XRM regem iam paterna clari- Aurum temne, fuge luxus, si Ydri fraudes ergo cave, infir- In occursum magni Regis fer mantes subleva, ardentes lampades. This anonymous Advent hymn is acrostic like some of the Psalms, the Lamentations of Jeremiah, and the hymn of Sedulius, p. 16; and is largely composed of quotations from the Bible. It is a forerunner of the DIES IRAE, p. 73. Metr. tr. in Schaff I 369. Metre: trochaic tetrameter catalectic. 2. I Ad Thess. v 2. 5. I Ad Corinth. xv 52. 7. S. Matt. xxv 31. 9. S. Matt. xxiv 29. 11. Daniel vii 10. 13. sq. S. Matt. xxv 31-46. 34. S. Marc. ix 44. 36. S. Matt. xxv 30. 41. XPM, Christum. 43. Ydri, Greek for serpent; serpens antiquus qui vocatur diabolus et Satanas, Apoc. xii 9. 45. S. Matt. xxv 13. III Urbs beata Hierusalem, dicta Tonsionibus, pressuris expopacis visio, liti lapides, 10 Quae construitur in caelo vivis Suisque aptantur locis per ex lapidibus, manus artificis, Et angelico ornata ut sponsata Disponuntur permansuri sacomite. cris aedificiis, Nova veniens e caelo nuptiali ANGULARE FUNDAMENTUM lathalamo, pis Christus missus est Portae nitent margaritis ady- Omnis illa Deo sacra et dilecta civitas, Et virtute meritorum illuc in- Plena modulis et laude et ca tis patentibus, Hoc in templo, summe Deus, Hic promereantur omnes pe Hymn for dedication of a church, probably of the seventh century. It is found in many medieval breviaries, with some textual variations. In the modern Roman breviary it begins "Coelestis urbs Jerusalem." See Julian, Dict. 1198. Metr. tr. in Episc. H. 400; Laud. D. 929; In Exc. 779. Metre: trochaic tetrameter. The ruggedness is partly due to the date, partly to the unskilfulness of the author. 1. The word Jerusalem means pacis visio. 2. vivis... lapidibus, from I S. Pet. ii 5. 3. Apoc. xxi 2 Ierusalem paratam sicut sponsam ornatam. 6. Apoc. id. 21. 10. Tonsionibus, late and rare; from tundo. 13. Here begins a second hymn, of which there are metrical translations in Episc. H. 294, 483; N. Laud. D. 998; In Exc. 729, 731; Meth. H. 856; Bapt. P. В. 845. — Ad Ephes. ii. 20 ipso summo angulari lapide Christo Iesu. 15. Sion was interpreted of the church militant on earth, as the word means speculatio. 155, PAULUS DIACONUS Paul the Deacon was born in Italy about 730, and eventually became a monk at Monte Cassino. Ventris obtruso Recubans cubili, Thalamo manentem, 25 Hinc parens nati Meritis uterque Abdita pandit. Sit decus Patri, 30 35 This single hymn for S. John Baptist is interesting, because Guido of Arezzo (995-1050) selected the initial syllables of the first stanza for the names of the tones of the musical scale. The seventh tone, si, represents the s of sancte and the i of Ioannes. The numerals in the European culture languages are obviously unfit for the purpose. In modern times do replaced ut. The hymn is still in use in the Roman breviary. Metr. tr.: Fifteen are noted by Julian, but none of them are in American collections. Metre: Sapphic and Adonic. 6. reatum, reproach. 8. Nuntius, angelus; S. Luc. i 11. 10. patri, Zacharias. 14. promit, in S. Luc. i 13 sq. 15 sq., id. 20 sq., 64 sq. 22 sq., id. 41 sq. 25. Thalamo, cf. Ambrose No. 3, 9; р. 5. THEODULPHUS S. Theodulph was Bishop of Orleans. It is said that on Palm Sunday in the year 821, Louis the Pious was at Angers, and as he passed in procession the place where Theodulph was confined, the latter sang this hymn for the first time, resulting in his liberation. Gloria, laus et honor tibi sit, Et mortalis homo, cuncta cre Israel tu rex, Davidis et in- Cum prece, voto, hymnis ad Hi placuere tibi; placeat de- Gloria, laus et honor tibi sit, votio nostra, rex Christe redemptor, Rex pie, rex clemens, cui bona Cui puerile decus prompsit cuncta placent. Hosanna pium. The hymn was (and is) in constant use as a processional for Palm Sunday. Metr. tr. in Episc. H. 90; N. Laud. D. 386; In Exc. 248. Metre: elegiac; unusual. 2. S. Matt. xxi 15 pueros clamantes... Hosanna filio David. 4. S. Luc. xix 38 benedictus qui venit rex in nomine Domini. 7. S. Matt. xxi 8. 10. melos, melody; a Greek word. NOTKERUS BALBULUS Notker, a monk of S. Gall, was born about 840 and died in 912. His great importance in the history of ecclesiastical music is due to his invention of sequences. The word "alleluia" was sung at the close of the gradual between the epistle and gospel in the Mass, and it was customary to prolong the final syllable -ia through varied cadences called neumes (from pneuma), until the officiating clergyman reached the place where the gospel was to be read. Notker invented words, and sometimes music also, to accompany these notes, and the result of his labors became technically known as sequences: sequentia dicta est qui pneuma iubili sequitur, Durandus. In form the Notkerian sequence is a rhythmical prose, something like the Hebrew psalms, whose form is strictly defined by the Neumes of the Alleluia, and of great musical intricacy. One hundred and fourteen of these sequences are known. See Julian 812, Bartsch, Sequenzen 1, and Introduction, p. ix. I Grates nunc omnes reddamus De diabolica potestate. Domino Deo, Qui sua nativitate nos liberavit Huic oportet, ut canamus cum angelis semper : Gloria in excelsis. For Christmas. The sequence is not certainly by Notker. |