Domine Deus noster. About the twelfth century an unknown author wove five of these antiphons into this hymn. Metr. tr. in Episc. H. 45; Laud. D. 484; In Exc. 178. Ancient melody in Young 76. 1. Isaias vii 14 vocabitur nomen eius Emmanuel. 7. Isaias xi 1 et egredietur virga de radice Iesse, 10 in die illa radix Iesse qui stat in signum populorum ipsum gentes deprecabuntur. 13. S. Luc. i 78 visitavit nos oriens ex alto. 19. Isaias xxii 22 dabo clavem domus David super humerum eius. 25. Exod. xix. Verbum Dei, Deo natum, Inter illos primitivos Audiit in gyro sedis cum Quater seni proceres: 5 10 15 Qualis sit et ex Dilecto citha- Veri panem intellectus, 20 On S. John the Evangelist; twelfth century. 4. I Epist. S. Ioann. i 1 quod vidimus oculis nostris quod... manus nostrae contrectaverunt de verbo vitae. 7. Cf. Adam of S. Victor, p. 57, 49 n. 12. Apoc. xxii 1 fluvium aquae vitae . procedentem de sede Dei et Agni. 15. As aquila, Adam l. c. 40. 17. Isaias vi 2. 19. Apoc. iv 4 in circuitu sedis. 21. Apoc. v 8 vigintiquattuor seniores ceciderunt coram agno habentes singuli citharas. 25. Here often a second hymn begins. 31. Isaias lxiii 2 rubrum est indumentum. 32. Isaias liii 3 nec reputavimus eum; S. Ioann. xii 40. 34. Cf. Adam l. c. 41, and Ezekiel i 10. 37. S. Ioann. xiii 23 quem diligebat Iesus. 38. Cant. cant. v9 qualis est dilectus tuus ex dilecto. 40. Psalm lxxviii 25 panem angelorum manducavit homo. 44. In another hymn for S. John, in Mone No. 707, occurs: gaude, qui recubuisti | hora coenae supra Christi | pectus suavissime Gaude, tibi intellectus | datus est prae multis rectus | scripturae deificae. .. Qui sunt isti, III Destinavit populum Qui volant ut nubes per aera? Ad matrem ecclesiam. Adhuc sunt in numero A Notkerian sequence, of unknown authorship, for the Common of Apostles, found in a Gradual written about 1200. 1. Isaias 1x 8 qui sunt isti qui ut nubes volant? 5. S. Matt. xix 28 sedebitis et vos super sedes duodecim iudicantes. 6. Apostoli portendebantur ut lapides solidi fide, Tert. (Mone). 7. Psalm xix 4 in omnem terram exivit sonus eorum. 10. S. Mark is usually associated with Alexandria: missus superno munere | terras in Alexandriae, hymn for S. Mark, No. 727, Mone. 11. Gratulare ergo tanto patre, Achaia, Hymn 695, Mone, for S. Andrew. 14. Gaude veneno potatus et ferventi balneatus | oleo nil sentiens, Mone, No. 706, for S. John Evang. 16. In Hierapolin transisti, sectam Ebionicam | destruis, of Philip (Mone No.710). Azotus was a city of Palestine. 24. S. Matt. ix 9 vidit hominem sedentem in telonio, Matthaeum nomine. 30. Act. Apost. i 26 dederunt sortes eis et cecidit sors super Matthiam. 34. S. Ioann. xx 23 quorum remiseritis peccata remittuntur eis. 234 INNOCENT III Innocent was born about 1160, and through the influence of the powerful Conti family, which furnished nine Popes, he received rapid promotion, and on the death of Celestine III in 1198 was made Pope. He died in 1216. His name is connected with several hymns whose authorship is uncertain. Veni, Sancte Spiritus, I Sine tuo numine Lucis tuae radium. Veni, pater pauperum, Lava quod est sordidum, Veni, dator munerum, 5 Riga quod est aridum, 20 Consolator optime, O lux beatissima, The Golden Sequence, one of the seven great hymns, and still in use in the Roman missal as the sequence for Whitsunday. Trench calls it the loveliest of all the hymns. The authorship is uncertain: it has been ascribed to Robert II of France, to Hermannus Contractus, and to Stephen Langton, as well as to Innocent. The earliest Ms. is of the thirteenth century. See Julian, 1213. Metr. tr. in Episc. H. 378; Laud. D. 546; N. Laud. D. 542, 555; In Exc. 353, 365; Meth. H. 284. Forty versions are known. Original melody in Young 238. Metre: a six-verse stanza of trochaic dimeter catalectic, lines 1, 2 rhyming, then 3, 6, and 4, 5. Note that every third line ends with -ium and that in 3-6, 18-24, 27-30 this rich harmony is further increased. Commentary by Kayser II 61 sq.-19. Isaias xliv 3 effundam enim aquas super sitientem et fluenta super aridam; effundam spiritum meum. The reference is to Baptism. 21. The good Samaritan (S. Luc. x 34) alligavit vulnera eius infundens oleum et vinum. The fathers connected the Greek words for "oil" and "pity." 27. septenarium: See on the VENI CREATOR SPIRITUS, p. 35, line 9. Stabat mater dolorosa Iuxta crucem lacrimosa, O quam tristis et afflicta Mater unigeniti, 5 10 15 Quis est homo, qui non fleret, 20 Tam dignati pro me pati, 35 Fac me vere tecum flere, Crucifixo condolere, Iuxta crucem tecum stare, 40 In planctu desidero. The most pathetic hymn of the Middle Ages, and one of the seven. It has been ascribed to Innocent III, Gregory, Bernard of Clairvaux, Bonaventura, Jacobus de Benedictis, Pope John XXII, Pope Gregory XI; see Julian, 1082. The earliest Ms. is of the fourteenth century. It is in the modern Roman missal as the sequence for the seven dolours of the B. V. M. on the Friday after Passion Sunday, and it is the hymn in the breviary office. Metr. tr. in Episc. H. 103; N. Laud. D. 399; In Exc. 262. Many translations in Schaff's "Literature and Poetry" 198. Thirty-three English versions are known. Original melody in Hutchin's Church Hymnal 103. The Stabat Mater has been set to music by Palestrina, Haydn, Rossini, Dvorák, and others; see Bitter, Studie zum Stabat Mater, Leipzig, 1883. Commentary by Kayser II 110 sq. 1. S. Ioann. xix 25 stabant autem iuxta crucem Iesu mater eius. 2. Stantem illam lego, flentem non lego, Ambrose (Mone). 6. S. Luc. ii 35 tuam ipsius animam pertransibit gladius. 10-12. Note the climax; well brought out in the musical settings. 19. S. Matt. i 21 ipse enim salvum faciet populum suum. 30. sibi, Christo. 46. II ad Corinth. iv 10 semper mortificationem Iesu in corpore nostro circumferentes. 50. Cf. Ambrose, p. 5, Hymn III, 24. The best commentary on this hymn is a musical setting; the next best is a sympathetic reading of the Latin. BONAVENTURA Bonaventura, the seraphic doctor, was born in Tuscany in 1221. He was professor of theology in the University of Paris, general of the Franciscan order, and cardinal bishop. He died in 1274. This hymn on the Cross is the only certain one of his composition. I Recordare sanctae crucis, Sanctae crucis recordare, 5 |