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The following passage from Hugh of St Victor (De Claust. Anime, c. 36) will make intelligible the third and fourth lines of the quotation ; De hoc secreto cordis dictum est : Factum est silentium in cælo quasi media hora. Cælum quippe est anima justi....Sed quia hoc silentium contemplationis et hæc quies mentis in hâc vitâ non potest esse perfecta, nequaquam hora integra factum in cælo dicitur silentium, sed quasi media ; ut nec media plenè sentiatur, cùm præmittitur quasi : quia mox ut se animus sublevare cæperit, et quietis intimæ lumine perfundi, redeunte motu cogitationum confunditur et confusus cæcatur. Nor are these lines of Alanus without merit:
Hic risus sine tristitiâ, sine nube serenum,
THOMAS OF KEMPEN.
THOMAS Hamerken, of Kempen or Kampen in Over
Yssel, to whom generally, and, I believe, with justice the Imitation of Christ is attributed, was born in 1380, and died in 1471. His works, apart from that disputed one, are numerous. Among them are various ascetic and devotional treatises, which have the same kind of merit, though in an inferior degree, which has caused the Imitation of Christ to be, next to the Bible, the most widely diffused and oftenest reprinted book in the world. They include also a not unimportant life of Gerhard, the founder of the Fratres communis Vitæ, to which Order, if such it may be called, Thomas himself belonged. His poems are not many, nor would they yield a second extract at all to be compared in beauty with the very beautiful lines which follow.
LXX. CANTICUM DE GAUDIIS
STANT angelorum chori,
Laudes cantant Creatori;
LXX. Thomæ à Campis Opp., Antverpiæ, 1634, p. 364; Corner, Prompt. Devot., p. 760.
O quàm præclara regio,
ORATIO DEVOTISSIMA AD TRES PERSONAS SS. TRINITATIS.
Heli, Heli, Deus meus,
LXXI. Hildeberti et Marbodi Opp., p. 1337; Hommey, Supplementum Patrum, p. 446.—It gives me pleasure that the natural arrangement of this volume has enabled me to reserve to the last a poem which will supply to it so grand a close—a poem which, so soon as it has escaped the straits and embarrassments of doctrinal definition, although even there it has a most real value, from the writer's theological accuracy and distinctness, and his complete possession of his theme,-gradually rises in poetical feel
. ing, until towards the end it equals the very best productions which Latin Christian poetry anywhere can boast. And this, its excellence, makes not a little strange that almost entire oblivion, even among lovers of the Latin hymnology, into which this hymn has fallen. Hugh of St Victor indeed, a cotemporary of Hildebert's, quotes six lines of it with a well-deserved admiration, though without seeming to intimate that he was acquainted with the author. His words are (Serm. 83): Qualis autem sit exsultatio sanctorum in cælesti gloriâ, et lætitia in cubilibus istis, exsultationes quoque in gutture eorum, illorum solummodò est cognos
Cujus esse summum bonum,
cere, quibus datum est et habere. Unde quidam rhythmico carmine
Quantùm tui gratulentur,
Norunt illi qui sunt intus.
6 that he may give something of this author's.” The only translation of any part of it which I know, is one in Mr Neale's Hierologus ; it embraces only the concluding lines, and scarcely reproduces the beauty of the original.
1. 2] This is sometimes printed Omega, but the metre plainly requires that it should appear as it does above: unless indeed we should resolve the L into the Oo, of which it was originally compounded, and as which it might be here pronounced, and then print the line thus: A et 00, magne Deus : it needs not to say what a favourite symbol of Him who is the first and the last (Alpha et 2 cognominatus, ipse fons et clausula : Prudentius) the monogram A-l or alw supplied to the early Christians, or [T.L.P.]