$iU|gfit 
 
 
 LATIN HYMNS 
 
 ALJCG KING Mac GILTOM 
 
 UC-NRLF 
 
 *B 515 flbfi 
 
' GIFT OF 
 JANE K.SATHER 
 
BADGER'S CLASSICAL 
 STUDIES 
 
 The Crimes of the Oedipodean 
 Cycle. By Henry N. Bowman. 
 
 A Study of Virgil's Descriptions 
 of Nature. By Mabel Louise 
 Anderson. 
 
 Deception in Plautus, A Study in 
 the Technique of Comedy. By 
 Helen E. Wieand. 
 
 A Study of Latin Hymns. By 
 Alice King MacGilton. 
 
 Latin Stems and English De- 
 rivitives for Caesar. By Madge 
 De Vore. 
 
 Lyric Songs of the Greeks. By 
 Walter Petersen. 
 
 Selections from Catullus. By 
 Mary Stewart. 
 
 RICHARD O. BADOER, PUBLISHER, BOSTON 
 
A STUDY OF 
 LATIN HYMNS 
 
 BY 
 
 ALICE KING MacGILTON, A. M. 
 
 n 
 
 BOSTON 
 
 RICHARD G. BADGER 
 
 THE GORHAM PRESS 
 

 Copyright, 1918, by Richard Q. Badg-ar 
 
 All Rights Reserred 
 
 £*f*n J4$er 
 
 MADE IN THE UNITED STATES OF AMERICA 
 Thi Gobham Pkbss, Boston, U. 8. A. 
 
To 
 
 MYRON REED SANFORD, L. H. D. 
 
 of the Latin Department 
 
 OF MlDDLEBURY COLLEGE 
 
 3Q3Q39 
 
PREFACE 
 
 ' I S HIS volume is the result of a critical reading of over 
 * eight hundred Latin hymns, psalms, and canticles. 
 The treatment of the subject is as nearly chronological 
 as the nature of the material permits, thus making it a 
 suitable compendium for a brief study of this minor but 
 unique part of Latin literature. The notes and lists of 
 hymns in the appendix are arranged for convenience of 
 reference with titles or first lines in alphabetical order, 
 the source — author, breviary or period — and a place where 
 each hymn may be found. Great uncertainty prevails as 
 to authorship and date of many of the hymns although 
 approximation to a period is generally to be trusted. 
 
 While the commentary is intelligible to a reader not 
 familiar with the Latin, a sufficient number of hymns in 
 the original are given to make it a collection representative 
 of the principal styles and the important periods so that 
 it may be used as a collateral text-book in the study of 
 lyrics of the post-classic ages. 
 
 The work is without doctrinal bias; its chief interest, 
 however, lies in the fact that although pursued in a purely 
 historical way, it reveals the value of the Christian hymns 
 as human documents. In the expression of religious feel- 
 ing, hymn-writers of periods and places remote from each 
 other are bound by an indissoluble bond which as in- 
 timately unites our time and theirs. 
 
 The book has been read by several competent judges 
 and the Latin citations have been kept as free as possible 
 
 5 
 
6 Preface 
 
 from errors, but the reader must remember that varia- 
 tions in spelling are not uncommon in mediaeval manu- 
 scripts and their reprints. A complete bibliography of 
 Latin and English works consulted by the author is print- 
 ed in the appendix. Special mention should be made of 
 S. W. Duffield's complete list of English translators and 
 grateful acknowledgment to Professor Raymond H. 
 White for reading the Latin text. 
 
 Alice King MacGilton. 
 Middlebury, Vermont 
 March, 19 18. 
 
CONTENTS 
 
 Page 
 
 The Biblical Origin of Hymns 9 
 
 The Expression of Faith in the Hymns 12 
 
 The Eastern Hymns 13 
 
 The Ambrosian Period 18 
 
 The Fifth Century 22 
 
 The Sixth Century 28 
 
 The Seventh Century 32 
 
 The Eighth Century 33 
 
 The Ninth Century 34 
 
 Mediaeval Music 36 
 
 The Tenth Century 42 
 
 The Dawn of the Modern Age 44 
 
 The Twelfth Century 48 
 
 The Age of the Giants 54 
 
 The Last of the Latin Hymns 60 
 
 Collections of Hymns 65 
 
 The Value of Latin Hymns 67 
 
 Appendix 
 
 I English Versions 71 
 
 II Breviaries 71 
 
 III Hymns of the Roman Breviary 72 
 
 IV Dates of Published Translations 74 
 
 7 
 
!8 Contents 
 
 Page 
 
 V The Seven Great Hymns 75 
 
 VI Le Paroissien Note 75 
 
 VII Hymns of the "Coeleste Palmetum" 76 
 
 VIII Plain Chant 77 
 
 English Translations 
 
 Dies Irae 79 
 
 Oratio 81 
 
 De Resurrectione 81 
 
 Index of Latin Hymns 85 
 
 Supplement 100 
 
 Index Psalmorum 104 
 
 Novum Testamentum 109 
 
 Bibliography m 
 
A STUDY OF LATIN 
 HYMNS 
 
 The Biblical Origin of Hymns 
 
 THE Hebrew songs and the Christian hymns in 
 Greek were the source from which issued a wealth 
 of Latin hymns after the Roman Empire made Latin the 
 official language of the western world. The Biblia Sacra, 
 Vulgatae Editionis gave to the Christians of the Roman 
 Empire at the end of the fourth century the great gift of 
 the Scriptures in a language which all understood. Sex- 
 tus V and Clement VIII furthered the growth of Chris- 
 tianity by sending forth this version of the Bible, Biblia 
 Sacra jussu recognita atque edita. It is illuminating even 
 yet to the reader. The songs of Moses and of Deborah, 
 of Hannah and of the Prophets take on a new meaning. 
 The unapproachable Psalms of David shine with a new 
 luster from the familiar "Beatus vir, qui non abiit in con- 
 silio impiorum" down to the last Psalm an Alleluia, "Lau- 
 date Dominum in Sanctis ejus, Omnis spiritus laudet 
 Dominum/ 1 A broader and deeper revelation of spiritual 
 power is made by expression in the Latin, a language un- 
 excelled in force, clearness, and elegance. 
 
 First among Christian songs of praise stand the Mag- 
 nificat, (St. Luke I 46-55) the Benedictus, (St. Luke I 
 68-79) and the Nunc Dimittis, (St. Luke II 29-32). 
 
 9 
 
io A Study of Latin Hymns 
 
 In the Epistles of St. Paul we find what are believed to 
 be traces of hymns in Ephesians V 14: 
 
 "Surge qui dormis 
 et exsurge a mortuis, 
 et illuminabit te 
 Christus." 
 
 and 1 Timothy III 16: 
 
 "Et manifeste magnum est 
 pietatis sacramentum 
 quod manifestum est in came, 
 justificatum est in spiritu, 
 apparuit angelis, 
 praedicatum est Gentibus, 
 creditum est in mundo t 
 assumptum est in gloria." 
 
 and 1 Timothy VI 15-16: 
 
 "Rex regum, et Dominus dominantium: 
 qui solus habet immortalitatem, 
 et lucem inhabitat inaccessibilem: 
 quern nullus hominum vidit, sed nee videre potest: 
 cui honor, et imperium sempiternum. Amen*' 
 
 In the account of the last supper an allusion is made to 
 a hymn which authorities say, must have been the Great 
 Hallel, the Psalms used at the Paschal feast, Psalms 
 CXIII to CXVIII. Psalms CXIII and CXIV were 
 
A Study of Latin Hymns II 
 
 sung before the feast and Psalms CXV-CXVIII, after. 
 They begin with the "Laudate, pueri, Dominum," then 
 proceed through the "Non nobis, Domine, non nobis, sed 
 nomini tuo da gloriam" to the reiterated refrain of Psalm 
 CXVIII "quoniarri in saeculum misericordia ejus/' These 
 Psalms, doubtless sung in the Hebrew by the little band 
 of disciples and their Master, were afterwards incor- 
 porated in Christian worship and repeated in the ser- 
 vices of the mediaeval church in the Latin of the Vulgate 
 for a thousand years. St. Jerome says it was the habit 
 of Christians to sing everywhere. The custom may have 
 been due to a reaction from the repression of times of 
 persecution when only under the earth Christians could 
 sing unmolested their "hymns to Christ as God." In the 
 Acts Paul and Silas in prison "orantes laudabant Deum" 
 and earlier as a result of the testimony of Peter and John 
 those who heard them 
 
 "unanimiter levaverunt vocem ad Deum et dixerunt: 
 'Domine, Tu es qui fecisti coelum et terram 
 mare et omnia quae in eis sunt/ " 
 
 A quotation from the second Psalm follows, then the 
 recognition of Jesus as the annointed (Christus) and a 
 prayer for manifestation of power through his name, 
 "per nomen sancti filii tui Jesu/' 
 
 The Old and New Testaments are full of songs of 
 praise. The Pentateuch begins with a poem on the crea- 
 tion which might easily be chanted and the New Testa- 
 ment closes with a wonderful paean of the victory of the 
 Overcomer and a song of the glories of the New Je- 
 
12 A Study of Latin Hymns 
 
 rusalcm. The resemblance in the use of words, phrases, 
 metaphors, and historic allusions between the language of 
 the Vulgate and of the Latin hymns is too great to be 
 accidental. The inspiration of one is the real inspiration 
 of the other. Especially true is it of the early hymns that 
 they are objective. They address the Deity and in ascrip- 
 tions of praise voice the scriptural idea of the divine at- 
 tributes. They describe facts in Bible history, they cele- 
 brate great deliverances, but above all they dwell on every 
 detail of the life of the Redeemer as the truest method 
 of singing the song of the Redeemed. Later we find the 
 teachings of the Church Fathers influencing the subject- 
 matter of the hymns, especially those of St. Augustine and 
 still later of the powerful thinker Thomas Aquinas who 
 left his mark upon the songs of his own and subsequent 
 times. 
 
 The Expression of Faith in the Hymns 
 
 Only when the singers lose faith in the triumphs of the 
 Faith does the song cease. We cannot praise unless the 
 gifts and graces we laud are realities to us. The joyful 
 assurance of other people rings hollow in the verse of the 
 indifferent or the incredulous. Music demands truth. 
 It cannot pretend to emotions it does not feel; the result 
 of such attempts is plainly pretense and not emotion. One 
 of the great charms of the early Latin hymns is their 
 sincerity. The writers speak of that which they believe 
 and also, as far as their personal experience can go, of 
 what they know. While the doctrinal element found in 
 the hymns of the periods of the struggle with heresies and 
 
A Study of Latin Hymns 13 
 
 the establishment of Church creeds and dogmas does not 
 increase their poetical value, yet some attain sublimity in 
 the larger views taken of truth although they lose neces- 
 sarily in spontaneity. The profounder problems of the- 
 ology are, naturally, not fitted to song. 
 
 The increasing number of days devoted to the memory 
 of saints and martyrs inevitably changed the tone of the 
 hymns. A song expressing veneration of Martha, of 
 Ursula, of Ambrose is of necessity less impressive than 
 one that gives voice to adoration of the true God, the 
 Trinity in Unity. When the hymns wander from the 
 loftiest subject of Christian praise they often become 
 fanciful, far-fetched, and merely curiosities of literature. 
 As a rule the Breviaries preserve those hymns that have 
 the vital quality of feeling founded on faith. It is an 
 instance of the law of survival. The hymns that live, 
 those that are sung in many tongues and various com- 
 munions, are as true an expression of religious emotion 
 to-day as they were a thousand and more years ago. 
 
 The Eastern Hymns 
 
 Latin hymnody, the daughter of the songs of praise of 
 the Old and New Testaments, was in its beginning in- 
 spired by the hymns of the East where Christianity had 
 its birth. Very marked is the change from the beautiful 
 Pagan songs of the Greeks where the mere mention of 
 death is avoided, to the joy of the Christian poet whose 
 eye could look calmly on death, penetrating its veil to see 
 the glories of the everlasting life. The Eastern hymns 
 are aglow with the love of Christ and full of the hope 
 
14 d Study of Latin Hymns 
 
 and peace which faith in Him gave. An oriental dox- 
 ology illustrates this characteristic: 
 
 "God is my hope, 
 Christ is my refuge, 
 The Holy Spirit is my vesture, 
 Holy Trinity, Glory to Thee." 
 
 The three great early hymns of the Christian Church, 
 of unknown date and authorship, probably were written 
 in the Greek language originally, the "Ter Sanctus" of all 
 Catholic Communion services, the "Gloria in excehis" 
 (which to the Angels' Song adds a "Miserere" and a 
 "Gloria!') and the "Te Deum laudamus" the most nearly 
 perfect of all ancient songs of praise. Manuscripts which 
 contain them in Latin are not early, but as crystallizations 
 of worship, they point to a very early age and doubtless 
 were developed gradually into the accepted form, and then 
 passed down from father to son, and preserved by a use 
 as constant as that of our time. Mrs. Charles well says: 
 "Three hymns and three creeds have come down to us 
 and have been incorporated into our Liturgy. In the 
 preservation of the Holy Scriptures we recognize with 
 adoration the controlling hand of God and we also may 
 attribute to his merciful providence that through those 
 centuries, when so many would receive no spiritual food 
 except through the external Church, anything so pure and 
 life-giving should have been enshrined in her daily offices, 
 as the Creeds of the Apostles, of Nice and of Athanasius, 
 and these three most sublime hymns of Christendom." 
 There is a tradition that Ambrose and Augustine sang 
 
A Study of Latin Hymns l$ 
 
 rcsponsivcly the "Te Deum" in the Latin at the confirma- 
 tion of St. Augustine. The most credible theory is that 
 it was made up of several Oriental hymns as it is at once 
 a hymn, a creed, and a prayer; and that it was first used 
 by Ambrose who improved the ritual of the West by many 
 musical innovations. 
 
 Whatever the facts of the origin of these famous hymns, 
 the East made some beautiful contributions to hymnody. 
 Mrs. Charles gives translations of thirty of them in her 
 book, The Voice of Christian Life in Song. The first 
 writer of Christian hymns in any tongue is Clement of 
 Alexandria, a convert to Christianity at the close of the 
 second century, who appended a hymn in Greek, O Thou, 
 the King of Saints, to a learned treatise entitled Paeda- 
 gogus. 
 
 The Syriac hymns of Ephraem Syrus are given in Ger- 
 man in Daniel's Thesaurus. The lament of a father on 
 the death of his little son, a hymn which it was customary 
 in early times to sing at the funerals of children, is at- 
 tributed to him. His hymn for Palm Sunday is excellent. 
 Mrs. Charles has a translation of it. The last stanza in 
 her version is: 
 
 "Let every village, every city 
 
 In happy tumult sing His name, 
 Since even infant lips are shouting, 
 'Blessed is He the King who came.' " 
 
 Theodoret speaks of Ephraem's songs as very sweet and 
 profitable. He is said to have added to his stanzas a fifth 
 line to be sung by different voices as a refrain and called 
 the ephymnium. 
 
1 6 A Study of Latin Hymns 
 
 One more Eastern hymn writer must be mentioned, 
 Gregory of Nazianzum, a devout monk who was called 
 from a life of solitary devotion to be the Patriarch of 
 Constantinople in 380 A. D. From vigils, psalmodies, and 
 departures to God in prayer, Gregory entered into the 
 active struggle against Arianism. His hymns were sung 
 in public demonstrations made in the defence of the Faith 
 against the popular heresy, and may have been composed 
 for that purpose. Gaius speaks of "hymning Christ the 
 Word of God, as God," and the hymns of Gregory 
 certainly are full of the glories of Christ. 
 
 The Greek hymns are objective in tone. Their theme 
 is not "our joy in God," but as has been happily ex- 
 pressed, "God who is our Joy." So many late-mediaeval 
 hymns, both Protestant and Jesuit, are subjective that 
 this freedom from introspective analysis, which so easily 
 becomes morbid or sentimental, is a great merit. Instead 
 of dwelling upon states of mind, these Eastern hymns look 
 away from the worshiper to the Object of worship. 
 
 Three beautiful later Greek hymns are in present use 
 in the admirable versions of Dr. John Mason Neale: 
 The Day is Past and Over from Anatolius, Christian Dost 
 Thou See Themf from Andrew of Crete, and Art thou 
 Weary f from Stephen the Sabaite. 
 
 The first authentic writer of Latin hymns was also a 
 valiant foe of the Arians and was banished when they 
 had official power in 356 A. D. to Phrygia where he be- 
 came acquainted with the ritual of the East. On his re- 
 turn he was instrumental in introducing hymn singing 
 into the West. There was more than one Hilary, but this 
 "Malleus Arianorum" was undoubtedly the Bishop of 
 
A Study of Latin Hymns 17 
 
 Poictiers whom Isadore calls the first Latin hymn writer 
 and who according to St. Jerome wrote a book of hymns. 
 A morning hymn is, however, the only one extant that 
 can be attributed certainly to him. It is believed that he 
 wrote it during his exile and sent it with an evening 
 hymn, unfortunately lost, to his daughter Abra. 
 
 HYMNUS MATUTINUS 
 (The Oldest Christian Hymn in Latin) 
 
 Lucis largitor splendide, 
 
 Cuius sereno lumine 
 Post laps a noctis temp or a 
 
 Dies refusus panditur; 
 
 Tu verus mundi Lucifer, 
 
 Non is, qui parvi sideris 
 Venturae lucis nuntius 
 
 Angusto fulget lumine, 
 
 Sed toto sole clarior, 
 
 Lux ipse totus et dies, 
 Interna nostri pectoris 
 
 Illuminans praecordia : 
 
 Ad est 0, rerum conditor, 
 
 Paternae lucis gloria, 
 Cuius admota gratia 
 
 Nostra patescunt corpora; 
 
 Tuoque plena spiritu, 
 Secum Deum gestantia, 
 
1 8 A Study of Latin Hymns 
 
 Ne rapientis perfidi 
 Diris patescant fraudibus, 
 
 U4 inter actus saeculi 
 Vitae quos usus exigit, 
 
 Omni carentes crimine 
 Tuis vivamus legibus. 
 
 Probrosas mentis castitas 
 Carnis vincat libidines, 
 
 Sanctumque puri corporis 
 Delubrum servet Spiritus. 
 
 Haec spes precantis animae, 
 Haec sunt votiva munera, 
 
 Ut matutina nobis sit 
 Lux in noctis custodiam. 
 
 The Ambrosian Period 
 
 With this hymn of Hilary, Latin hymnody takes its 
 rise. In the classical age, the Romans had few hymns in 
 the modern sense. The "Dianae sumus in fide" of Catul- 
 lus and Horace's famous "Dianam tenerae dicite virgines" 
 are plainly lyrics that suggest this form. The traditional 
 odes to the gods were quite different in aim and much 
 more elaborate in form. "Praise to God with song" was 
 Augustine's definition of a hymn, which evidently includ- 
 ed also canticles and psalms, but Bede thought the word 
 hymn should be applied to metrical compositions only. 
 
 Although Hilary's name stands first, this earliest period 
 of Latin Hymns is properly named Ambrosian from the 
 
A Study of Latin Hymns 19 
 
 great Bishop of Milan who might be called the father of 
 church music in the West. Augustine writes that "it was 
 first appointed by Ambrose that, after the manner of 
 Greek services, hymns and psalms should be sung by the 
 people lest they grow weary and faint through sorrow" 
 because of the persecution of their good Bishop and their 
 confinement with him in the cathedral. He describes him- 
 self as moved to tears by the sweetness of the singing, "the 
 voices flowed into my ears, the truth distilled into my 
 heart ; I overflowed with devout affection and was happy." 
 The emotional effect of congregational singing evidently 
 was as potent in the fourth century as in the nineteenth. 
 Once inaugurated, this custom of encouraging the people 
 to join in the singing of hymns spread, according to 
 Augustine, from Milan throughout the entire West. 
 
 As to the quality of the hymns which have come down 
 to us from the fourth and fifth centuries, Neale a sympa- 
 thetic critic calls them rugged. They are in the Latin 
 of the Post-Silver Age and antedate the use of rhyme. 
 They were intended for popular use and were written in 
 the simplest, most direct style. Many of the earliest ones 
 read like translations as, doubtless, many of them were. 
 When "the stream of psalmody flowed from the language 
 of Homer into that of Vergil," facts and ideas that were 
 native to the Hebrew and Greek, the two media of Scrip- 
 tural inspiration, had to be naturalized in the sonorous 
 Roman speech. At first the old thoughts wore the new 
 garb somewhat stiffly but it is fair to admit that it must 
 have been much less difficult to write hymns in Greek 
 since the matter they embodied lay embedded in the 
 Greek New Testament. Again, in comparing the early 
 
20 A Study of Latin Hymns 
 
 hymns with the mediaeval ones, we must take into ac- 
 count the fact that in the early period no ecclesiastical and 
 spiritual associations were gathered round the Latin 
 tongue which was to be the chosen language of the West- 
 ern Church for many centuries and is still that of a great 
 body of Christian believers. Latin had to "come into 
 church fresh from the market, the battlefield, or the court 
 of justice." Yet for this very reason, there is a sim- 
 plicity of expression and a straightforward sincerity of 
 tone in the Ambrosiani that make a strong appeal even 
 now. There is not a suggestion of pretense in any of them. 
 They may be plain, even crude but they are full of force. 
 They have the verve of patriotic hymns or battle-songs. 
 Devoid of mystic devotion they have, nevertheless, a vigor 
 and at times a majesty truly Roman. 
 
 Of the many Ambrosian hymns, authorities differ as to 
 the probable and the possible ones that belong to Am- 
 brose himself, but all agree that four are his on the au- 
 thority of Augustine and Celestine. These are the "Deus 
 creator omnium!' the "Aeterne rerum conditor/' the 
 "Jam surgit hora tertia" which Augustine mentions, and 
 the "Veni, redemptor gentium/' of which Celestine speaks, 
 and which the critic Herder ranks very high. 
 
 March in his collection of Latin hymns puts twelve 
 under the name of Ambrose, one of them a remarkable 
 prayer for rain. This poem, for it is rather a poem than 
 a hymn, is a graphic description of a drought in a southern 
 country, and is almost too realistic. It has been put into 
 English very satisfactorily by Bishop Van Buren. 
 
 Among the hymns of uncertain authorship of this first 
 
A Study of Latin Hymns 21 
 
 period, Mone, the scholarly editor of "Hymns of the 
 Middle Ages," attributes the "Hie est dies verus Dei' to 
 Ambrose, using doubtless the method of the higher criti- 
 cism. Daniel whose Thesaurus is one of the best available 
 reference books for students of early hymns thinks that 
 the famous 
 
 "Ad coenani Agni providi 
 Et stolis albis candidi" 
 
 is a hymn that was sung by newly baptized catechumens 
 and one of the most ancient extant. It is a comparison of 
 the Feast of the Passover with the sacrament of the Holy 
 Communion. 
 
 The "Aurora lucis rutilai" is an Easter hymn which 
 tells the Resurrection story simply but beautifully. The 
 direct narrative of many early hymns must have served 
 the purpose of fixing in the minds of the common people 
 the fundamental facts of their religion, and throughout the 
 controversial ages, the doctrines founded on these facts. 
 They teach plainly that the Church's doctrine has Scrip- 
 tural foundation. They have not the smoothness of the 
 mediaeval hymns but they ring with triumphant faith and 
 give expression to a living theology. Their blunt sweet- 
 ness has in it the freshness of the dawn. They are not 
 beautiful, nor in the ordinary sense, emotional, but their 
 simplicity is refreshing. Their writers accept what the 
 Church teaches and exult in every detail of the great song 
 of Redemption with loyal gratitude. The morning and 
 evening hymns of this period possess a perennial charm 
 and are still sung. 
 
22 A Study of Latin Hymns 
 
 The Fifth Century 
 
 At the beginning of the fifth century, the Vulgate 
 edition of the Scriptures was in existence and probably 
 gave an impetus to the composition of hymns in the Latin. 
 The number of hymns increases, but dates, as well as 
 authors, are lacking in the great majority of the oldest 
 hynms that have been preserved to us. There is a ten- 
 dency to group hymns around famous names. Kings and 
 Popes come in for a full share, possibly because the actual 
 poets were of their courts. There is no evidence that 
 the great Bishop of Hippo ever wrote a hymn, but never- 
 theless we find Augustiniani in the collections. "De 
 gaudiis Paradisi" and "Ad perennis vitae fontem" contain 
 phrases suggestive of Augustine's City of God and on this 
 account have been associated with his name, although the 
 latter is now generally believed to belong to Pietro Dami- 
 ani who died in 1072. The " Antidotum contra tyranni- 
 dem peccati" whose title certainly might be that of a 
 theological treatise, is from internal evidence of much 
 later date and although named Augustinian, is credited 
 by Anselm to Pietro. Its rhymed refrain is: 
 
 "Dulce mihi cruciari, 
 
 Parva vis doloris est: 
 'Malo mori quam foedaril' 
 
 Ma) or vis amor is est" 
 
 So in this instance the hymn shows Augustine's influence 
 five hundred years after his death. A few centuries made 
 little difference to early compilers of hymns when the 
 
A Study of Latin Hymns 23 
 
 whole of the material was in a state of dire confusion. 
 
 Prudentius was a follower afar of Vergil and the sing- 
 ers of the Golden Age of Latin verse. He has even been 
 called the Horace and Vergil of the Christians, but this 
 extravagant praise is a detriment to him. Though none 
 of his contemporaries descend to the barbarism of Latin 
 rhyme, he follows the most closely the classic meters. He 
 belonged to a period between the literary ages of Rome 
 and the time when Latin was known only as an ecclesiasti- 
 cal or scholastic language yet, in the opinion of S. W. 
 Duffield author of The Latin Hymn-Writers and their 
 Hymns, Prudentius fell little below the standard of the 
 Silver Age. He always has been popular with scholars, and 
 several editions of his works have appeared. His long 
 poems with Greek titles have earned him the name of the 
 first Christian poet. In reading the hymns of this cul- 
 tured writer of the beginning of the fifth century, it is 
 a delightful experience to find Christian thought expressed 
 in the language and style endeared to us by the master- 
 pieces of our favorite Roman poets. How striking the 
 difference in the tone of Pagan verse and these lines : 
 
 "Animae fuit haec domus olim 
 Factoris ab ore creatae; 
 Fervens habitavit in istis 
 Sapientia principe Chris to." 
 
 The "In exsequiis" from which this stanza is quotsd is a 
 funeral hymn by Prudentius and the most suggestive of 
 the classic lyrics in treatment and form of any Christian 
 hymn that we have. His "Da, puer, plectrum choreis' 
 
24 A Study of Latin Hymns 
 
 brings to mind Horace though the motive of the one who 
 calls for music is so unlike that of the other, an Epicurean 
 poet who is quaffing wine in the shade, and whose wreath 
 of roses is for himself, and whose praise is for the muses. 
 The fourth watch of the Romans, the dawn of day, 
 was called by the Christians "cock-crow." Various 
 writers refer to the bird that heralds the coming of the 
 morning, but the "Ales diet nuntius" of Prudentius is 
 deservedly the most famous instance. 
 
 AD GALLI CANTUM 
 
 Ales, diei nuntius, 
 
 Lucem propinquam praecinit; 
 
 Nos excitator mentium 
 
 lam Christus ad vitam vocat. 
 
 "Auferte," clamat, "lectulos, 
 Aegros, soporos, de sides, 
 Castique recti ac sobrii 
 Vigilate: iam sum proximus," 
 
 Iesum ciamus vocibus, 
 Flentes, precantes, sobrii: 
 Intenta supplicatio 
 Dormire cor mundum vetat. 
 
 Tu, Christ e, somnum disiice; 
 Tu rumpe noctis vincula; 
 Tu solve peccatum vetus, 
 Novumque lumen ingeret 
 
 Duffield translated the first stanza: 
 
 "The bird, the messenger of day, 
 Cries the approaching light 
 
A Study of Latin Hymns 25 
 
 And thus doth Christ, who calleth us, 
 Our minds to Life incite." 
 
 We find the first allusion to the custom of making the 
 sign of the cross in these verses from a prayer : 
 
 "Fete, cum vocante somno 
 Castum petis cubile, 
 Frontem locumque cordis 
 Crucis figura signet. 
 
 Crux pellit omne crimen; 
 
 Fugiunt crucem tenebrae; 
 Tali dicate signo 
 
 Mens fluctuare nescit" 
 
 These are eight of the twenty-eight verses of the "Cultor 
 Dei memento" The "Salvete f lores martyrum" for Holy 
 Innocents' day is justly famous, attracting a score of 
 translators. Thirty-two hymns generally are admitted 
 to be from the pen of Prudentius; the two greatest are 
 the "Nox et tenebrae et nubila" and the "Quicumque 
 Christum quaeritis." DufHeld gives the following version 
 of the first and last stanzas of "Nox et tenebrae et nubila:" 
 
 "Night, clouds and darkness, get you gone! 
 Depart, confusions of the earth! 
 Light comes, the sky so dark and wan 
 Brightens — it is the Saviour's birth! 
 
 "How many are the dreams of dread 
 Which by thy light are swept apart! 
 
26 A Study of Latin Hymns 
 
 Thou, Saviour of the sainted dead, 
 Shine with calm luster in the heart!" 
 
 This hymn is one of the few very early ones that have 
 a place in the Roman Breviary. Mr. Duffield's transla- 
 tion of the first and last stanzas of " Quicumque Christum 
 quaeritis" is as follows: 
 
 "O ye who seek our Lord to-day, 
 
 Lift up your eyes on high, 
 And view Him there, as now you may, 
 
 Whose brightness cannot die." 
 
 * * * * * * 
 
 "To Him the prophets testified, 
 In him their hearts rejoice — 
 Our Father bids us seek His side 
 To hear and heed His voice." 
 
 The genuine religious fervor of this hymn shows how in 
 the midst of the darkest of the Dark Ages, in the time of 
 greatest disorder and wretchedness, the lives of Christian 
 men shine forth in works of mercy and in songs expressing 
 the faith which sustained them. Duffield says Prudentius 
 "brightened Latin prosody by the presence of a living 
 faith." 
 
 To the latter half of the fifth century belongs the 
 celebrated hymn, "Vexilla Regis prodeunt." Its author is 
 Fortunatus, a courtier and, later in life, a priest. What 
 we know of his life of adventure is interesting, for he was 
 one of the first troubadours. He was the last great hymn- 
 writer whose native tongue was Latin. He won dis- 
 
A Study of Latin Hymns 2*] 
 
 tinction by composing an Epithalamium for one queen, 
 and at the height of his popularity he became a priest at 
 the desire of another. To Queen Radigunda, who later 
 was canonized, and her Abbess Agnes, he wrote many 
 amusing lines which do not belong to this study save as 
 they go to prove that our poet's inspiration sometimes was 
 due to dainties sent him by his lady friends who, greatly 
 to their credit, were good cooks as well as good religieuses. 
 The hymns of Fortunatus reveal genius though they have 
 not the simple truth of those of the Ambrosian period and 
 are at times marred by too much glitter. The skill of the 
 secular singer of the court appears in artifices and elegant 
 details. He wrote in the Latin of the decadence, but his 
 artistic merit is so great that five of his hymns are well 
 known and deservedly famous. The celebrated "De 
 Passione Christi" begins: 
 
 "Vexilla Regis prodeunt 
 
 Fulget crucis mysterium, 
 Quo carne carnis conditor 
 Suspensus est patibulo" 
 
 of which Mrs. Charles gives us the following version, 
 
 "The banner of the King goes forth, 
 The Cross the radiant mystery, 
 Where in a frame of human birth, 
 Man's Maker suffers on the Tree." 
 
 This is the most ancient of the seven great hymns and in 
 the favorite unrhymed Ambrosian metre. It has eight 
 stanzas. 
 
28 A Study of Latin Hymns 
 
 His other hymn on the Passion, "Pange, lingua, glori- 
 osi proelium certaminis" has been the model of at least 
 four other hymns beginnnig "Pange, lingua!' The open- 
 ing of his Resurrection hymn, "Salve festa dies, toto ven- 
 erabilis aevo" has also been copied. Of these three hymns 
 of Fortunatus the first has twenty-four English trans- 
 lators, the second found an imitator in Thomas Aquinas 
 and all are widely known. A fine early hymn on the cross 
 is assigned to him "Crux benedicta nitet" and the "Quern 
 terra, pontus, aether a" which the hymnographer Thomas- 
 ius attributes to him is one of the earliest hymns devoted 
 to the praise of the Virgin Mary. Its subject as given 
 by Daniel is "De Beata Virgine" The twenty-first verse 
 of this hymn begins "0 gloriosa femina," this and the 
 succeeding fifteen verses appear as a separate hymn in 
 the Roman Breviary. His treatment of the cross is very 
 unlike that of early writings where it is called "the ac- 
 cursed tree" and the change may be observed in his own 
 work in which he first speaks of it as patibulum or gallows 
 and later as the blessed Cross the venerated symbol of the 
 Passion. It may have been the friendship of two gifted 
 and saintly women that made Fortunatus capable of a 
 true appreciation of feminine qualities for it certainly is 
 true that a prominent place is given in his hymns to 
 ascriptions of praise to the Blessed Virgin as the ideal of 
 womanhood and the personification of spiritual grace. 
 
 The Sixth Century 
 
 The sixth century has among its hymn-writers one 
 whose name is associated with a great advance in church 
 music, Gregory the Great. The Gregorian chants are 
 
A Study of Latin Hymns 29 
 
 still in use in the services of the Church. Under him, 
 because of the higher development of church music, the 
 choir became much more prominent and the singing often 
 was done for the people rather than by them. From a 
 devout monk, Gregory became a great statesman and held 
 the keys of Saint Peter for thirteen years. He materially 
 aided the Benedictine foundations whose order of schol- 
 ars deserves the grateful admiration of the world of let- 
 ters. He sent Augustine who was afterwards the Arch- 
 bishop of Canterbury to be a missionary in Britain; his 
 attention being attracted by the golden hair of the Anglo- 
 Saxon slaves in Rome, he determined to make Angeli of 
 the Angli. 
 
 The prose works of Gregory are numerous, rilling sev- 
 eral volumes of Migne's Patrologia. His famous Pas- 
 toral Rule was translated into Anglo-Saxon by Alfred the 
 Great. Nine hymns are attributed to him. Luther 
 thought his "Rex Christe, factor omnium* the best hymn 
 ever written. The "Nocte surgentes, vigilemus omnes" 
 has Keble and Newman among its many translators and 
 the "Ex more docti mystico/' Dryden and Neale. The 
 "Ecce jam noctis tenuatur umbra" has many English 
 versions, the "Audi benigne Conditor/ J even more. His 
 "Ecce tempus idoneum' is a noble hymn, and the power- 
 ful "Nox atra rerum* is assigned to him by Mone. His 
 style is Ambrosian. He uses phrases all can understand. 
 The poetic utterance of this time is well described by Gui- 
 zot who says "it is an action, having ceased to be a litera- 
 ture." 
 
 Gregory's authorship of the "Veni, Creator Spiritus" 
 the second of the seven great hymns and the one the 
 
30 A Study of Latin Hymns 
 
 Church honors by a place in the rite of ordination to 
 the priesthood has been questioned. The "Veni, Creator 
 Spiritus" in its simple grandeur seems a work of inspira- 
 tion. It is small wonder that it is made a matter of ser- 
 ious controversy. In English one can read it in twenty- 
 seven versions, although that of Bishop Cosin ranks 
 first because nearest the original in spirit. Duffield puts 
 the hymn two centuries later than Gregory's time, and 
 believes that it was written by Rabanus, a pupil of Al- 
 cuin. One of the grounds of his opinion is that Gregory 
 never wrote another hymn the equal of this. He, how- 
 ever, goes on to say that Rabanus "used the art of verse 
 to little purpose at times, but in a happy hour wrote the 
 'Veni, Creator Spiritus/ ' J Rabanus was a scholar and 
 this hymn appears in his Codex, and in one of his works 
 there is a chapter that expresses its doctrine, but in spite 
 of these facts, Mone and Wackernagel attribute it to 
 Gregory. 
 
 This disputed point illustrates the great difficulty of 
 obtaining authentic authorship for any hymn which has 
 not contemporary reference to its origin. It is, after all 
 has been said, a question of little moment since the proof 
 of the value of a hymn lies in itself. No greatness of an 
 author can make a poor hymn a good one. Witness Glad- 
 stone's "Jesus pro me perforates!" If a hymn appeals to 
 the heart of the Christian worshiper it does not require 
 a renowned writer to give it enduring fame. 
 
 Bede and Alcuin recall all that is worthiest in the his- 
 tory of mediaeval education. Bede the Venerable studied 
 at the monastery connected with what is now Durham 
 Cathedral. He became a great Greek scholar, having six 
 
A Study of Latin Hymns 31 
 
 hundred monks for pupils, many of whom came from 
 across the Channel to study with him. Bede's translation 
 of the Gospel of Saint John into Anglo-Saxon was finished 
 on his death-bed where "singing the 'Gloria," he gave up 
 the ghost." In the words of Mrs. Charles, "Such was 
 the calm of a Christian's death-bed in England over eleven 
 hundred years ago." The first number in the first volume 
 of Mone's Hymns of the Middle Ages is a long poem by 
 Bede on the Creation, its last thirteen stanzas are used 
 as a hymn beginning "Post facta celsa Conditor." March 
 puts under his name "Salve tropaeum gloria" and Daniel 
 prints as his four lines beginning u Praecursor alius lum- 
 inis" but the only well authenticated hymns of Bede are 
 "Hymnum canamus gloriae" and "Hymnum canentes 
 martyrum" which are much admired. The latter is a very 
 beautiful hymn for Holy Innocents' day. Duffield sees 
 what he considers traces of the influence of Caedmon and 
 Beowulf, but hints of Anglo-Saxon parallelism and allit- 
 eration are much less marked than in Alcuin. A few 
 lines will illustrate Alcuin's style : 
 
 "Te homo laudct alme creator 
 
 Pectore, mente, pads ambre 
 
 Nou modo parva pars quia mundi est." 
 
 The quaint simplicity of this hymn of praise is admirable. 
 Bede refers to two ancient hymns, thus establishing 
 their date to be certainly as early as the seventh century, 
 "Apparebit repentina dies magna Domini" a very impres- 
 sive composition which Neale thinks contains the germ 
 of the celebrated "Dies Irae" and "Hymnum dicat 
 
3* A Study of Latin Hymns 
 
 turba fratrum" which Bede describes as "hymnus die 
 pulcherrimus." 
 
 The Seventh Century 
 
 The seventh century has no famous hymn-writer but 
 has assigned to it one remarkable hymn "Urb's beata Je- 
 rusalem' of which the " Angular e fundamentum" suitable 
 for use at the dedication of a church forms a part. All 
 authorities admit that there have been later additions to 
 this hymn and so competent a critic as Neale believes the 
 whole from Spain and of a later date than the seventh 
 century. His reason is that its meter is the same as that 
 of the forty-eight hymns peculiar to the Mozarabic Brevi- 
 ary which is of Spanish origin. This Breviary contains 
 many Ambrosiani which were evidently favorite hymns 
 in Spain and their meter the iambic dimeter invariably 
 was employed. Its use in Seneca's tragedies may have 
 made it familiar to the early Christian writers of Latin 
 hymns. 
 
 The mediaeval Latin hymns originating in Ireland form 
 another national group. Among these hymns the Prayer 
 of Saint Patrick, of uncertain age and authorship, is of 
 interest : 
 
 AD COMMUNIONEM 
 
 Anima Christi, sanctified me 
 Corpus Christi, salva me. 
 Sanguis Christi, inebria me. 
 Aqua lateris Christi, lava me. 
 Passio Christi, comforta me. 
 
A Study of Latin Hymns 33 
 
 O bone Jesu, exaudi me. 
 Intra vulnera absconde me, 
 Et ne permittas me separari a te. 
 Ab hoste maligno defende me. 
 In hora mortis meae, voca me, 
 Et jube me venire ad te, 
 Ut cum Sanctis tuis laudem te, 
 In saecula saeculorum. 
 
 The most beautiful hymn of Irish origin is also a com- 
 munion hymn: 
 
 "Sancti venite 
 Christi corpus sumite" 
 
 admired both by Daniel and by Neale for its noble sim- 
 plicity. It is a favorite with many in Neale's excellent 
 translation. 
 
 The Eighth Century 
 
 Towards the close of the eighth century at the court of 
 Charlemagne, besides the teacher Alcuin there was an- 
 other distinguished hymn-writer, — Paul the Deacon. It 
 is a strange coincidence that his three best known hymns 
 are about Saint John the Baptist. Caswell has made 
 English versions of all three: "O nimis felix meritique 
 celsi" "Antra deserti teneris" and "Ut queant laxis." 
 The last hymn is famous from the use made of its first 
 stanza : 
 
 "Ut queant laxis 
 Resonare fibris 
 
34 A Study of Latin Hymns 
 
 Mira gestorum 
 Famuli tuorum, 
 Solve polluti 
 Labii reatum, 
 Sancte Johannes!" 
 
 From the first syllables of each line Ut, Re, Mi, Fa, Sol, 
 La, and possibly Si, the names of the tones of the diatonic 
 scale have been derived. Its tune must have been of such 
 a nature that each of these short lines began a degree of 
 the scale higher than the preceding one, so that it was 
 adopted as a mnemonic device for recalling pitch. Its 
 use is associated with the name of Guido of Arezzo a 
 musician of the eleventh century. 
 
 The Ninth Century 
 
 The ninth century opened with Charlemagne as Em- 
 peror and continued the advance in education recently 
 made. Rabanus Maurus as Abbot of Fulda permitted 
 laymen to study with the monks. He shares with John 
 Scotus Erigena the intellectual pre-eminence of the age. 
 His writings fill six volumes of Migne's Patrologia and 
 his Codex contains twenty hymns which Duffield thinks 
 are his own compositions. This Hymnodia has an ap- 
 propriate sacred song for every season, among them is the 
 "Veni, Creator Spiritus" which seems the work of a poet 
 rather than a scholar. The very reason given that he is 
 the learned author of a treatise on the Offices of the 
 Holy Spirit is against the probability of such poetic in- 
 spiration being his. His well known hymns are but two, 
 
A Study of Latin Hymns 35 
 
 "Tibi, Christe Splendor Fatris" which Neale has trans- 
 lated and his "Christe, sanctorum decus angelorum" of 
 which one of the several English versions can be found in 
 the Hymns of the Ages. 
 
 Walafrid Strabo who was a pupil of Rabanus after- 
 ward became the Abbot of Reichenau, an abbey situated 
 on an island in Lake Constance. Here when a youth 
 he was a student and he gives in a series of letters the 
 program of a nine years' course of study at the monastery. 
 Anno Domini 815, Latin and German primers kept the 
 pupils busy; in 816, grammar, Bible history, and conver- 
 sational Latin; in 817, orthography and memorizing the 
 entire Psalter in Latin; in 818, Bede's prosody, Cato, 
 Sedulus and other Latin poets; in 819, rhetoric and 
 practice in teaching begun; in 820, Bede's histories, the 
 Latin writers of the Golden Age, and the Christian poets, 
 Prudentius and Fortunatus; in 821, Boethius, dialectics 
 and the codes of law; in 822, rhetoric and logic; and 
 in 823, Homer, music, geography, geometry, and astron- 
 omy. Strabo wrote a few hymns but they are of little 
 value compared with this detailed account of mediaeval 
 education. Strabo was also a voluminous prose writer; 
 biography, a treatise on the Divine Offices, and a Bible 
 commentary help to make up the catalogue of his works. 
 
 Of the few ninth century hymns the famous "Gloria, 
 laus, et honor tibi sit, rex Christe redemptor/' a hymn 
 for Palm Sunday, was, according to tradition, sung in 
 prison on that day in the year 812 by its author Theo- 
 dolph the persecuted Bishop of Orleans. The story goes 
 that the tyrant in passing heard the song and impressed 
 either by it, or the triumphant faith of the imprisoned 
 
36 A Study of Latin Hymns 
 
 Bishop, brought about his release. 
 
 The "Ave Maris Stella" the great hymn of the An- 
 nunciation and the parent of all the hymns to the Virgin 
 Mary, probably belongs to this age, although its exact 
 date and its authorship are unknown. 
 
 Mediaeval Music 
 
 The ninth century gives us the sequence fully developed 
 by Notker of the Monastery of St. Gall. It previously 
 had been the custom to prolong the last syllable of the 
 Alleluia to cover the time spent in carrying the Missal 
 from one side of the altar to the other between the read- 
 ing of the Epistle and the Gospel. The sequence in rhyth- 
 mic prose gave a syllable to each tone sung and was a great 
 improvement over the older artificial expedient of prolong- 
 ing the ia through dozens of notes.* In speaking of the 
 sequence "Sancti Spiritus adsit nobis gratia" which Dan- 
 iel attributes to Notker, Mone calls it a troparion and 
 prints the twenty-four prose sentences of Daniel's version 
 in sixty-four short lines. He says further it takes the 
 place of the "mill-groaning." This allusion to the abuses 
 of the droning of the choir is illustrated by the follow- 
 ing stanza: 
 
 "Terit mo la far inula 
 dum virgo parit tenera 
 furfurum, cribratum, partum parit 
 creatura creatorem parit 
 tar a tantarizate, 
 cor da vestra Deo praeparate" etc. 
 
 ♦See page 79 of the Appendix. 
 
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 W 
 
 Al-ie-lu 
 
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 V 
 
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 -*-*■* a — ■"'b m — — 
 
 i — "^ — , 
 "♦"a m* — 
 
 -^-B- 
 
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 SEQUENTIA 
 
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 Au-ro-ra lu-cis ru-ti-lat coe-lum lau-di-bus in-to-nat 
 
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 9 Mr ffi J 4L& 
 
 
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 » ■ fit - ■*$>■ as- ■ i 
 
 8 B / W 
 
 Tb 
 
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 7 
 
 Glo-ri-a Patri, et Fi-li-o, et Spiri-tui Sancto 
 
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 ^g^Hh^^-jHa-^fj-afg-a^- Y i* 
 
 Si -cut e-rat in principio, et nunc, et semper 
 
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 Et in sae-cu-la saecu-lo-rum. A -men. 
 
38 A Study of Latin Hymns 
 
 also this: 
 
 "Quern nunc virgo peperit 
 Verlazuis, zuis, zuis 
 Verla susanyuna," etc. 
 
 The sequence "Cantemus cuncti melodum nunc Alle- 
 luia' is believed to be Notker's and the famous "Victimae 
 paschali laudes" which has ten translations also is at- 
 tributed to him by some authorities. It is one of the few 
 preserved in the Roman Missal. More famous yet is 
 the wonderful "Antiphona in morte" which in transla- 
 tion still is used in the burial service of the Church of 
 England and her branches: 
 
 "Media vita 
 In morte sumus; 
 Quern quaerimus ad)utorem, 
 Nisi te, Domine, 
 i Qui P ro peccatis nostris 
 
 Juste irasceris! 
 Sancte Deus, sancte fortis, 
 Sancte et misericors Salvator, 
 Amarae morti 
 Ne tradas nos!" 
 
 Rabanus makes this interesting allusion to antiphonal 
 singing : 
 
 " Alternantes concrepando melos 
 damus vacibus/' 
 
A Study of Latin Hymns 39 
 
 which Nealc translates: 
 
 "Meetly in alternate chorus 
 Bearing our responsive part" 
 
 Antiphonal singing undoubtedly was used by the early 
 Christians as there was precedent in Greek antiphons and 
 the responsive rendering of the Hebrew Psalter in the 
 synagogue worship. Pliny the younger refers to the 
 Christians singing "secum invicem" The writings of 
 Ignatius imply the use of responsive singing and the 
 church at Antioch of the time of Constantine II is known 
 to have had this custom. 
 
 When Ambrose introduced the use of hymns he un- 
 doubtedly added melodies to the music which had been 
 simple chants. The wider range of the scales which 
 he is believed to have founded on the Greek tetrachords 
 indicates this higher development of musical form. To 
 the four scales of Ambrose, the Dorian, the Phrygian, 
 the Lydian and the Mixed-Lydian, Gregory added three. 
 The former the Authentic were scales in the keys of D, 
 E, F, and G, and the latter the Plagal were in A, B, and 
 C. Gregory besides introducing Eastern innovations, in 
 order to reform abuses, established a definite method of 
 singing for all the services of the Church. He caused 
 an authoritative Antiphonary to be made which was 
 chained to the desk of St. Peter's Cathedral and the only 
 form permitted. Copies of it were made and the Gregor- 
 ian chant spread throughout the West. An Antiphony 
 came into the possession of the Abbey of St. Gall where 
 music especially was studied and Notker's work is an evi- 
 
40 A Study of Latin Hymns 
 
 dence of the advances made there. 
 
 It may not be ill-timed to state briefly what music was 
 at the time of the earliest hymns and sequences. Isidore, a 
 writer in Gregory's time, gives this definition in his Sen- 
 tence on Music , "Harmonious music is a modulation of the 
 voice. It is also the union of simultaneous sounds." Such 
 harmony as existed must have been very rudimentary, 
 but melody was highly developed according to the author 
 of the article on plain chant in Grove's Dictionary of 
 Music. He declares no more wonderful succession of 
 single notes ever had been strung into melodies so adapted 
 to the words which were sung. What was inaugurated 
 in Gregory's time, if tradition is right, became highly 
 developed by the thirteenth century when the "Tenebrae" 
 of Holy week and the "Exultet" of Easter Eve reach 
 the depth of woe and the height of exultation. Judging 
 by the plain chant of "Le Paroissien Note" — a note-book 
 for priests now in use in the Roman Catholic Church — 
 the tones succeed each other in intervals that harmonize 
 with each other, with chromatic turn effects interspersed 
 and ending with a major interval for the expression of 
 joy, a minor interval for lamentation. 
 
 To the ninth century belongs the first known attempt 
 at a metrical treatment of the Psalms in a collection en- 
 titled "Ad Dominum clamaveram." At this period also 
 dialogues made out of the Gospel narratives were arrang- 
 ed to be sung. This method of the so-called School of 
 Romanus fell into disuse by the tenth century and its ex- 
 istence was unknown to so thorough a student of ancient 
 hymns as Neale. These dialogues must have been adapted 
 to use in the mystery and miracle plays, and were pos- 
 
A Study of Latin Hymns 4 1 
 
 sibly the germ of the oratorio and even of the opera. They 
 were, like the sequences, rhythmic but not in strict metre. 
 There is a mediaeval hymn, "De XI mille virginibus " 
 which is divided into what are called " 'responsoria et ver- 
 sus/' for instance: 
 
 Resp. "Deo voto fuit nata 
 
 placans cunctis, Deo grata 
 Ursula regalis," 
 
 then the versus expresses approval of what has been sung 
 of the saint somewhat in the manner of the Greek chorus. 
 
 The introit, a sentence sung before and after the ap- 
 pointed Psalm, sometimes was introduced by a little verse 
 or phrase known as the tropus. It was later made the unit 
 of a system of strophes called the troparium. "The never 
 sleeping guardian — the patron of my soul — the guide of 
 my life" is a combination of three troparia. Three, four, 
 or five made an ode, and eight or nine odes made a 
 canon. This was probably an adjustment of words to 
 the tune or melody. 
 
 At the beginning of the tenth century, Hucbald of 
 Flanders gives rules for the organum or diaphony which 
 seem to authorize the use of successive fourths, fifths, and 
 octaves now forbidden, but Dr. Paul believes this was a 
 sort of counter-point, the voices only starting at these in- 
 tervals. When true harmony began is not known. Ritter 
 says in his History of Music that the Gregorian plain 
 chant and the folk-song are "the two factors which form 
 the foundation upon which all forms of our musical art 
 rest." 
 
42 A Study of Latin Hymns 
 
 Musical notation was very incomplete. The neumae, 
 crooks and strokes of various shapes and in various posi- 
 tions, were placed over the words to indicate pitch and 
 duration of sound. Until the eleventh century only two 
 lines of the staff were used when Guido of Arezzo who 
 introduced solemnization added two more and so gave the 
 neumae a more definite place. Measures were unknown 
 and when they began to be used there were still but two 
 kinds of notes: % longa and ■ brevis. In the early 
 thirteenth century these were increased to four, ^ du- 
 plex-longa, and ♦ semi-brevis being added. These signs 
 are still used in the plain song books of priests and no 
 measures indicated. Franco of Cologne at this date men- 
 tions two kinds of time: the imperfect and the perfect, 
 which was triple-time, the trinity being the symbol of 
 perfection. There was also in the Middle Ages a kind of 
 counter-point, generally for three voices, which was called 
 faux-bourdon. It consisted of a succession of chords of 
 the sixth accompanying the cantus firmus of a Gregorian 
 chant. This was considered a frivolous invention in the 
 fourteenth century. It certainly gave opportunity for 
 mischievous choir boys to sing secular words as variations 
 to the original chant and so to desecrate worship. 
 
 The Tenth Century 
 
 By the tenth century the invocation of the Virgin and 
 the Saints became prominent and from that time on, 
 hymns to their honor are in the majority. In Notker's 
 sequence "De naiwitate Domini" the fourth line reads, 
 "Hodie seculo maris Stella est enixa novae salutis gaudia;" 
 this is the first use of the words maris Stella known. In 
 
A Study of Latin Hymns 43 
 
 the Vulgate edition of the Bible, Gen. I 10, "appellavit 
 maria et vidit Deus quod esset honum" and Psalm XXIV 
 2, "super maria fundavit eum* were regarded as symbolic 
 of Maria the Blessed Virgin, and she often is referred to 
 as the sea or of it. This earliest known hymn addressed 
 to her, while praying to her for peace, light, protection, 
 and bona cuncta gives glory to her Son and contains these 
 beautiful verses: 
 
 "Vitam praesta puram, 
 Iter para tutum, 
 Ut videntes Jesum 
 Semper collaetemur" 
 
 and closes with a doxology. Mrs. Hemans's Evening 
 Hymn is the best known of the hymns translating "Ave 
 Maris Stella' or written in imitation of it. This famous 
 hymn has at least eight versions in English, many in 
 every modern language, and is one of the few hymns of the 
 kind to find a place in March's collection. 
 
 Mone's "Lateinische Hymnen des Mittelalters" Vol- 
 ume I has three hundred and twenty hymns singing of 
 the glory of God and the Christian Faith ; Volume II has 
 three hundred hymns addressing the Virgin Mary, and 
 Volume III, five hundred and ninety-five hymns lauding 
 the Saints. St. Anne, for instance, has twenty-five hymns 
 or sequences dedicated to her glory as mother of Mary 
 and thus intimately connected with the scheme of salva- 
 tion. Tributes are paid to saints and martyrs for their 
 good works or their especial gifts and graces and their aid 
 invoked in harmony with these qualities. A line in a 
 
44 ^ Study of Latin Hymns 
 
 hymn about St. Ambrose reads, "Vitae meae rege curium" 
 an evident allusion to his wisdom and piety. The numer- 
 ous hymns of this character indicate the direction in which 
 the church in the West was developing. Often in these 
 hymns to be used on Saints' days, the ascriptions of praise 
 to the Deity are confined to the doxology at the close 
 and even there the name of the Blessed Virgin sometimes 
 is found. 
 
 To the latter half of the tenth century belongs the 
 "Chorus novae Jerusalem" which has a place in the old 
 Breviary of England, but not in the Roman Breviary. It 
 is a fine Whitsuntide hymn and has attracted a dozen 
 English translators. This hymn is attributed to Fulbert 
 of Chartres, also the "Nuntium vobis fero de supernis" 
 which March assigns to Gregory under the title "De 
 epiphania" 
 
 The Dawn of the Modern Age 
 
 To the eleventh century, sometimes called the dawn 
 of the modern age because it was a century of beginnings, 
 belongs the collection of Latin Hymns of the Anglo-Saxon 
 Church preserved through the upheaval of the Norman 
 conquest which was so to alter British usages. Gothic 
 architecture, musical notation, and the invention of rag- 
 paper illustrate the varied activities of the age, while 
 troubadours and crusaders flourished and a great religious 
 revival brings to the fore Hildebrand, Anselm of Canter- 
 bury, and Pietro Damiani, the flagellant. Hymn-writers 
 were not numerous, but to the eleventh century belongs 
 the loveliest of Latin hymns : 
 
A Study of Latin Hymns 45 
 
 Veni, Sancte Spiritus, 
 Et etnitte coelitus i 
 Lucis tuae radium. 
 Vent, pater pauperum. 
 Veni, dator munerutn. 
 Veni, lumen cordium. 
 
 Consolator optime, 
 Dulcis hospes animae, 
 Duke refrigerium; 
 In labore requies, 
 In aestu temperies, 
 In fletu solatium. 
 
 lux beatissima, 
 Reple cordis intima 
 Tuorum fidelium! 
 Sine tuo numine 
 Nihil est in ho mine, 
 Nihil est innnoxium. 
 
 Lava quod est sordidum. 
 Riga quod est aridum, 
 Sana quod est saucium; 
 Flecte quod est rigidum, 
 Fove quod est frigidum. 
 Rege quod est devium! 
 
 Da tuis fidelibus 
 In te confitentibus 
 Sacrum septenarium; 
 Da virtutis meritum, 
 Da salutis exitum, 
 Da perenne gaudium! 
 
 It is included in "the seven great hymns," and is 
 beyond question one of the three most beautiful hymns 
 
46 A Study of Latin Hymns 
 
 to the Holy Spirit. Hymns so addressed are not numer- 
 ous, but are remarkable for elevation of tone and depth of 
 feeling. It has been the general belief that Robert II 
 of France, whom historians portray as an inefficient king 
 but a beautiful character, was the author of the "Veni, 
 Sancte Spiritus." He wrote several sequences, none of 
 them worthy of note. Duffield and others believe it was 
 written by Hermann the Cripple, a scholarly and saintly 
 monk of Reichenau, who was a celebrated writer on 
 music. The famous sequence "Salve Regina mater miser- 
 icordiae" is certainly Hermann's. He is known to have 
 made a translation from the Arabic of Aristotle's Poetics. 
 His unusual character is shown in the fact that he, who 
 is surnamed Contractus (the cripple), is also called hilaris- 
 simus (most cheerful). 
 
 Pietro Damiani already has been referred to as illus- 
 trating Augustinian influence. Besides the hymns previ- 
 ously mentioned as his, he wrote "Gravi me terrore pulsas, 
 vitae dies ultimata" which has been described as the "Dies 
 Irae" of the day of death instead of the day of judgment. 
 It is awful in its details of horror. His Easter hymn 
 "Paschalis festi gaudium" and his "Paule, doctor egregie" 
 are of admitted merit. He wrote many hymns to the 
 Virgin and the saints but his greatest hymn is "Ad per- 
 ennis vitae fontem" which Daniel calls a pearl for our 
 treasury. It is not one of the seven hymns, but it might 
 well be, as it is certainly superior to the "Stabat Mater 
 speciosa." Mrs. Charles has translated it adequately and 
 there are fourteen other English versions. 
 
 Pietro, cardinal and flagellant, was an earnest reformer. 
 He was the author of the "Liber Gemorrhianus" address- 
 
A Study of Latin Hymns 47 
 
 cd to Pope Leo IX exposing prevalent abuses. The 
 flagellation which he advocated and practised was to be 
 the antidote to self-indulgence. The Psalter was recited 
 to an accompaniment of blows of the scourge. Every 
 Psalm called for one hundred strokes, and so the whole 
 required fifteen thousand! 
 
 Of the hymns, of unknown authorship of this century 
 a very interesting "Cantus peregrinantium' has these 
 lines : 
 
 "Ducem nobis praebe, 
 angelum adhibe, 
 qui nos deducat ante te! 
 
 Iter nostrum rege, 
 ab hoste defende 
 
 et ad propriam reduce! 
 
 Dexteram extende, 
 sinistram submove, 
 et adversis nos defende!" 
 
 Neale's rendering of these verses is: 
 
 "Thy faithful guardian send 
 The angel who may tend 
 And bring us to Thy holy seat. 
 
 Defend our onward path, 
 Protect from hostile wrath 
 And to our land return our feet. 
 
 Thy right hand be stretched out, 
 
 Thy left be round about, 
 
 In every peril that we meet !" 
 
48 A Study of Latin Hymns 
 
 There are some errors in the original text but the spirit 
 is one of humility and sincere piety. Much of this 
 Pilgrim's Song is as suitable a prayer for a traveler now 
 as it was nine hundred years ago. 
 
 The Twelfth Century 
 
 In Latin hymnody no century was more productive of 
 great things than the twelfth. The work of Marbod 
 who was acknowledged to be the foremost poet of his 
 day overlaps the preceding century. From him we have 
 the finest specimen of rhymed Latin verse we possess : 
 
 OR AT 10 AD DOMINUM 
 
 Deus-homo, Rex coelorum, 
 Miserere miserorum; 
 Ad peccandum proni sumus, 
 Et ad hutnum redit humus; 
 Tu ruinam nostram fulci 
 Pietate tua dulci. 
 Quid est homo, proles Adaef 
 Germen necis dignum clade. 
 Quid est homo, nisi vermis, 
 Res infirma, res inermis? 
 Ne digneris huic irasci, 
 Qui non potest mundus nasci: 
 Noli, Deus, hunc damnare, 
 Qui non potest non peccare; 
 Iudicare non est aequum 
 Creaturam, non est tecum: 
 Non est miser homo tanti, 
 Ut respondeat Tonanti. 
 Sicut umbra, sicut fumus, 
 Sicut foenum facti sumus: 
 Miserere, Rex coelorum, 
 Miserere miserorum. 
 
A Study of Latin Hymns 49 
 
 There are no more musical couplets in any tongue than 
 these eleven pairs of verses. It is evident that in Mar- 
 bod's time the diphthong ae rhymed with e, vid. Adae, 
 clade. This is doubtless regarded as a late-Latin corrup- 
 tion by the restorers of the Roman method of pronuncia- 
 tion. A specimen of Marbod's dactylic hexameter verse 
 may be found in March's collection, a hymn on the 
 Resurrection beginning, "Credere quid dubitem fieri quod 
 posse probatur." His poem "De Gemmis" containing the 
 mythology of precious stones and their virtues was a great 
 favorite in the Middle Ages. He was a good Bishop as 
 well as a popular poet, governing wisely his diocese of 
 Rennes. 
 
 It is a rare experience to find an early hymn written 
 by a woman. Besides the "Aurea luce" of Elpis whose 
 date is uncertain, we have in this century one hymn at- 
 tributed to Hildegard, "O ignis Spiritus" and one to the 
 noted Heloise, "Requiescat a labore." It is to be re- 
 gretted that both of these attributions are now disputed. 
 
 The twelfth century offers the hymns of the two Ber- 
 nards, Abelard, Peter the Venerable, Hildebert, and Adam 
 of St. Victor. It speaks well for the training in Latin in 
 the monasteries that it could be used so artistically by men 
 of genius of whom it was not the native language. Trou- 
 badours were singing in the tongues of the Northwest 
 but churchmen were loyal to the language of Constantine 
 and to the Western Church. They consecrated their 
 talents to sacred song in the language made sacred by 
 ecclesiastic Association. 
 
 Hildebert, Archbishop of Tours, wrote ten thousand 
 verses. His prem to the three Persons of the Trinity is 
 
50 A Study of Latin Hymns 
 
 laden with theological distinctions that are ill-adapted to 
 poetical treatment. Whatever the artistic defects of the 
 "Alpha et Omega, magne Deus" a creed in rhyme, it 
 is very lofty in tone and of deep import. It is difficult to 
 imagine how so profound a theme could be better handled 
 in verse. It has attracted several translators and its 
 closing verses, beginning "Me receptet Sion ilia" are found 
 in modern hymnals. Archbishop Trench and Neale rank 
 them very high. 
 
 The foremost churchman of his age was Bernard of 
 Clairvaux. He was in his youth under the English abbot, 
 Stephen Harding, at Citeaux and from there went out 
 to found Clairvaux, turning a desolate valley into a 
 veritable garden of the Lord. Like Augustine, this twelfth 
 century saint had a saintly mother. His four brothers 
 followed him into the monastic life. Of a magnetic per- 
 sonality, tall, thin and very fair, an earnest preacher, he 
 was a marked figure in the world of his day. His life 
 was full of activity, his hymns are full of quiet trustful- 
 ness. This energetic missionary was a man of deep devo- 
 tion and sincere piety. 
 
 His famous hymn The Name of Jesus has come down 
 to us in different forms. March gives ninety-six of the 
 best verses. The hymn is divided easily into groups of 
 stanzas, each group making a hymn of ordinary length. 
 The first twenty lines are familiar to all in the beautiful 
 version in English by Caswell which may be found in 
 the Hymnal of the Episcopal Church: 
 
 Jesus, the very Thought of Thee with Sweetness Fills 
 the Breast. 
 
A Study of Latin Hymns 51 
 
 The Latin text is: 
 
 DE NOMINE JESU 
 
 Iesu dulcis metnoria 
 Dans vera cordis gaudia, 
 Sed super mel et omnia 
 Eius dulcis praesentia. 
 
 Nil canitur suavius, 
 Audituf nil iucundius 
 Nil cogitatur dulcius 
 Quam Iesus, Dei filius. 
 
 Iesu, spes poenitentibus 
 Quam pius es petentibus, 
 Quam bonus te quaerentibus 
 Sed quid invenieniibus? 
 
 Nee lingua valet dicere, 
 Nee litera exprimere 
 Expertus potest credere . 
 Quid sit Iesum diligere. 
 
 These verses are a good illustration of iambic dimeter 
 rhyming in fours. The Latin stanza quoted below is the 
 original of Ray Palmer's : 
 
 "Jesus Thou joy of loving hearts ! 
 Thou Fount of life! Thou Light of men! 
 From the best bliss that earth imparts 
 We turn unfilled to Thee again." 
 
 "Iesu, dulcedo cordium, 
 Fons vivus, lumen mentium, 
 Excedens omne gaudium, 
 Et omne desiderium." 
 
52 A Study of Latin Hymns 
 
 This long hymn on the name of Jesus doubtless has been 
 the inspiration of the many hymns of a similar nature in 
 every language. 
 
 St. Bernard's long poem "Ad unum quodlibet membrum 
 Christi" contains the "Salve Caput cruentatum" of which 
 O Sacred Head now Wounded is the favorite English 
 version. Other parts of this remarkable series of hymns 
 are injured by painful details, especially the "Ad Latus." 
 While the merit of St. Bernard's hymns is beyond ques- 
 tion, their tone of intimacy, even of familiarity, led to 
 dangerous extremes, and introduced a tendency to be 
 lamented. They were, however, the utterance of an un- 
 bounded love, of a faith new-born. It is said that the 
 Gospel had a new meaning to him when he discovered 
 "it was intended to comfort the human heart." Does not 
 this experience, like similar ones of later times, make evi- 
 dent a prevalent misunderstanding of the Gospel which 
 gave rise to presenting Christ as the severe Judge rather 
 than the merciful Redeemer? 
 
 Two of the sayings of Bernard are worth recording, 
 "He does not please who pleases not himself" and "Hold 
 the middle line, unless you wish to miss the true method." 
 Few men who have received canonization deserve the 
 honor by such a variety of superior qualities as did this 
 noble, earnest Christian priest. 
 
 His opponent Abelard was a contrast to him in more 
 than mere opinion. A brilliant thinker who overthrew 
 the Scholastic doctrine of "universals," Abelard was of 
 a domineering nature and harsh even to those he loved. 
 Pride of intellect was his pitfall. His one hundred and 
 six hymns are little known. To create songs that others 
 
A Study of Latin Hymns 53 
 
 will sing, one must have the heart of a singer. In Neale's 
 Mediaeval Hymns may be found a translation of Abe- 
 lard's "Mittit ad Virginem" a hymn in dactylic dimeter 
 verse on the Annunciation. Quite different was the 
 character of his generous friend Peter the Venerable who 
 received Abelard into the Abbey of Cluny when other 
 doors were closed to him. Peter's "Mortis portis fractis 
 fortis" is a stirring Easter hymn. 
 
 The black monks of Cluny had a greater poet in the 
 other Bernard whose long poem of three thousand lines, 
 "De Contemptu Mundi" contains the verses on the Heav- 
 enly Land which have given him enduring fame. From 
 this part which is entitled "Laus patriae coelestis" Neale 
 took the material for three great English hymns, Brief 
 Life is here our Portion, For Thee, O Dear, Dear Coun- 
 try, and Jerusalem the Golden. Neale also gives in The 
 World is very Evil a version of the verses beginning : 
 
 "Hora novissima, tempora pessima sunt, vigilemus. 
 Ecce minaciter imminet arbiter ille supremus" 
 
 The hexameter verses are made very musical by a suc- 
 cession of five dactyls. The Church is indebted to the 
 Prior of Cluny for the most radiant picture of the City of 
 the Christian's hope outside the Apocalypse. 
 
 Adam of St. Victor was a poet whom the dialectical 
 atmosphere of a theological school could not spoil. His 
 fault to the ordinary reader is that his allusions are ob- 
 scure and his thought full of difficult symbolism. He is a 
 theologians' poet (a favorite of both Neale and Trench) 
 rather than one for the people, excepting in his master- 
 
54 A Study of Latin Hymns 
 
 pieces. In 1858, by the discovery of a manuscript, the 
 number of his known hymns was increased from thirty- 
 six to one hundred and eight. Of these March publishes 
 eight, and translations of eleven are given in Neale's 
 Mediaeval Hymns. His "Zyma vetus expurgitur" and 
 "Simplex in essentia" may not attract many readers but 
 two of his hymns rank among the best, "Heri mundus 
 exultavit," about St. Stephen, and "Veni, Creator Spir- 
 itus, Spiritus recreator" one of the famous hymns on 
 the Holy Spirit. 
 
 A remarkable hymn whose author is unknown, 
 belongs to this period, the "Cum revolvo toto corde" 
 which is plainly the precursor of the "Dies Irae." Take 
 for example these verses : 
 
 "Dies ilia, dies vitae 
 Dies lucis inauditae 
 Et mors ipsa morietur 
 Qua nox omnis destruetur'* 
 
 Its one hundred and eighty-four verses are divided by 
 Mone into five parts. It is more personal than the "Dies 
 Irae" and has more about the rewards of the blessed. 
 Mrs. Charles has an excellent translation of the last part. 
 
 The Age of the Giants 
 
 The thirteenth century, the age of Francis and Dom- 
 inic, has been called the Age of the Giants. Of great 
 hymn-writers it produced Thomas Aquinas, Bonaventura, 
 Thomas of Celano, and Jacoponous. 
 
A Study of Latin Hymns 55 
 
 Of anonymous hymns, we notice "Recolamus sacram 
 coenam" which is found in translation in the Lyra Eu- 
 charistica. It contains the stanza: 
 
 "He spake, before them all 
 Still perfect Man He stood, 
 Though what he ate and drank he named 
 His very flesh and blood." 
 
 The "O beata beatorum martyrum certamina" is a 
 fine commemoration of the martyrs and has been trans- 
 lated by Neale. 
 
 Very early in this century disciples began to gather 
 around Francis of Assisi, one of the most beautiful char- 
 acters in the history of the Church. Among them was 
 Thomas of Celano, who wrote the life of St. Francis and 
 to whom is attributed the finest Latin hymn ever written, 
 the "Dies Irae."* It is perfect in form and it is said 
 sound and sense never were more happily united in any 
 poem in any tongue. Goethe, Scott, and Dr. Johnson 
 are merely representative admirers of its greatness. Its 
 use in the closing scenes of Faust and in The Lay of the 
 Last Minstrel shows how universal is its application. 
 That Scott repeated parts of it on his deathbed and that 
 Dr. Johnson could not read the stanza beginning "Quaer- 
 ens me" without tears, show the strength of its appeal. 
 It is used in the Roman Catholic ritual, and is as suitable 
 for a burial service as for All Souls' day. Mozart's 
 Requiem, completed as he was dying, is a worthy setting 
 for this sublime hymn. The discriminating world is of 
 
 *"Dies Irae'* with English Translation appendix p. 79. 
 
56 A Study of Latin Hymns 
 
 accord in ascribing to it preeminence. Written a century 
 before the Divina Comedia by a countryman of Dante, it 
 rises to the same height in its appreciation of the great 
 issues of life from the mediaeval Christian standpoint. 
 
 The popularity of the "Dies Irae" has brought it many 
 translators, whose zeal has been out of all proportion to 
 their ability as poets. One reads these versions from cur- 
 iosity, but turns away in utter dissatisfaction. Students 
 who attempt a translation, even with humiliating results, 
 gain familiarity with every phrase, every word, which is 
 worth securing at any price. In English, the triple rhym- 
 ing verses have an artificial sound which detracts from the 
 solemnity of the effect, and the closing trochaic foot is a 
 weak ending without finality. DufHeld mentions one hun- 
 dred and fifty-four published English versions of which 
 ninety-six are by American authors. In Latin the three 
 rhyming words, from the repetition of the same vowel 
 sounds, are like a solemn knell and remind one of the mu- 
 sic of cathedral chimes. A few other hymns are accred- 
 ited to Thomas of Celano, but will not bear comparison 
 with this masterpiece. This stanza will recall its marvel- 
 ous power : 
 
 "Quaerens me sedisti lassus, 
 Redemisti crucem passus: 
 Tantus labor non sit cassusl" 
 
 The last five stanzas of the hymn have not the merit 
 of the great thirteen. 
 
 With this one notable exception, the thirteenth cen- 
 tury fell below its predecessor in creative work. The 
 Latin passed on to the modern languages the perfection 
 
A Study of Latin Hymns 57 
 
 of rhyme and accentual metre it had attained and it 
 began to take the place of honor that is still its own, one 
 of dignity apart from everyday life. 
 
 Of the four celebrated hymn-writers mentioned, all 
 were Franciscan monks except the great Thomas Aquinas, 
 who was a Dominican. This Order was founded seven 
 years later than the Franciscan, and was famous for schol- 
 arship, especially in dialectics and theology. Foremost 
 among the scholars of his day, Thomas Aquinas found 
 time to put his belief in the Real Presence into poetic 
 form, in addition to writing his weighty treatises, which 
 still are authoritative in the Roman communion. He felt 
 as well as thought deeply on this subject, so his hymns are 
 touched with true emotion. His 
 
 "Pange, lingua, gloriosi 
 Corporis mysterium, 
 Sanguinisque pretiosi" 
 
 is much admired by Neale and venerated by all Catholics. 
 His "O esca viatorum' is a favorite with Protestants also 
 in Ray Palmer's version O Bread to pilgrims given. The 
 "Adoro Te devote j latens Deitas" is honored by a place 
 in the Roman Missal. "Lauda, Sion, Salvatorem" has 
 a dozen English translators. It was written to be sung on 
 Corpus Christi Day, the Thursday after Trinity, which 
 was set apart in 1261 for this observance. In 121 5, the 
 fourth Lateran Council had enunciated the authorized 
 doctrine of transubstantiation in an attempt to silence the 
 doubts of Churchmen and to bring to one mind the Chris- 
 tian world concerning this greatest of Christian sacra- 
 
58 A Study of Latin Hymns 
 
 mcnts. The early communion hymns in their simplicity 
 and the later ones like the "O colenda Deltas!' a prayer 
 to be used at the raising of the Host, teach more of the 
 truth by the inspiration of a "lifting of the heart to God" 
 than any doctrinal exposition can. 
 
 Bonaventura, the Franciscan friend of Thomas 
 Aquinas, exemplified in his life and writings the gentler 
 Christian graces. He is the author of the greatly admired 
 "Horae de passione Jesu Christi" of which the last section 
 "Ad Completorium: Qui jacuisti mortuus" is very mov- 
 ing. He wrote two other hymns on the Passion "Chris- 
 tum ducem" and the curiously figurative "Quantum ha- 
 mum caritas tibi praesentavit." His famous hymn on the 
 cross, "Recordare sanctae cruris/' carries its glorification 
 to the height as the symbol of Salvation. The "Psalter- 
 ium" filling six hundred lines with the virtues and powers 
 of the Virgin Mary has been attributed to Bonaventura. 
 He is said to have written it as an aid to private devo- 
 tions. 
 
 The use of the rosary, a prayer device of Eastern devo- 
 tees before the time of Christ, was in the thirteenth cen- 
 tury taught by a monk of St. Dominic. There is a hymn 
 to Christ which was to be used in saying beads but the 
 "Ave Maria" many times repeated, with an occasional 
 "Pater Noster/' soon became the established usage. The 
 purpose was undoubtedly concentration of mind in long 
 devotions. 
 
 The second greatest hymn of the thirteenth century is 
 the justly celebrated "Stabat Mater dolorosa," whose 
 author was an eccentric Franciscan monk, who lived 
 towards the close of the century. Jacoponus was a 
 
A Study of Latin Hymns 59 
 
 genius, more than half mad it seems, and yet sane enough 
 to write his own epitaph as "a fool for Christ's sake." 
 He startled the world by his oddities and went so far in 
 bold acts and utterances as to bring upon himself, for a 
 time, the dire penalty of excommunication. One sus- 
 pects his folly was assumed as a cloak for the zealous 
 reformer. He died in 1306 singing the "Anima bene- 
 dicta!* the song of a blessed soul, and receiving his last 
 communion. 
 
 Of his hymns the "Cur mundus militat sub vana 
 gloria" well expresses the contempt for all things earthly 
 which his life showed. What others sang about, Jaco- 
 ponus exemplified by indifference to any standards but 
 spiritual ones: 
 
 "Quam breve festum est haec mundi gloria 
 Et umbra hominis sunt ejus gaudia." 
 
 His "Cur relinquis Deus coelum?" is a fine hymn and 
 has been translated well by Duffield. A man who could 
 write the "Stabat Mater dolorosa" was a true poet, one 
 of the very greatest, and perhaps the last who deserves 
 this title among the writers of Latin hymns. Before his 
 day, hymns to the Virgin had become very numerous and 
 afterwards were even more abundant, but this "Stabat 
 Mater" is the climax of them all, even its companion 
 composition the "Stabat Mater speciosa," credited to Jaco- 
 ponus but probably not his, falls far below it though both 
 are ranked by Noyes among the seven great hymns. 
 
 A hymn of this period of unknown authorship, Thomp- 
 son thinks should have more English translators and gen- 
 
60 A Study of Latin Hymns 
 
 eral use in our time, it is the "Jesu, dulce medicamen.' 
 It has eight stanzas in four pairs. One is as follows: 
 
 "In adversis patientem 
 in dolore fac gaudentem 
 
 tua me dementia, 
 in secundis temperatum 
 in moerore non turbatum 
 
 laetum in injuria" 
 
 Reichenauer writes that it is "ein schones Lied durch 
 seine Innigkeit und wohl geordnete Anlage, die eine edle 
 Haltung giebt" 
 
 The Last of the Latin Hymns 
 
 After the close of the thirteenth century there are few 
 well-known hymns; those written to the Virgin and the 
 Saints greatly increase in number. There are long poems 
 composed on the "Angeli salutatio" which in the Vulgate 
 reads : 
 
 "Ave Maria, gratia plena; Dominus tecum; 
 Benedicta tu in mulieribus" 
 
 To this the words of Elizabeth's salutation are added, 
 "Benedictus Fructus ventris tui." 
 
 In the "Ave Maria!' the name Jesus follows and then 
 comes: "Sancta Maria ora pro nobis peccatoribus nunc et 
 in hora mortis nostrae. Amen/' There are hymns in 
 which each verse begins with one of these words. There 
 
A Study of Latin Hymns 6 1 
 
 are others founded in the same way upon the famous 
 hymns in her praise. Her Seven Joys are the subject of 
 several. "Omni die die Mariae" has one hundred and 
 twenty-six lines. The "Te Matrem laudamus' modeled 
 after the ancient "Te Deum laudamus 1 ' is preserved in the 
 Roman Breviary. "Regina coeli laetare" and "Stella 
 maris, O Maria" are hymns of poetic value and among 
 the Latin hymns which originated in Germany we find 
 dating from the fifteenth century the lovely "Puer natus 
 in Bethlehem" and the "Virginis in gremio." The Vir- 
 gin's place of prominence in early hymns of the Nativity 
 developed naturally in later ages into almost countless 
 entire compositions in her honor. 
 
 The last two volumes of Mone's Latin Hymns of the 
 Middle Ages covering as they do the Dark Ages of liter- 
 ature, have little of poetic value. They do, however, pre- 
 serve among much inferior work, a few hymns expressing 
 genuine feeling in melodious form. The subject matter 
 of the third volume has a wide range, although certain 
 saints often are honored. St. Ursula has many verses in 
 her praise. The "Ave Martha gloriosa" portrays the 
 devout woman of Bethany as patroness of Tarascon in 
 place of the legendary Britomart. The napkin of St. 
 Veronica has its song. The learned Doctors of the 
 Church have their share of praise, St. Augustine being 
 lauded at great length. No further back, however, than 
 this age of decadence of Latin hymnody can be traced 
 some excellent sequences. The "Majestati sacrosanctae" 
 whose style suggests an earlier origin is one of the best. 
 Mauburn's "Heu quid jaces stabulo" is a favorite with the 
 translators. Its original can be found in March's Latin 
 
62 A Study of Latin Hymns 
 
 Hymns. "Novum sidus exoritur" the oldest hymn on 
 the Transfiguration belongs to this period. There are 
 also at this time curious hymns partly Latin and partly in 
 the vernacular; lower than this mixed form hymnody 
 could not fall. 
 
 After 1452, the Breviaries containing all the ritual 
 except the mass were in use. To the Sarum Breviary 
 we owe the "Gollaudamus Magdalena" which Daniels 
 calls a very sweet hymn, and two Transfiguration hymns 
 "Coelestis formam gloriae' and "O nata lux de lumine/' 
 From the Sarum Missal we also have "Si vis vere gloriari 1 
 which has been well translated by Neale, the prince of 
 translators. 
 
 Thomas a Kempis, who is beloved by the Christian 
 world as the author of the celebrated Imitation of Christ, 
 is credited with a few hymns ; Wackernagel publishes two. 
 March has the "Adversa Mundi tolera" on the grace of 
 patience and the "Astant angelorum chori" about celestial 
 joys. Mone gives "Jerusalem luminosa" and "Nee quts- 
 quam oculis videt. ,J It is interesting to note that the 
 "Imitatio Christi" is in rhythmical prose. Take for in- 
 stance these lines :* 
 
 "A mans volat, currit et laetatur; 
 
 Liber est, et non tenetur; 
 
 Dat omnia pro omnibus, 
 
 Et habet omnia in omnibus; 
 Quia in uno summo super omnia quiescit 
 Ex quo omne bonum fluit et procedit." 
 
 *Imitatio Christi Book I, chap. 5. 
 
A Study of Latin Hymns 63 
 
 From the York Processional of the sixteenth century 
 we have three proses which begin "Salve festa dies, toto 
 venerabilis aevo JJ following Fortunatus only in this open- 
 ing verse. 
 
 The humanists, both Protestant and Roman Catholic, 
 of this age sing in a tongue foreign to their thoughts 
 songs of praise which seem too much like Latin exercises. 
 A few of Luther's Latin hymns, however, are spontane- 
 ous outpourings of emotion and there are some other 
 simple but good ones of this late day. 
 
 From the "Society of Jesus" recently organized come 
 hymns of unique style. They are full of a passionate 
 devotion of the kind first manifested plainly in St. Ber- 
 nard's poems. The "Dormi, fili, dormi" is of so intimate 
 a nature as to seem more like a lullaby than a sacred 
 song. One stanza will illustrate its style: 
 
 "Quidquid optes, volo dare: 
 dormi, parve pupule! 
 dormi , fili, dormi carae 
 matris deliciolae." 
 
 Other famous hymns of Jesuit origin are "Pone luctum 
 Magdalena" which has nine English translators, and the 
 "Ecquis binas columbinas" which has a half-dozen and 
 has a place in the original in both March's and Arch- 
 bishop Trench's collections. The latter hymn is intensely 
 emotional. "Altitudo, quid hie jaces" and " Plaudit e 
 coeli"* are great favorites; the "Plaudite coeli" is a pre- 
 cursor of the best modern Easter hymns with its refrain : 
 
 *"Phudite coeli" with English version appendix page 81. 
 
64 A Study of Latin Hymns 
 
 "Nam que revixit 
 Sicuti dixit, 
 Pius Maes us 
 Funere Jesus!" 
 
 To Xavier, on doubtful evidence, is assigned the author- 
 ship of the famous 
 
 "O Deus, ego amo te, 
 Nee amo te, ut salves me 
 Aut quia non amantes te 
 Aeterno funis igne" 
 
 From the prayer book of Mary Queen of Scots we have 
 the following touching prayer which the world of her 
 admirers loves to believe was her own composition. It 
 was certainly on her lips in those last trying hours when 
 her life was sacrificed because of its dangerous nearness 
 to the throne of her cousin Queen : 
 
 "O Domine Deusf 
 Speravi in te; 
 O care mi Jesu! 
 Nunc libera me: 
 In dura catena, 
 In misera poena 
 Desidero te; 
 Languendo, gemendo, 
 Et genuflectendo 
 Adoro, imploro, 
 Ut liber es mel" 
 
A Study of Latin Hymns 65 
 
 It may be rendered: 
 
 Lord, my God! 
 
 1 have hoped in Thee. 
 My blessed Lord! 
 
 deliver me: 
 
 In tedious chains 
 In bitterest pains 
 
 1 long for Thee. 
 Fainting and crying, 
 At Thy feet lying, 
 
 I adore Thee, I implore Thee, 
 O set me free! 
 
 Collections of Hymns 
 
 The Roman Breviary now in use was published in 1568 
 and superseded all the diocesan and provincial ones. It 
 has been revised twice and now is published in four closely 
 printed volumes of Latin text. It contains besides proper 
 Psalms, prayers, and sermones from the Church Fathers, 
 hymns introduced as needed for daily or occasional use. 
 Pars Verna of the "Breviarum Romanum" has ninety-one 
 hymns; Pars A estiva, one hundred and eleven; Pars 
 Autumnalis, ninety-two and Pars Hiemalis, eighty-six. 
 There are a hundred and ninety different hymns; thirty- 
 seven are printed in each of the four volumes and many 
 others appear in more than one. It is a valuable collec- 
 tion of old Latin 4rymns ; among them we find some re- 
 casts made to bring the Latin nearer to the classic form. 
 To re-write in the interest of style sometimes weakens 
 
66 A Study of Latin Hymns 
 
 the presentation of the subject matter and thus results in 
 a loss of vigor and freshness. Daniel prints fifty-five of 
 these recasts in parallel columns with the old forms. The 
 changes often are very slight, merely verbal with now 
 and then a stanza revised beyond recognition. 
 
 The Order of Cluny in a revision of the Paris Breviary 
 which continued to be used, substituted new hymns for 
 those which tradition had sanctioned. Instead of recasts, 
 hymns were rewritten entirely. The Ambrosian hymn 
 "Ad coenam Agni providi" which in the Roman Breviary 
 is "Ad regias Agni dapes" is in Charles Coffin's revision 
 "Forti tegente brachial Jean Santeul contributed to the 
 edition of 1686 many excellent hymns, among them, 
 Sainte-Beuve pronounces finest the "Stupete gentes, fit 
 Deus hostia" of which Duffield gives the Latin text. In 
 the 1736 edition of the Paris Breviary the new hymns 
 were twelve to one, only twenty-one old ones being re- 
 tained, while there were eighty-five by Santeul and nearly 
 a hundred by Charles Coffin, less gifted than Santeul, 
 but a man of talent and a skillful writer of Latin verse. 
 These hymns are too recent to be included in mediaeval 
 collections. Newman's "Hymni Ecclesiae" contains 
 many and they may be read in English in the Hymns of 
 the Paris Breviary translated by Williams. 
 
 The student of Latin Hymns owes a debt of gratitude 
 to their zealous collectors from the Middle Ages down to 
 our day. German scholarship has done much to make the 
 hymns accessible, Daniel's Thesaurus in five volumes ap- 
 pearing from 1841-56, and the three volumes of Mone's 
 "Lateinische Hymnen des Mittelalters" in 1853. Migne's 
 Patrologia — prose and verse — in two hundred and twen- 
 
A Study of Latin Hymns 67 
 
 ty-one volumes was published in Paris about the same 
 date. Of English students, Newman, Neale, whose Latin 
 essay on Sequences is printed in Daniel's Thesaurus, and 
 Trench have each edited collections of Latin hymns. 
 March published in 1875 a volume of Latin Hymns, con- 
 taining one hundred and fifty well-chosen selections. Duf- 
 field estimates that there are between four and five hun- 
 dred Latin hymns suitable for present day use, although 
 as in all literature the masterpieces are few. 
 
 The Value of Latin Hymns 
 
 The study of Latin Hymns is worth all the time and 
 labor that have been or can be expended on it, since there 
 is no other approach so direct to the ages in which they 
 appear, as through these hymns which reveal the deepest 
 desires, strongest hopes, and most sincere belief of minds 
 that were among the best of their time. We seem to 
 look into the eyes of the singers as we feel the emotions 
 of these poet-souls of the past Christian ages. They wrote 
 of what they knew, they praised what they prized. They 
 share with us what they valued more than any earthly 
 gain or renown, the spiritual heritage which was their 
 refuge amid the storm and stress of a life even more exact- 
 ing than ours, their shield against temptation, and their 
 hope of eternal life. 
 
 In the study of Latin Hymns we can trace the course 
 of Christian life down through the ages. Those of the 
 fourth century give a clearer expression of great funda- 
 mental doctrines than do the hymns of later centuries. 
 Every time of religious revival infuses a brighter glow of 
 
68 A Study of Latin Hymns 
 
 emotional fervor into the hymns of the period, just as 
 in more recent years Wesley, Keble, and Moody found 
 the hymn the natural utterance of penitence and newly 
 awakened devotion. The subjective treatment found in 
 the later Latin hymns both of Jesuit and of Protestant 
 writers shows the change to belong to the age rather than 
 to the shade of religious conviction of the poet. 
 
 Hoffman attributes the effect that the best hymns have 
 upon us to their simplicity and veracity. "Here," he 
 says, "sounds the speech of a general confession of one 
 heart and one faith." The appeal they make to us is 
 convincing proof of the influence they have had for all 
 these centuries on those who used them. This thought 
 gives a new meaning to "the communion of saints." "All 
 the faithful," in the words of Thompson, "are bound in 
 spiritual brotherhood with those who held to the same 
 Head and walked in the light of the same faith in by-gone 
 centuries." Even the hymn-writers who differ most 
 widely from each other and from ourselves as to the 
 tenets of "the Faith once delivered to the Saints" when 
 they sing of the manifestation of the love of God and pro- 
 claim the good tidings of His Kingdom, speak a language 
 every Christian understands and to which the heart re- 
 sponds in the twentieth century as it has through all the 
 Christian ages. 
 
APPENDIX 
 
NOTES 
 
 English Versions 
 
 Of the more than five thousand Latin hymns accessible 
 to him, Mr. Duffield indexed eight hundred and seventy 
 hymns, recasts of hymns, and portions of hymns treated as 
 whole hymns. Although only one in five of the number 
 preserved, they are of especial interest because their merit 
 has secured for them translation into English. Our Eng- 
 lish hymnody has been enriched by versions of Latin 
 hymns from the time of Chandler down to those of the 
 present day. Their poetic excellence and loftiness of 
 devotion make them of equal value to the student of liter- 
 ature and to the historian of religious thought. 
 
 II 
 
 Breviaries 
 
 The Breviaries and Missals of the Western Church are 
 the sources of the Latin hymns we possess. About a 
 hundred Breviaries were printed in the fifteenth and six- 
 teenth centuries; others exist in manuscript form. 
 
 The Paris Breviary was published in 1527, its new 
 form in 1736. Part I of Newman's "Hymni Ecclesiae" 
 
 71 
 
72 A Study of Latin Hymns 
 
 is from the Paris Breviary of which the latest edition is 
 largely the work of Jean Santeul and Charles Coffin. 
 
 The first edition of the Roman Breviary was printed in 
 1 48 1 and the final form in 1631 to which a few addi- 
 tions have been made in later years. The Roman Brevi- 
 ary being the one used in the Roman Catholic Church of 
 this country is the most accessible. It is also of present 
 interest because in common use in our own land, and as its 
 hymns belong to all ages it is more representative of 
 Latin hymnody than any other of the Breviaries. 
 
 Ill 
 
 Hymns of the Roman Breviary 
 
 One hundred and ninety Latin hymns are contained in 
 the Roman Breviary proper; in the appendix to Pars 
 Hiemalis there are three additional ones for the celebra- 
 tion of the Holy Family. 
 
 The following thirty-four hymns are printed in each of 
 the four volumes: 
 
 "Adspice infami Deus" 
 "Alto ex Olympo vertice" 
 "Ave maris Stella" 
 "Christe sanctorum decus" 
 "Christo profusum" 
 "Coelestis urbs Jerusalem" 
 "Coelitum Joseph decus" 
 "Dpus tuorum militum" 
 "Exultet orbis gaudiis" 
 
A Study of Latin Hymns 73 
 
 "Fortem virili pectore" 
 "Hujus oratu Deus" 
 "lnvicte martyr" 
 "Iste confessor Domini' 
 "Jam lucis orto" 
 "Jesu corona celsior" 
 "Jesu corona virginum" 
 "Jesu Redemptor omnium" 
 "Memento rerum Conditor" 
 "Moerentes oculi" 
 "Nunc Sancte nobis Spiritus" 
 "O gloriosa virginum" 
 "Praeclara custos virginum" 
 "Quern terra pontus sidera" 
 "Rector potens" 
 "Rerum Deus tenax" 
 "Sacris solemniis" 
 "Saevo dolorum" 
 "Sanctorum meritis" 
 "Te Joseph celebrent" 
 "Te lucis ante terminum" 
 "Te splendor et virtus" 
 "Verbum supernum" 
 "Virginis proles. . .Haec" 
 "Virginis proles. . .Hujus" 
 
 This list is made up of those suitable for use through- 
 out the Church year. Five hymns are for the Hours; 
 five, about the Virgin Mary; three, about the Passion; 
 two, about St. Joseph; and two, about the Holy Com- 
 munion. The martyrs have seven hymns in their praise; 
 
74 A Study of Latin Hymns 
 
 the Confessors, three ; the Angels, two ; and the Apostles, 
 one. Of the two remaining, one is "Urbs coelestis Jerusa- 
 lem" and the other for use at the dedication of a church. 
 Of the one hundred and fifty-nine hymns not included 
 in every volume, twenty-seven appear three times, thirty- 
 three twice and ninety-seven only once. The demands of 
 especial occasions and seasons and the many definite cele- 
 brations of Saints' days govern the arrangement. 
 
 IV 
 
 Dates of Published Translations 
 
 With the revival of the study of primitive hymnody 
 numerous translations into modern languages were made, 
 especially into German and English; of the latter the 
 following are the most noteworthy. 
 
 In 1 83 1 the Rev. Isaac Williams published a volume 
 containing twelve hymns. 
 
 In 1837 Chandler's collection of one hundred and eight 
 hymns appeared. 
 
 In 1839, Hymns from the Paris Breviary by Williams 
 came out. 
 
 In 1845, the Rev. John Williams, afterwards Bishop 
 of Connecticut, published a volume of forty translations. 
 
 In 1849 Caswell who left the Church of England at 
 the time that Newman did, brought out all the hymns of 
 the Roman Breviary and Missal in an English version. 
 
 In 1 85 1 and 1852 Neale published his first translations 
 and in 1858, his famous Rhythms of Bernard of Clairvaux 
 on the Celestial Country. 
 
A Study of Latin Hymns 75 
 
 In 1858 appeared The Voice of Christian Life in Song 
 by Mrs. Charles. 
 
 In 1889 Duffield's Latin Hymn-Writers and their 
 Hymns was published containing many original transla- 
 tions. 
 
 English translations from various sources have appeared 
 from time to time in periodicals but the best of these 
 as well as of those of the authors mentioned above are 
 found in modern hymnals. 
 
 The Seven Great Hymns 
 
 The seven great hymns according to Noyes who pub- 
 lished them with English versions in 1865 are: 
 
 "Vexilla Regis" Fortunatus : - £ 
 
 "Veni, Creator Spiritus" Gregory the Great 
 
 "Veni, Sancte Spiritus'' Hermann or Robert ' J 
 
 "Laus Patriae Coelestis" Bernard of Cluny « 
 
 "Stabat Mater Dolorosa" Jacoponus 
 
 ''Mater Speciosa" Uncertain authorship HaTs*^** 
 
 "Dies Irae, Dies ilia" Thomas of Celano y 
 
 VI 
 
 "Le Paroissien Note" 
 
 "Le Paroissien Note" contains the Mass, prayers for 
 confession and preparation for the Holy Communion, the 
 
76 A Study of Latin Hymns 
 
 Way of the Cross, and the services for Holy days and 
 Saints' days of the Church year. 
 
 It has the music written on a four-lined staff with 
 neumae for unison or one-voiced singing, for all the 
 chants and hymns, of which it contains the following 
 number : 
 
 Hymns, sixty-three 
 
 Anthems (Antiphonal Chants), thirty-one 
 
 Psalms, twenty-seven 
 
 Prosae, ten 
 
 Canticles, four 
 
 Motets, four 
 
 Responses, three 
 
 Prayers (to be sung by the choir), two 
 and two numbers unclassified, 
 
 O filii et filiae 
 and the impressive 
 
 Rorate. 
 
 The list given above is indexed. 
 
 More than one musical form is provided for many of 
 the Chants, thus giving some freedom of choice. 
 
 VII 
 
 Hymns of the "Coeleste Paimetum" 
 
 Of the thirty-eight hymns, not previously listed, from 
 the ''Coeleste Paimetum" and the "Officium Majoris 
 Hebdomadae" the "Crux fidelis" and the "O Rrdemp* 
 tor' are from the latter. 
 
A Study of Latin Hymns 77 
 
 Classification by subject 
 
 To the Virgin Mary, twelve 
 To the Saviour, nine 
 Of these 
 
 To his Sacred Heart, two 
 
 To the Wounds, one 
 
 To the Cross, one 
 To SS. Joachim and Anna, two 
 To St. Joseph, two 
 One each to the following 
 The Holy Spirit 
 The Blessed Trinity 
 The Holy Angels 
 The Patriarchs 
 The Prophets 
 The Apostles 
 The Martyrs 
 The Confessors 
 The Holy Virgins 
 All Saints 
 
 The Faithful Departed 
 St. Barbara 
 SS. Ignatius and Xavier 
 
 VIII 
 
 Plain Chant 
 
 Every note in plain song is equal and short. Syllables 
 of words and natural pauses in the verse and at the end 
 of verse give the music its rhythm and phrasing. It is 
 
78 A Study of Latin Hymns 
 
 neither chant nor recitative, but a true melody designed 
 for singing in unison. 
 Sequential 
 
 "Haec proprie est sequential neuma sive 
 prolongatio ultimae syllabae Tou Alleluia/' 
 
 Neale 
 
ENGLISH TRANSLATIONS 
 
 DIES IRAE 
 
 AND 
 A LITERAL TRANSLATION IN THE FEWEST WORDS POSSIBLE 
 
 Dies irae, dies ilia 
 Solvet saeclum in favilla 
 Teste David cum Sibylla. 
 
 O Day of wrath, that day, 
 When earth shall pass away 
 Prophet and sibyl say. 
 
 Quantus tremor est futurus 
 Quando iudex est venturus, 
 Cuncta stride discussurus! 
 
 The trembling cry 
 The Judge draws nigh 
 Each soul to try. 
 
 Tuba, mirum spargens sonum 
 Per sepulcra regionum, 
 Coget omnes ante thronum. 
 
 The last trump's knell 
 From gates of Hell 
 Shall all compel. 
 
 Mors stupebit, et natura, 
 Quum resurget creatura 
 Iudicanti responsura. 
 
 Death they surprise 
 And Nature wise 
 When all arise. 
 
 Liber scrip tus proferetur, 
 In quo totum continetur, 
 Ut:de mundus iudicetur. 
 
 The Book is there 
 Which all lays bare 
 To Justice fair. 
 
 Iudex ergo cum sedebit, 
 Quidquid latet, apparebit, 
 Nil inultum remanebit. 
 
 That Judgment Throne 
 Where all's made known 
 Will nought condone. 
 
 Quid sum miser tunc dicturus, 
 Quern patronum rogaturus, 
 Cum vix iustus sit securus? 
 
 What shall I say 
 On that dread day 
 When just men pray? 
 
 79 
 
8o 
 
 A Study of Latin Hymns 
 
 Rex tremendae maiestatis, 
 Qui salvandos salvos gratis, 
 Salva me, ions pietatis! 
 
 A Saviour be, 
 
 O King I Grant me 
 
 Thy pardon free. 
 
 Recordare, Iesu pie, 
 
 Quod sum causa tuae viae; 
 
 Ne me per das ilia diet 
 
 Can He forget 
 The woes He met 
 To pay my debt? 
 
 Quaerens me sedisti lassus, 
 Redemisti crucem passus: 
 Tantus labor non sit cassus! 
 
 Let not Thy pain 
 My soul to gain 
 Be all in vain. 
 
 Iuste iudex ultionis, 
 Donum fac remissionis 
 Ante diem rationis! 
 
 O wash away 
 My sin I pray 
 Before that day. 
 
 Ingemisco tanquam reus, 
 Culpa rubet vultus meus; 
 Supplicanti parce, Deus! 
 
 Qui Mariam absolvisti, 
 Et latronem exaudisti, 
 Mihi quoque spem dedisti. 
 
 Preces meae non sunt dignae 
 Sed tu bonus fac benigne 
 Ne perenni cremer igni. 
 
 Inter oves locum praesta 
 Et ab haedis me sequestra 
 Statuens in parte dextra. 
 
 Confutatis maledictis, 
 Flammis acribus addictis, 
 Voca me cum benedictis! 
 
 Ora supplex et acclinis, 
 Cor contritum quasi cinis, 
 Gere cur am mei finis! 
 
 I groan with shame 
 My guilt to name; 
 The lost reclaim. 
 
 With Mary shriven, 
 The thief forgiven, 
 My hope has risen. 
 
 hear my cry 
 Forbid that I 
 Forever die. 
 
 The chosen band, 
 Thy sheep, shall stand 
 At thy right hand. 
 
 Their end is nigh 
 Who love a lie. 
 Call me on high. 
 
 1 humbly pray 
 Be thou my stay 
 Upon that day. 
 
A Study of Latin Hymns 8 1 
 
 Lacrymosa dies ilia, O Day of woe 
 
 Qua resurget ex favilla When man shall go 
 
 Iudicandus homo reus: From out the tomb 
 
 Huic ergo parce, Deus! To meet his doom. 
 
 Pie Iesu domine, O Jesu blest, 
 
 Dona eos requie! Grant me Thy rest 
 
 Amen. Amen. 
 
 O RAT 10 
 
 MARIAE, SCOTIAE REGINAE* 
 
 O Lord, my God! 
 
 Long have I hoped in Thee ; 
 My blessed Lord! 
 
 Quickly deliver me: 
 In tedious chains, 
 In bitterest pains, 
 
 To Thee would I flee; 
 Failing and fainting I cry 
 Low at Thy feet I lie 
 
 Adoring. 
 
 Imploring, 
 O bid me come to Thee! 
 
 DE RESURRECTIONE 
 
 (OF JESUIT ORIGIN) 
 
 AND 
 
 A FREE ENGLISH TRANSLATION 
 
 Plaudite coeli Applaud ye blue 
 
 Rideat aether and smiling skies. 
 
 ♦Latin text and another English version on page 65. 
 
82 
 
 A Study of Latin Hymns 
 
 Summits et imus 
 Gaud eat orbis! 
 
 Transivit atrae 
 Turba procellae 
 
 Subiit almae 
 Gloria palmae! 
 
 Surgite verni, 
 
 Surgite f lores, 
 Germina pictis 
 
 Surgite campis, 
 Teneris mixtae 
 
 Violis rosae 
 Candida sparsis 
 
 Lilia calthis! 
 
 Let the earth 
 
 to joy arise, 
 Far the frowning 
 
 storm clouds flee. 
 Wave the palms 
 
 of victory. 
 
 Rise Spring, burst 
 
 forth in bloom, 
 Paint the awakening 
 
 fields with green. 
 Weave a carpet 
 
 in your loom 
 Of violets rare 
 
 and roses bright 
 And lilies many-hued 
 
 and white. 
 
 Currite plenis, 
 
 Carmina, venis! 
 Fundite laetum, 
 
 Barbytha, metrum 
 Namque revixit, 
 
 Sicuti dixit, 
 Pius illaesus 
 
 Funere Iesus! 
 
 Give songs of joy 
 
 free rein, 
 Pour out ye lutes 
 
 the glad refrain. 
 For He is living, 
 
 as he said. 
 Our holy Lord unharmed 
 
 is risen from the dead. 
 
 Plaudite montes, 
 
 Ludite fontes; 
 Resonent valles, 
 
 Repetunt colles: 
 lo revixit, 
 
 Sicuti dixit, 
 Pius illaesus 
 
 Funere Jesus! 
 
 Applaud ye mountains 
 
 and play ye fountains; 
 While happy valleys cry 
 
 and echoing hills reply, 
 Lo! He is living 
 
 as He said, 
 Our holy Lord, unharmed, 
 
 is risen from the dead. 
 
INDEX OF LATIN HYMNS 
 
 FROM THE COLLECTIONS 
 
 OF 
 
 MARCH, DANIEL, MONE, AND DUFFIELD 
 
 SAINT BASIL'S HYMNAL 
 
 LE PAROISSIEN NOTE 
 
 AND 
 THE ROMAN BREVIARY 
 
 AND 
 
 PSALMS AND CANTICLES 
 
 FROM THE VULGATE EDITION OF THE 
 
 HOLY BIBLE 
 
INDEX OF LATIN HYMNS 
 
 FIRST LINES OR TITLES 
 
 Ad coeli olara 
 
 Ad coenam Agni providi 
 
 Adeste fidelee 
 
 Adesto sanota Trinitas 
 Adjuvent noa eorum 
 Adoro Te devote 
 Ad perennis vitae fontem 
 Ad regias Agni dapea 
 Adatant angelorum ohori 
 
 Adveraa mundi tolera 
 
 Ae8timavit ortolanum 
 Aeterna Christi. .Apostolorum 
 Aeterna Chri8ti. .Et gloriam 
 
 Aeterna Chriati. .Et martyrum 
 Aeterna coeli gloria 
 
 Aeterne rerum Conditor 
 Aeterne Rex altiaaime 
 
 Ah, homo perpende fragilia 
 
 Agni paachalia 
 
 Agnoaoat omne aaeoulum 
 
 Agnus Dei in paaoha 
 
 Ales diet nuntius 
 
 Alleluia I Alleluia I flnita jam 
 
 Alleluia dulce carmen — . 
 
 Alleluia piis edite laudibus 
 
 Alpha et Omega, magne Deua 
 Altitudo, quid hie faces 
 Alto ex Olympo vertice 
 Amans volat 
 
 SOURCE COLLECTION 
 
 Early Irish 
 
 March 
 
 Ambrosian 
 
 March 
 
 XV or XVI Cen- 
 
 
 tury 
 
 Stead 
 
 XIV Century 
 
 Daniel IV 
 
 XII Century 
 
 Duffleld 
 
 Thomas Aquinas 
 
 March 
 
 Pietro Damiani 
 
 March 
 
 Roman Breviary 
 
 March 
 
 Thomas a Kern- 
 
 
 pis 
 
 March 
 
 Thomas a Kem- 
 
 
 pis 
 
 March 
 
 XTV Century 
 
 Daniel I 
 
 Roman Breviary 
 
 Daniel I 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Ambrosian 
 
 March 
 
 Ambrosian 
 
 Breviarum Ro- 
 
 
 manum 
 
 Ambrose 
 
 March 
 
 Gregory 
 
 Daniel I and 
 
 
 rv 
 
 Canisius 
 
 Duffleld 
 
 
 Daniel V 
 
 Portunatus 
 
 Daniel I and 
 
 
 rv 
 
 XIII Century 
 
 Mone I 
 
 Prudentius 
 
 March 
 
 XII Century 
 
 Daniel II 
 
 XI Century 
 
 March 
 
 Mozarabic Brev- 
 
 March 
 
 iary 
 
 
 Hildebert 
 
 March 
 
 Jesuit 
 
 Daniel II 
 
 Roman Breviary 
 
 Daniel I 
 
 Thomas a Kem- 
 
 
 pis 
 
 Duffleld 
 
 85 
 
86 
 
 A Study of Latin Hymns 
 
 Angelus ad Virginem 
 Angulare fundamentum 
 
 ^Anima Christi, sanctiflca me 
 Animae sacra solemnia 
 Anna, Mater pie, ave 
 Annue Christe, saeculorum 
 
 Antiphona de Spiritu Sancto 
 Antra deserti teneris 
 Apparebit repentina magna dies 
 Arte mira, miro consilio 
 A solis ortu cardine Ad usque 
 A solis ortu cardine Et usque 
 Aspice infami Deus ipse ligno 
 
 Athleta Christi nobilis 
 
 Attolle paulum lumina 
 
 Audi, benigne Conditor 
 Audi nos, Rex Christe 
 Audi, tellus, audi 
 
 Aurea luce et decore roseo 
 Aurora coelum purpurat 
 Aurora jam spargit polum 
 
 Aurora lucis rutilat 
 
 Ave caput Christi gratum 
 
 Ave caro Christi cara 
 
 Ave Christi corpus verum 
 
 Ave dies fulgentior 
 
 Ave Hierarchia 
 
 Ave maris stella 
 
 Ave maris stella nostrum cor 
 
 Ave Martha 
 
 Ave Martha gloriosa 
 
 Ave Mater qua natus est orbis 
 
 Pater 
 Ave mitis Imperatrix 
 Ave Porta Paradiai 
 Ave quern desidero 
 Ave Regina coelorum 
 
 VII or VIII Cen- 
 
 
 tury- 
 
 March 
 
 Unknown date 
 
 Daniel I 
 
 
 Mone III 
 
 
 Mone III 
 
 XIV or XV Cen- 
 
 
 tury 
 
 Daniel I 
 
 Warnefried 
 
 Daniel I 
 
 VII Century 
 
 March 
 
 Unknown 
 
 March 
 
 Sedulius 
 
 March 
 
 Ambrosian 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 XVI or XVII 
 
 
 Century 
 
 Daniel II 
 
 Gregory 
 
 March 
 
 XI Century 
 
 Daniel IV 
 
 XI Century 
 
 Daniel I and 
 
 
 IV 
 
 Elpis 
 
 March 
 
 Roman Breviary 
 
 Daniel I 
 
 Ambrosian 
 
 Daniel I and 
 
 
 IV 
 
 Ambrosian 
 
 March 
 
 Gregory XI 
 
 Mone I 
 
 MS. XIV Cen- 
 
 
 tury 
 
 Daniel I 
 
 MS. XIV Cen- 
 
 
 tury 
 
 Mone I 
 
 
 Mone 
 
 
 Mone II 
 
 X Century 
 
 March 
 
 
 Mone II 
 
 
 Mone III 
 
 
 Mone III 
 
 
 Mone II 
 
 
 Mone II 
 
 
 Mone II 
 
 
 Mone 
 
 Franciscan 
 
 
 Breviary 
 
 Daniel II 
 
A Study of Latin Hymns 
 
 87 
 
 Ave Rex qui descendisti 
 Ave Verbum incarnatum 
 Beata Christi passio 
 Beata nobis gaudia 
 Beate pastor Petre 
 
 Bella dum late 
 
 Benedicta semper est 
 Cantemus cuncti melodium nunc 
 Celsorum civium inclyta gaudia 
 
 Chorus novae Jerusalem 
 
 Christe coelestis medicina 
 
 Christe cunctorwm dominator 
 Christe lumen perpetuum 
 Christe precamur annue 
 Christe qui lux es et dies 
 Christe Rex coeli 
 Christe Salvator omnium 
 Christe sanctorum decus 
 
 Christi corpus Ave 
 
 Christi corpus Ave sancta de 
 
 Christo profusum sanguinem 
 
 Christum ducem qui per crucem 
 Circa thronum majestatis 
 
 Coelestis formam gloriae 
 
 Coelestis urbs Jerusalem 
 Coeli Deus sanctissime 
 Coelitum Joseph decus 
 
 Coelos asoendit hodie 
 Collaudemus Magdalena 
 
 Consors paterni luminis 
 
 Corde natus ex parentis 
 Cor meum Tibi dedo 
 Creator dime siderum 
 
 XIV Century 
 
 Mone I 
 
 XV Century 
 
 Daniel II 
 
 Bonaventura 
 
 March 
 
 Ambrosian 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 
 Daniel 
 
 Notker 
 
 March 
 
 Hereford Hym- 
 
 
 nal 
 
 Daniel IV 
 
 Pulbert 
 
 Daniel I and 
 
 
 IV 
 
 Mozarabic Brev- 
 
 
 iary 
 
 Daniel I 
 
 Ambrosian 
 
 March 
 
 Ennodius 
 
 Duffleld 
 
 Ennodius 
 
 Duffield 
 
 Ambrosian 
 
 March 
 
 Ambrosian 
 
 Daniel I 
 
 Ennodius 
 
 Duffield 
 
 Rabanus 
 
 Daniel I and 
 
 
 D7 
 
 Anselm 
 
 Daniel II 
 
 Anselm 
 
 Mone 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Bonaventura 
 
 March 
 
 Adam of St. Vic- 
 
 
 tor 
 
 March 
 
 Sarum Breviary 
 
 Daniel I and 
 
 
 IV 
 
 Roman Breviary 
 
 Duffield 
 
 Ambrosian 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 XV Century 
 
 March 
 
 XIV Century 
 
 Daniel I and 
 
 
 IV 
 
 Ambrose 
 
 Daniel I and 
 
 
 IV 
 
 Prudentius 
 
 March 
 
 
 Daniel II 
 
 Roman Breviary 
 
 St. Basil's 
 
 
 Hymn Book 
 
88 
 
 A Study of Latin Hymns 
 
 Credere quid dubitem 
 Crucem pro nobis subUt 
 Crudelis Herodes Deum 
 
 Crux Ave benedicta 
 Cultor Dei memento 
 
 Cum revolvo toto oorde 
 Cur mundus militat 
 Cur relinquis Deus coelum 
 Da puer plectrum 
 Decora lux aeternitatis 
 
 Deo voto fuit nata 
 Desere jam anima 
 Deus Creator omnium 
 Deus-Eomo Rex coelorum 
 Deus Pater ingenite 
 Deus tuorum militum 
 
 Devote, corde et anima 
 Dies ilia dies vitae 
 Dies irae dies ilia 
 
 Dignare me O Jesu rogo Te 
 Domare cordis impetus 
 Dormi Fili dormi 
 Dulce Jesu spes pauperis 
 
 Dum node pulsa Lucifer 
 
 Eoce jam noctis tenuatur 
 Ecce tempus idoneum 
 Ecquis binas columbinas 
 Egregie doctor Paulus 
 
 Eia recolamus laudibus 
 En ut superba crimina 
 Ewite Sion flliae 
 
 Ex more docti mystioo 
 
 Exultet orbis gaudiis 
 
 Felix dies qua Sancta Theresa 
 
 Marbod 
 Bonaventura 
 Roman Breviary 
 
 Jesuit 
 Prudentius 
 
 Gonella 
 Jacoponus 
 Jesuit 
 Prudentius 
 Roman Breviary 
 
 Anselm of Lucca 
 
 Ambrose 
 
 Marbod 
 
 Hilary 
 
 Ambrosian 
 
 Gonella 
 
 Thomas of Cel- 
 ano 
 
 Urban VIII 
 
 Jesuit 
 
 Bernard of Clair- 
 
 vaux 
 Roman Breviary 
 
 Gregory 
 
 Gregory 
 
 Jesuit 
 
 Roman Breviary 
 
 Notker 
 
 Roman Breviary 
 
 Roman Breviary 
 
 Gregory 
 
 Roman Breviary 
 
 Roman Breviary 
 
 March 
 March 
 St Basil's 
 
 Hymn Book 
 March 
 Daniel I and 
 
 IV 
 Daniel TV 
 March 
 Daniel IV 
 March 
 St. Basil's 
 
 Hymn Book 
 Mone III 
 March 
 March 
 March 
 March 
 St. Basil's 
 
 Hymn Book 
 Mone 
 Daniel IV 
 
 March 
 Daniel II 
 Daniel IV 
 Daniel IV 
 
 March 
 Breviarum Ro- 
 
 manum 
 March 
 Daniel I 
 March 
 Breviarum Ro- 
 
 manum 
 March 
 Daniel II 
 Breviarum Ro- 
 
 manum 
 Daniel I and 
 
 IV 
 St. Basil's 
 
 Hymn Book 
 Breviarum Ro- 
 
 manum 
 
A Study of Latin Hymns 
 
 89 
 
 Festivis resonent oompita 
 
 Fortem viriU pectore 
 
 Fulgentis auotor aetheris 
 Forti tegente brachio 
 Gaude felix Anna 
 Gaude Maria templum 
 Gaude Maria virgo Dei gene- 
 
 trix 
 Gaude mortalitas 
 
 Gaude virgo quae de coelis 
 Gloria laus et honor 
 Grates nuno omnes reddamus 
 Gravi me terrore puUas 
 Haeo est dies qua candidae 
 Haec est fides orthodoxa 
 
 Haeo est dies triumphalis 
 Heri mundus exultavit 
 
 Herodes hostis impie 
 Heu quid jaces stabulo 
 Hie breve vivitur 
 
 Hio est dies verus Dei 
 
 Hio est qui 
 
 Hodiemi lux diei sacramenti 
 
 Hominis superne Oonditor 
 Homo Dei creatura 
 Hora novissima tempora pes- 
 sima 
 
 Hora qui ductus tertia 
 Hujus oratu Deus alma nobis 
 
 Hymnum canamus gloriae 
 Hymnum canentes martyrum 
 Hymnum dicamus Domino 
 Illuminans altissimus 
 Immense coeli Conditor 
 Imperas saxo 
 
 Roman Breviary St Basil's 
 
 
 Hymn Book 
 
 Antoniano 
 
 St. Basil's 
 
 
 Hymn Book 
 
 Ambrose 
 
 March 
 
 Charles Coffin 
 
 Duffleld 
 
 
 Mone in 
 
 
 Mone II 
 
 
 Mone II 
 
 Peter the Ven- 
 
 
 erable 
 
 March 
 
 
 Mone II 
 
 Theodulph 
 
 March 
 
 Notker 
 
 March 
 
 Pietro Damiani 
 
 March 
 
 Hildebert 
 
 March 
 
 Urban VIII 
 
 Breviarum Ro- 
 
 
 manum 
 
 XV Century- 
 
 Daniel IV 
 
 Adam of St. Vic- 
 
 
 tor 
 
 March 
 
 Sedulius 
 
 March 
 
 Mauburn 
 
 March 
 
 Bernard of 
 
 
 Cluny 
 
 March 
 
 Moaarabic Brev- 
 
 
 iary 
 
 March 
 
 Alain of Lisle 
 
 March 
 
 Trondhjem Mis- 
 
 
 sal 
 
 Daniel V 
 
 Roman Breviary 
 
 March 
 
 Ryckel 
 
 Daniel IV 
 
 Bernard of 
 
 
 Cluny 
 
 March 
 
 Bonaventura 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Bede 
 
 March 
 
 Bede 
 
 March 
 
 Ambrosian 
 
 March 
 
 Ambrosian 
 
 March r 
 
 Gregory 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
go 
 
 A Study of Latin Hymns 
 
 In monte olivis 
 
 In profunda noctis umbra 
 
 Roman Breviary Breviarum Ro- 
 
 manum 
 Roman Breviary Breviarum Ro- 
 manum 
 In sapientia disponens omnia XII Century Mone I 
 
 Adam of St. Vic- 
 tor Daniel II 
 Roman Breviary Breviarum Ro- 
 manum 
 
 Interni festi gaudia 
 Invicte martyr unicum 
 InviotU8 heros Numinis 
 Ira justa Conditoris 
 Iste confessor Domini 
 *Jam Ghristus astra 
 Jam faces lictor 
 
 Roman Breviary Breviarum Ro- 
 
 manum 
 Roman Breviary Breviarum Ro- 
 
 manum 
 Roman Breviary St. Basil's 
 
 Hymn Book 
 Ambrosian Daniel I and 
 
 IV 
 Roman Breviary Breviarum Ro- 
 
 manum 
 XV Century Mone 
 
 Ambrosian Daniel I and 
 
 rv 
 
 Hilary Duffleld 
 
 Prudentius March 
 
 Roman Breviary Breviarum Ro- 
 
 manum 
 Ambrosian March 
 
 Roman Breviary Daniel I 
 Ambrosian Daniel I and 
 
 IV 
 Roman Breviary Daniel IV 
 Thomas a Kem- 
 
 pis Mone I 
 
 Ambrosian Breviarum Ro- 
 
 manum 
 Roman Breviary Breviarum Ro- 
 
 manum 
 Ambrosian Daniel I and 
 
 IV 
 Bernard of Clair- 
 
 vaux March 
 
 Bernard of Clair- 
 
 vaux March 
 
 XII Century Daniel IV 
 
 Freiburg: Brevi- Breviarum Ro- 
 ary manum 
 
 *I and J are often interchanged in mediaeval Latin. 
 
 Jam laudemu8 
 
 Jam lucis orto sidere 
 
 Jam meta noctis transiit 
 Jam moesta quiesce querela 
 Jam morte victor 
 
 Jam sexta sensim volvitur 
 Jam sol recedit igneus 
 Jam surgit hora tertia 
 
 Jam toto subditus vesper 
 Jerusalem luminosa 
 
 Jesu corona celsior 
 
 Jesu corona martyrum 
 
 Jesu corona virginum 
 
 Jesu decus angelicum 
 
 — Jesu dulcedo cordium 
 
 Jesu dulce medicamen 
 Jesu dulcis amor meus 
 
A Study of Latin Hymns 
 
 91 
 
 Jesu dulcis memoria 
 
 Jesu meae deliciae 
 Jesu nostra redemptio 
 Jesu Redemptor omnium Per- 
 pes 
 
 Jesu Redemptor omnium quern 
 Jesu Rex admirabilis 
 
 Jesu spes poenitentibus 
 
 Kyrie cuncti potens Genitor 
 Lauda mater Ecclesia 
 
 Lauda Sion Salvatorem 
 
 Laus Tibi sit 
 
 Legis figuris pvngitur 
 
 Lucis Creator optime 
 Lucis largitor splendide 
 Lumen vium divinum 
 Lustra sex qui jam peregit 
 Lux alma Jesu mentium 
 
 Lux ecce surgit aurea 
 Lux O decora 
 
 Magnae Deus potentiae 
 Majestati sacrosanctae 
 Maria castis oculis 
 
 Martinae celebri plaudite 
 
 Martyr Dei Venantius 
 
 Martyris ecce dies Agathae 
 Matris sub alma 
 
 Mediae noctis tempus est 
 Media vita in morte sumus 
 Memento rerum C»nditor 
 Me receptet Sion ilia 
 Miris modis repente liber 
 
 Mittit ad virginem 
 
 Bernard of Clair- 
 
 
 vaux 
 
 March 
 
 Jesuit 
 
 Daniel II 
 
 Ambrosian 
 
 March 
 
 X or XI Century 
 
 Daniel I and 
 
 
 IV 
 
 Roman Breviary 
 
 Daniel I 
 
 Bernard of Clair- 
 
 
 vaux 
 
 March 
 
 Bernard of Clair- 
 
 
 vaux 
 
 March 
 
 
 Mone 
 
 Odo of Cluny 
 
 Daniel I and 
 
 
 rv 
 
 Thomas Aquinas 
 
 March 
 
 
 Mone 
 
 Roman Breviary 
 
 Breviarum Ro • 
 
 
 manum 
 
 Gregory 
 
 March 
 
 Hilary 
 
 March 
 
 
 Mone 
 
 Fortunatus 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Prudentius 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Ambrosian 
 
 March 
 
 XII Century 
 
 Daniel V 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Urban VIII 
 
 Breviarum Ro- 
 
 
 manum 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Damasus 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Ambrosian 
 
 March 
 
 Notker 
 
 March 
 
 Roman Breviary 
 
 Daniel I 
 
 Hildebert 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Abelard 
 
 March 
 
92 
 
 A Study of Latin Hymns 
 
 Moerentes oculi spargite 
 
 Mortis portia frodis fortis 
 
 Mundi renovatio 
 
 Mysterium mirabile 
 
 Nate Patri coaequalis 
 
 Neo quiaquam oculis vldet 
 
 Node surgentes vigilemua 
 
 omnes 
 Non illam crucians 
 
 Novum sidus exoritur 
 Nov atra rerum contegit 
 
 Nox et tenebrae et nuoila 
 
 Nullis te genitor blanditis 
 
 Nunc Sonde nobis Spiritus 
 
 Nuntium vobis fero de supernis 
 O beata beatorum martyrum 
 O benignissime Jesu Christe 
 Obduxere polum nubila coeli 
 
 O bona patria 
 O colenda Deitas 
 
 O Deus ego amo Te Nee amo 
 O Deus ego amo Te Neo prior 
 O Deus optime 
 O Domine Deus speravi 
 
 O esca viatorum 
 
 O filii et filiae 
 
 O gens beata coelitum 
 
 O gente felix hospita 
 
 O gloriosa femina 
 O gloriosa virginum 
 
 O ignis Spiritus Paraoliti 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Peter the Ven- 
 
 
 erable 
 
 March 
 
 Adam et St. Vic- 
 
 
 tor 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Hildebert 
 
 March 
 
 Thomas a Kem- 
 
 
 pis 
 
 Mone I 
 
 Gregory 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 XV Century 
 
 Daniel IV 
 
 Gregory 
 
 Daniel I and 
 
 
 IV 
 
 Prudentius 
 
 Daniel I and 
 
 
 rv 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 man um 
 
 Ambrosian 
 
 Danie.' I and 
 
 
 rv 
 
 Fulbert 
 
 March 
 
 XIV Century 
 
 Daniel n 
 
 
 Mone I 
 
 Ambrosian 
 
 Daniel I and 
 
 
 rv 
 
 Bernard of Cluny 
 
 March 
 
 Conrad of Gam- 
 
 
 ing 
 
 Mone I 
 
 Xavier 
 
 March 
 
 Xavier 
 
 Daniel II 
 
 
 Stead 
 
 Mary Queen of 
 
 
 Scots 
 
 March 
 
 Jesuit 
 
 March 
 
 XII Century 
 
 March 
 
 Jesuit 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Fortunatus 
 
 Daniel I 
 
 Roman Breviary 
 
 St. Basil' s 
 
 
 Hymn Book 
 
 Hildegard 
 
 Daniel V 
 
A Study of Latin Hymns 
 
 93 
 
 O Jesu Dulcissime cibus salu- 
 
 taris 
 Jesu mi dulcissime 
 
 lux beata coelitum 
 
 O lux beata Trinitas 
 O miranda vanitas 
 
 Omni die die Mariae 
 
 Omnis expertem maculae 
 
 Omnis mundi creatura 
 nata lux de lumine Jesu 
 
 O nimis felix meritique celsi 
 panis dulcissime 
 
 Pater sancte mitis 
 
 Opes decusque regium 
 
 Praesul beatissime 
 Optatus votis omnium 
 quanta qualia sunt ilia 
 qui supernae gaudia 
 
 quot undis lacrymarum 
 
 rex aeterne Domine 
 
 Ornarunt terram germina 
 
 O sacerdotum veneranda jura 
 
 salutaris hostia 
 
 sancta mundi Domina 
 sanctissima O piissima 
 
 sola magnarum urbium 
 sol salutis intimis 
 
 stella Jacob fulgida 
 
 stella sancta Anna 
 
 XV Century- 
 Bernard of Clair- 
 
 vaux 
 Roman Breviary 
 
 Ambrose 
 Bernard of Clair- 
 
 vaux 
 Casimir 
 
 Roman Breviary 
 
 Alain of Lisle 
 Sarum Breviary 
 
 Paul the Deacon 
 XII or XIII Cen- 
 tury 
 
 XV Century 
 
 Urban VIII 
 
 Ambrosian 
 Abelard 
 Roman Breviary 
 
 Roman Breviary 
 
 Ambrosian 
 
 Abelard 
 
 Paris Breviary 
 
 XV Century 
 
 Prudentius 
 Roman Breviary 
 
 Roman Breviary 
 
 Mone I 
 
 March 
 
 St. Basil's 
 Hymn Book 
 March 
 
 March 
 
 Daniel II and 
 
 IV 
 Breviarum Ro- 
 
 manum 
 March 
 Daniel I and 
 
 IV 
 Daniel I 
 
 Daniel II and 
 
 V 
 Daniel I and 
 
 IV 
 Breviarum Ro- 
 
 manum 
 Mone 
 March 
 Duffield 
 Breviarum Ro- 
 
 manum 
 St. Basil's 
 
 Hymn Book 
 March 
 March 
 St. Basil's 
 
 Hymn Book 
 St. Basil's 
 
 Hymn Book 
 Mone 
 St. Basil's 
 
 Hymn Book 
 March 
 Breviarum Ro- 
 
 manum 
 Breviarum Ro- 
 
 manum 
 Mone III 
 
94 
 
 A Study of Latin Hymns 
 
 O ter foecundas O ter jocundas 
 O Trinitas laudabilis 
 O vos omnes qui transitis 
 Pange lingua, .corporis mys- 
 
 terium 
 Pange lingua . . diei praeconium 
 Pange lingua, .lauream cer- 
 
 taminis 
 
 Pange lingua. .Magdalena 
 Pange lingua, .proelium 
 Paraclitus increatus 
 Parvulus nobis nascitur 
 Parvum quando cerno Deum 
 Paschale mundo gaudium 
 
 Paschalis festi gaudium 
 Pater superni luminis 
 Patris sapientia 
 
 Paule doctor egregie 
 Placare Christe servulis 
 
 Plaude festivo 
 
 Plaudite coeli 
 
 Plausu chorus laetabundo 
 
 Pone luctum Magdalena 
 Post facta celsa Conditor 
 Potestate non natura 
 
 Praeclara custos virginum 
 
 Praecursor altus luminis 
 Primo die quo Trinitas 
 
 Puer natus in Bethlehem 
 Puer nobis nascitur 
 
 Pugnate Christi milites 
 Quaenam lingua tibi O lancea 
 
 Quam dilecta tabernacula 
 
 Quern nunc virgo peperit 
 
 Jesuit 
 
 March 
 Mone I 
 Mone 
 
 Thomas Aquinas March 
 Mone 
 
 Roman Breviary 
 
 Sarum Breviary 
 For tuna tus 
 Hildebert 
 XVII Century 
 XVI Century 
 Roman Breviary 
 
 Pietro Damiani 
 Bellarmine 
 Benedict XII 
 
 Pietro Damiani 
 Roman Breviary 
 
 Roman Breviary 
 
 Jesuit 
 
 Adam of St. Vic- 
 tor 
 
 Jesuit 
 
 Bede 
 
 Adam of St. Vic- 
 tor 
 
 Servite Breviary 
 
 Bede 
 
 Roman Breviary 
 
 XV Century 
 XIV or XV Cen- 
 tury 
 
 Paris Breviary 
 Roman Breviary 
 
 Adam of St. Vic- 
 tor 
 
 Breviarum Ro- 
 
 manum 
 Daniel 
 March 
 March 
 Mone 
 March 
 Breviarum Ro- 
 
 manum 
 March 
 Daniel IV 
 Daniel I and 
 
 IV 
 March 
 Breviarum Ro- 
 
 manum 
 Breviarum Ro- 
 
 manum > 
 March 
 Daniel II and 
 
 V 
 March 
 Mone I 
 
 March 
 
 St. Basil's 
 
 Hymn Book 
 Daniel I 
 Breviarum Ro- 
 
 manum 
 March 
 
 Daniel I and 
 
 IV 
 Duffield 
 Breviarum Ro- 
 
 manum 
 
 March 
 Mone II 
 
A Study of Latin Hymns 
 
 95 
 
 Quantum hamum caritas 
 Quern terra pontus aethera 
 
 Quern terra pontus sidera 
 
 Quicunque certum quaeritis 
 
 Quicunque Christum quaeritis 
 Quid sum miser tunc dicturus 
 Quid tyranne quid minaris 
 Qui mutare solet 
 
 Qui procedis ab utroque 
 
 Quis novus coelis .* 
 
 Qui sunt isti 
 
 Quodcunque in orbe nexibus 
 
 Quo me Deus amore 
 Quum sit omnis homo 
 
 Recolamus sacram coenam 
 Recordare sanctae crucis 
 Rector Potens verax Deus 
 
 Regali solio fortis Iberiae 
 
 Regina coeli laetare 
 Regis superni nuntia 
 
 Rerum Creator omnium Te 
 
 Rerum Creator optime 
 Rerum Deus tenax vigor 
 
 Rex Deus immensi 
 Rex gloriose martyrum 
 
 Rex gloriose Praesulum 
 
 Rex sempiterne coelitum 
 
 Sacrae Christi celebremus 
 
 coronae 
 Sacra jam splendent 
 
 Bonaventura 
 Fortunatus 
 
 Roman Breviary 
 
 Franciscan 
 
 Breviary 
 Prudentius 
 Roman Missal 
 Pietro Damiani 
 Roman Breviary 
 
 Adam of St. Vic- 
 tor 
 Roman Breviary 
 
 Roman Breviary 
 
 Jesuit 
 
 Bernard of Clair- 
 
 vaux 
 XIV Century 
 Bonaventura 
 Ambrosian 
 
 Urban VIII 
 
 XIV Century 
 Urban VIII 
 
 Orarium (Eng- 
 land) 
 Ambrosian 
 Ambrosian 
 
 Eugenius 
 Gregory 
 
 Roman Breviary 
 
 Roman Breviary 
 
 March 
 
 Daniel I and 
 
 rv 
 
 Breviarum Ro- 
 
 manum 
 Breviarum Ro- 
 
 manum 
 Daniel I 
 Duffield 
 March 
 Breviarum Ro« 
 
 manum 
 
 March 
 Breviarum Ro- 
 
 manum 
 March 
 Breviarum Ro- 
 
 manum 
 Daniel IV 
 
 March 
 Daniel V 
 March 
 Daniel I and 
 
 IV 
 Breviarum Ro- 
 
 manum 
 Daniel II 
 Breviarum Ro- 
 
 manum 
 
 and 
 
 Duffield 
 
 Daniel I 
 
 Daniel I 
 IV 
 
 March 
 
 Breviarum Ro- 
 ma num 
 
 Breviarum Ro- 
 manum 
 
 Breviarum Ro- 
 manum 
 
 Mone 
 Roman Breviary Breviarum Ro- 
 manum 
 
96 A Study of Latin Hymns 
 
 
 Sacris solemniis juncta sint 
 
 Thomas Aquinas 
 
 Daniel I 
 
 Saepe dum Christi populus 
 
 Roman Breviary 
 
 Breviarum Ro- 
 manum 
 
 Saevo dolorum turbine 
 
 Roman Breviary 
 
 Breviarum Ro- 
 manum 
 
 Salus aeterna indeficiens mundi 
 
 Sarum Missal 
 
 Daniel II and 
 
 V 
 Breviarum Ro- 
 
 Salutis aeternae dator 
 
 Roman Breviary 
 
 
 
 manum 
 
 Salutis humanae sator 
 
 Roman Breviary 
 
 Daniel I 
 
 Salvator mundi domine 
 
 VI or VII Cen- 
 
 
 
 tury 
 
 Daniel I and 
 IV 
 
 Salve caput cruentatum 
 
 Bernard of Clair- 
 
 
 
 vaux 
 
 March 
 
 Salve crux arbor 
 
 Adam of St. Vic- 
 
 
 
 tor 
 
 Duffield 
 
 Salve festa dies.. Qua Deus 
 
 
 
 de coelo 
 
 York Processi- 
 
 
 
 onal 
 
 Daniel II 
 
 Salve festa dies. .Qua Deus 
 
 
 
 ecclesiam 
 
 York Processi- 
 
 
 
 onal 
 
 Daniel II 
 
 Salve festa dies.. Qua Deus 
 
 
 
 infernum 
 
 Fortunatus 
 
 March 
 
 Salve festa dies . . Qua sponso 
 
 York Processi- 
 
 
 
 onal 
 
 Daniel II 
 
 Salve Jesu pastor bone 
 
 Bernard of Clair- 
 
 
 
 vaux 
 
 Daniel IV 
 
 Salve Jesu Rex sanctorum 
 
 Bernard of Clair- 
 
 
 
 vaux 
 
 Daniel IV 
 
 Salve Jesu summe bonus 
 
 Bernard of Clair- 
 
 
 
 vaux 
 
 Daniel IV 
 
 Salve mundi salutare 
 
 Bernard of Clair- 
 
 
 
 vaux 
 
 March 
 
 Salve Regina mater miseri- 
 
 
 
 cordiae 
 
 Hermann 
 
 Duffield 
 
 Salve sancta caro Dei 
 
 XII Century 
 
 Mone I 
 
 Salve sancta fades 
 
 Aegidius of Bur- 
 
 
 
 gos 
 
 Daniel I, II, 
 IV and V 
 
 Salve sancta parens 
 
 Sedulius 
 
 March 
 
 Salvete Christi vulnera 
 
 Roman Breviary 
 
 Daniel II 
 
 Salvete clavis et lancea 
 
 Roman Breviary 
 
 Breviarum Ro- 
 manum 
 
 Salvete flores martyrum 
 
 Prudentius 
 
 March 
 
A Study of 
 
 Salve tropacum gloria 
 Sancta Mater 
 
 Sancte Spiritus adsit nobis 
 Sancti venite Christi corpus 
 
 Sanctorum meritis inclyta 
 gaudia 
 
 Sanctus genitor omnium in- 
 
 genitus 
 Sedibus coeli nitibus 
 
 Sic patres vitam 
 
 Sicut chorda musicorum^ 
 
 Simplex in essentia 
 
 Si vis vere gloriari 
 Somno refectis artubus 
 
 Spes nostra salus nostra 
 Spiritus sancti gratia 
 Splendor paternae gloriae 
 Squalent arva soli pulvere 
 Stabat mater dolorosa 
 Stabat mater speciosa 
 Stella maris O Maria 
 Stupete gentes Fit Deus hostia 
 Summae Deus clementiae 
 Mundique 
 
 Summae Deus clementiae Sep- 
 tern 
 
 Summae parens clementiae 
 
 Summi parentis filio 
 
 Summi parentis unice 
 
 Summi Regis cor aveto 
 
 Latin Hymns 
 
 97 
 
 Bede 
 
 March 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manian 
 
 Notker 
 
 Mone I 
 
 Early Irish 
 
 Daniel I and 
 
 
 IV 
 
 VI— IX Century 
 
 Daniel I and 
 
 
 IV 
 
 
 Mone 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Adam of St. Vic- 
 
 
 tor 
 
 March 
 
 Adam of St. Vic- 
 
 
 tor 
 
 Daniel II and 
 
 
 V 
 
 Sarum Missal 
 
 Daniel V 
 
 Ambrosian 
 
 Daniel I and 
 
 
 rv 
 
 
 Mone I 
 
 
 Daniel I 
 
 Ambrose 
 
 March 
 
 Ambrose 
 
 March 
 
 Jacoponus 
 
 March 
 
 Jacoponus 
 
 March 
 
 
 Mone II 
 
 Jean Santeul 
 
 Duffleld 
 
 Ambrosian 
 
 Breviarum Ro- 
 
 
 manum 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Franciscan 
 
 Breviarum Ro- 
 
 Breviary 
 
 manum 
 
 Roman Breviary 
 
 Breviarum Ro- 
 
 
 manum 
 
 Bernard of Clair- 
 
 
 vaux 
 
 March 
 
9« 
 
 A Study of Latin Hymns 
 
 Summis ad astra 
 
 Surrexit Christus hodie 
 
 Tandem audite me 
 
 Te deprecante corporum 
 
 Te dicimus praeconio 
 
 Te gestientem 
 
 Te homo laudet alme Creator 
 Te Joseph celebrent 
 
 Telluris alme Conditor 
 Telluris ingens Conditor 
 TelJus et aethra jubilent 
 
 Te lucis ante terminum 
 Te mater ahna numinis 
 
 Te matrem laudamus virginem 
 
 Terit mola farinula 
 
 Terret me dies terroris 
 
 Te splendor et virtus Patris 
 
 Te Trinitas Unitas 
 
 Tibi Christe splendor Patris 
 
 Roman Breviary 
 
 XIV Century 
 
 Jesuit 
 
 Roman Breviary 
 
 Roman Breviary 
 
 Roman Breviary 
 
 Alcuin 
 
 Roman Breviary 
 
 Roman Breviary 
 Ambrosian 
 Flavius of 
 
 Chalons 
 Ambrosian 
 Roman Breviary 
 
 XV Century 
 
 Gonella 
 
 Roman Breviary 
 
 Ambrosian 
 Rabanus 
 
 Tinctam ergo Christi sanguine Roman Breviary 
 
 Trinitas Unitas Deitas 
 Tristes erant apostoli 
 Tu natale solum protege 
 
 Tu qui velatus facie 
 Turbam jacentem pauperum 
 
 Turtur inane nescit amare 
 Tu Trinitatis Unitas nam 
 
 Tu, Trinitatis Unitas orbem 
 
 Unde planctus et lamentum 
 Urbs beata Jerusalem 
 Urbs Sion aurea 
 Urbs Sion inclyta 
 
 Pierre deCorbeil 
 Ambrosian 
 Roman Breviary 
 
 Bona ventura 
 Roman Breviary 
 
 Hildebert 
 Ambrosian 
 
 Roman Breviary 
 
 XV Century 
 VIII Century 
 Bernard of Cluny 
 Bernard of Cluny 
 
 Breviarum Ro- 
 
 manum 
 March 
 March 
 Breviarum Ro- 
 
 manum 
 Breviarum Ro- 
 
 manum 
 Breviarum Ro- 
 
 manum 
 March 
 St. Basil's 
 
 Hymn Book 
 Daniel I 
 March 
 
 Daniel I 
 Daniel I 
 Breviarum Ro- 
 
 manum 
 Mone II 
 
 Duffield 
 Breviarum Ro- 
 
 manum 
 Mone I 
 Daniel I and 
 
 IV 
 Breviarum Ro- 
 
 manum 
 Daniel V 
 Daniel I 
 Breviarum Ro- 
 
 manum 
 March 
 Breviarum Ro- 
 
 manum 
 March 
 Daniel I and 
 
 IV 
 Breviarum Ro- 
 
 manum 
 Daniel I 
 March 
 March 
 March 
 
A Study of Latin Hymns 
 
 99 
 
 Ut nunc ab alto 
 
 Ut queant laxis resonare fibris 
 Veni Creator Spiritus Mentes 
 Veni Creator Spiritus Recrea- 
 tor 
 
 Veni jam veni 
 Veni Redemptor gentium 
 Veni Sancte Spiritus 
 Venit e coelo Mediator alto 
 
 Veni veni Emmanuel 
 
 Verbum a Patre prodiens 
 Verbum Dei Deo natum 
 Verbum supernum A Ratre 
 Verbum supernum E Patris 
 Verbum supernum prodiens Nee 
 Vexilla Regis prodeunt 
 Victimae paschali laudes 
 
 Virgini Mariae laudes 
 Virginis in gremio 
 Virginis proles. .Haec 
 
 Virginis proles. .Hujus 
 
 Virgo plorans 
 
 Virgo virginum praeclara 
 
 Vita nostra plena bellis 
 Vix in sepulcro 
 
 Zyma vetus expurgetur 
 
 Roman Breviary Breviarum Ro- 
 
 manum 
 Paul the Deacon March 
 Gregory March 
 
 Adam of St. Vic- 
 tor 
 
 XI Century 
 Ambrose 
 Hermann 
 Roman Breviary 
 
 XII Century 
 
 XIV Century 
 
 Ambrosian 
 Roman Breviary 
 Thomas Aquinas 
 Fortunatus 
 Notker 
 
 XV Century 
 Roman Breviary 
 
 IX Century 
 
 Notker 
 
 John of Geissel 
 
 Alain of Lisle 
 Roman Breviary 
 
 Adam of St.. Vic- 
 tor 
 
 March 
 Duffleld 
 March 
 March 
 Breviarum Ro- 
 
 manum 
 Daniel II and 
 
 IV 
 Mone I 
 March 
 Daniel I 
 Daniel I 
 Daniel I 
 March 
 Daniel II and 
 
 III 
 Mone II 
 Daniel V 
 Breviarum Ro- 
 
 manum 
 Breviarum Ro- 
 
 manum 
 Daniel 
 Breviarum Ro- 
 
 manum 
 March 
 Breviarum Ro- 
 
 manum 
 
 Daniel II and 
 V 
 
roo A Study of Latin Hymns 
 
 SUPPLEMENT 
 
 March's Latin Hymns 
 
 Arx firma Deus noster est Luther-Buttmann 
 
 Jesus pro me perforates Toplady-Gladstone 
 
 The Breviarum Romanum 
 
 Aeterne Rector siderum Bellarmine 
 
 Aspice ut Verbum Patris 
 
 Auctor beati saeculi 
 
 Audiat miras audiens 
 
 Audit tyr annus anxius Prudentis 
 
 Aurora soli 
 
 Christe sanctorum decus Rector 
 
 Coelestis Agni nuptias Fr. Lorenzini 
 
 Coelestis aulae nuntius 
 
 Coelo Redemptor praetulit 
 
 Corpus domas jejuniis 
 
 Custodes hominum psallimus Bellarmine 
 
 Dum mente Christum 
 
 Gentis Polonae gloria 
 
 Gloriam sacrae celebremus omnes Sindonis 
 
 Iste quern laeti colimus fideles 
 
 he Paroissien Note 
 
 Hymns 
 
 O par ingenito 
 Panis angelicus 
 Tantum ergo 
 Thuribii efferimus 
 
A Study of Latin Hymns 
 
 10 1 
 
 Prosae 
 
 Ad Jesum ac cur rite 
 Bone pastor 
 Ecce panis 
 Lauda Sion 
 Tota pulchra es 
 Votis Pater annuit 
 
 Motets 
 
 Adoremus in aeternum 
 
 Memorare 
 
 O Jesu 
 
 Salus fons amoris 
 
 Prayers 
 
 Domine salvum 
 Parce Domine 
 Rorate 
 
 Responses 
 
 Domine non secundum 
 Duo seraphim 
 Homo quidam 
 
 Anthems 
 
 Alma Redemptoris 
 Beata Dei genitrix 
 Beata mater 
 Calicem 
 
 Christum Regem 
 Da pacem 
 
ioz A Study of Latin Hymm 
 
 Ego sum panis vivus 
 
 Inviolata Integra 
 
 Miser ator Dominus 
 
 O Adonai et dux 
 
 O clavis David 
 
 O cor Jesu 
 
 O Emmanuel 
 
 O interior a sancta 
 
 O oriens splendor 
 
 O quam suavis est 
 
 O radix Jesse 
 
 O Rex gentium 
 
 O sacrum 
 
 O Sapientia 
 
 Propter nimiam 
 
 Qui pacem 
 
 Requiescat super eum 
 
 Sacerdos 
 
 Sancta Maria 
 
 Sicut novellae olivarum 
 
 Sub tuum praesidium 
 
 From the Coeleste Palmetum and the Officinm Ma- 
 joris Hebdomadae 
 
 Hymni: — 
 
 Ave dulcis Mater Christi 
 Ave Jesu 
 
 Coelestis aulae gloria 
 Cor Jesu, cor purissimum 
 Crux fidelis 
 
A Study of Latin Hymns 103 
 
 De Nomine Jesu 
 
 (From stanzas not listed elsewhere) 
 
 Amor Jesu dulcissimus 
 
 Amor tuus continuus 
 
 Cujus gustus sic afficit 
 
 Jam quod quaesivi 
 
 Jesu flos matris virginis 
 
 Jesu in pace imperat 
 
 Jesum quaeram in lectulo 
 
 Jesu sole serenior 
 
 Jesu summa benignitas 
 
 Rex virtutum, Rex gloriae 
 
 Salve Jesu 
 
 Sana me et sanus ero 
 
 Tumbam perfundam 
 
 Tu mentis delectatio 
 Domine Jesu, noverim me 
 Fatalis agonis 
 Gaude virgo Mater Christi 
 Magne Joseph, fili David 
 Nobis sancti Spirit us 
 O Bina conjugalis 
 O candidae Cohortes 
 O Casibus probati 
 O coelici Quirites 
 O Digna lilietis 
 O Ignati militantis 
 O Lux beata Trinitas 
 O Mater, O Senatus 
 O ordo Nuntiorum 
 O Redemptor Patrum 
 
i<>4 A Study of Latin Hymn!: 
 
 O sancta Turba 
 O Turba laureata 
 O vos fideles Animae 
 Salve Area foederis 
 Salve horologium 
 Salve mundi Domina 
 Salve Pater Salvatoris 
 Salve urbs refugii 
 Salve Virgo florens 
 Salve Virgo puerpera 
 Salve Virgo sapiens 
 Salve vulnus 
 Spectabilis Senecta 
 Stella coeli extirpavit 
 Supplices offerimus 
 Vectigal hoc amor is 
 
 INDEX PSALMORUM 
 
 Biblia Sacra Vulgatae Editionis 
 
 Ad Dominum Psaltnus CXX 
 
 Ad te Domine clamabo Psalmus XXVIII 
 
 Ad te Domine levavi Psalmus XXV 
 
 Ad te levavi oculos meos Psalmus CXXIII 
 
 Afferte Domino Psalmus XXIX 
 
 Attendite popule meus Psalmus LXXVIII 
 
 Audite haec Psalmus XLIX 
 
 Beati immaculati Psalmus CXIX 
 
 Beati omnes Psalmus CXXVIIl 
 
 Beati quorum Psalmus XXXII 
 
 Beatus qui intelligit Psalmus LXI 
 
 Beatus vir qui non abiit Psalmus I 
 
 Beatus vir qui timet Psalmus CXII 
 
A Study of Latin Hymns 
 
 105 
 
 Benedicam Dominum 
 
 Psalmus XXXIV 
 
 Benedic anima mea Domino et omnia 
 
 Psalmus CUI 
 
 Benedic anima mea Domino Domine 
 
 Psalmus CIV 
 
 Benedictus Dominus 
 
 Psalmus CXLIV 
 
 Benedixisti Domine 
 
 Psalmus LXXXV 
 
 Bonum est confiteri 
 
 Psalmus XCII 
 
 Cantate Domino . . . cantate 
 
 Psalmus XCVI 
 
 Cantate Domino . . . latis 
 
 Psalmus CXLIX 
 
 Cantate Domino . . . quia 
 
 Psalmus XCVIII 
 
 Coeli enarrant 
 
 Psalmus XIX 
 
 Confitebimur tibi 
 
 Psalmus LXXV 
 
 Confitebor ... in consilio 
 
 Psalmus CXI 
 
 Confitebor . . . narrabo 
 
 Psalmus IX 
 
 Confitebor . ■. . quoniam 
 
 Psalmus CXXXVIIl 
 
 Confitemini . . . Dicant 
 
 Psalmus CVII 
 
 Confitemini . . . Dicat 
 
 Psalmus CXVIII 
 
 Confitemini . . . et invocate 
 
 Psalmus CV 
 
 Confitemini . . . Quis 
 
 Psalmus CVI 
 
 Confitemini . . . quoniam 
 
 Psalmus CXXXVI 
 
 Conserva me Domine 
 
 Psalmus XVI 
 
 Credidi 
 
 Psalmus CXV 
 
 Cum invocarem 
 
 Psalmus IV 
 
 De profundis 
 
 Psalmus CXXX 
 
 Deus auribus nostris 
 
 Psalmus XLIV 
 
 Deus deorutn Dominus 
 
 Psalmus L 
 
 Deus Deus meus ad tc 
 
 Psalmus LXIII 
 
 Deus Deus meus respice 
 
 Psalmus XXII 
 
 Deus in adjutorium 
 
 Psalmus LXX 
 
 Deus in nomine tuo 
 
 Psalmus LIV 
 
 Deus judicium tuum 
 
 Psalmus LXXII 
 
 Deus laudem meam 
 
 Psalmus CIX 
 
 Deus misereatur nostri 
 
 Psalmus LXVII 
 
 Deus noster refugium 
 
 Psalmus XLVI 
 
 Deus quis similis erit tibi 
 
 Psalmus LXXXIII 
 
 Deus repulisti nos 
 
 Psalmus LX 
 
 Deus stetit 
 
 Psalmus LXXXII 
 
 Deus ultionum 
 
 Psalmus XCIV 
 
io6 
 
 A Study of Latin Hymns 
 
 Deus venerunt gentes 
 
 Psalmus LXXIX 
 
 Dilexi quoniam 
 
 Psalmus CXVI 
 
 Diligam te Domine 
 
 Psalmus XVIII 
 Psalmus XXXIX f 
 
 Dixi Custodiam 
 
 Dixit Dominus 
 
 Psalmus CX 
 
 Dixit injustus 
 
 Psalmus XXXVI 
 
 Dixit insipiens . . . Deus 
 
 Psalmus LIII 
 
 Dixit insipiens . . . Dominus 
 
 Psalmus XIV 
 
 Domine clamavi 
 
 Psalmus CXLI 
 
 Domine Deus meus 
 
 Psalmus VII 
 
 Domine Deus salutis 
 
 Psalmus LXXXVIII 
 
 Domine Dominus noster 
 
 Psalmus VIII 
 
 Domine exaudi . . . auribus 
 
 Psalmus CXLIII 
 
 Domine exaudi . . . et clamor 
 
 Psalmus CII 
 
 Domine in virtute tua 
 
 Psalmus XXI 
 
 Domine ne in furore . . Miserere 
 
 Psalmus VI 
 
 Domine ne in furore . . Quoniam 
 
 Psalmus XXXVIII 
 
 Domine non est exaltatum 
 
 Psalmus CXXXI 
 
 Domine probasti me 
 
 Psalmus CXXXIX 
 
 Domine quid multiplicati 
 
 Psalmus III 
 
 Domine quis habitabit 
 
 Psalmus XV 
 
 Domine refugium 
 
 Psalmus XC 
 
 Domini est terra 
 
 Psalmus XXIV 
 
 Dominus illuminatio 
 
 Psalmus XXVI 
 
 Dominus regit me 
 
 Psalmus XXIII 
 
 Dominus regnavit decorum 
 
 Psalmus XCIII 
 
 Dominus regnavit ex suit et 
 
 Psalmus XCVII 
 
 Dominus regnavh irascantur 
 
 Psalmus XCIX 
 
 Ecce nunc benedicite 
 
 Psalmus CXXXIV 
 
 Ecce quam bonum 
 
 Psalmus CXXXIII 
 
 Eripe me de inimicis meis 
 
 Psalmus LIX 
 
 Eripe me Domine 
 
 Psalmus CXL 
 
 Eructavit cor meum 
 
 Psalmus XLV 
 
 Exaltabo te Deus 
 
 Psalmus CXLV 
 
 Exaltabo te Domine 
 
 Psalmus XXX 
 
 Exaudi . . . cum deprecor 
 
 Psalmus LXIV 
 
 Exaudi Deus deprecationem meam 
 
 Psalmus LXI 
 
A Study of Latin Hymns 
 
 107 
 
 Exaudi Deus orationem meant 
 
 Psalmus LV 
 
 Ex audi Domine 
 
 Psalmus XVII 
 
 Exaudiat te Dominus 
 
 Psalmus XX 
 
 Expectans expectavi 
 
 Psalmus XL 
 
 Exsultate Deo 
 
 Psalmus LXXXI 
 
 Exsultate justi 
 
 Psalmus XXXIII 
 
 Exsurgat Deus 
 
 Psalmus LXVIII 
 
 Fundamenta ejus 
 
 Psalmus LXXXVI1 
 
 Inclina Domine 
 
 Psalmus LXXXVI 
 
 In convertendo 
 
 Psalmus CXXVI 
 
 In Domino confido 
 
 Psalmus XI 
 
 In exitu Israel 
 
 Psalmus CXIV 
 
 In te Domine speravi . . . accelera 
 
 Psalmus XXXI 
 
 In te Domine speravi'. . . et salva me 
 
 Psalmus LXXI 
 
 lubilate Deo . . . psalmum 
 
 Psalmus LXVI 
 
 Jubilate Deo . . . servite 
 
 Psalmus C 
 
 Judica Domine 
 
 Psalmus XXXV 
 
 Judica me Deus 
 
 Psalmus XLIII 
 
 Judica me Domine 
 
 Psalmus XXV 
 
 Laetatus sum 
 
 Psalmus CXXII 
 
 Lauda anima mea 
 
 Psalmus CXLVI 
 
 Laudate . . . de coelis 
 
 Psalmus CXLVI II 
 
 Laudate . . . in Sanctis 
 
 Psalmus CL 
 
 Laudate . . . omnes gentes 
 
 Psalmus CXVII 
 
 Laudate Dominum quoniam bonus 
 
 Psalmus CXLVI I 
 
 Laudate nomen 
 
 Psalmus CXXXV 
 
 Laudate pueri 
 
 Psalmus CXIII 
 
 Levavi oculos meos 
 
 Psalmus CXXI 
 
 Magnus Dominus 
 
 Psalmus XLVIII 
 
 Memento Domine David 
 
 Psalmus CXXXII 
 
 Miserere . . . miserere 
 
 Psalmus LVII 
 
 Miserere . . . quoniam 
 
 Psalmus LVI 
 
 Miserere . . . secundum 
 
 Psalmus LI 
 
 Misericordiam et judicium 
 
 Psalmus CI 
 
 Misericordias Domini 
 
 Psalmus LXXXIX 
 
 Nisi Dominus 
 
 Psalmus CXXVII 
 
 Nisi quia Dominus 
 
 Psalmus CXXIV 
 
io8 
 
 A Study of Latin Hymns 
 
 Noli aemulan 
 
 
 Psalmus XXXVII 
 
 Nonne Deo 
 
 
 Psalmus LXII 
 
 Non nobis Domine 
 
 
 Psalmus CXV 
 
 Notus in Judaea Deus 
 
 
 Psalmus LXXVI 
 
 nines gentes plaudit e 
 
 
 Psalmus XLVII 
 
 Paratum cor meum 
 
 
 Psalmus CVIII 
 
 Quam bonus Israel Deus 
 
 Psalmus LXXIII 
 
 Quam dilecta 
 
 
 Psalmus LXXXIV 
 
 Quare fremuerunt 
 
 
 Psalmus II 
 
 Quemadmodum 
 
 
 Psalmus XLII 
 
 Qui confidunt 
 
 
 Psalmus CXXV 
 
 Qui habitat 
 
 
 Psalmus XCI 
 
 Qui regis Israel 
 
 
 Psalmus LXXX 
 
 Quid gloriaris 
 
 
 Psalmus LII 
 
 Saepe expugnaverunt me 
 
 Psalmus CXXIX 
 
 Salvum me fac Deus 
 
 
 Psalmus LXIX 
 
 Salvum me fac Domine 
 
 
 Psalmus XII 
 
 Si vere utique 
 
 
 Psalmus LVIII 
 
 Super flumina 
 
 
 Psalmus CXXXVIl 
 
 Te decet hymnus 
 
 
 Psalmus LXV 
 
 Usquequo Domine 
 
 
 Psalmus XIII 
 
 Ut quid Domine 
 
 
 Psalmus LXXIV 
 
 Ut quid Deus 
 
 
 Psalmus X 
 
 Venite exsultemus 
 
 
 Psalmus XCV 
 
 Verba mea auribus percipe 
 
 Psalmus V 
 
 Voce mea . . . ad Deum 
 
 Psalmus LXXVII 
 
 Voce mea . . . ad Dominum 
 
 Psalmus CXLII 
 
 INDEX CANTICORUM 
 
 Audite coeli 
 
 Canticum 
 
 Moysi Deut. XXXII 
 
 Cantemus Domino 
 
 Canticum 
 
 Moysi Exod. XV 
 
 Confitebor tibi Domine 
 
 Canticum 
 
 Isaiae Isai. XII 
 
 Domine audivi 
 
 Canticum 
 
 Habacuc Hab. Ill 
 
 Ego dixi 
 
 Canticum 
 
 Exechiae Isai. XXXVIII 
 
 Exultavit cor meum 
 
 Canticum 
 
 Annae I Reg. II 
 
 In principio creavit Deus 
 
 Canticum 
 
 Creationis Gen. I 
 
 Qui sponte obtuliatis 
 
 Canticum 
 
 Debborae Jud. V 
 
A Study of Latin Hymns 1 09 
 
 APOCRYPHA 
 
 Benedicite omnia opera CanOcum trium puerorum (Dan. So.) 
 
 Patrum Hymnua Eoclesiosticua XLIV 
 
 NOVUM TESTAMENTUM 
 Cantica et Hymni 
 
 EVANGELIUM SECUNDUM LUCAM 
 
 Benedictus Dominus Deus Israel I 68 
 
 Magnificat anima mea I 46 
 
 Nunc dimittis servum tuutn in pace II 29 
 
 ACTUS APOSTOLORUM 
 
 Dotnine tu es qui fecisti caelum IV 4 
 
 EPISTOLAE PAULI 
 
 Et manifeste magnum est I Tim. Ill 16 
 
 Nam si commortui sumus II Tim. II 11 
 
 Rex regum et Dominus I Tim. VI 15 
 
 Surge qui dormis Eph. V 14 
 
 APOCALYPS1S 
 
 Alleluia quoniam regnavit Dominus XIX 6 
 
 Dignus es Domine V 9 
 
 Dignus est Agnus V 12 
 
 Et Spiritus et sponsa dicunt XXII 17 
 
 Factum est regnum hujus mundi XI 15 
 
 Gratia vobis et pax I 4 
 
 Ostendam tibi sponsam (Jerusalem) XXI 9 
 Magna et mirabilia sunt opera tua (Moysi et 
 
 Agni) XV 3 
 
no A Study of Latin Hymns 
 
 CANTICA ECCLESIAE 
 
 Credo in Deutn. . .Creator em coeli et terrae 
 
 Credo in unum Deutn Patrem omnipotentem factoretn 
 
 Gloria in excelsis 
 
 Te Deum laudatnus 
 
 Ter Sanctus 
 
 Quicumque vult salvus esse 
 
BIBLIOGRAPHY 
 
BIBLIOGRAPHY 
 
 I 
 
 Latin Text 
 Latin Hymns 
 
 F. A. March (Edition of 1879) 
 Latin Hymn- Writers and their Hymns 
 
 S. W. Duffield (Edition of 1889) 
 Thesaurus Hymnologicus 
 
 H. A. Daniel (Leipzig 1841-56) 
 Volume I Hymns 
 Volume II Sequences 
 Volume III Hymns of the Greek and Syrian 
 
 Churches 
 Volume IV Hymns 
 Volume V Sequences 
 Lateinische Hymnen des Mittelalters 
 
 F. J. Mone (Freiburg 1853) 
 Volume I Gott und die Engel 
 Volume II Marienlieder 
 Volume III Heiligenlieder 
 Breviarum Romanum 
 
 Authorized Edition 
 Pars Hiemalis 
 Pars Verna 
 Pars Aestwa 
 Pars Autumnalis 
 Biblia Sacra 
 
 Vulgatae Editionis 
 Liber Psalmorum 
 
 "3 
 
H4 A Study of Latin Hymns 
 
 Cantica et Hymni 
 Ecclesiae Cantica 
 Ecclesiae Symbola 
 Apocrypha 
 
 Benedicite omnia opera 
 Patrum Hymnus (Ecclesiasticus) 
 Carmina 
 
 Matthiae Casimiri e Societate Jesu 
 St. Basil's Hymn Book 
 
 The Basilian Fathers 
 he Paroissien Note 
 
 J. A. Langlais, Libraire-Editeur, 1888 
 Sacred Latin Poetry 
 
 Curtis C. Bushnell, 1902 
 Agricola: Cap. 1-7 and 43-47 
 Tacitus 
 De Origine Spectaculorum 
 
 Tertullianus 
 Contra Symmachum 
 
 Ambrosius 
 De Idolorum Vanitate 
 
 Cyprianus 
 De Mortibus Persecutorum 
 
 Lactantius 
 Ad Magnum Oratorem TJrbis Romae 
 
 Hieronymus 
 De Modo Juventutis Erudiendae 
 Augustinus 
 
A Study of Latin Hymns 115 
 
 II 
 
 English, German and French Text 
 
 March, Notes on Latin Hymns 
 
 Duffield, Latin Hymn-Writers and their Hymns 
 
 Thompson, Unknown and Less Known Hymn-Writers 
 
 Duffield, Index to Translated Hymns 
 
 Daniel, Thesaurus Hymnologicus, Notes 
 
 Neale, Sequences (An introduction to the fifth volume of 
 
 the above) 
 Mone, Lateinische Hymnen des Mittelalters 
 Campbell, Latin Hymns and Hymn Makers 
 Walsh, Latin Hymns of the Thirteenth Century 
 Bushnell, Notes on Sacred Latin Poetry 
 Stead, Notes in Hymns that have Helped 
 Van Buren, Christian Hymnody, with Notes on Latin 
 
 Hymn-Writers 
 Wright, Essay on Latin Hymns, (An Introduction to the 
 
 above) 
 Charles, The Voice of Christian Life in Song 
 Encyclopedia Britannica, Latin Hymns 
 Johnson, Essay on the "Dies Irae" 
 Ritter, History of Music 
 Anonymous, Le Paroissien Note (Roman Catholic 
 
 Chant Book) 
 Caswell, Preface to Lyra Catholica 
 Neale, Primitive Liturgies: Notes to Greek originals of 
 
 St. Mark's, St. James', St. Clement's, St. Chrysos- 
 
 tom's, and St. Basil's 
 Augustine, Exposition on the Psalms, Post-Nicene Fathers, 
 
 Vol. VIII 
 
n6 A Study of Latin Hymns 
 
 Hilary, The Holy Trinity, Post-Nicene Fathers, Vol. 
 
 IX 
 Watson, Hilary's Hymns, (In the introduction to the 
 
 above) 
 
 English Versions Used in Comparative Study 
 
 Lyra Apostolica 
 
 Keble, Newman and others 
 Lyra Eucharistica 
 
 Edited by Shipley 
 Original Sequences and Hymns 
 
 Neale 
 Introits and Anthems 
 
 From Hymns Ancient and Modern 
 Poems 
 
 Trench 
 Catena Dominica 
 
 Alexander 
 Christ in Song 
 
 Schaff 
 Mediaeval Hymns 
 
 Neale 
 Lyra Catholica 
 
 Caswell 
 Latin Hymns 
 
 Van Buren 
 Hymnal 
 
 Adopted by the Episcopal Church 
 The English Hymnal 
 
 Used by the Church of England 
 
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