WRANGHAM (of St. John's College, Oxford): The Liturgical Poetry of Adam of St. Victor. Lond. 1881, 3 vols. (The Latin text of Gautier with E. Version in the original metres and with short notes). On the Dies Ira see the monograph of LISCO (Berlin 1840). It has often been separately published, e. g. by FRANKLIN JOHNSON, Cambridge, Mass. 1883. So also the Stabat Mater, and the hymn of Bernard of Cluny De Contemptu Mundi (which furnished the thoughts for Neale's New Jerusalem hymns). The hymns of St. Bernard, Abelard, Thomas Aquinas, Bonaventura, are in the complete editions of their works. For St. Bernard see Migne's "Patrol. Lat." vol. 184, fol. 1307-1330; for Abelard, vol. 178, fol. 1759-1824. II. Historical and Critical.

POLYC. LEYSER: Historia Poëtarum et Poëmatum Medii Aevi. Halæ 1721.

FRIEDR. MÜNTER: Ueber die älteste christl. Poesie. Kopenhagen 1806. EDELSTAND DU MÉRIL: Poésies populaires Latines anterieures au douzième siècle. Paris 1843. Poésies populaires Latines du moyen âge. Paris 1847.

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

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

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

AD. EBERT: Allgem. Gesch. der Lit. des Mittelalters im Abendlande, vol. 1. (Leipz. 1874), the third book (p. 516 sqq.), and vol. II. (1880) which embraces the age of Charlemagne and his successors.

JOH. KAYSER (R. C.): Beiträge zur Geschichte und Erklärung der ältesten

Kirchenhymnen. Paderborn, 2d ed. 1881. 477 pages, comes down only to the sixth century and closes with Fortunatus. See also his article Der Text des Hymnus Stabat Mater dolorosa, in the Tübingen "Theol. Quartalschrift" for 1884, No. I. p. 85-103.

III. English translations.

JOHN CHANDLER (Anglican, d. July 1, 1876): The Hymns of the Primitive Church, now first collected, translated and arranged. London 1837. Contains 108 Latin hymns with Chandler's translations. RICHARD MANT (Lord Bishop of Down and Connor, d. Nov. 2, 1848): Ancient Hymns from the Roman Breviary. 1837. New ed. Lond. and Oxf. 1871. (272 pages)

JOHN HENRY NEWMAN:] Verses on Various Occasions. London 1868 (reprinted in Boston, by Patrick Donahue). The Preface is dated Dec. 21, 1867, and signed J. H. N. The book contains the original poems of the Cardinal, and his translations of the Roman

Breviary Hymns and two from the Parisian Breviary, which, as stated in a note on p. 186, were all made in 1836-38, i. e. eight years before he left the Church of England.

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

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

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

J. M. NEALE: Mediaeval Hymns and Sequences. Lond. 1862; 3d ed. 1867. (224 pages). Neale is the greatest master of free reproduction of Latin as well as Greek hymns. He published also separately his translation of the new Jerusalem hymns: The Rhythm of Bernard de Morlaix, Monk of Cluny, on the Celestial Country. Lond. 1858, 7th ed. 1865, with the Latin text as far as translated (48 pages). Also Stabat Mater Speciosa, Full of Beauty stood the Mother (1866). The Seven Great Hymns of the Medieval Church. N. York (A. D. F. Randolph & Co.) 1866; seventh ed. enlarged, 1883. 154 pages. This anonymous work (by Judge C. C. NOTT, Washington) contains translations by various authors of Bernard's Celestial Country, the Dies Ira, the Mater Dolorosa, the Mater Speciosa, the Veni Sancte Spiritus, the Veni Creator Spiritus, the Vexilla Regis, and the Alleluiatic Sequence of Godescalcus. The originals are also given. PHILIP SCHAFF: Christ in Song. N. Y. 1868; Lond. 1869. Contains translations of seventy-three Latin hymns by various authors. W. H. ODENHEIMER and FREDERIC M. BIRD: Songs of the Spirit. N. York 1871. Contains translations of twenty-three Latin hymns on the Holy Spirit, with a much larger number of English hymns. ERASTUS C. BENEDICT (Judge in N. Y., d. 1878): The Hymn of Hildebert and other Medieval Hymns, with translations. N. York 1869. ABRAHAM COLES (M. D.): Latin Hymns, with Original Translations. N. York 1868. Contains 13 translations of the Dies Ira, which were also separately published in 1859.

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

THE ROMAN BREVIARY. Transl. out of Latin into English by John Marquess of Bute, K. T. Edinb. and Lond. 1879, 2 vols. The best

translations of the hymns scattered through this book are by the ex-Anglicans Caswall and Cardinal Newman. The Marquess of Bute is himself a convert to Rome from the Church of England. D. F. MORGAN: Hymns and other Poetry of the Latin Church. Oxf. 1880. 100 versions arranged according to the Anglican Calendar.

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

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

IV. German translations of Latin hymns (mostly accompanied by the original text) are very numerous, e. g. by RAMBACH, 1817 sqq. (see above); C. FORTLAGE (Gesänge christl. Vorzeit, 1844); KARL SIMROCK (Lauda Sion, 1850); ED. KAUFFER (Jesus-Hymnen, Sammlung altkirchl. lat. Gesänge, etc. Leipz. 1854, 65 pages); H. STADELMANN (Altchristl. Hymnen und Lieder. Augsb. 1855); BÄSSLER (1858); J. FR. H. SCHLOSSER (Die Kirche in ihren Liedern, Freiburg i. B. 1863, 2 vols); G. A. KÖNIGSFELD (Lat. Hymnen und Gesänge, Bonn 1847, new series, 1865, both with the original and notes).

§ 96. Latin Hymns and Hymnists.

The Latin church poetry of the middle ages is much better known than the Greek, and remains to this day a rich source of devotion in the Roman church and as far as poetic genius and religious fervor are appreciated. The best Latin hymns have passed into the Breviary and Missal (some with misimprovements), and have been often reproduced in modern languages. The number of truly classical hymns, however, which were inspired by pure love to Christ and can be used with profit by Christians of every name, is comparatively small. The poetry of the Latin church is as full of Mariolatry and hagiolatry as the poetry of the Greek church. It is astonishing what an amount of chivalrous and enthusiastic devotion the blessed Mother of our Lord absorbed in the middle ages. In Mone's collection the hymns to the Virgin fill a whole volume of 457 pages, the hymns to saints another volume of 579 pages, while the first volume of only 461 pages is divided between hymns to

God and to the angels. The poets intended to glorify Christ through his mother, but the mother overshadows the child, as in the pictures of the Madonna. She was made the mediatrix of all divine grace, and was almost substituted for Christ, who was thought to occupy a throne of majesty too high for sinful man to reach without the aid of his mother and her tender human sympathies. She is addressed with every epithet of praise, as Mater Dei, Dei Genitrix, Mater summi Domini, Mater misericordiæ, Mater bonitatis, Mater dolorosa, Mater jucundosa, Mater speciosa, Maris stella, Mundi domina, Mundi spes, Porta paradisi, Regina cæli, Radix gratiæ, Virgo virginum, Virgo regia Dei. Even the Te Deum was adapted to her by the distinguished St. Bonaventura so as to read "Te Matrem laudamus, Te Virginem confitemur."1

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

The sacred poetry of the Latin church may be divided into three periods: 1, The patristic period from Hilary (d. 368) and Ambrose (d. 397) to Venantius Fortunatus (d. about 609) and Gregory I. (d. 604); 2, the early medieval period to Peter Damiani (d. 1072); 3, the classical period to the thirteenth century. The first period we have considered in a previous volume. Its most precious legacy to the church universal is the Te Deum laudamus. It is popularly ascribed to Ambrose of Milan (or Ambrose and Augustin jointly), but in its present completed form does not appear before the first half of the sixth century, although portions of it may be traced to earlier Greek origin; it is, like the Apostles' Creed, and the Greek Gloria in Excelsis, a gradual growth of the church rather than the production of any individual." The third period embraces the

1 See the Marianic Te Deum in Daniel, II. 293; and in Mone, II. 229 sq. 2 A curious mediaval legend makes the Te Deum the joint product of St. Ambrose and St. Augustin, which was alternately uttered by both, as by inspiration, while Augustin ascended from the baptismal font; Ambrose beginning: Te Deum laudamus, Augustin responding: "Te Dominum confitemur." But neither

greatest Latin hymnists, as Bernard of Morlaix (monk of Cluny about 1150), Bernard of Clairvaux (d. 1153), Adam of St. Victor (d. 1192), Bonaventura (d. 1274), Thomas Aquinas (d. 1274), Thomas a Celano (about 1250), Jacopone (d. 1306), and produced the last and the best Catholic hymns which can never die, as Hora Novissima; Jesu dulcis memoria; Salve caput cruentatum; Stabat Mater; and Dies Ira. In this volume we are concerned with the second period.

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

FORTUNATUS (about 600)1 was the fashionable poet of his day. A native Italian, he emigrated to Gaul, travelled extensively, became intimate with St. Gregory of Tours, and the widowed queen Radegund when she lived in ascetic retirement, and died as bishop of Poitiers. He was the first master of the trochaic tetrameter, and author of three hundred poems, chief among which are the two famous passion hymns:

and

"Vexilla regis prodeunt,"

"The Royal Banners forward go;"

Pange, lingua, gloriosi prælium certaminis,” "Sing, my tongue, the glorious battle."

Both have a place in the Roman Breviary.2

the writings of one or the other contain the slightest trace of the hymn and its origin. The first historic testimony of its existence and use is the eleventh rule of St. Benedict of Nursia, A. D. 529, which prescribes to the monks of Monte Casino: "Post quartum autem responsorium incipiat Abbas hymnum, Te Deum laudamus." But five or eight lines of the hymn are found in Greek as a part of the Gloria in Excelsis (Aóža év vчíorois, etc.) in the Alexandrian Codex of the Bible which dates from the fifth century. See Daniel, II. 289 sqq.; Christ, p. 39 (from κad' uέpav to ɛis toùs aiūvas), and Kayser, 437 sqq. Daniel traces the whole Te Deum to a lost Greek original (of which the lines in the Cod. Alex. are a fragment), Kayser to an unknown Latin author in the second half of the fifth century, i. e. about one hundred years after the death of St. Ambrose.

1 The dates of his birth and death are quite uncertain, and variously stated from 530 or 550 to 600 or 609.

2 See two Latin texts with critical notes in Daniel, I. 160 sqq., rhymed English Versions by Mant, Caswall, and Neale. The originals are not