o n u an tit in o so d ' G e k e an d N o e n in t q y pr y. rc rd : E le t n i di lt rtumswiss nscha e i i i u n e A e e L . 2 Se e m an i g fi ( pz g, , p 49 . y - e am le s o f this in th e wh o le ch a te 2 8 2 . x p p r, pp . 4 57

. A . F Oz an am : L a v li at on nu Ve Sii cle X V e le o n Cf . Ci i z i , c

Glu vres com létes P a is 1 8 vo l . ii . T h e wh o le h a te is ( p , r , 55, , p c p r ” wo rth re adin : m m e n t la lan u e latin e vin t ch é ie n n g C o g e d r t e . xxxii i L m n . atin had its poe s by acce t In this poetry, even in when, apparently, the same metres are used as the n noble language, acce t takes the place of the long syllable,

and hiatus is always allowed . From what is called the silver age of the later emperors the sense of quan tity f - n n in Latin was ading ; stress acce t was taki g its place .

So the Romance languages have but little sense ofquantity . f we s e e n In the orms they assume _ the influe ce of the - stress accent much more than of short an d long syllables . n The Teutonic people, when they bega so speak Latin , n helped this development . They had little se se of quantity fi in Latin, much sense of accent . So, nally, by the middle an d had ages, all natural sense of long short syllables

gone ; there remained, as there remains to most of us L Exaétl when we speak atin now, only a sense of accent . y i the same development was taking place n Greek . fi n i n Now in the rst Lati hymns, though they were wr tte h in a classical metre and were measured by quantity, t ere is already evidence that accent was beginn ing to take the ’

. . o wn n co rre ét place of length St Ambrose s hym s are ,

from the point of View of classical metre . Such licen ces as

he allows himself are found also in the Augustan poets . The spondee instead of an iambus in the first and third

. : Ostende feet is admitted by all So, when Ambrose writes “ ” a rtu m uir in is n fin d p g ( I tende qui regis, ii , we in : A ta n tu r enses condi i 2 Horace p t (E vii , He puts an “ ” anapaest fo r an iambus in the o dd feet : I ntende q u i ‘ régis I sra e l ; so does Martial : Cum fa ma q uod satis ést b ha et E i r. 0 m ( p g i , 5 , A brose sometimes makes a fi in iétu s : Te short nal syllable long, arsis when it has the “ ” dili at castiis a mor d g ( Deus creator, iv, so oes ’ : Tit us hi c be at Ti r n a I e e re in s l. r . sa t u Ee Vergil y p ly p ( i , - fl . a This is, already, in uence of stress accent He rep ces n : M a rt ribus the long syllable by two short o es, in arsis y “ ” in uentis cano I e su ( Grate tibi , i , so also Horace ' ‘ Ast e b u icissim risero E g ( p . xv, There is only one an d u in e a doubtful example of hiat s St . Ambrose : N “ ” hostis in uidi dolo ( Deus creator, vii , But here

“ Te beautiful Sapphic measure . Trochaic and asclepiad (

I o seph cele b re n t agm in a caelitu m poems were admitted . A Re de m to ris Hexameter is represented by lma p mater, “ ” elegiac by Gloria laus e t honor . It is to be noticed that most of the tunes to which we

now sing the hymns take no notice of the metre at all . There is not a trace of hexameter rhythm in the tune of “ ” Re de m to ris Alma p mater, nor of elegiac in that of ” Gloria laus e t honor . Our diatonic plainsong hymn tunes are certainly n o t as old as St . Ambrose . To see the kind of melody to which he taught his people to sing his hymns we must look

rather to late classical Greek examples, as far as we can 1 now understand them .

X T HE R FOR O F U B V I I . E M R AN III CI In the seventeenth century came the crushi n g blow which destroyed the beauty of all Breviary hymns . Pope V III f Barb arin i 1 6 2 - 1 6 n Urban (Maf eo , 3 44) was a Huma

ist . In a fatal moment he saw that the hymns do not all re conform to the rules of classical prosody . Attempts to had d h ad form them been ma e before, but so far they been V d d spared . Urban III was estine to succeed in destroy

ing them . He appointed four Jesuits to reform the hymns, f so that they should no longer of end Renaissance ears .

The four Jesuits were Famiano Strada, Tarquinio Gal Sarb ie ws k i luzzi, Mathias , Girolamo Petrucci . These

four, in that faithful obedience to the Holy See which is S t the glory of their ocie y, with a patient care that one d cannot help a miring, set to work to destroy every hymn fi in the of ce . They had no concept of the faét that many

1 Fo r e am le th e t u n e o f th e h m n to th e M u se allio e b x p , y C p y Dio n sio s o f Halik arn asso s ab o t 2 t an sc ib e d b We s t h al y ( u 9 r r y J . p : El men e des mus ka sch n Rh hm viii He s e li e us e n a . . u t it in t i yt (J , p x p t i le tim e e xa€tl o b se rvin th e iam bi m e asu e As We st h al r p , y g c r (0 p ’ w ite s i i s r i d m i-do t t wo u l as fo o u r th m o e . Fo r St Am b o se s r , d p rd ( ) . r t u n e s se e G M D e ve s : A ur liusAmbrosius Ma ia-L a h e r Er éin . . r e ( r ac g z u n g sh e ft 8 F e ib u He de r , 5 , r rg, r ) . o f these hymns were written in metre by accent ; their lack of understanding those venerable types of Christian poetry is astounding . They could conceive no ideal but L Wh r that of a school grammar of Augustan atin . e d ever a line was not as Horace woul have written it, it h ad to go . The period was hopelessly bad for any poetry ; these pious Jesuits were true children of their time . So they embarked on that fatal reform whose e ffe ét was the d d ruin of our hymns . They slashe and tinkere , they re - an d d d wrote lines altere words, they change the sense and finally produced the poor imitations that we still have, in the place of the hymns our fathers sang for over d d fi a thousand years . In ee their con dence in themselves d d is amazing . They were not ashame to lay their han s S Se du liu s t . . on , on Prudentius, on Ambrose himself Only in one or two cases does some sense of shame seem “ to have stopped their nefarious work . They left Aue ” “ ” maris stella, Iam lucis orto sidere, and St . Thomas ’ Aquinas s hymns alone (they would have made pretty “ work of Sacris In 1 6 2 9 their man gled remnan ts were published . We still await the day when d the Bull of publication will be revoke . But not everyone ff e m e n datu s su ers from this textus of the hymns . The Be n e diétin e s an d , Carthusians, Dominicans, the Vatican L o ld ateran Basilicas, still use the forms . When the new d fi Vatican books were announce , the rst thing for which everyone hoped was that we should be allowed agai n to sing the hymns as they were written by their authors . N 0 one who knows anything about the subj e ét now doubts V III that that revision of Urban was a ghastly mistake, for which there is not one single word of any kind to be said . Now all the points which shocked him , as not being e rfe étl classical , are known and established as p y legitimate examples of recognized laws . It was as foolish a mistake to judge poetry of the fourth an d following centuries b y d the rules of the Augustan age, as it woul be to try to tinker prose written in one language, to make it conform with the grammar of another . There are cases where xxxvn these seventee n th - century Jesuits did not even know the “ Co n dito r rules of their own grammar books . In alme s ide ru m they changed lines which are pe rfe étly co rre ét

by quantity . The Vatican Gradual cheered our hearts by restoring

the authentic form of the hymns therein . But there are d very few hymns in the Gradual . We looked forwar so to the continuation of the same work, where it was the much more needed, in Vesperal , and then in the

new Breviary . Alas, the movement, for the present, has e an stopped . The n w Vesperal d then the Breviary contai n ’ VI I I s o dd Urban versions . So at present we have the situation that in the Gradual the old form of the hymns is restored ; but when the same hymn (for instance Vex

illa regis comes again in the Vesperal, we must sing - the seventeenth century mangling .

This can only be a temporary state of things . If ever fi we are to have a nal Breviary, as the result of so much fi change in our time, the very rst improvement, more

urgent than a restoration of the Vulgate text, is that we

have back the authentic hymns .

N XIII . OTHER LATI HYMNS if The hymns of our present Roman Breviary are by n o means the only ones we may know and sing . They have, d d t no oubt, a certain prece ence ; hey are naturally the best known , since every priest has to say them constantly . It is true also that among the Breviary hymns are very nd n n sple id o es . Eve in their present desolate state many of them are still fragrant with the memory of the early A Church and Middle ges . Yet the Breviary hymns are

‘ not always the best out of the e n o rm o u s number that Th'e o le sm e s d exist . S monks have done goo service by publishing co lle étio n s of old proses an d hymns under “ ” “ ” V ar : ii . various titles preces, Varn cantus , etc , and b y adding a sele étio n at the end of their editions of the L iber Vs ua lis t Be n e diétio n , hat they may be sung at , xxxviii “ processions, devotions . Some of these hymns ( Adoro ” “ ” deu o te u e ru m I n u io lata filii e t filiae te , Aue , , O ) “ have n ever been forgotten by our people . Some ( Puer ” “ ” “ L ae tab u n du s natus in Bethlehem , , O panis dul m cis si e are coming back through the Solesmes editions .

There is room for more . There is room especially I for translation s of old hymns . n nothing are English al Catholics so poor as in vernacular hymns . The re bad o f d u n fo rtu ness most of our popular hymns, en eared, n atel th e i t y, to people by assoc ation, surpasses any hing that could otherwise be imagined . When our people have b ad d the courage to break resolutely with a tra ition, there are unworked mines of religious poetry in the old hymn s that we can use in translations . If we do, there will be e n d an of the present odd anomaly, that, whereas our fi liturgical hymns are the nest in the world, our popular ones are easily the worst . When we produce another poet like Prudentius it will be time to think of having new hymns . Till then , why not use the enormous riches we already have 'Let us hope ’ M cDo u all s co lle étio n that Mr . g little , with his excellent translations, will be a step towards better Catholic hymns in English . ADRI AN FOR TESC UE

DY D A Y 1 1 6 LA , 9 .

Ein u erbum bon um et sua ue sa nd dir ot das heisset a u e g , , z ehan de wert du otz con clau e g ,

muter ma d et lia . , g fi

Da mitte wurdest sa lutata , v om hel en eiste ecunda ta g g f , v on herr davitz stammen nata , on d e i li orn sind d n li a .

L audate D omin um in sanfiis eju s : la uda te cum in firm t a mento v irtu is ejus . L a udate eu m in virtu tibus ejus : lauda te eu m secundum

mu ltitudin em magnitudin is ejus . L a udate eum in s on o tuba e : la udate eum in salterio et p ,

cithara . L a udate cum in tympa no et choro la udate cum in chordis et or a g no . L auda te eu m in cymba lis benesona ntibus : la udato eam in cymbalis jubila tionis m is irit s o i o n sp u D m n um . MORNING

ae te rn i n EVS lumi is, d in e n n arab ilis Can or , V e n tu ru s diei iudex C u i n l mentis occulta ides,

T v co e lo ru m n regnum te es, Et to tu s n in erbo tu es, Filiu m cu n éta Per regis, San éto S irit i n p u fo s es .

T R I N V M n u ide s nome alta , V n u m o te n s per omnia p , Miru m q u e per signum crucis ét m n Tu re o r i m e sae lucis .

T V mundi constitutor es, thro n o Tu in septimo sedes,

Iudex, ex alto humilis n Venisti pati pro obis .

T V Sabaoth o m n ipo te n s s u m m i cu lm in is Osanna ,

Tibi laus est mirabilis,

Tu es prima anastasis .

T v fide i adiu to r es, Et hu m ile s re s icis tu p , thro n u s Tibi alta sedes , iu in u s o Tibi d est h nor .

C H R I ST O ae te rn o q u e Domino Patri cum San éto Spiritu Vitae so lu am u s munera sae cu lis A in saecula . 2

EVENING

e t HRISTE , lux mundi , salus potestas, i i d adim le s Q iem solis radiis p , N o éte m e t fu lu am faciens corusco in is Sidere p g .

C E R T I S u t totum m o tib u s pe raétu m Temperes mundum vicib u s re cu rs u s Atque re so lu as omnium labores

Sorte q u ie tis .

C C u e r e n te m E E , g rotat hora solem, V e s e ris ru rsu m re m e an tis o rtu m p , Hine e t as tro ru m chorus o m n i s alto Ol m o Surgit y p .

N o s pio cu ltu tibi prae cin e n te s V o cib u s sacris m o du lam u s h m n is y , Se n sib u s totis simul e xcitam u r

Pangere laudes .

R A E S T E T u t u o tu m fe rat u t m e delam P , , n u t n o s tris u e n iam deliétis Do et , Firm e t u t d sensum , placi a quiete M u lce at artus

E T n o étis su b e an t licet profunda, Ho rridis te n e b ris o e rta mundi p , Mens tam e n nostra fide i s u pe rn ae S le n de at p ortu .

E S I N A N T u i ile t u icis s im D culpae, g illab e n s Noster animus, nec ulla Sensum in u o lu at grau io r u agan tu m S iritu u m p turma . EVENING

’ HRI ST L an d d , very ight Might, the worl s Salvation , d s u n Filling the day with ra iance of the bright , d n an d Thou who ost make the dark ight, adorn it s tars hin in With the g,

B Y d H U M L we pray thee, meetly or er all things ’ du e That in time we welcome light s returning, A n d that thou sink in resting at the twilight d Toils of the noon ay .

’ L o e n d at the day s now the sun is setting, re su rre étio n Blessing the eve with pledge of , And in high heaven choirs of stars appearing

Hallow the nightfall .

F T H E R E O R E with holy rites we come before thee, m Now doth each voice in holy hy ns proclaim thee, Hearts with our lips in fair accord uniting S n ing to thine ho our .

an d n T H AT thou mayst hear our prayer bri g us healing, m d f That thou ayst grant us par on of of ences, S an d trengthen our hearts, wrap in peace our bodies , S oothing the weary .

A N D n though the shadows of the eve surrou d us , d And though the worl be wrapt in fears of nightfall, d Yet shall our souls be clothe with faith , arising

Splendent from heaven .

G RA N T that all sins be banished, and all weakness

Drive from our minds, that they be ever watchful , L d est some foul spirit, lurking in the sha ow

Waiteth to harm them . C O R s u i ile t enim no trum g sopore, So m n ie t Chris tu m D o m in u m q u e semper I n so n e t salm is m e dite tu r h m n is p , y

N o éte dieque .

n G L O R I A summo celebret pare ti , arite r u e san éto Gloria Christo p q , P rae dice t trinum pia u o ce n omen e m Omne per a u u . I B O D E S may sleep , but hearts shall keep their vigil

Resting at peace in Christ the Lord for ever, In light an d darkness holy psalms and anthem s

Chanting to Jesus .

G L O RY for ever unto God the Father, an d Glory to Christ to the equal Spirit, Who se trinal name our choirs of loving voices

Sound through the ages . ADVENT

VN CTORV M rex o m m po te n s Mundum saluare u e n ie n s Formam assumpsit co rpo r1s

N o s trae s im ilitu din is . e regn at cu m Altissimo in trat u te ru m Virginis , Nasciturus in corpore in el disru m Mortis n a pe re .

N T e ran t in te n eb ris G E E S , Vide ru n t n fu l o ris lume g , Cum salu ato r adu e n e rit m n idi Redi ere quos co d t .

OV E M olim u atu m prae scia Ce cin e ru n t oracula, Nun c u e n ie t in gloria t ln r Nostra u curet u u e a.

L A E T E M V R n unc in Domino,

Simul in Dei Filio, Parati h u n c s u scipere Adu e n tu s sui tempore . ADVENT HE almighty King of all men born

Comes down to save our race forlorn ,

And takes, who is most gracious ,

A mortal body like to us .

W H O weareth in the heights the crown ’ Into a Virgin s womb comes down, And in a fle shly form doth dwell

To break the chains of death and hell .

T H E nations that in darkness lay A glorious light have seen that day When hearing his creation ’s groan in n The Saviour the earth is k own .

W H O M prophets prophesied of o ld And in their oracles foretold Shall come in this most glorious time

To cure the deadly wounds of crime .

d N o w therefore joy we in the Lor ,

And praise and bless the Son of God, Preparing in this Advent time

To welcome him with hymns sublime . CHRISTMAS I V RGEN TES ad te Domine Atrae n o étis silentio Vigiliis Ob s e q u im u r

Patrum sequentes o rdin e m .

Q V E M nobis de reliq u eru n t Iure hereditario Ministrantes excu b iis San cfte Tibi Paraclite .

I P A R cum Patre clarus es, s u b tilis sim u s Cum Christo , Multis modis e t Spiritus

Rex m ys ticu s agn o sce ris .

F R A G I L E S carne co n spice ( luos ille an tiq u is s im u s dece it artib u s Suis p , i ib s Tuis trahe u rtu t u .

G R E x tu u s tibi de ditu s N o n te n e atu r crimine (El em tuo Christe sangui n e is V o lu ti redimere .

O V E S errantes prae u ide iis sim e Pastor bone p , Ad au lam cels itu din is

Tuis reperta humeris .

T A B E F A C T V S e t sau ciu s

Ab sce dat dae m o n u m princeps , P e rdat prae dam de fau cib u s im o rt n is rab id s Fur p u u . 1 0

E X V L T E T m n Christus Do i us, P sallat an elicu s chorus g , Laudes so n ans in organo rs n i t Te a étu s d ca Domi n o .

G L O R I A M tibi dicim u s Pater una cu m Filio Simul cum San éto Spiritu I r n n trina laude pe so e t .

1 2 F O R d so doth Christ the Lor rejoice, While quires of angels raise their voice And sound of organs doth accord I n - the Thrice Holy to the Lord .

I N hymns of glory let us raise, So n m Father and , thy eed of praise, A n d d to the Spirit endless lau , in Three persons one only God . CHRISTMAS 2

in fan tl a BEATA gaude , S d e t do le as e gaudens pariter, Aggre de re s an éta m ys te ria li e r P e re u n tis mundi le ta t . Iam paterna adim ple n s n u n tia d e t fle bilis Gau e simul dole , re s tat Grandis enim tibi uia,

N s eru is e t . ascens pauper, humilis

A V A G I T V sumas exordia N il u e s e rn e n s n o s trae m is e riae q p , n rae s e ia Vagi , i fans, inter p p , Se d oscula pia dans Mariae

Solare, nam Patris imperia De cre u e ru n t cru o ris te s tillis e rfu n di altaria Iam p super , i i e Q natus es pauper t humilis .

A D re du xit gaudium litera, co n fe s tim alacre s ro de u n t Nam p , fe re n te s Reges Tarsis munera, H e ro dem de in ce s a Nec p de u n t . s icu t do n an t Aurum regi magno , Thus u t Deo m yrrham q u e cum illis I n hu m an do ; haec mystice sonant e t Tibi , qui es pauper humilis .

D V M m iratu r Simeon haec gesta, L ae tu s sallit e t lau de n s m an ib u s p p , in u it ad Tendo, q , alia festa, In fe re n dis pro te m u n e rib u s I 4 CHRISTMAS 2 E OI CE J , O very blessed Infancy, But let thy joy be mingled with a sigh Begin to- day thy holy mystery ’ Who co m s t to save a world about to die . ’ Now is fulfilled in thee the Father s word ;

Thy joy is mixed with pain and weeping sore, L For steep the way that waits for thee, O ord, n d a . Born as a servant, lowly, meek, poor

T H O U ' Cl‘ Ie dSt , newborn Saviour, it is told, Who lack e ds t nothing of our wretchedness

Cry, Child who liest in the manger cold, Comfort thy Mother with thine infant kiss

Thy blood must flow, for so the laws ordain

Thy Father gave to Abraham of yore, l Over the altar, ha lowed by the stain ,

Thou that art humble in the flesh and poor .

Y E T greater joys thou b idde s t us to sing ; d Seeing the star, dis aining to delay,

The kings of Tharsis presents to thee bring,

Nor wait to honour Herod on their way, d al They bear thee gol of roy majesty, An d Go d d incense, meetest gift their to a ore, Myrrh for thy tomb : in mystic praise of thee

They bow, their Lord, a lowly child and poor .

A N D Simeon marvels at the wondrous thing, A n d sings in joy a canticle of praise .

I pass to other festals of the King, ’ w Saith he, yet here among the temple s ays 1 5 S ecu lab o r du m p , templum adies, Et baculo ae tate senilis Su s te n tatu s dicam m ille s ie s , e t Salue, infans puer humilis .

S E D rae dice tu r heu dolor, statim p , Nam in sign um cui co n tradice tu r in u it Eris, q , nec matri mitius

Fiet, cuius animam gladius as s r m P e rtran s ib it . Sic ergo p u u m o ritu ru m Te attende atque , n as s ibilis Sed sic olens, sic es p , l Nasci u o e n s pauper e t humilis .

P R N C P S e t o u iu m I E praestans Pastor , e t n Princeps pacis Pastor om ium , n m ali n u s Pri ceps mundi, Herodes g Tyran n ide n o s q u ae rit perdere Et b arathri ad ima ruere, su ccu rre n b e n i n u s Sed obis, Rex g , P ro itiu s e t lacab ilis p sis p , s e ru u s e t Natus pauper humilis .

1 6 m ff ’ I seek for thee eet o erings to God s name, And by my staff (for I am old an d hoar)

Upheld, a thousand times I will proclaim ' an d Hail I adore thee, Infant meek poor .

A L A S the woe ' forthwith he prophesied, A sign for all to mock and to deride d : Thou art appointe nor thy Mother less, For through her soul a sword of bitterness d d san étif Shall pierce . Thou that the worl ost y, f Prepare thyself to suf er and to die .

Thus willing, these the pains thou shalt endure ’ ill ds Who w t thy birth in lowly flesh and poor .

T H O U Shepherd of the sheep, Prince worshipful, d all Thou Prince of peace and Shepher of us , That mystic Herod who on earth doth reign

Seeketh to slay us of his tyranny, ’ in l n That we wi th him hel s deep dark ess lie . d Fair Sovereign, eign to aid us and sustain, d an d Be near to guar keep us evermore, n Child bor to save us, lowly, meek, and poor .

1 7 LENT I

VRES ad nostras De itatis preces n n Deus i cli a pietate sola, Su pplicu m uota s u scipe pre cam u r

Famuli tui .

R S P C m n san éto E I E cle e s solio de , V u ltu n lam ade s sere o p illustra, Lumine tuo te n e b ras repelle

P e éto ri n ostro . C R I M I N A laxa pietate multa u in cula disru m e Ablue sordes, p , e ccatis rele u a iace n te s Parce p , Dexte ra tua .

T E n m e r im u r n si e tetro g profu do, L ab im u r alta s celeris sub unda ; Brachio tuo traham u r ad clara

Sidera coeli .

I T E n e t C H R S , lux uera, bo itas uita, m m n Gaudiu undi, pietas imme sa, ( l u i n o s a morte roseo salu asti n Sa guine tuo,

I N S E R E tuum pe tim u s am o re m M en tib u s n o stris ; fide i refun de n Lume aeternum , charitatis auge Dile étio n em .

T v n obis don a fo n tem lacrym aru m I e iu n io ru m n fortia mi istra, Vitia carn is m illia re tu n de m Fra ea tua . / 1 8

P R O C V L a nobis perfidu s ab s istat Satan a tuis u irib u s co n fraétu s : San étu s as sis tat Sp1r1tu s a tua de m issu s Sede .

L n G O R I A Deo sit aeter o Patri , Ge n ito ris Sit tibi semper Nate, Cum quo aequalis Spiritus per cu n éta n Saecula reg at .

2 0 B R U I S E D by thi n e heel m ay Satan and his legion s n d Far from our mi ds be riven, that are guided By the indwelli n g of the Holy Spirit

Sen t from thy heave n .

Go d t G L O R Y to the Fa her everlasting, - Glory for ever to the Sole begotten, With whom the Holy Spirit through the ages

Reigneth coequal .

2 1 LENT 2

V MM I lar ito r rae m n g p ,

Spes qui es unica mundi , Preces intende s e ru o ru m e lam an tu m Ad te d u o te c .

N O S T RA te co n scie n tia o ffe n dis se m o n s trat Graue , Q i am e m u n de s su pplicam u s n s Ab om ibus piacu li .

S I u n trib u e t re is quis , n o te n s I dulge quia p es, Te corde rogare mun do n o s r cam u r n Fac p e Domi e .

E R G O acceptare n ostrum ( i ie iu n iu m b sacrasti , ( l u o mystice paschalia a iam u s m n C p sacra e ta .

S V M M A n obis hoc co n fe rat I n Deitate Trinitas, In qua glo riatu r unus

Per cu n éta saecula Deus .

2 2 L ENT 2

an d OLE hope of all the world Lord, d Bestower of the great rewar , Receive the prayers thy servants raise n d n Mixt with meet psalms a cha ts of praise .

A N D though our conscience doth proclaim d n n an d m Our eep tra sgressio s our sha e, We d Cleanse us, O God, humbly plea , m n d Fro si s of thought and word and dee .

’ O U R sins remember thou n o m ore Forgive : thou art of mighty power d So take upon thee, Lor , our care in That pure heart we make our prayer .

F i TH ERE ORE accept, O Lord, this t de s an étifie d Of fast which thou hast , That we may reach by mystic ways n The sacrame ts of Paschal days .

M A Y he who is the threefold Lord On us confer this high reward, In whom so long as worlds abide On fi e only God is glori ed .

2 3 VC I S au étOr n n im m e n s u m cleme s, lume , n fu l e t s an étu s ae te rn u s Lume cuius g , in n Christus qui regnat cum ipso u um , Et San étu s Spiritus, una potestas,

T E T R A E n o étis hu iu s al m c igine pelle, Serpe n tisq u e fraudem q u ae su m u s fuga arm ato s n Nos crucis sig aculo salua, Sacro san éto n tuo omine dita, W . .

O vo s peccati mole grau ide pre ss o s m ille fo rm is de ce it Sua fraude p , Se u iéto re m gaudens quoque se u iétu m i m n i n Co gn o scat u rtu te o po te tis .

T E im m o rtalis m n m P A R , o iu pastor, I n u ide n te m b fu scan tem ostem fringe , q m n n raeb e e ren n em san fio Lu e obis p p , n n a m Ten ebroso calle o p u ea u s .

P o m n is R E D E M T O R excelse, rex terrae, Deliéto ru m e m itu s n pius g atte de, I n s idian te m b co n frin e Salu ato r ostem g , , aete rn ae u itae Nos redde beatos,

N O C T E M n m n obis ista do a quietem , I n im icu m b ostem fuga a nobis, n um u in cat in i u u m Crucis sig omne q , Te ro m s b i a u n n o scu m . Christe g , ma e

L e t n De itati G O R I A ho or trinae, I n e n Ge n ito u e g ito Deo, q Christo, S iritu u e n di p q simul Paraclito Sa o, ’ n c n ét Cuius erbo claret saecula u a. 2 4 LENT 3

ERCI F d n UL author of light, Light unfa i g, t Light hat dost shine on us, holy, eternal, n Christ, with that light reig ing ever in union, d Holiest Comforter, one in thy Go head,

n D R I V E from our hearts the dark shadows of eveni g,

Banish , we pray thee, the guile of the serpent, do Signed with thy cross thou deign to preserve us, - Bless with thy name, the Unuttered, thrice Holy .

A N D though the wiles of our foe be a thousand, Yet in the hour he rejoiceth as viéto r

Seeing us bound with the fetters of sinning,

Gran t he m ay fall by thy valour almighty .

m e n FA T H E R immortal and Shepherd of all ,

Break thou the power of the wolf that would harm us,

Grant us thy light from the fount everlasting , h e So that we know not t terror of darkness .

U m SAV I O R ost glorious, King of the whole world,

Bend to the groans of thy sinful creation, n ) Keep us from s ares of the i rince of the darkness,

tca . Bless us, and bring us to li everlasting

N T G RA that this night may be quiet and peaceful,

Shame thou the foe that would tempt us to sinning, ’ A n d by the cross s Sign vanquish all evil ; d Christ, we beseech thee, abi e with us alway .

G L O RY and praise to thee, Deity trinal ,

God Unbegotten, and Christ the Begotten ,

And to the Paraclete, holy and mighty, Who by his word giveth light to the ages 2 5 EASTER I

E ce n tie s mille legio n u m angeli Co n ce n tu plau du n t e t can ora iu b ile n t e t o m n i o te n s Christe Jesu Alpha O p , Se u ltu s e t u iu e n s p olim in saecula, fidelis e t u e ru m n Testis pri cipium .

O V I mundi h u iu s de i e crs t1 pr1n c1pe m Re dim e n s o rb e m tuo almo sanguine, San étu s e t u e ru s e n itu s g ingeniti, Re s e ran s e t o b stru e n s clausum apertum ,

Faciens Deo regni sacerdotium .

T V u e ru s agnus solus sine macula i dextram co llo catu s ( b Patris solio, e re ss u s Solus g ab arce dominica, Similis iaspis e t sardi n o lapidi

Iris per gyru m iz m aragdu m circuit .

T V ho m in is u e Dei pignus, q Filius, Septics lib ru m s ign atu m s ign acu lis So lu ere di n io r re e rtu s signa g p es, n o ccisu s co rn ib u s Ag us , septem pollens , n fl m m Se pte o fulgens e t lum i n e a eo .

T H R O N O ro du n t E p fulgura tonitrua, thro n u m lam ade s Septem ardentes ante p , m Septem ubique issi Dei spiritus, e stellae m ican t dextera Septem Agni , s Septem cui ad tan t can delabra aurea .

thro n u m n ite t m u itre u m S TA N S ante are , B1s 1 m b ni fortes idem ani alia, rae s tre e n s Homo per genus, leo voce p p , 2 6

q e n cu s ore promet sacerdotium , P u o l e te n s ad astra mole an s aquilae .

’ V A T V O R al s in u lis Q formis senis is g , e t cu n éta o cu lis Ante retro plena , do rm ie n di n e scii Vigilant semper , V icis s im san étu s n iu ite r , ter clama tes g

e t u e n tu ru s . Ille qui erat, est, qui est

m S E D E N T E S circu quater seni primates, A m iéti cu n éti n iu e is cicladib u s , Et diade m is au re is laureati , u ehu n t hialas aro m atu m Aureas p , A u re is sallu n t m o du lis e t citharis p ,

e t b e n e diétio G L O R I A Patri , laus Agni sedenti super th ro n o -z in co elis Cum Patre regnat e t cum San éto Spiritu Co n n exa simul tribus una Deitas in fin ita s ae cu lo ru m Per saecula .

2 8 d One as a heifer shows the priesthoo of the Lord, ’ so are th One to the skies on the strong eagle s wing .

T H E S E four whereof each one with six great wings is foun d u an d d Who are all f ll of eyes before them behin ,

Watch ever, with eyes closing not in sleep at all, A n d sing together evermore Thrice holy he, n an d The mighty One who was a d is is to come .

A N D n four and twe ty elders sit before the throne, - Clothed in snow white robes of linen very fair, A n d garlan ded with garlands hewn of purest gold ;

They carry golden phials of very precious herbs , A n d n sweetly cha t to golden lutes and harps of gold .

Go d GL O R Y to the Father, blessing and all laud To the Lamb seated on the throne ; who in the heights

Reigneth with God the Father and the Holy Ghost, in e rfe ét Three persons one sole and p Deity, n n Through all the e dless of eter ity .

2 9 EASTER 2

san éto ru m an elo ru m ITA , decus g , cu n éto ru m io ru m Vita pariter p , n m in istru m Christe, qui mortis morie s Exsu e rasti p ,

T V tuo lae to s fam u lo s tro pae o u n c lacidis die b u s N in his serva p , I n quibus sacrum celeb ratu r o m n e m o rb em Pascha per ,

C u iéto r re die n s im o P AS H A, qui ab aliis re s u r e n s Atque cum multis g , Ipse su sceptu m super alta carn em

Astra levasti .

N V N c in excelsis Dominus re fu lge n s Et super co elo s Deus ele u atu s I n de u e n tu ru s homo iu dicatu s De n u o iudex .

C O R DA tu sursum modo nostra tolle re s ide n s Patri dexter in alto, Ne resurgentes facias in ima P rae ci itari p .

0 0 m sacratu s H Pater tecum, hoc ide P rae ste t am b o ru m , pie Christe, Flatus Cu m quibus regn as Deus un us omni I i e r u g t ae u o .

3 0 EASTER 2

n an d n IFE of thy sai ts glory of thi e angels, ho Christ, who art life of all w strive to love thee, Who by thy dying o n the cross didst vanquish ’ Death s ministration,

in th SAV E these holy days of peace y servants, an d d Guard sustain by ple ges of thy triumph , For n o w thy Paschal feast throughout the wide world Joy they in keeping .

F EAS T when from hell as V iéto r thou returni n g n When thou hadst loosed the fathers that were sleepi g, Be are dst the flesh that thou didst take upo n thee

U n to the high stars .

in N o w thou art Lord resplendent the highest, ’ A n d n Go d o er the heave s, , thou art exalted ; n The ce thou shalt come, O God and man, in glory, ’ e n d Judge, at the world s .

RA I S E thou our hearts to know thee in thy beauty ’ n Where thou dost sit at the high Father s right ha d, Lest though we rise thy pe rfe ét justice cast us n I to the darkn ess .

T H I S may the Father grant us, Holy Saviour ; n This may he gra t who is of both the Spirit, o n e in erfe ét With whom thou reignest, p Godhead,

Unto all ages .

3 1 ASCENSION

o l m o re dditu s OBIS, y p i i d rae aras Q , Christe, se es p p , Nos exules in patriam b am o ris n e xib u s Tra as .

ab u n dan s B O N I S omnibus, I n e n s g eris merces, Deus ; Q i am longa pro poena brevi Tu o s m an e b u n t gaudia '

T V N c u alis ore nudo, q es, ( i an tu s u e u ide b im u s L q , te , Am ab im u s iu ite r te g , iu ite r lau dab im u s Te g .

S I de s e ris quos amas, non , N o strae s alu tis o b s ide m

Mittas s e dib u s ab altis , i ado e t S iritu m ( t . b nos p , p

V E N T V R E sae cu li Iudex ,

Iesu , tibi sit gloria cu m u e Cum Patre, q Spiritu,

I n sempiterna saecula .

3 2 ASCENSION

CHRIST, who mountest up the sky

To deck fair thrones for us on high , Thine exiled sons in love restore m Unto their native land once ore .

f T H E R E gifts to all thou dost af ord, Thyself shall be our great reward How brief below our time of pain ' How long our pleasure shall rem ain '

W I T H eye unveiled and sated heart t We there shall see hee as thou art, A n d tell in hymns of sweet accord an d L Our love praise of thee, O ord .

T L E S we be orphaned of thy love, Send down from thy high halls above d The Spirit of a option sweet, ’ n Salvatio s pledge, the Paraclete .

E n J S U, to thee our a thems tend ’ Who shalt be judge at time s last end ; To God the Father equal praise A n d n Holy Ghost through e dless days .

3 3 P EN TECOST

RATIA tua, Spiritus, n Praese s sit nobis omnibus, ( A me corda n ostra u is ite t i Atque in eis hab te t .

Ex P V L S I S i n de u itiis Et om n ibus m alitiis Ac n o strae m en tis te n eb ris n i iis Sim ul cum im m u d t .

A M A T O R tu Paraclite V n étio n e m tuam mitte Cordi nostro e t an im ae

Cum tuo claro lumine .

S I N E n te ihil possumus, N o s e r o o scim u s _ g a te p Vt preces quas n o s fu n dim u s Di n ae n au rib g si t tuis u s .

P E R u ie s te q sit temporum ,

Vitae detur solatium,

‘ re du n de t co m m o du m Pacis , Se de u r m n t o e scandalum .

P R A E S T A m hoc, Pater opti e, Christe tu Nate maxime Atque tu Spiritus alm e u i re n as n Cl g om i tempore .

3 4

THE HOLY TRINITY

DESTO Pater Domi n e L u m e n u e u e n e rab ile q , Nobis te de pre can tib u s

Cordis e t oris lau dib u s .

A D S I T Q V E tu u s Filius V n i e n itu s Aequalis g , ( Al i n o s re de m it proprio cru o ris re io Sui p t .

P A R A C L I T V S OV E Spiritus co elitu s Mittatur a te , ( l u i nos ado rn e t s ple n didis n m ritis Morum bo orum e .

T V principalis Trinitas n V n itas Nec non peren is , Ads is te n otis s u pplicu m Et crim in u m terge sordes .

L AV S hon or u irtu s gloria Deo Patri e t Filio San éto simul Paraclito I n m n se piter a saecula .

3 6 THE HOLY TRINITY

E present, Father, Lord of all,

Thou Light that art most worshipful, Be near us as our prayers we raise A in n d heart un ites with mouth praise .

A N D - may thy Son, the Sole begot,

The Coeternal , fail us not, Who hath redeemed us on the Rood ’ And paid the price o f his o wn blood .

A N D may the Holy Ghost be nigh ,

The Comforter from thee on high, Who doth adorn our humble race n With seve fold mystic gifts of grace .

O T EV E R L A S I N G Trinity, A n d e rfe ét n ever p U ity, ’ m n Hear thou fro heaven thy supplia ts vows,

And cleanse from stains of s in their brows .

L A U an d D, honour, might praise be done an d To God the Father the Son, And to the Holy Paraclete T n hrough e dless ages, as is meet .

3 7 PURIFICATION OF OU R LADY

EFVL SI T alm ae dies lucis can didus u ellae u ir in is Partum p g per aureum , Q aan do s u pe rn is filiu s de s e dib u s n u o lu it A Patre missus homo asci , i is P e rm an s it idem proles alti N u m n .

‘ L E G I S s acratae san ctis cae rem o n n s S u b ie étu s o m n is calamo Mosaico Di n atu r re it erfu l ido s g esse, qui g p g o rd1n e s an ehco s In arce Patris g , te rram fu n dau it i Coelum , qui ac mar a .

P O S T OV A M pu ellae dies q u adrage sim u s adim le tu s iu xta n Est p legem Domi i , Maria u irgo Iesum san étu m pu e ru m Vln is sacratis templi tunc in atriis

n e n 1to r1s . Tulit, treme di g unicum

M A T E R beata carnis sub u elam in e m fe re b at cas tis sim is Deu humeris , s triétis 1 lab iis Dulcia bas a sub , D e o u e u e ro b im re s s erat q omini p , iu b n te n éta n Ore e quo sunt cu co dita .

D v o s parentes tu le ru n t can didu lo s P u llo s laéte o lis lu m u lis columbae p , e o tu rtu ru m Dedere templo par pro , V elu ti ro m u l ab at s an étio legis p g , i ale s eru s t s co n s rar n Q p a e c e t hostias .

D E I m itis s im u s sacerdos, humilis, , in iu stu s Erat urbe, senex optimus, Felix beatus Simeon co eliflu o Sacro u e le n u s adfu it s iram in e q p p , n n s Sacra sub aula erbi Dei co sciu . 3 8 PURIFICATION OF OUR LADY HE golden dawn hath brought the light of that blest day n n Adorned with the childbeari g of a Virgi fair, When God the Son descended from his throne o n high n m l n Se t fro the Father, and in flesh wil ed to be bor , - Remaining still the Sole begotten of the Lord .

A N D here o n earth for us he deigned to undergo The holy rites comman ded by the ancient law b n Writ y the ha d of Moses, though he rules on high ’ The shini n g hosts Of angels in his Father s land

And built the earth an d sea an d sky and all the stars .

A N D kn owing n o w the mystic forty days were past n Ordained of old by the comma dment of the Lord, Mary the mother- maid took up the Holy Child

Who ever with the Founder of the world is one, h And bore him in er arms unto the temple halls .

T H E blessed m other nestling bare agai n st her breast an d d The God who made her uphel her, veiled in flesh, And looking down o n him who is both God an d m an

She kissed with the sweet kisses of her mouth his lips , an d m Those lips that spake of old time, the worlds were ade .

A N D the two parents brought before the Lord of Hosts d Two pigeons clothe in plumage soft and white as milk, And in the temple gave a pair of turtledoves fi That should be consecrate as a burnt sacri ce, san étio n d As had of old been writ and e by the Law .

E R in T H E was in those days the town a priest of God, d An old man , humble, gentle, by the Lor beloved, n Simeo by name, thrice happy over all men born, ’ n Filled with the Holy Spirit sent from God s high thro e, in G d Who waited the temple for the word of o . 3 9 H I C n am q u e du du m responsum accepe rat d u in cu lo Sacro docente Spiritu, quo Mortis re so lu i non posset de corpore u ide re t Ch ris tu m u iu e n s Nisi Dominum ,

Q i e m misit alto Genitor de solio .

S U S C E P I T n am u e u e ru m in m an ib u s q p , n n Age s super o Genitori gratias, Vln is re te n tan s b e n e dixit n Domi um , le n u s du lce din e Amore p cordis cum , Adde n s e t s u b in tu lit alto sermone ,

o b se cro D I M I T T E, tuum, Domine, nunc , I n n pace ser um , quia meis merui u ide re u is ib u s Tuum salutare , Q uod praeparasti pietate unica ru m o l r m f i m Ante tu o p pu o u ac e .

F U L O E N S V E n n o cu lis Q lume ge tium in , leb is e rm in is Gloriam p Israelis g , P o situ s hic est in ru in am scandali Et salu tem au re ae in Iacob stirpis , re u el n u r c r i m Donec secreta e t o d u .

I p s rv s in u it s an éta n , q , tuum , ge itrix, Tran s ib it iétu s gladii pe r animam Se ru ab at m s tica e éto re casto y sub p , n co n fe re n s alacrite r Maria erba , Diétis s r fi l r u pe n is credula de ite .

X D O A sit Patri per immensa saecula, Et V n i e n ito Iesu Christo, Patris g , u irtu s ae the ra Decus, potestas, super , San éto a per omne saeculum Par clito, L in fin ita e t aus , honor imperium . 4 0 A N D this man had received an answer from the Lord d Taught by the Spirit of the Lor , that from the flesh had He should not gain releasing, till that he seen n The Christ, the Saviour, in the flesh made ma ifest,

Whom the high Father sendeth from his thron e on high .

A N D so he took into his arms the holy Child, And giving thanks unto the Father in the heights d L d all He blesse the or of things held against his breast, fi And sweetness lled his soul, more sweet than all things sweet

And thus he spake, in words that ring through every age

n n o w L O R D , I beseech thee, let thy serva t in peace Depart according to thy word : for with mine eyes th al n I have beheld y great s vatio of thy grace,

Which thou preparest, who art very merciful,

Before the face of all thy people evermore .

T T H A shineth as a light to give the Gentiles light, ’ The glory of thy chosen nation, Israel s race ; co n tradiéte d A sign that shall be he is set, ’ n And for salvation u to Jacob s blessed seed, n U til the secrets of all hearts shall be revealed .

Y E A , through thine own soul also, thus he prophesied, ” Mother most holy, shall a sword of sorrow pierce . And Mary heard an d pondered in her heart most pure d The mystic wor s, as she aforetime had believed ’ e rfe ét f f m With p aith the Angel s message ro the Lord .

n Glory to God the Father through eter al years , ’ - So n To Jesus Christ, the Father s Sole begotten ble s sm Be g, honour, praise and virtue in the heights, A n d so through endless ages to the Holy Ghost n d The Comforter, ascribe we honouri g and lau . 4 1 THE SEVEN DOLOURS OF OUR LADY

ENDENS in crucis co rn ib u s Lon ge po rre étis m an ib u s Ob ge n itricis m eri ta n o s Trahe ad celestia .

O VA M prope s tan te m caritas n Plaga doloris pe etras, Fae n o s e éto re , pia, in p H e s au iar ln r o c e u u e e .

T V sol o ccas u m n e scie n s m u in cis n Morte qui morie s, P iae parentis pre cib u s N o s tris m e n tib u s appare .

u n i e n itu m V I R G O, quae g m m Tuu plorasti ortuum , Da pie tatis lacrym as N o stras u e q dele maculas .

V E R V M Joseph in tu m u lu m o n u n t Christi p corpusculum , o b te n tu Matris , Kyrie, u iéta Nos morte redime .

rae fu l ida S T E L L A maris p g , m u itae rae u ia Ad uia p , Exu to s carnis po ndere

In Christe fac quiescere .

C V S T O S tu aru m n o ium , ( se ru at m ilitu m luam turma , Ab om n i nos te m ptam in e o ratu Matris protege . 4 2

R E G I N A coeli Maria ( i o m n is n m L am laudat a i a, n o s s e ru itio Completo , em n re t n R u e do atio .

G L O R I A tibi , Domine, i i u ir in e Q natus es de g , Cum Patre e t San éto Spiritu I n sem piterna saecula .

44 i n Whose praises every heart doth S g, n i 1s Whe all our earthly pra se done,

Reward us with thy benison .

G L O RY to Thee through all the earth, th n Lord Jesu, for y Virgi birth, With Father and with Spirit On e d While en dless ages onwar run .

4 5 INVENTION OF THE CROSS

HRISTE supreme dominator alme, cele b ris Rex triumphator, redemptor, i o s re de m is ti o u ale n ti Q pr tio , o sm Ob a di N e t u .

D E B I T A S laudes m e ritas q u e grates Re ddim u s n tib im e t n n otis , be ig e, Clu o s crucis magn o re de m is tro phae o n n Sa gui e fuso .

H O S T E submerso b arathri profu n do Vicerat n n o ciu o lig o draco qui , ’ Christi per lignum sua dam n a san étu m P lo rat ae u u m per .

M O E R E T e xtin éto u e n e n o coluber , Virib u s re ss is p soliti doloris, Luget assu m ptu m u e te re m co lo n u m

In paradisu m .

P E R n iu cu n du m crucis sig um , crucifer, , re tiu m cru o ris Per tui dulcis i , Iure clementi fzim u lo s atroci E ri pe morti .

X n D O A regnanti supero pare ti , Laus simul proli man eat perenn i Cu m co ae te rn o parite rq u e digno

P n e u m ate San éto .

4 6 INVENTI ON OF THE CROSS HRI ST h in the highest, oly Lord of all things, an d d Conqueror Sovereign, worshipful Re eemer, in Hear us mercy, whom with price most wondrous r e m é Thou hast e d e d.

P RA I S E an d thanksgivi n g j ubilan t an d meetest ff an d O er we praying, sweetest King kindest, Whom by the pouring of thy blood thou save dst i s On Rood V iéto r o u .

O N C E o f old tim e the ancien t foe had lured us ’ n Unto his priso by a tree s temptation, But through the holy wood of Christ he waile th

Bou n d through the ages .

m n o N ow doth the serpent ourn his fangs, longer n Able to harm, his poiso reft for ever, d an d Now doth he weep, hell harrowe , his people

Called to the heavens .

Cru cifie d m S o through the cross, O , ost precious, d o f th d o ro oo , S th ugh the price unprice , y fair lifebl Deign in thy mercy now to save thy servants

From death eternal .

G L O RY to God who reigneth in the highest, So n him Praise to the who reigns with for ever,

Laud to the Holy Spirit coeternal, in d Equal Godhea .

4 7 COL V MBA S . E SV Redemptor omnium, n Ser os benigne respice, Per Columbae su ffragiu m ffi Mites e t castos e ce .

H rc pie tatis m o rib u s Re fuls it in ecclesia Co lu m b in is o pe rib u s

Cum summa pudicitia .

V I T A N S s o rdis m alitiam Peccati pro dilu u io Q i ae s iu it sibi requiem I n e arcae sa rae solio .

F E L L E carens e t s im plice m n n in tu itu m Me tis habe s , L au de m can it m u ltiplice m u ar m an si m Super aq u tr t u .

M V N D V M calcan s sub pedibus Su s irat co ele stia p ad , Sacris ple n is o perib u s L ae tu s gaudet in patria .

S O L I Deo sit gloria Clu i nos post cursus stadia ’ Columbae per s u flragia

Ducat ad coeli gaudia .

4 8 L S . CO UMBA ’ d ESU , all men s redeemer ear, Thy servants deign in love to hear For us may Saint Columba pour an His prayer that we be meek d pure .

F O R in the church of Go d shone bright ’ His gentle life for all men s light, A n d d both in name and works a ove, an d He lived in chastity love .

F R O M every evil thought his breast cle an s éd Was , and he sought for rest Beyond the waves of sin ’s dark flood

Within the holy halls of Go d.

F R O M every taint of anger clean ,

With simple mind and free from sin, an d He sang to God fair praise sweet,

Where many roaring waters meet .

T H E n d world be eath his feet he tro , Go d His wistful sighs went up to , d And full of holy works, he passe ’ To Jesu s gladsome land at last .

A L L L d d honour to the or be one, Who after this life ’s race is run Shall lead us at Columba ’s prayer ’ To heaven his servant s joys to share .

4 9 L S . A BAN

CCE u o tiu a re co lu n tu r festa ( h ue protomartyr sanguine dicau it Inclito magnus nomine Alb an u s

Rite co le n du s .

a s re u it I L L E tyr nnus p iracundos, V e rb e ru m lan io ru m plagas, iras, Fuso cruore de co ratu r inde i Laurea u tae .

H I N c o u lo sae ratu le n tu r tu rb ae p p g , m e dite n tu r h m n is Carmina claris y , patris prece m e rean tu r iu n gi Ci i u b u s coeli .

I A M m e ritis nunc, patrone excelse, s e ru u lo s n Martyr Albane , atte de, Fer o pe m cu n étis tibi nu n c can o ris de u tis Atque o .

ro te éto r fam u lis e t E ST O p fautor, P le b is adiu to r e t lar ito r , pacis g , n Nobis defensor, domus hui s cultor Et habitator .

D A E M O N V M ro cu l n truces p pelle ires , Ho stiu m d o te n s iras calca p iras, Teque i n n ante adscrib am u r digne i In libro u tae .

T E san étu m Deum , trinum atque unum , re b o am u s h m n o Supplices claro y , L au de m chorea cui dant superna ce e u n éta Per sa la . 50

SS . PETER AND PAUL

EL IX per omnes fe s tu m mundi cardines Apo s to lo ru m prae po lle t alacrite r

Petri beati , Pauli sacratissimi , ms co n s e crau it ( E Christus almo sanguine, l iar m de u tau it Ecc e s u p principes .

H 1 Oliu ae du ae n sunt coram Domi o , Et d radian tia can elabra luce , P rae clara n coeli duo lumi aria, so lu u n t u in cu la Fortia peccatorum , Ol m i r s r n fide lib u s Portas y p e e u t .

H A R E N T supernas potestatem clau de re s le n de n tia Sermone sedes, pandere p

Limina poli super alta Sidera, u c clau e s faétae n Ling ae orum coeli su t, a re ellu n t n L aru s p ultra mu di lim item .

P E T R V S beatus cate n aru m laq u e o s iu b e n te m irab ilite r Christo rupit , o u ilis e t do éto r Custos , Ecclesiae, P as to r u e re is co n se ru ato r o u iu m q g g , , r l o ru m tru cu le n tam rab ie m A ce t u p .

Q V O D C V M Q V E u in clis super te rram s trin xe rit E rit in astris re ligatu m fo rtiter ; Et quod re so lu it in terris arbitrio E t it so lu tu m super coeli radium ; I n fin ri e mundi iudex e t sacculi .

N O N do élzo r impar Paulus huic, gentium, Ele étio n is s acratis s im u m templum ,

In morte compar, in corona particeps, lu ce rn ae e t Ambo decus ecclesiae, u ib ram in e In orbe claro coruscant . 52 L SS . PETER AND PAU HI S holy feast through all the quarters of the world Proclaims the Apostolic might m agn ifical d Go d Of blesse Peter and of Paul the saint of , Whom Christ hath san étifie d with his most sacred blood

A n d made them princes of the churches of the earth .

two - d L d T H E S E are olive trees that stan before the or , A n d d - n can lesticks that shine with never faili g light,

Twin radiant lamps of heaven burning endlessly, ‘ a n s in u o n Who loose the heavy ch i s of p the earth , n And to the faithful re d the great celestial gates . T H EY have the power to close the halls most excellent d the shin in Of heaven by a wor , g gates to ope ’ High o er the shimmering stars that guard the spotless skies ; n the d Go d Their to gues are made keys of the fair lan of , d m They rive the demons past the li its of the world. H O LY Saint Peter breaketh at the Lord ’s command With wondrous power the snares an d fetters of the earth ; an d do éto r The guardian of the fold of the church, an d The Shepherd of the flock keeper of the sheep, d ro te ét He from the cruel rage of wolves oth them p . W H AT E ’E R upon the earth with chains he shall have bound Shall be more strongly bound within the halls On high ; A n d what on earth is loosed by his prevailing word ' ’ Shall be made free for aye in heaven s Pe rfe ét light ; ’ d f He shall at the world s end be j u ge o quick and dead .

N O R is less might to Paul, the teacher of the earth , e le étio n A vessel of holy to the Lord,

Companion in the death , partaker in the crown ; an d Go d These twain, the light glory of the church of , d d Shine forth with purest radiance through the whole roun worl . 53 M tu o ru m rin ci u m O R O A felix, quae p p re tio so Es purpurata p sanguine, Exce llis o m n e m u lch ritu din e m mundi p , d s an éto ru m m e ritis Non lau e tua sed , ( a cr e n atis ladiis L os u t iugulasti g .

i 1 V o s ergo modo glor os martyres, m u n di liliu m Petre beate, Pauli ,

Coelestis aulae triumphales milites, P re cib u s almis u e stris nos ab omnibus h ae t e ra. Munite malis, ferte super

G L O R I A Deo per immensa saecula ; d e t Sit tibi Nate ecus imperium, san éto u e S iritu i Honor, potestas, q p ; Sit Trin itati salus in diu idu ae in fin ita saecu lo ru m Per saecula .

54 0 P P Y e n carn adin e d an d H A Rome, who art blest s ’ With the e thy holy martyrs very precious blood,

Who thus excellest every beauty of the earth , b Not by thine own praise, but y merit of the saints

d. Whom once thou slewest, smiting with the sanguine swor

S O e may ye therefore now, y martyrs glorious, d d Peter most blesse , Paul the lily of the worl , s Triumphant warriors of the palace of heaven , With your most holy intercessions guard us well

From every evil, raising us above the skies .

G L O RY to God through ages that have never e n d ; O To thee, Son, be everlasting might and praise, And power an d honour to the Holy Paraclete ; And to the Undivided P e rfe ét Trinity L d aud through the en less ages of eternity .

55 S . BERNARD

ESV V n ice , Amor , to tiu s Fons gratiae, L co n u alliu m ilium , co rdiu m Dulcis Amor , re ficis Felices quos , fi Amor qui n o n de cis .

G R A N D E donum gratiae, Se u i lo riae q regem g , ( circu m dan t luem lilia, San éfo ru m tot milia, Co n cre pan tq u e du lcib u s i l ib s Hym n s atque au d u .

Q V O R V M in co n so rtio L ae tab u n du s gaudio Fonte hau s to gratiae lae titiae Canticum , co n cin is O Bernarde,

Regem ce rn e n s o cu lis .

V E N V S T A T V S can didis Paradisi liliis Agn u m sequens iu gite r Promis s in gu larite r Virginale can ticum i n s ir in m Turmis u €tu u g u .

I A M cum sponso dulcia

Pascis inter lilia, In ab ys so lumi n um co n s o rs a m in u m Coeli g , Opulen ta requie

Cubans in meridie . 56 S . BERNARD ESU , fount of every grace,

Only love of all our race , L ily of the valleys white, ’ S an d weetest love heart s delight, d Happy those whom thou dost fee , faile s t d Love who not in nee .

F e rfe éf G I T how p , glorious King,

In thy footsteps following,

Round whose feet the lilies grow, A n d the saintly thousands glow, And in hymns of sweetest laud

Go d. Praise thee, very God of

I N whose happy company an d Gladly eternally,

At the fount of grace refreshed ,

Songs of praises loveliest, d d d Blesse Bernar , thou ost sing,

While thine eyes behold the King .

GA R LA N D E D with lilies white ,

Shining in the heavenly light, d d Thou, upon the gol en roa L Go d Following the amb of , With the Virgin quires for aye ’ Sing st the song of chastity .

’ M I D ST the lilies thou dost browse ’ In the Bridegroom s holy house, In the starry fair abyss n d Joi e with heavenly companies , Resting from the noonday heat I n the cooling grasses sweet . 57 I A M s e cu ru s habitas ;

Vere ferret caritas, Caritatis otium ,

Perenne solstitium, I u gis e xs u ltatio Fre u e n s iu b ilatio q .

A N G E L O R V M curiae P rae se n tatu s hodie, Regis in cubiculo De b riaris osculo , Sponso clarus roseum I n tro re s su s thalam m g u .

O OVA M dulci iu b ilo Regis in palatio cu rs itas Ad consortes ,

Cogit enim caritas, Flore iam perpetuo C n o ro atu s candido .

I filia S O N regis , Cuius o m n is gloria Ab intus in au re is P rae dicatu r fim b riis , Oleo n o n u acu u m l a fili m A m p ex re u .

O V E M decorum gloria Ho n e s tau it gratia, a it intus fe ru idu m Caritatis oleum , lae titiae Oleum ,

Decor conscientiae . 58

S V M M A Tibi Trinitas

Temporum aeternitas, Can tico ru m du lcite r

L iu ite r aus perennis g , u irtu s Honor, , gloria ae te rn a Per saecula .

60 Praise and sweetest songs of laud ff d Do the heavenly choirs a or , an d Honour, virtue, power might, fi u 1n m te . Thro gh the ages Amen .

6 1 AL L SAINTS I

M N I VM Christe pariter tu o ru m Festa San éto ru m co lim u s pre can te s Hos tibi qui iam m eru e re iu n gi

Nostra tueri .

V I N C L A s n o s tro ru m sce le ru m re so lu e L uce u irtu tu m populos ado rn e n t V in dice n t nobis pietate sola

Regna superna .

V T quibus u itae stadium m agis tris C u rritu r horum pre cib u s b e atis F u lgido coeli gremio lo ce m u r

P e rpe te uita .

G L O R I A M Saii éfae pie Trin itati e rsu lte t e t re s o lu e t Turba p canat , ( mac m an e n s regnat Deus unus omni

Tempore saccli .

62

A L L SAINTS 2

L MA cu ii éto ru m celeb re m u s omnes san éto ru m m ican te s Festa , modo qui A e the ris regno sine fin e gaudent

Gaudio magno .

P R O L I S ae te rn i genetrix, Maria, d e t Unicum mundi ecus honestas, Sple n de t insignis solio nitenti u ir o Inclita g .

F L A M M E O u u ltu chorus an ge lo ru m fu l e t co n dito ri Multiplex g , tibi Saepiu s dulces m o du latu r hym n o s

Voce perenni .

C V M suis Petrus s o ciu s q u e Paulus

Regis immensi proceres triumphant, Atque fe s tiu as chlamydes am iéti

Stemmate u e rn an t .

H rc atriarchas fide i n p colum as, P ro u ido s n ates, Domini lucernas , L aureo co m pto s libet eminentes

Cernere patres .

M A R TY R V M coetus ibi lo rian te s o m n in o d F Ornat iadema ulgens, Q i isq u e confessor re tin e t co ro n am

V iéto r o pim am .

V I R N M flo re n t n itidae cate ru ae G I V , re s o n e n t Serta gerentes choreas, Nempe iu s to ru m m e ritis beata A m in a g pollent . 64 ALL SAINTS 2

ET every heart of man in holy con cord n n n Sing on this feast of all the sai ts, who shi i g High in the heavenly kingdom without ending Joy with a great joy .

d n M A RY, thou mother of the See eter al, ’ t Ear h s only glory, comeliness and honour, o u re st o n Thou from the high throne p light all men ,

Purest of maidens .

’ S O doth the An gels quire with radian t faces

Gleam with a thousand holy hues, adoring

God with their hymns ofj ubilation, sounding

n . Sweetly, eter al E P T E R and Paul , amid the blest Apostles , ’ Knights of the King s great army, are triumphant d Clothed with white robes and festal, crowne with precious n Coro als golden .

P I L L A R s of faith, the Patriarchs of old time, L Lamps of the ord, the Fathers and the Prophets , n in Crowned with their laurels, emine t virtue,

Shi n e in their beauty .

T H E R E doth the white -robed army of the Martyrs n - fo Crow ed with their rose crowns, praise the Lord r ever There do Confessors diadems of lilies iét r Gain for their v o y.

N e B A D S of the Virgins, chaste and ver shining, m Bearing their garlands, run to meet the Bridegroo ; the Hosts of righteous, blessed in their merit,

Feed there in glory . 65 O V I Rede m pto ri pariter fe re n te s Debitas grates si n e labe cu n éti Men te iu cu n da u ariis freq u en tant V ib u s o c odas .

n ie tatis au éto r O D EV S cleme s, p , Rite cu lparu m maculis ablu ti His in ae te rn a so cie m u r arce n ae m Om e per u u .

G L O R I A M Patri re so n e m u s om n es Et n o tibi Christe genite super , Cum quibus s an étu s sim ul e t creator n Spiritus reg at .

6 6

APO STL ES

EGIS immensi m ilitis triu m phis n u o ce co n cin am u s Co sona omnes, Ipsi qui dedit e t trophaeum palmae a n Simul l u da te s .

H rc an te Deum u elu t magn a nubes Ociu s e ru o lau it n partes p mu di , V e rb is u e co ru scau it s i n is q pluit, g i n h i m P rae d ca s C r s tu .

H I c fe n e s tram s te tit u t ad columba, e t re étu s Fuit prudens, simplex atque , P ro u ide n s bona omnibus e t Christo a ha re n s Semper d e .

S O R T E M acce it du o de n o s p inter , e t Chris tu m o cu lis b e atis Vidit , P o su 1t suam animam pro eius re d m ta Plebe e p .

P R O F T E R quod Christe supplices ro gam u s n u t ab so lu as Vincula ostra pie , P raeb eas fru étu s po e n ite n di dign os n Crimi a laxans .

L E B I L E S m ise ratu s F artus tegas, Sto lam an n u lu m u e de m s it quam culpa q p , Re ddas e t s o rte m inter san éto s tu o s n Nobis co cedas .

P R A E S T A co ae te rn u s , Redemptor Patri , Cu n éta n San éto qui regis Flami e cum , Atque gu b e rn as saeculum pe r om n e Tr I n in itate . 6 8 APO STL ES

OW doth o u r quire in o n e glad so ng uniting ’ n d Sing to the triumph of the Ki g s great sol ier, Joining our hymns with praise of God that gave

Palm for his conquest .

H E as a cloud before the Go d of heaven

Passed in swift flight and glorious through all lands,

Preaching of Christ with words as Sweet showers falling, d Mighty in won ers .

S flie th A I N T LY he , dovelike to the windows , an d - Noble prudent, j ust and single hearted, Offering to all good gifts : and aye remaining

Fast by his Saviour .

G A I N I N G a place among the twelve Apostles , t Blest wi h the Vision of the Lord Incarnate, d Faithful to death, he for the ransome people f d Of ere his lifeblood.

F W H E R E O R E, O Christ, we kneel to thee, beseeching n That in thy love thou break the bands of sin ing, A n d n at the last, our souls set free, wilt gra t us

Meet fruits of penance .

C A S T o ’er our limbs of misery in mercy an d n Robes of thy love rings of thine espousi g, Lost by our si n s : prepare among thy blessed

Place for thy people .

G N n RA T our petition, Saviour coeter al, n an d the Reig ing with God the Father Spirit, o ve rn e st W d Who throu h the ages g the whole orl , P ét e rFe and trinal . 69 MARTYRS

m n EVS i me sa Trinitas, V n ita semper gloria, e Pater, Christ , Paraclite, in u iéte n Rerum Domi e,

lar itate m m u n e ris e g , rae s tas ti m art ri Tuo p y , Cuius festa n otissima n e le b ram s Co c u hodie .

T O R M E N T A Q V E s ae u is s im a Hac n aria supplicia V iétrice tua dextera n r u li Me te robusta pe t t .

H V I V S adelines Dom ine de recam u r re cib u s Te p p , A e the re a consortia

Celsa dona fastigia .

rin ci u m O V I princeps esse p p , m s ticu s a n o sce ris Rex y g , Agnita nostra er1mina

Larga dele clem en tia .

A D V E N T V S u t cum fulgidus ' n Christe atu e rit Tu s p , du ce n te Tuo martyre, b iam Laeti pergamus O u .

D E O Patri sit gloria Eiu sq u e soli Filio Cum Spiritu Paraclito Et n n e t u c omne saeculum . 7 O

CONFESSORS

AN CTE m e ritis Confessor, beate, Cerne de u o tu m tibi co n gregatu m M e n tib u s co e tu m re s o n are can ta m

Voce can o ru m .

I m fe stu m O V tuu gaudet celebrare , I O le thu m u ice ras Q sacer amarum, Corporis claustra re se ran s cundo Viéto r ad astra,

V N D E n un c praesen s pie te ro gam u s I u dice m re cib u s sacratis pulses p , Og ate n u s n ostri miserando clem en s ‘ m e m r a ét r Sit o u o .

D E T Q V E n o s semper sibi corde fido s Aéh b u s e t gratis satis placere, Om n is e t noxae u e n iam m e re ri m Ipse Rede ptor .

H o e san éte re cib u s , Pater , p beati u n m tu u s An as, tecu atque Natus, m e t trib u at recam u r Al us Flatus , p , Trin s e u t unus .

7 2 CONFESSORS

OL Y n d in th Co fessor, blesse y merit, See how thy people congregate before thee in n n Bow devotio , and a thousa d voices

Chant of thy glory .

-dz So they rejoice to celebrate thy feast y, 0t Thou who didst quell the bitter pain dying, al d n Loosed from the thr dom of the flesh, ascen i g V iéto r to heaven .

T H E R E F O R E n n we pray thee, be di g low before thee, B y thy blest prayer destroy the fear ofj udgement, n n That the Creator, of his lovi gkind ess,

Hearing, have mercy .

S O may he grant us hearts for ever faithful, So him n may we ever serve in thanksgivi g, So may that Saviour grant for every sin-stain

Healing an d pardon .

I ’ T H S, holy Father, at thy servant s pleading an d Grant, thy Son who with thee reigns for ever, fille th With the blest Spirit, he who all things,

Un ity Trinal .

73 OUR LADY I

clam am u s n o s D te , audi , n sae cu li Virgo, regi a Et in n o éte custodi nos ill m Sieut pu p a oculi .

I A M s e tie s tibi , mater, p I n lau de m dixim u s die , Sit n obis in te re q u ie s

Sub umbra cuius u iu im u s .

F E ss o s diu rn is ae stib u s re fo u e Nos somno pacis , N o b isq u e q u ie sce n tib u s re m o u e Tu fraudes hostis .

S T E raedita L L A fulgore p , iu cu n da cele b ris Lux , lux , In tuas laudes excita l is n b is Nos man e pu s te e r .

74

OUR LADY 2

u s s im a MARIA p , a clariss im a Stella m ris , Mater m is e rico rdiae Et u dicitiae aula p ,

O RA pro me ad Domi n um Et Iesum tuum Filium, e ru at Vt me a malis ,

Bon is gaudere faciat .

V I T I I S e u acu e t A , V irtu tib u s co rro b o re t , Tran q u illitate m trib u e t Et in cu sto di t pace a .

C V M u e n e rit u itae fin is Ven i te prae b e o cu lis Vt tu n e terrorem Sathan ae u e am e u ade re Per te q .

C O N D v e T R I e E M te h ab e am Re de u n di atriam ad p , Ne callidu s diabolus m ertu rb e t in u idu s Via p ,

S V B I I OI E N D O plurima Et f alsa quoque crimina, Don ec re ddar prae po s ito A rchan elo Michaeli g ,

C v rv s con stat o fficio A m aligno diabolo Dign os q u o s q u e e ripe re Et r dde re paradiso e . 7 6 OUR L ADY 2

MARY, Star that lovingly ’ shin e st In fair light o er the sea, ‘ Mother of pe rfe ét clemency

And hall of purest chastity,

B d R E M E M E R me before the Lor , th J esus y Son, the Christ of God ; d My soul from every evil guar ,

And bring me to thy blest reward.

N T G RA me from every ill release,

Of every Virtue grant increase, e rfe ét Bestow on me thy p peace,

And keep my heart in quietness .

A N D when my life is ending here,

Do thou before mine eyes appear, That with thy counsel I ma know ’ To scape the terror of the fbe .

m O M A I D , vouchsafe to lead y feet ’ n U to the Father s blissful seat, Lest Satan by some envious wile a My steps from the right w y beguile .

T H A T from my ma n y stains abhorred Of sinning I may be restored d To Michael, of the heavenly guar n d The Archangelic pri ce and lor , W H O S E might in the celestial tower Is strong from every evil power

To save the faithful and the blest, A n d n bri g them to eternal rest . 7 7 DEDICATION OF A CHURCH

EFVL GEN T e h u iu s lara templi culmina, s e tifo rm is Perfusa luce p Spiritus , ru b e scu n t n Christi purpurata sa guine , re tio s i Perlita rore p balsami, m ix is r m ib u Odore flagrant t a o at s .

N T m do m u m S I ista supra , Domine, tui de re cam u r Aperti semper, p , oculi A u re sq u e tuae sint in te n tae iu gite r m o m n e m n o étis e t in Die per tempore, Tu o q u e semper ore be n edicere .

S I T an e lo ru m hie fre u e n tia g alta q , De sce n dat o m n is hie coelestis gratia, ff san éto lar ie n te Di usa g Spiritu, V u ltu sereno san éta semper Trinitas fau o re di n e tu r in s i e re Pio g p e .

N V B E S sacra u e n in cu b u it q , quae pende s Deo iu b e n te supra tab e rn acu li Te étu m M o se s , beatus quod y in eremo re cam u r h u iu s m o e n ia Fixit, p , alma Afflatu s s an éto e rfu n dat s iram in e p p .

F V M O S A du du m re le u it , quae p atria dicati Templi , nebula perlucida ' Orante puro Salomone pe éto re eacu m in e Hanc missa, Christe, coeli de Do m m f n n n r u e cu de t sempiter o m u e e .

‘ Q V I C V N Q V E tuum s an étu m n omen supplici P le n o q u e corde pre catu s q u e fuerit Hui n s in ae dis sacro domicilio lar ie n te Te g sit liber a crimine, u e stem Excl de p , morbos omnes dilue . 7 8

T v o sacrato hie depas ti corpore Tu o u e san éto satiati n q sangui e, Ab hoste tuo de fe n si m u n im in e Laeti fidele s s o rtian tu r s e ru u li fin e Vitae perennis sine gaudia .

R E R V M Vn ice Creator, Iesu, patris m s alu asti Mundu cruore purpureo,

Peccata tollis solus qui pestifera, Dign are tuo s m u n e re gratuito ru rico las Ad astra coeli mittere .

S I T semper alta Deo Patri gloria, Om n is dile éto potestas sit Filio, San éto u e q semper gloria Paraclito, n et u irtu s m m Ho or , laus, decus, i periu n n t cu n ét Et u c e ultra sit per a saecula .

8 0 W E are e d thy p ople, by thy holy Bo y fed ; To us thou givest in these courts thy holy Blood ; ro te étio n a Guard us by thy p from our de dly foe, That we thy servants may in faith and joy obtain

Through thee thy glorious gift of everlasting life .

- J E S U , Creator of the world, the Sole begot, wo rk e st Who our salvation by thy rosy blood, d Alone who bearest all the sins of all the worl , Deign of thine own free grace and plenteous love to call

Thy homesick people to thy land above the stars .

the To God Father everlasting glory be, n So n And power eter al to his most beloved , A n d equal honour to the Holy Paraclete, an d m Praise, laud and blessing, rule, dominion all ight l O d n o w an d m . As was of , is , shall be ever ore

8 1 THE BURIAL OF ONE DEPARTED

VCTOR s alu tis ho m in u m ,

Iesu, nostrum refugium , Te in u o cam u s ce rn u i

Etsi indigni famuli , cu m e tim u s Vt , pro quo p , Re ddas co elo ru m ciu ib u s , Su ffragan tib u s co e licis

P atriarcharu m cu n e is .

B EA T A uere ciu itas l am illu strat d1u 1n 1tas Q , Hie r ale m c ele s ib s u s , o t u Exo rn ata la idib u s p , In quorum ae dificio ro he taru m Sit p p merito , ( luem tibi Iesu Domine C m m e n dam u s ia fide o p .

C O M P A S S I O N I S gratia Christi pe rfe éta caritas Carnis s u m ps it e xu u ias Vt dirae mortis co m pe de s dis so lu e re t Sua morte , ' Cuius s an éti apostoli Ob tin e an t m e ritis ex , hie u iu at n Vt in Domi o, i i de fu n étu s sa Q est e cu lo .

8 2