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For the octave of the Epiphany; one of the seven great hymns.
Metr. tr. in Episc. H. 461. The original melody in Young 215.

17. cauma, Greek; so pneumati, 46. 19. variae, of painted plumage. Note the beautiful parallelism in 23, 25, continued to 42.

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This hymn to the Virgin is found in a ninth century Ms. of S. Gall. It is the most famous and most used of the many hymns in honor of the B. V. M Seven metrical translations, mostly for R. Č. hymnals, have been made. Metre: trochaic dimeter catalectic, composed of three trochees.

25

1. Gen. i 10 congregationesque aquarum appellavit Maria (= Mariam); Psalm xxiv super maria fundavit eum. A hymn of the fourteenth century has ad Mariam, tanquam mare, | peccatores currunt. In another hymn she is invoked as virginale sidus for lucet sol (i.e. Christ) de sidere (Maria); see Mone I 59. Mone's second volume is confined to hymns for the Virgin. 5 sq. The play on Ave and Eva was a favorite one: tanquam procul a vae sic es salutata, Mone, No. 496. 13. S. Ioann. xix 27 deinde dicit discipulo: Ecce mater tua.

II

P133

5

Christe, sanctorum decus ange- Saepius templum veniat ad

lorum,

istud

Rector humani generis et Visere nostrum.

auctor

Nobis aeternum tribue benigne Angelum nobis medicum saluScandere caelum.

Angelum pacis Michael ad istam

tis

Mitte de caelis Raphael, ut

omnes

Caelitus mitte, rogitamus, aulam,

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Nobis ut crebro veniente crescant

Prospera cuncta.

Hinc dei nostri genitrix
Maria

Angelus fortis Gabriel ut Totus et nobis chorus angelo

hostem

rum

Pellat antiquum, volitet ab Semper assistat simul et beata

alto,

10

Concio tota.

20

This hymn for angels has been attributed on insufficient testimony to Hrabanus Maurus, pupil of Alcuin, Abbot of Fulda and Archbishop of Mainz, who died in 856. In the Roman breviary it is used for S. Michael's day and with some changes for S. Raphael's. The best known metrical translation is by Bp. Mant "Christ of thy angel host the Grace."

Metre: Sapphic strophe.

1. Mone quotes Greg. M. Moralia 32, 8 Deus sanctorum angelorum choros quos condidit in usum sui decoris assumpsit. 5. "Michael namque, Quis ut Deus; Gabriel autem, Fortitudo Dei; Raphael vero dicitur Medicina Dei," breviary.

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Mone assigns this hymn to the fifth century, the oldest Ms. being of the tenth. From Septuagesima to Easter the Alleluia is not sung in the Gradual; hence the antithesis of the Alleluia perenne. Cf. ALLELUIA DULCE CARMEN, p. 43, line 13.

Metr. tr. in Episc. H. 462; In Exc. 823.

Metre: lesser asclepiadean twice, then a pherecratian.

2. aether is loftier than caelum. 10. reditu, here for " antiphon." 11. melos, acc. 14. capitis, verb. - iugis, constant. 19. Gregory said deus solus sit requies. 22. conditor, sc. rerum.

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This is one of the seven great hymns. The authorship has been attributed to Charlemagne, S. Ambrose, Gregory, and Hrabanus Maurus. The earliest definite allusion to it is that it was used at Rheims in 1049, and no Ms. containing it is earlier than the tenth century, at which time it was used on Whitsunday. Its use at ordinations goes back to the eleventh century.

Metr. tr. in Episc. H. 289, 380, 381; N. Laud. D. 516, 524, 529; In Exc. 355, 360, 639; Meth. H. 269, 273; Bapt. P. B. 497, 515; Book of Common Prayer 557. Fifty-one versions are known. Original melody in Young 236.

5. Paraclitus is remarkable; Paraclito, 30, is usual. 6. Act. Apost. ii 38 accipietis donum Spiritus sancti. 7. S. Ioann. vii 38; S. Luc. xii 49; ad Roman. v 5. 8. I Ioann. ii 20 vos unctionem habebis a Sancto. 9. Isaias xi 2 spiritus sapientiae et intellectus, spiritus consilii et fortitudinis, spiritus scientiae et pietatis .. spiritus timoris Domini. 10. S. Luc. xi 20 si in digito Dei eicio daemonas. 12. Act. Apost. ii 4. 25 sq. is the doxology, hence 29 sq. is a later addition.

ABAELARDUS

Pierre Abelard was born in Brittany in 1079, married Heloise although a priest, was condemned for heresy in 1121 and 1140, and died in 1142. He was a philosopher and theologian and wrote over a hundred hymns. The most brilliant man of his age, his life was a shipwreck.

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