History of the christian church



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Job. Kehrein (R.C.): Lat. Anthologie aus den christl. Dichtern des Mittelalters. Frankfurt a. m. 1840. See his larger work below.

[John Henry Newman, Anglican, joined the Rom. Ch. 1845]: Hymni Ecclesiae. Lond. (Macmillan) 1838; new ed. 1865 (401 pages). Contains only hymns from the Paris, Roman, and Anglican Breviaries. The preface to the first part is signed "J. H. N." and dated Febr. 21, 1838, but no name appears on the title page. About the same time Card. N. made his translations of Breviary hymns, which are noticed below, sub. III.

H. A. Daniel (Lutheran, d. 1871): Thesaurus Hymnologicus. Lips. 1841–1856, 5 Tomi. The first, second, fourth and fifth vols. contain Lat. hymns, the fourth Greek and Syrian h. A rich standard collection, but in need of revision

P. J. Mone (R. Cath. d. 1871): Lateinische Hymnen des Mittelalters. Freiburg i. B. 1853–’55, 3 vols. From MSS with notes. Contains in all 1215 hymns divided into three divisions of almost equal size; (1) Hymns to God and the angels (461 pages); (2) Hymns to the Virgin Mary, (457 pages); (3) Hymns to saints (579 pages).

D. Ozanam: Documents inédits pour servir a l’histoire littéraire de l’Italie. Paris 1850. Contains a collection of old Latin hymns, reprinted in Migne’s "Patrol. Lat." vol. 151, fol. 813–824.

Joseph Stevenson: Latin Hymns of the Anglo-Saxon Church; with an Interlinear Anglo-Saxon Gloss, from a MS. of the eleventh century in Durham Library. 1851 (Surtees Soc.).

J. M. Neale (Warden of Sackville College, high Anglican, d. 1866): Sequentiae ex Missalibus Germanicis, Anglicis, Gallicis, aliisque medii aevi collectae. Lond. 1852. 284 pages. Contains 125 sequences.



Felix Clément: Carmina e Poetis Christianis excerpta. Parisiis (Gaume Fratres) 1854. 564 pages. The Latin texts of hymns from the 4th to the 14th century, with French notes.

R. Ch. Trench (Archbishop of Dublin): Sacred Latin Poetry, chiefly Lyrical. Lond. and Cambridge, 1849; 2d ed. 1864; 3rd ed. revised and improved, 1874. (342 pages). With an instructive Introduction and notes.



Ans. Schubiger: Die Sängerschule St. Gallens vom 8ten bis 12ten Jahrh. Einsiedeln 1858. Gives sixty texts with the old music and facsimiles.

P. Gall Morel (R.C.): Lat. Hymnen des Mittelalters, grösstentheils aus Handschriften schweizerischer Klöster. Einsiedeln (Benziger) 1868 (341 pages). Mostly Marienlieder and Heiligenlieder (p. 30–325). Supplementary to Daniel and Mone.



Phil. Wackernagel (Luth., d. 1877): Das deutsche Kirchenlied von der ältesten Zeit bis zum Anfang des XVII. Jahrh. Leipz. 1864–1877, 5 vols. (the last vol. ed. by his two sons). This is the largest monumental collection of older German hymns; but the first vol. contains Latin hymns and sequences from the fourth to the sixteenth century.

Karl Bartsch (Prof of Germ. and Romanic philology in Rostock): Die lateinischen Sequenzen des Mittelalters in musikalischer und rhythmischer Beziehung dargestellt. Rostock 1868.

Chs. Buchanan Pierson: Sequences from the Sarum Missal. London 1871.

Joseph Kehrein (R.C.): Lateinische Sequenzen des Mittelalters aus Handschriften und Drucken. Mainz 1873 (620 pages). The most complete collection of Sequences (over 800). He divides the sequences, like Mone the hymns, according to the subject (Lieder an Gott, Engellieder, Marienlieder, Heiligenlieder). Comp. also his earlier work noticed above.

Francis A. March: Latin Hymns, with English Notes. N. York, 1874.

W. McIlvaine: Lyra Sacra Hibernica. Belfast, 1879. (Contains hymns of St. Patrick, Columba, and Sedulius).

E. Dümmler: Poëtae Latini Aevi Carolini. Berol. 1880–’84, 2 vols. Contains also hymns, II. p. 244–258.

Special editions of Adam of St. Victor: L. Gautier: La aeuvres poétiques d’ Adam de S. Victor. Par. 1858 and 1859, 2 vols. Digby S. Wrangham (of St. John’s College, Oxford): The Liturgical Poetry of Adam of St. Victor. Lond. 1881, 3 vols. (The Latin text of Gautier with E. Version in the original metres and with short notes). On the Dies Irae see the monograph of Lisco (Berlin 1840). It has often been separately published, e.g. by Franklin Johnson, Cambridge, Mass. 1883. So also the Stabat Mater, and the hymn of Bernard of Cluny De Contemptu Mundi (which furnished the thoughts for Neale’s New Jerusalem hymns). The hymns of St. Bernard, Abelard, Thomas Aquinas, Bonaventura, are in the complete editions of their works. For St. Bernard see Migne’s "Patrol. Lat." vol. 184, fol. 1307–1330; for Abelard, vol. 178, fol. 1759–1824.


II. Historical and Critical.

Polyc. Leyser: Historia Poëtarum et Poëmatum Medii Aevi. Halae 1721.

Friedr. Münter: Ueber die älteste christl. Poesie. Kopenhagen 1806.

Edélstand Du Méril: Poésies populaires Latines anterieures au douzième siècle. Paris 1843. Poésies populaire’s Latines du moyen âge. Paris 1847.

Trench: Introd. to his S. Lat. Poetry. See above.

Baehr: Die christl. Dichter und Geschichtschreiber Roms. Karlsruhe 1836 , 2nd ed., revised, 1872 (with bibliography).

Edward Emil Koch: Geschichte des Kirchenlieds und Kirchengesangs in der christlichen, insbesondere der deutschen evangel. Kirche. Stuttgart, third ed. rev. and enlarged 1866–1876, 7 vols. This very instructive and valuable work treats of Latin hymnology, but rather superficially, in vol. I. 40–153.

Ad. Ebert: Allgem. Gesch. der Lit. des Mittelalters im Abendlande, vol. I. (Leipz. 1874), the third book (p. 516 sqq.), and vol. II. (1880) which embraces the age of Charlemagne and his successors.

Joh. Kayser (R.C.): Beiträge zur Geschichte und Erklärung der ältesten Kirchenhymnen. Paderborn, 2d ed. 1881. 477 pages, comes down only to the sixth century and closes with Fortunatus. See also his article Der Text des Hymnus Stabat Mater dolorosa, in the Tübingen "Theol. Quartalschrift" for 1884, No. I. p. 85–103.
III. English translations.

John Chandler (Anglican, d. July 1, 1876): The Hymns of the Primitive Church, now first collected, translated and arranged. London 1837. Contains 108 Latin hymns with Chandler’s translations.

Richard Mant (Lord Bishop of Down and Connor, d. Nov. 2, 1848): Ancient Hymns from the Roman Breviary. 1837. New ed. Lond. and Oxf. 1871. (272 pages)

John Henry Newman:] Verses on Various Occasions. London 1868 (reprinted in Boston, by Patrick Donahue). The Preface is dated Dec. 21, 1867, and signed J. H. N. The book contains the original poems of the Cardinal, and his translations of the Roman Breviary Hymns and two from the Parisian Breviary, which, as stated in a note on p. 186, were all made in 1836–38, i.e. eight years before he left the Church of England.

Isaac Williams (formerly of Trinity College, Oxford, d. 1865): Hymns translated from the Parisian Breviary. London 1839.

Edward Caswall (Anglican, joined the R.C. Church 1847, d. Jan. 2, 1878): Lyra Catholica. Containing all the Breviary and Missal Hymns together with some other hymns. Lond. 1849. (311 pages). Reprinted N. Y. 1851. Admirable translations. They are also included in his Hymns and Poems, original and translated. London 2d ed. 1873.

John David Chambers (Recorder of New Sarum): Lauda Syon. Ancient Latin Hymns in the English and other Churches, translated into corresponding metres. Lond. 1857 (116 pages.)

J. M. Neale: Mediaeval Hymns and Sequences. Lond. 1862; 3d ed. 1867. (224 pages). Neale is the greatest master of free reproduction of Latin as well as Greek hymns. He published also separately his translation of the new Jerusalem hymns: The Rhythm of Bernard de Morlaix, Monk of Cluny, on the Celestial Country. Lond. 1858, 7th ed. 1865, with the Latin text as far as translated (48 pages). Also Stabat Mater Speciosa, Full of Beauty stood the Mother (1866).



The Seven Great Hymns of the Mediaeval Church. N. York (A. D. F. Randolph & Co.) 1866; seventh ed. enlarged, 1883. 154 pages. This anonymous work (by Judge C. C. Nott, Washington) contains translations by various authors of Bernard’s Celestial Country, the Dies Irae, the Mater Dolorosa, the Mater Speciosa, the Veni Sancte Spiritus, the Veni Creator Spiritus, the Vexilla Regis, and the Alleluiatic Sequence of Godescalcus. The originals are also given.

Philip Schaff: Christ in Song. N. Y. 1868; Lond. 1869. Contains translations of seventy-three Latin hymns by various authors.

W. H. Odenheimer and Frederic M. Bird: Songs of the Spirit. N. York 1871. Contains translations of twenty-three Latin hymns on the Holy Spirit, with a much larger number of English hymns. Erastus C. Benedict (Judge in N. Y., d. 1878): The Hymn of Hildebert and other Mediaeval Hymns, with translations. N. York 1869.



Abraham Coles (M. D.): Latin Hymns, with Original Translations. N. York 1868. Contains 13 translations of the Dies Irae, which were also separately published in 1859.

Hamilton M. Macgill, D. D. (of the United Presb. Ch. of Scotland): Songs of the Christian Creed and Life selected from Eighteen Centuries. Lond. and Edinb. 1879. Contains translations of a number of Latin and a few Greek hymns with the originals, also translations of English hymns into Latin.

The Roman Breviary. Transl. out of Latin into English by John Marquess of Bute, K. T. Edinb. and Lond. 1879, 2 vols. The best translations of the hymns scattered through this book are by the ex-Anglicans Caswall and Cardinal Newman. The Marquess of Bute is himself a convert to Rome from the Church of England.

D. F. Morgan: Hymns and other Poetry of the Latin Church. Oxf. 1880. 100 versions arranged according to the Anglican Calendar.



Edward A. Washburn (Rector of Calvary Church, N. Y. d. Feb. 2, 1881): Voices from a Busy Life. N. York 1883. Contains, besides original poems, felicitous versions of 32 Latin hymns, several of which had appeared before in Schaff’s Christ in Song.

Samuel W. Duffield: The Latin Hymn Writers and their Hymns (in course of preparation and to be published, New York 1885. This work will cover the entire range of Latin hymnology, and include translations of the more celebrated hymns).

IV. German translations of Latin hymns: (Mostly accompanied by the original text) are very numerous, e.g. by Rambach, 1817 sqq. (see above); C. Fortlage (Gesänge christl. Vorzeit, 1844); Karl Simrock (Lauda Sion, 1850); Ed. Kauffer (Jesus-Hymnen, Sammlung altkirchl. lat. Gesänge, etc. Leipz. 1854, 65 pages); H. Stadelmann (Altchristl. Hymnen und Lieder. Augsb. 1855); Bässler (1858); J. Fr. H. Schlosser (Die Kirche in ihren Liedern, Freiburg i. B. 1863, 2 vols); G. A. Königsfeld (Lat. Hymnen und Gesänge, Bonn 1847, new series, 1865, both with the original and notes).


§ 96. Latin Hymns and Hymnists.
The Latin church poetry of the middle ages is much better known than the Greek, and remains to this day a rich source of devotion in the Roman church and as far as poetic genius and religious fervor are appreciated. The best Latin hymns have passed into the Breviary and Missal (some with misimprovements), and have been often reproduced in modern languages. The number of truly classical hymns, however, which were inspired by pure love to Christ and can be used with profit by Christians of every name, is comparatively small. The poetry of the Latin church is as full of Mariolatry and hagiolatry as the poetry of the Greek church. It is astonishing what an amount of chivalrous and enthusiastic devotion the blessed Mother of our Lord absorbed in the middle ages. In Mone’s collection the hymns to the Virgin fill a whole volume of 457 pages, the hymns to saints another volume of 579 pages, while the first volume of only 461 pages is divided between hymns to God and to the angels. The poets intended to glorify Christ through his mother, but the mother overshadows the child, as in the pictures of the Madonna. She was made the mediatrix of all divine grace, and was almost substituted for Christ, who was thought to occupy a throne of majesty too high for sinful man to reach without the aid of his mother and her tender human sympathies. She is addressed with every epithet of praise, as Mater Dei, Dei Genitrix, Mater summi Domini, Mater misericordiae, Mater bonitatis, Mater dolorosa, Mater jucundosa, Mater speciosa, Maris Stella, Mundi domina, Mundi spes, Porta paradisi, Regina coeli, Radix gratiae, Virgo virginum, Virgo regia Dei. Even the Te Deum was adapted to her by the distinguished St. Bonaventura so as to read "Te Matrem laudamus, Te Virginem confitemur."0

The Latin, as the Greek, hymnists were nearly all monks; but an emperor (Charlemagne?) and a king (Robert of France) claim a place of honor among them.

The sacred poetry of the Latin church may be divided into three periods: 1, The patristic period from Hilary (d. 368) and Ambrose (d. 397) to Venantius Fortunatus (d. about 609) and Gregory I. (d. 604); 2, the early mediaeval period to Peter Damiani (d. 1072); 3, the classical period to the thirteenth century. The first period we have considered in a previous volume. Its most precious legacy to the church universal is the Te Deum laudamus. It is popularly ascribed to Ambrose of Milan (or Ambrose and Augustin jointly), but in its present completed form does not appear before the first half of the sixth century, although portions of it may be traced to earlier Greek origin; it is, like the Apostles’ Creed, and the Greek Gloria in Excelsis, a gradual growth of the church rather than the production of any individual.1The third period embraces the greatest Latin hymnists, as Bernard of Morlaix (monk of Cluny about 1150), Bernard of Clairvaux (d. 1153), Adam of St. Victor (d. 1192), Bonaventura (d. 1274), Thomas Aquinas (d. 1274), Thomas a Celano (about 1250), Jacopone (d. 1306), and produced the last and the best Catholic hymns which can never die, as Hora Novisasima; Jesu dulcis memoria; Salve caput cruentatum; Stabat Mater; and Dies Irae. In this volume we are concerned with the second period.

Venantius Fortunatus, of Poitiers, and his cotemporary, Pope Gregory I., form the transition from the patristic poetry of Sedulius and Prudentius to the classic poetry of the middle ages.



Fortunatus (about 600) 472was the fashionable poet of his day. A native Italian, he emigrated to Gaul, travelled extensively, became intimate with St. Gregory of Tours, and the widowed queen Radegund when she lived in ascetic retirement, and died as bishop of Poitiers. He was the first master of the trochaic tetrameter, and author of three hundred poems, chief among which are the two famous passion hymns:
"Vexilla regis prodeunt,"

"The Royal Banners forward go;"


and
"Pange, lingua, gloriosi proelium certaminis,"

"Sing, my tongue, the glorious battle."


Both have a place in the Roman Breviary. 473
Gregory I. (d. 604), though far inferior to Fortunatus in poetic genius, occupies a prominent rank both in church poetry and church music. He followed Ambrose in the metrical form, the prayer-like tone, and the churchly spirit, and wrote for practical use. He composed about a dozen hymns, several of which have found a place in the Roman Breviary.4 The best is his Sunday hymn:
"Primo dierum omnium,"

"On this first day when heaven on earth,"


or, as it has been changed in the Breviary,
"Primo die quo Trinitas,"

"To-day the Blessed Three in One


Began the earth and skies;

To-day a Conqueror, God the Son,


Did from the grave arise;

We too will wake, and, in despite

Of sloth and languor, all unite,

As Psalmists bid, through the dim night


Waiting with wistful eyes." 475
The Venerable Bede (d. 735) wrote a beautiful ascension hymn
"Hymnum canamus gloriae,"

"A hymn of glory let us sing;"


and a hymn for the Holy innocents,
"Hymnum canentes Martyrum,"

"The hymn of conquering martyrs raise."6


Rabanus Maurus, a native of Mainz (Mayence) on the Rhine, a pupil of Alcuin, monk and abbot in the convent of Fulda, archbishop of Mainz from 847 to 856, was the chief Poet of the Carolingian age, and the first German who wrote Latin hymns. Some of them have passed into the Breviary.7

He is probably the author of the pentecostal Veni, Creator Spiritus.8 It outweighs all his other poems. It is one of the classical Latin hymns, and still used in the Catholic church on the most solemn occasions, as the opening of Synods, the creating of popes and the crowning of kings. It was invested with a superstitious charm. It is the only Breviary hymn which passed into the Anglican liturgy as part of the office for ordaining priests and consecrating bishops. 479 The authorship has been variously ascribed to Charlemagne, 480to Gregory the Great, 481also to Alcuin, and even to Ambrose, without any good reason. It appears first in 898, is found in the MS. containing the Poems of Rabanus Maurus, and in all the old German Breviaries; it was early and repeatedly translated into German 482and agrees very well in thought and expression with his treatise on the Holy Spirit. 483


We give the original with two translations.4
Veni, Creator Spiritus,
Mentes tuorum visita.
Imple superna gratia
Quo tu creasti pectora.

Creator, Spirit, Lord of Grace,


O make our hearts Thy dwelling-place,
And with Thy might celestial aid
The souls of those whom Thou hast made.
Qui Paracletus diceris,
Donum Dei altissimi,
Fons vivus, ignis, charitas,
Et spiritalis unctio.

Come from the throne of God above,


O Paraclete, O Holy Dove,
Come, Oil of gladness, cleansing Fire,
And Living Spring of pure desire.
Tu septiformis munere,
Dextrae Dei tu digitus,
Tu rite Promissum Patris,
Sermone ditans guttura.

O Finger of the Hand Divine,


The sevenfold gifts of Grace are Thine,
And touched by Thee the lips proclaim
All praise to God’s most holy Name.
Accende lumen sensibus,
Infunde amorem cordibus;
Infirma nostri corporis,
Virtute firmans perpetim.
5

Then to our souls Thy light impart,


And give Thy Love to every heart
Turn all our weakness into might,
O Thou, the Source of Life and Light.
Hostem repellas longius,
Pacemque dones protinus.
Ductore sic te praevio,
Vitemus omne noxium.

Protect us from the assailing foe,


And Peace, the fruit of Love, bestow;
Upheld by Thee, our Strength and Guide,
No evil can our steps betide.
Per te sciamus, da Patrem,
Noscamus atque Filium,
Te utriusque Spiritum,
Credamus omni tempore.

Spirit of Faith, on us bestow


The Father and the Son to know;
And, of the Twain, the Spirit, Thee;
Eternal One, Eternal Three.
[Sit laus Patri cum Filio,
Sancto simul Paracleto,
Nobisque mittat Filius
Charisma Sancti Spiritus
.]6

To God the Father let us sing;


To God the Son, our risen King;
And equally with These adore
The Spirit, God for evermore.
[Praesta hoc Pater piissime,
Patrique compar unice,
Cum Spiritu Paracleto,
Regnans per omne saeculum
.] See note above.

O Holy Ghost, Creator come!


Thy people's minds pervade;

And fill, with Thy supernatural grace,


The souls which Thou hast made.
Kindle our senses to a flame,
And fill our hearts with love,

And, through our bdies' weakness,


still

Pour valor from above!


Thou who art called the Paraclete,
The gift of God most high–

Thou living fount, and fire and love,


Our spirit's pure ally;
Drive further off our enemy,
And straightway give us peace;

That with Thyself as such a guide,


We may from evil cease.
Thou sevenfold giver of all good;
Finger of God's right hand;

Thou promise of the Father, rich


In words for every land;
Through Thee may we the Father
know,
And thus confess the Son;

For Thee, from both the Holy


Ghost,
We praise while time shall run.
In this connection we mention the Veni, Sancte Spiritus, the other great pentecostal hymn of the middle ages. It is generally ascribed to King Robert of France (970–1031), the son and success or of Hugh Capet.7 He was distinguished for piety and charity, like his more famous successor, St. Louis IX., and better fitted for the cloister than the throne. He was disciplined by the pope (998) for marrying a distant cousin, and obeyed by effecting a divorce. He loved music and poetry, founded convents and churches, and supported three hundred paupers. His hymn reveals in terse and musical language an experimental knowledge of the gifts and operations of the Holy Spirit upon the heart. It is superior to the companion hymn, Veni, Creator Spiritus. Trench calls it "the loveliest" of all the Latin hymns, but we would give this praise rather to St. Bernard’s Jesu dulcis memoria ("Jesus, the very thought of Thee"). The hymn contains ten half-stanzas of three lines each with a refrain in ium. Each line has seven syllables, and ends with a double or triple rhyme; the third line rhymes with the third line of the following half-stanza. Neale has reproduced the double ending of each third line (as "brilliancy"—"radiancy").
Veni, Sancte Spiritus,
Et emittee coelitus
Lucis tuae radium.

Holy Spirit, God of light!


Come, and on our inner sight
Pour Thy bright and heavenly ray!
Veni, Pater pauperum,
Veni, dator munerum,
Veni, lumen cordium.

Father of the lowly! come;


Here, Great Giver! be Thy home,
Sunshine of our hearts, for aye!
Consolator optime,
Dulcis hospes animae,
Dulce refrigerium:

Inmost Comforter and best!


Of our souls the dearest Guest,
Sweetly all their thirst allay;
In labore requies,
In aestu temperies,
In fletu solatium.

In our toils be our retreat,


Be our shadow in the heat,
Come and wipe our tears away.
O lux beatissima,
Reple cordis intima,
Tuorum fidelium.

O Thou Light, all pure and blest!

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