,the ,medieval ,latin ,hymn             
,ruth ,ellis ,messenger1 ,ph4,d4        
,te decet hymnus                        
,deus in ,sion                          
,psalm #fe3a                            
,,capital ,,press                       
#agca--adth ,st41 ,n4 ,w4               
,,washington1 ,d4 ,c4                   
,copyright1 #aiec                       
by                            ,ruth     
,ellis ,messenger                       
,,all ,,rights ,,reserved               
,,lithographed ,,in ,,the ,,united      
,,states ,,of ,,america                 
,to                            ,j4      
,vincent ,higginson                     
,contents        ,chapter               
,page        ,preface                   
ix    ,i4 ,early ,middle ,ages3 ,latin  
,hymns of the ,fourth ,century          
#a    ,,ii4 ,early ,middle ,ages3 ,the  
,old ,hymnal                            
#i    ,,iii4 ,the ,ninth ,century       
,revival3 ,hymns                        
#ai    ,,iv4 ,the ,ninth ,century       

,revival3 ,sequences                    
#ce    ,v4 ,late ,middle ,ages3 ,hymns  
and ,sequences                          
#df    ,,vi4 ,late ,middle ,ages3       
,processional ,hymns                    
#fa    ,,vii4 ,influence and ,survival  
of ,latin ,hymns                        
#gd        ,illustrative ,hymns         
#hc        ,notes                       
#aac        ,bibliography               
#abc        ,index                      
#ace                                    
,preface      ,the purpose of this      
volume is to trace the history of the   
medieval ,latin  hymn from the point of 
view of usage4 ,it must be evident to   
any student  of a subject which is      
spread over a thousand years of human   
experience  in the widening environment 
of an entire continent that a guiding   
thread  is needed to show the way4 ,one 
must not1 at the same time1 ignore the  
fact that a monumental religious        
literature in the poetic field is       
involved4 ,but the hymn is functional1  

having its greatest significance  as a  
lyric when employed in an act of        
worship4 ,latin hymnology1  moreover1 is
 an aspect of ecclesiastical studies    
following the history  of the ,church   
through the classical and medieval ages 
into modern times4    ,a wider cultural 
background than the immediate interest  
of theology and  religion is reflected  
in the hymns of any age4 ,here often lie
 secrets of  interpretation which make  
possible an appreciation of contemporary
  thought4    ,as the study of the      
medieval hymn is followed from the      
standpoint of  life and usage1 the      
antiquarian and the literary critic1 who
 cannot  fully satisfy the quest of the 
student for reality1 must give place to 
the medieval worshiper himself who has  
revealed in its entirety each           
successive phase of a hymnological      
history not yet ended4    ,for          
information about the ,christian hymn as
 it existed prior to the  medieval era1 
the author's ,christian ,hymns of the   

,first ,three  ,centuries1 ,paper ,,ix1 
a publication of ,the ,hymn ,society of 
,america1 may  be consulted4 ,this      
account of primitive ,christian hymnody1
 although  pre-medieval1 serves as an   
introduction to the subject matter of   
the  present volume4    ,the pages which
 follow are intended for the general    
reader rather than  the specialist in   
medieval culture or in the classical    
languages4  ,biographies of hymn writers
 have not been attempted since the      
literature  of this subject is already  
extensive4 ,documentation has been      
reduced to  a minimum4 ,a bibliography  
has been provided for any who are       
interested  in specialized fields4      
,it is hoped that this brief study will 
have a modest part in opening up  to the
 general reader a field which has never 
been fully explored in any  language1   
especially ,english4 ,an inclusive      
treatment is not offered here  but one  
which represents the fruits of a        
generation of research4    ,my grateful 

thanks are due to my friends and        
co-workers in the fields of  classical  
studies1 hymnology and medieval history 
who have assisted me  in countless ways1
 particularly to ,dr4 ,adelaide ,d4     
,simpson and ,dr4 ,carl  ,selmer1 both  
of ,hunter ,college of the ,city of ,new
 ,york1 who have read  the entire       
manuscript and offered invaluable       
criticisms and suggestions4  ,among the 
many librarians who have assisted me in 
varied centers of  study1 ,i am most    
indebted to the staff of the ,library of
 ,union  ,theological ,seminary of ,new 
,york1 under ,dr4 ,william ,walker      
,rockwell and  later under ,dr4 ,lucy   
,markley4 ,finally1 ,i wish to          
acknowledge my  obligation to those     
authors and publishers who have granted 
permission  to use certain translations 
of ,latin hymns which appear in this    
volume4                                 
,,chapter ,,one                         
,early ,middle ,ages3 ,latin ,hymns of  
the ,fourth ,century                    

,i4 ,the ,early ,hymn ,writers    ,the  
first mention of ,christian ,latin hymns
 by a known author occurs in  the       
writings of ,st4 ,jerome who states that
 ,hilary1 ,bishop of ,poitiers  7c4     
#caj-cff71 a noted author of            
commentaries and theological works1     
wrote a ,liber ,hymnorum4#a ,this       
collection has never been recovered in  
its entirety4 ,hilary's priority as a   
hymn writer is attested by ,isidore  of 
,seville 7d4 #fcf7 who says3            
,hilary1 however1 ,bishop of ,poitiers  
in ,gaul1 a man of unusual    eloquence1
 was the first prominent hymn writer4#b 
,more important than his prior claim is 
the motive which actuated him1  the     
defense of the ,trinitarian doctrine1 to
 which he was aroused by his            
controversy with the ,arians4 ,a period 
of four years as an exile in  ,phrygia  
for which his theological opponents were
 responsible1 made him  familiar with   
the use of hymns in the oriental church 
to promote the  ,arian heresy4 ,hilary  

wrested a sword1 so to speak1 from his  
adversaries  and carried to the west the
 hymn1 now a weapon of the orthodox4    
,his  authentic extant hymns1 three in  
number1 must have been a part of the    
,liber ,hymnorum4 ,ante saecula qui     
manens1 8,o ,thou who dost exist  before
 time10 is a hymn of seventy verses in  
honor of the ,trinity2  ,fefellit saevam
 verbum factum te1 caro1 8,the          
,incarnate ,word hath  deceived thee    
7,death70 is an ,easter hymn2 and ,adae 
carnis gloriosae1  8,in the person of   
the ,heavenly ,adam0 is a hymn on the   
theme of the  temptation of ,jesus4#c   
,they are ponderous in style and        
expression and  perhaps too lengthy for 
congregational use since they were      
destined to  be superseded4    ,in      
addition to these the hymn ,hymnum dicat
 turba fratrum1 8,let your  hymn be     
sung1 ye faithful10 has been most       
persistently associated with  ,hilary's 
name4 ,the earliest text occurs in a    
seventh century manuscript4  ,it is a   

metrical version of the life of ,jesus  
in seventy-four lines1  written in the  
same meter as that of ,adae carnis      
gloriosae4#d    ,pope ,damasus1 a       
,spaniard by birth 7c4 #cjd-chd71 is    
believed to have  written hymns in      
addition to the ,epigrams on the martyrs
 which  constitute his authentic poetry4
 ,it would seem probable that his       
activities in identifying and marking   
the sites associated with the  ,roman   
martyrs might have been supplemented by 
the production of hymns in  their honor4
 ,two hymns bearing his name are extant1
 one in praise of ,st4  ,andrew the     
,apostle and one for ,st4 ,agatha4 ,upon
 internal evidence the  ascription is   
dubious for they bear the mark of       
authorship too late to  be considered   
among the poems of this famous ,pope4   
,as a matter of fact1 ,ambrose1 ,bishop 
of ,milan 7#cdj-cig71 remains the       
uncontested originator of the medieval  
,latin hymn as it becomes familiar  to  
us in a uniform series of metrical      

stanzas adapted to congregational  use4 
,like ,hilary1 ,ambrose was born in     
,gaul4#e ,he was the son of  ,ambrose1  
,prefect of the ,gauls1 and like his    
father he attained official  appointment
 under the ,roman government as         
,consular of ,liguria and  ,aemilia1    
with ,milan as place of residence4      
,theological controversy  between the   
,arians and the orthodox was raging at  
,milan1 the ,bishop  himself1           
,auxentius1 having adopted the ,arian   
position4 ,ambrose at this  time was a  
catechumen but at the death of          
,auxentius was obliged to  preserve     
order when the election of his successor
 took place4 ,at that  very moment the  
popular mandate created ,ambrose ,bishop
 of ,milan at the  age of thirty-four   
years4 ,the period immediately following
 his election  found him constantly     
battling for orthodoxy in a contest     
which passed  beyond the limits of      
theological debate to the actual siege  
of orthodox  churches by the ,arian     

forces4    ,ambrose was acquainted with 
the ,syrian practice of hymn singing1   
and  like ,hilary1 he recognized the    
effective use of the hymn by the        
proponents of the ,arian heresy4 ,it was
 not long before the congregations  in  
the basilica at ,milan were chanting    
antiphonally the praises of the         
,trinity in a similar form4 ,ambrose    
himself recorded his achievement1 his   
biographer ,paulinus mentions the event 
and ,augustine in his  ,confessions     
describes the congregational singing    
which he himself had  heard4      ,we1  
though as yet unmelted by the heat of   
,thy ,spirit1 were    nevertheless      
excited by the alarm and tumult of the  
city4 ,then it was    first instituted  
that according to the custom of the     
eastern regions1    hymns and psalms    
should be sung1 lest the people should  
faint through    the fatigue of         
sorrow4#f    ,ambrose wrote hymns       
appropriate for morning and evening     
worship1 four of  which now extant1 can 

be proved to be of his authorship1      
,aeterne rerum  conditor1 8,maker of    
all1 eternal ,king10 ,deus creator      
omnium1 8,creator  of the earth and     
sky10 ,iam surgit hora tertia1 8,now the
 third hour  draws nigh10 and ,veni     
redemptor gentium1 8,come ,redeemer of  
the  earth40#g ,many others in keeping  
with his style and inspiration have     
been preserved and subjected to critical
 study with the result that  eighteen   
hymns on varied themes are generally    
conceded to be ,ambrosian4  ,had        
,ambrose never conferred upon the church
 his gift of hymnody he would  still    
remain one of the great ,latin ,fathers 
of the fourth century1 in  his functions
 as statesman1 organizer and scholar4   
,his contribution to  ecclesiastical    
poetry and music have made him          
influential century after  century4 ,in 
this role he has spoken directly to     
multitudes of ,christians  throughout   
the world1 many of whom have been       
unacquainted with his name  or unaware  

that they were following the ,ambrosian 
tradition of  congregational song4 7,see
 ,illustrative ,hymns1 ,i4 ,splendor    
paternae  gloriae1 8,o ,splendor of     
,god's glory bright407    ,spain shares 
the honors with ,gaul as the birthplace 
of the earliest hymn  writers1 claiming 
first ,damasus and then ,prudentius1    
7#cdh-dac871 a  lawyer1 judge and poet  
of his era4 ,little is known of his life
 aside  from his literary work which    
includes two collections of hymns1 the  
,cathemerinon1 a series for the hours of
 the day and the ecclesiastical  seasons
 and the ,peristephanon1 a series of    
much longer poems in praise  of the     
great martyrs of the early church4 ,in  
his effort to learn more of  the        
circumstances attending their martyrdom1
 ,prudentius went to ,rome to  visit the
 scenes made sacred by their death and  
sufferings4 ,neither of  these          
collections was written for liturgical  
use but for devotional  reading4 ,both  
were destined to be appropriated by     

compilers of  hymnaries1 especially in  
,spain4 ,hymns from the ,cathemerinon1  
either in  their original form or in    
centos1 spread throughout the ,christian
 church  while the martyr hymns were    
also drawn upon but to a lesser extent4 
,the  hymns selected for festival use   
are perhaps most familiar today1 for    
example1 for ,advent1 ,corde natus ex   
parentis ante mundi exordium1 of  which 
the translation 8,of the ,father's love 
begotten10 suggests the  original meter4
 ,the ,epiphany hymn1 ,o sola magnarum  
urbium1 8,earth hath  many a noble      
city10 is also well known4#h            
,considered merely as ,latin poetry1 the
 hymns of ,hilary1 ,ambrose and         
,prudentius are transitional in their   
literary character4 ,they belong        
neither to the poetry of the ,silver    
,age of ,latin literature nor do they   
represent the medieval literary         
tradition4 ,of the metrical aspect      
something will be said presently4 ,by   
some the ,ambrosian hymn is regarded  as

 a daring innovation and the model from 
which vernacular ,european  verse was   
later to develop4 ,in that case1 it     
constitutes a class by  itself4 ,for    
evidence of the continuity of ,latin    
poetry from the  classical to the       
medieval age we must turn to the        
,carmina of ,venantius  ,fortunatus4    
,fortunatus 7c4 #ecj-fjj7 was born near 
,treviso and lived as a youth in        
northern ,italy1 studying at ,ravenna4  
,the greater part of his life1  however1
 was spent in ,gaul which he visited    
first as a pilgrim to the  shrine of    
,st4 ,martin at ,tours1 who1 he         
believed1 had been instrumental  in     
restoring his eyesight4 ,at ,poitiers he
 met ,queen ,rhadegunda1 wife of        
,clothair1 ,king of ,neustria4 ,she had 
founded a convent at ,poitiers and      
there lived in retirement4 ,this was his
 introduction to a life of travel  and  
of intercourse with the great4 ,he was  
acquainted with bishops1  noblemen and  
kings whose praises he sang in many     

graceful tributes1  occasional poems and
 epitaphs4 ,through the influence of    
,rhadegunda1 his  lifelong patron and   
friend1 he was ordained1 and after her  
death he  became ,bishop of ,poitiers1  
#eig1 where he lived until his death4   
,as a  churchman he was an admirer and  
biographer of the saints of ,gaul1      
preeminently ,st4 ,martin whose life and
 miracles he recounted in poetic  form4 
,fortunatus seems to have carried with  
him from the ,italian scenes  associated
 with the poetry of ,virgil--an         
inspiration which was never  entirely   
lost4 ,his poems suggest a familiarity  
with the literary  background of        
classical verse4 ,during his mature life
 he lived in the  environment of sixth  
century ,gallic society which was       
already assuming  its medieval ,frankish
 outlines4 ,natural beauty and human    
companionship  were alike important to  
him4 ,he was acquainted with men and    
women of  every degree from the monarch 
to the slave4    ,although the spirit of

 religious devotion and of orthodox     
belief is  evident in many of the       
hundreds of lyrics which he composed1   
four only  may be classed as hymns4     
,three of these are concerned with the  
theme of  the ,holy ,cross1 ,pange      
lingua1 gloriosi proelium certaminis1   
8,sing1 my  tongue1 the glorious        
battle10 ,vexilla regis prodeunt1 8,the 
banners of  the king advance10 and ,crux
 benedicta nitet1 8,radiant is the      
blessed  cross40 ,the fourth1 ,tempora  
florigero rutilant distincta sereno1    
8,season of luminous days1 marked bright
 with the birth of the flowers10  is a  
,resurrection hymn4#i ,it is impossible 
to indicate here the  extraordinary     
influence which this group of hymns has 
exerted in the  evolution of ,christian 
hymnody1 continuing in ,gaul the        
tradition1 as it  were1 which ,hilary   
first established4 ,the circumstances of
 their origin  and their lasting values 
will be considered in connection with   
processional hymns in ,chapter ,,vi4    

7,see ,illustrative ,hymns1 ,,ii4       
,vexilla regis prodeunt1 8,the banners  
of  the king advance407                 
,,ii4 ,metrical ,forms    ,the problem  
of metrical forms and the prosody of the
 earliest ,latin  hymns1 in general1 is 
a phase of the same problem affecting   
,latin poetry  as a whole4 ,the subject 
is both complicated and obscure1        
entangled with  that of ,latin          
rhetorical prose style1 the transition  
from the  quantitative accent of ancient
 classical poetry to the stress accent  
of  medieval and modern verse and with  
the origin of rhyme4 ,it is a problem   
for specialists among whom opinions are 
now divergent4 ,toward a  practical     
understanding of the metrical values of 
the hymns of ,hilary1  ,prudentius1     
,ambrose and ,fortunatus1 the pragmatic 
test of what is  singable may be        
applied4 ,the ancient balanced rhythms  
of ,semitic poetry  as illustrated in   
the ,hebrew psalms had been sung for    
generations4 ,the  metrical lyrics of   

ancient ,greece were sung to an         
instrumental  accompaniment as were the 
,latin lyrics of the ,golden ,age of    
,rome4 ,these  highly polished classical
 forms were for the elite4 ,of popular  
poetry  which was sung in the period    
immediately preceding the appearance of 
the  ,latin hymn1 very little is known4 
,the early writers were experimenters4  
,hilary used classical meters with      
alterations1 of which the trochaic      
tetrameter catalectic proved most       
acceptable4#aj ,it is illustrated in    
,adae carnis gloriosae and also in hymns
 by ,prudentius and ,fortunatus4        
,prudentius used a variety of meters in 
addition to the trochaic which  proved  
adaptable in actual liturgical practice 
but by that time stress  accent was     
beginning to obscure the original       
quantitative values4  ,ambrose used the 
unrhymed iambic dimeter1 a simple and   
singable form  which has been in vogue  
ever since1 at first unrhymed after the 
original  models and later rhymed4 ,the 

popular trochaic meter familiarized by  
,hilary1 ,prudentius and ,fortunatus1   
when transformed by stress accent and   
rhyme1 is easily recognized both in     
,latin and the vernaculars4  ,fortunatus
 popularized the elegiac meter in hymns 
for a thousand years  by demonstrating  
its use in ,tempora florigero4 ,prior to
 the ninth  century revival of hymnody1 
the ,ambrosian hymn1 considered as a    
metrical  model1 in comparison with all 
other existing models1 dominates the    
field  equally with its prestige as an  
expression of ,christian theology and   
devotion4                               
,,iii4 ,hymns in ,worship    ,it is     
evident that the fourth century was one 
of innovation in the  custom of         
congregational singing as the ,ambrosian
 hymn was more widely  diffused4 ,our   
knowledge of what actually took place is
 very incomplete1  based first upon the 
writing of ,ambrose and his             
contemporaries and later  upon the hints
 derived from monastic usage4 ,that     

morning and evening  services of prayer 
and praise were common is well known4   
,that the  singing of the new fourth    
century hymns was an integral part of   
such  services is largely assumed4      
,prudentius wrote hymns for the evening 
ceremony of the lucernare or lighting of
 the candles1 a ,christian  practice    
adopted from the ,greek church1 to which
 many references are  found4 ,the fact  
that the hymns of ,prudentius were in   
existence long  before they appeared in 
the records of formal worship points to 
early  ,christian usage1 however dimly  
perceived4    ,concerning music we learn
 from the most recent researches that   
8nothing  definite is known of the      
melodies that were actually applied to  
the  hymns of ,st4 ,ambrose40#aa ,the   
traditional liturgical music of ,milan  
is  known as the ,ambrosian ,chant4 ,it 
cannot be traced to ,ambrose himself but
  is supposed to have existed in a      
simpler form than that which appears in 
available manuscripts beginning with the

 twelfth century4 ,at least it  may be  
said to have existed prior to the ,roman
 ,chant and perhaps have  influenced the
 latter4 ,with a frank acknowledgement  
of ignorance as to  the antiphonal      
melodies which thrilled ,st4 ,augustine 
at ,milan1 the  possibility must be     
admitted that they reflected to some    
extent the  formal music of the         
synagogue or the music of the ,greeks or
 the elements  of contemporary folk     
music because these were the musical    
materials of  which the ,christians had 
experience4 ,all three may have been    
represented1 but for a hymn of the      
,ambrosian type1 the chant as evolved   
in rendering the ,gospels or the ,psalms
 may have given place to a form of  song
 more characteristic of the lyric4      
,,iv4 ,themes    ,the tradition of      
,christian hymnology which upholds a way
 of life is  fundamental in ,ambrosian  
and contemporary hymns4 ,the 8way0 is   
the first  term by which ,christianity  
was designated in the ,scriptures4 ,thus

 to the  ,scriptures the hymn writers   
turned for the living characterization  
of  their themes4 ,the call to a        
virtuous life is sounded in ,splendor   
paternae gloriae quoted above4          
,similarly throughout these hymns1 the  
high ideal of faith1 purity1 hope1      
patience1 humility and love and the     
ethical teachings derived from the words
 of ,jesus and from the early  exemplars
 of the ,christian religion are clearly 
expressed and enjoined4  ,not alone for 
contemporaries in a period of crisis and
 controversy were  these hymns          
effective4 ,they have continued to speak
 the same words in  the same spirit of  
joy and devotion derived from contact   
with the  earlier springs of faith to   
every succeeding century4    ,the       
writings of men familiar with ,roman    
civilization and trained in  classical  
culture would naturally be presumed to  
retain the flavor of a  non-,christian  
literature4 ,christianity had already   
appropriated from the  pagan            

philosophers those teachings which were 
congenial to its own4  ,ambrose reveals 
both in his poetic and prose writings   
his acquaintance  with classical thought
 and literary models4 ,prudentius       
mingles the  classical and the          
,christian4 ,fortunatus was inspired by 
classical poetry  to a ,christian       
expression of beauty in form and        
content4 ,but in every  case1 these     
characteristics are marginal4 ,the core 
of their hymns is the  scriptural       
narrative4 ,not only is the subject     
matter faithfully  reproduced but the   
actual text is sometimes embedded in the
 verse4 ,the  result is a rare          
objectivity and a lack of embellishment 
especially in  the works of ,ambrose    
which became the preferred standard for 
later  writers4#ab    ,the life of      
,jesus is a favorite theme particularly 
in those episodes  which were described 
and expanded in hymns for the ,nativity1
 ,epiphany1  ,passion1 ,easter and      
,pentecost4 ,from the episode of the    

,nativity the  praise of the ,virgin was
 developed4 ,the doctrine of the        
,trinity was  everywhere upheld in      
hymns1 even as its defense had been     
influential in  their creation4    ,the 
group of hymns which praise the early   
,christian leaders1 either  directly or 
by incidental mention1 form a nucleus   
for the impressive  medieval hymnology  
of the saints4 ,the ,apostles have first
 place both in  chronology and          
importance4 ,prudentius praised the     
,roman martyrs and  ,ambrose those of   
,rome and ,milan as well4 ,both honored 
,laurence the  ,deacon and ,agnes the   
,virgin4 ,to the praise of the whole    
group 8the noble  army of martyrs10 the 
hymn ,aeterna ,christi munera1 8,the    
eternal gifts  of ,christ the ,king10   
was written1 unrivalled as a martyr hymn
 in any  period of ,latin hymnology4    
7,see ,illustrative ,hymns1 ,,iii4      
,aeterna ,christi munera1 8,the eternal 
gifts of ,christ the ,king407           
,,chapter ,,two                         

,early ,middle ,ages3 ,the ,old ,hymnal 
,i4 ,the ,hymn ,cycles    ,we owe the   
preservation of the earliest ,latin     
hymns to monastic  practice4 ,when the  
founders of monasticism in the west1    
,caesarius and  ,aurelian who were      
famous bishops of ,arles 7#fth ,c471 and
 ,benedict 7d4  #edc71 founder of the   
,benedictine ,order1 organized the      
regulations and  routine for the        
communities under their charge1 they    
incorporated ,latin  hymns already      
existing into the daily worship of the  
monastery4#a ,these  were sung at the   
services of the canonical hours and were
 known as hour  hymns or office hymns4  
,a continuity can be traced1 although   
faintly1 from primitive ,christian      
observances4 ,beginning with the vigil  
of ,saturday night in preparation  for  
the following ,sunday1 the first three  
centuries of ,christian history         
developed public services for prayer at 
candlelight1 night time1 and  dawn4 ,by 
the fourth century1 the tide of         

devotional practice had set in1         
bringing with it daily worship in the   
church at the third1 sixth and  ninth   
hours4 ,at the end of the fourth and    
during the fifth century the  cycle was 
completed with new offices at sunrise   
and nightfall4 ,the full  series1       
therefore1 included the nocturnal       
cursus2 vespers1 compline1  matins      
7nocturns and lauds71 and the diurnal   
cursus2 prime1 terce1 sext  and nones4#b
 ,an opportunity was afforded to unify  
the services and at  the same time to   
make use of the symbolic number seven by
 reference to  ,psalm #aai3 #afd 7,ps4  
#aah1 ,vulgate71 8,seven times a day do 
,i praise thee  because of thy righteous
 ordinances40 ,from the simple          
assemblies of  early ,christianity1     
therefore1 and the daily offices of     
prayer1 a fully  elaborated cycle of    
hymns in time developed1 appropriate to 
the  symbolism of the seven hours and to
 the needs of the annual feasts4        
,constantly increasing in number and    

variety1 these cycles were preserved  in
 psalters together with the psalms or in
 a hymnary by themselves4 ,in  fact1 the
 word hymn came to mean specifically an 
office hymn later to  be associated with
 the breviary1 and the word hymnal1 a   
cycle or  collection of office hymns4   
,at first the cycles were brief4 ,five  
extant manuscripts reveal the sixth     
century group of hymns of which the best
 representative1 the so-called  ,psalter
 of the ,queen from the famous          
collection of ,queen ,christine of      
,sweden1 probably dates from the time of
 ,charles ,martel 7d4 #gda74c ,this     
group of hymns is usually referred to as
 the ,old ,hymnal1 the initial  version 
of which numbers thirty-four hymns but  
at the close of the sixth  century had  
increased to perhaps sixty hymns in     
actual use4#d ,the  thirty-four original
 hymns of the ,old ,hymnal are listed in
 the  ,appendix to this chapter where   
the appropriate location of each is     
indicated1 whether for daily or seasonal

 worship4    ,due to the influence of   
,benedict who had enjoined the use of   
the  ,ambrosian hymn1 the authentic     
verse of ,ambrose was preserved and     
extensively imitated among the regular  
clergy4 ,what had become of the  hymn in
 secular worship8    ,the old prejudice 
against non-scriptural hymns and in     
favor of the  ,psalms had never died    
out4 ,by a canon of the ,council of     
,laodicea 7c4  #cfd71 psalmi idiotici or
 8private hymns0 were forbidden1 a      
mandate  which was valid during the     
lifetime of ,ambrose who1 nevertheless1 
ignored a restriction intended to       
safeguard orthodoxy but hardly          
applicable in his case4 ,in the sixth   
century the secular clergy of ,spain    
were forbidden to use hymns by the      
,council of ,braga1 #efc4e ,the paradox 
of encouraging non-scriptural hymns in  
the monastery and forbidding  their use 
in the church at large has been         
explained by reference to the           
contemporary appearance of early forms  

of vernacular speech in western         
,europe4 ,latin1 the language of the    
church1 its liturgy and its clergy1  was
 now threatened by a possible inroad of 
the vernacular4#f ,hymn  writing was    
regarded1 perhaps1 as a prerogative of  
the clergy to be kept  within bounds4   
,to throw open to the church everywhere 
these privileges  might be dangerous    
alike for theology and worship4         
,learning in the ,latin  tongue tended  
to be concentrated in the monastery1 for
 other centers of  scholarship were few 
and far between2 hymnology became       
largely a  function of the monastic     
group4    ,it should be remembered that 
these centuries embraced a period of the
  greatest political1 economic and      
social confusion in western ,europe     
during which we know relatively little  
about ,christian worship in  widespread 
congregations except for the rite of the
 mass4 ,yet in the  sixth century the   
opposite tendency toward greater freedom
 in writing  and singing hymns was      

apparent4 ,the ,council of ,tours1 #efg1
 permitted the  secular clergy to use   
,ambrosian and other hymns4#g ,if viewed
 in this  light1 the religious verse of 
,fortunatus takes on a new significance1
  illustrative of the freedom which the 
,church in ,gaul1 always highly         
individual1 now experienced in the realm
 of hymnology4    ,gaul1 then1 was the  
scene of a conflict in which the ,latin 
hymn was  contending1 and that          
successfully1 for its very life4 ,on the
 monastic  side1 anonymous clerics1     
using the ,ambrosian model1 gradually   
provided  the full complement of hymns  
for the annual festivals in harmony with
  the liturgical year which began to    
emerge and resemble somewhat its        
present form4 ,wherever the ,benedictine
 ,order penetrated into the  territories
 of western ,europe1 the use of hymns   
likewise increased4  ,their diffusion   
must be regarded as comparable with that
 of an  organization which within two   
hundred years of the death of its       

founder  boasted hundreds of monasteries
 and convents throughout western        
,christendom1 augmented by ,irish and   
other foundations which had adopted  the
 ,benedictine ,rule4 ,missionary zeal   
had played a significant role in  this  
expansion4 ,fulda1 for instance1 a      
community with #djj monks and many      
missionaries at its disposal1 was able  
under ,willibald to extend its          
influence through numerous subordinate  
monasteries and convents4 ,royal  favor1
 already enjoyed by ,st4 ,gall and now  
conferred upon new  establishments1     
rivalled that of popes and synods1 which
 at the time of  ,pippin's coronation in
 #gej or #geb1 combined to insure the   
success of the  ,benedictine program4#h 
,on the side of secular worship1 the    
hymnal used by ,benedict and his        
successors gradually gained a foothold  
in the church through diocesan  centers 
which adopted the monastic cycles4 ,or  
perhaps it may be said1  with the       
reservation that we are in the realm of 

theory and not of fact1  that the       
ancient hymns written prior to the sixth
 century had been  circulated and       
continued to be circulated in the west  
in a way not at  present understood1 in 
connection with the ,gallican or ancient
 liturgy  of ,gaul4 ,if so1 the ,old    
,hymnal is the ,gallican hymnal which   
,benedict  appropriated and his         
followers maintained to its acknowledged
 prestige  by the year #gej4    ,an     
episode of significance for hymnology   
during the period under  consideration  
in this chapter is the activity of      
,gregory the ,great who  occupied the   
papal throne from #eij to #fjd4 ,a      
member of the ,benedictine  ,order1 he  
is noted for his enthusiastic support of
 its missionary  program and for his    
interest in ecclesiastical music and    
poetry4 ,his  role in the extension of  
the ,roman ,rite and of the ,benedictine
 ,order to  ,britain is familiar to     
all4#i ,his authority in the western    
church is a  matter not of controversy  

but of fact4 ,that he was deeply        
interested  both in hymn writing and    
singing may be safely assumed for there 
are too  many reports of his activity to
 be ignored4 ,his actual role in the    
development of the chant which bears his
 name and the authorship of  eight to   
eleven hymns attributed to him1 have not
 been determined4 ,for  ,gregory's      
contribution to the ritual music of the 
church the reader is  referred to the   
discussion of this subject by           
specialists in the field  of liturgical 
music4 ,for his contribution to the hymn
 cycles1 modern  hymnologists have      
judged even the eight hymns singled out 
as ,gregorian  by ,benedictine editors1 
to be doubtful although the nocturn and 
vesper  hymns may be authentic4#aj      
,aside from critical research the fact  
remains that all these hymns appear in  
the cycles of the day and several  have 
been in liturgical use to the present   
time4 ,they are representative  of the  
hymnology of the transition between the 

,old ,hymnal and the  later cycles whose
 hidden origins ,gregory may have       
influenced4    7,see ,illustrative      
,hymns1 ,,iv4 ,nocte surgentes vigilemus
 omnes1 8,father  we praise ,thee1 now  
the night is over407                    
,,ii4 ,mozarabic ,contributions    ,the 
list of hymns in the ,old ,hymnal 7,see 
,appendix7 reveals at a glance  the     
presence of nine ,mozarabic hymns4      
,mozarabic is a term applied to the     
,christian inhabitants of ,spain under  
,moslem rule and also to the rites  of  
the ,christian ,church prevailing       
throughout the ,visigothic and ,moslem  
periods4 ,it is the former or           
,visigothic period extending from the   
foundation of the ,kingdom by ,euric1   
#dff1 to the entry of the ,moslems in   
#gaa1 which claims our attention here4  
,connections between ,spain and ,gaul   
at this time were very close for the    
,visigoths ruled a large part of  what  
is now southern ,france from the        
,atlantic to the ,maritime ,alps4 ,the  

great churchmen of ,spain1 especially   
,isidore1 ,archbishop of ,seville 7d4   
#fcf71 performed the same service for   
,christian hymns in ,spain which the    
monastic leaders performed in ,gaul4 ,in
 his ,etymologiae and his ,de  officiis 
ecclesiasticis1 ,isidore considers the  
subject of music and  liturgy4 ,his     
,regula monachorum1 built partly on     
older rules observed  in ,spain1 is an  
evidence of his interest in monastic    
reform4 ,as  presiding bishop of the    
,,iv ,council of ,toledo1 #fcc1 he was  
at the height  of his reputation4#aa    
,braulio1 ,bishop of ,saragossa1        
7#fca-fea71 his  pupil and literary     
executor1 bears witness to his fame4#ab 
,he himself  maintained the liturgical  
tradition which was continued with great
  success by ,eugenius ,,ii1 ,primate of
 ,toledo1 7#fdf-feg71 ,ildefonsus who   
held the same rank1 7#fei-ffg71 and     
others4 ,as the result of the literary  
and liturgical movement initiated by    
these leaders1 supported by the         

councils and schools1 the ,mozarabic    
hymnology was rapidly developed4 ,the   
canons of the ,,iv ,council of ,toledo1 
for which ,isidore may have been        
personally responsible1 require         
uniformity of the rites and offices     
throughout ,spain and ,gaul4 ,the       
thirteenth canon upholds the validity   
and  appropriateness of hymns by        
,christian authors against those who    
would  restrict the hymnody of the      
,church to the ,psalms of the ,old      
,testament4  ,after a discussion of the 
old prohibitions and the reasons for    
approving  the new compositions1 ,canon 
#ac reads3      8,as with prayers1 so   
also with hymns written for the praise  
of ,god1    let no one of you disapprove
 of them but publish them abroad both in
    ,gaul and ,spain4 ,let those be     
punished with excommunication who have  
ventured to repudiate hymns40#ac        
,building upon the work of ,ambrose1    
,sedulius and notably ,prudentius1      
their own countryman2 adapting ancient  

traditions of congregational  worship   
and monastic usage1 the liturgists of   
the seventh century must  have collated 
for the use of the clergy approximately 
sixty-five hymns  from sources          
originating prior to their own day4     
,these ancient hymns  form the nucleus  
of the ,mozarabic ,hymnal1 the earliest 
manuscript of  which dates from the     
tenth century4 ,they reveal             
interrelations between  the ,spanish and
 ,gallican churches and they indicate a 
continuity of hymn  singing from        
primitive congregational usage like the 
,ambrosian to the  seventh century      
revival and extension of non-scriptural 
hymns4#ad    7,see ,illustrative ,hymns1
 ,v4 ,alleluia piis edite laudibus1     
8,sing  alleluia forth in duteous       
praise407                               
,,iii4 ,celtic ,hymns    ,the ,celtic   
inhabitants of the ,british ,isles from 
the period of the  introduction of      
,christianity maintained individual     
features of liturgy  and organization1  

especially in their monastic groups4    
,the contemporary  ,saxon ,church of the
 seventh century1 however1 had been     
drawn into the  ,roman sphere of        
influence by ,gregory the ,great who was
 also in touch  with ,celtic leadership4
 ,the ancient record of the interchange 
of hymns  written respectively by ,st4  
,columba of ,iona and by ,gregory       
preserves  more than a report incapable 
of proof4#ae ,it points to reciprocal   
interest in the evolving hymnology of   
the sixth and seventh centuries in      
,celtic and continental regions4    ,the
 so-called ,bangor ,antiphonary of the  
seventh century is the earliest         
manuscript containing hymns1 twelve in  
number4#af ,its contents are  otherwise 
miscellaneous1 including a list of the  
abbots of ,bangor4  ,hilary's supposed  
hymn from this collection1 ,hymnum dicat
 turba  fratrum1 has already been cited4
 ,an ancient communion hymn1 ,sancti    
venite ,christi corpus sumite1 8,draw   
nigh and take the body of the  ,lord10  

is included and ,mediae noctis tempus   
est1 8,it is the midnight  hour10 an    
office hymn common to the hymnals of    
,spain and ,gaul4 ,among  other         
important sources is the ,irish ,liber  
hymnorum1 preserved in an  eleventh     
century manuscript of ,dublin which     
contains ,columba's hymn1  ,altus       
prosator1 8,ancient of days10 honoring  
,god the creator1 and the  ,lorica or   
,breastplate ,hymn of ,st4 ,gildas 7#fth
 ,c471 ,suffragare  trinitatis unitas1  
unitatis miserere trinitas1 8,grant me  
thy favor1  ,three in ,one1 have mercy  
on me1 ,one in ,three40#ag    ,on the   
whole ,celtic hymns exhibit great       
variety in subject matter and  purpose  
with many departures from the type of   
hymn cycle in use on the  continent4    
,indeed1 the group of from fifteen to   
twenty hymns produced in  the centuries 
under consideration are highly          
distinctive4 ,the ,ambrosian  tradition 
is not apparent4 ,non-,ambrosian meters 
are illustrated in all  three hymns     

cited above while alliteration1 the abcd
 form1 repetition  of initial words and 
other metrical devices are found        
throughout the  collection4 ,there are  
hymns for the offices and communion1    
metrical  prayers and a group of hymns  
for saints1 some bearing witness to     
local  cults4 ,poetic individuality     
marks them all4#ah ,contemporaneous with
 the  flowering of ,celtic hymnology1   
the seventh century saw the beginning of
  the cultural invasion of the continent
 by ,celtic scholars1 teachers and      
missionaries whereby two streams of     
culture1 previously isolated1 united    
with significant results for the        
hymnology of the future4    7,see       
,illustrative ,hymns1 ,,vi4 ,sancti     
venite ,christi corpus sumite1  8,draw  
nigh and take the body of the ,lord407  
,,iv4 ,summary    ,the account of the   
,christian hymns of necessity           
accompanies that of the  ,christian     
organization1 moving from the shores of 
the ,mediterranean and  the ,christian  

centers in ,roman provincial areas into 
the 8regions  beyond0 of missionary     
effort4 ,although congregational singing
 in the  ,ambrosian sense appears to    
have been submerged in this process1 the
  traditional hymnody was preserved1 new
 hymns added and the foundation  laid   
for the ninth century revival4          
,anonymity is the rule and known        
authorship the exception for the hymns  
produced in the fifth1 sixth1 seventh   
and eighth centuries4 ,this  continued  
to be the rule during the whole medieval
 period since the  names of those who   
wrote the non-scriptural parts of       
religious rites  were lost or unknown or
 perhaps of little importance in        
communal  worship4 ,the fact that the   
hymns which survive have been gathered  
from  liturgical manuscripts and not    
from the work of individual authors     
except in rare cases1 should make       
anonymity more intelligible4    ,hymn   
sources are scanty and interconnections1
 dimly perceived1 can  rarely be        

established4 ,continuity of evolution is
 often broken or  replaced by new       
poetical inspiration4 ,however1 the     
fourth century appeal  to the objective1
 the direct1 the simple1 is seldom      
varied by the  subjective theme4 ,the   
biblical narratives and the symbolism   
connected  with the various offices and 
feasts add substance and character to   
the  cycles and to the concept of the   
liturgical year4    ,in the heart of the
 ,dark ,ages1 popularly considered1     
western ,european  civilization was in  
confusion and its fate problematical4   
,one could  scarcely expect the fruits  
of peace and security to flourish4 ,yet 
in  these very centuries there were     
created and circulated many of the best 
loved hymns of ,christianity1 a number  
of which have been in unbroken use  to  
the present day4 ,among them are the    
illustrations inserted above and  ,lucis
 ,creator optime1 8,o blest creator of  
the light20 the ,advent  hymns1 ,verbum 
supernum prodiens1 8,high ,word of ,god 

who once didst  come10 and ,conditor    
alme siderum1 8,creator of the stars of 
night20 the  ,easter hymn1 ,claro       
paschali gaudio1 8,that ,easter day with
 joy was  bright20 for the dedication of
 a church1 ,urbs beata ,jerusalem1      
8,blessed city1 heavenly ,salem0 with   
the more familiar second part1  8,christ
 is made the sure foundation40 ,two     
hymns honoring the ,virgin date  from   
this period3 ,ave maris stella1 8,hail1 
,sea-,star we name ,thee10 and  ,quem   
terra pontus aethera1 8,the ,god whom   
earth and sea and sky10  initiating the 
,marian hymnology of the ,middle        
,ages4#ai    7,see ,illustrative ,hymns1
 ,,vii4 ,ave maris stella1 8,hail1      
,sea-,star we  name ,thee407    ,created
 and preserved in a clerical and for the
 most part a monastic  environment these
 hymns express the ,christian thought   
and faith of the  era which was thus    
treasured up for wider circulation and  
influence in a  later and more settled  
society4 ,the words of the late ,canon  

,douglas1 a  great ,american            
hymnologist1 are memorable in this      
connection3      8,what does have a     
practical bearing on our subject is1    
that whatever    may have been the older
 cycle1 it was enriched to an           
extraordinary    degree in the early    
medieval centuries4 ,what began in      
,milan1 and    achieved its permanent   
recognition at ,monte ,cassino1 was soon
 to bring    about a ,mozarabic ,hymnal 
in ,spain1 a ,gallican hymnal in        
northern    ,europe1 an ,anglo-,irish   
cycle in ,britain3 and from all these   
various    increments not only enlarged 
the growing ,hymnal but also richly     
diversified it40#bj                     
,appendix         ,old ,hymnal 7,see    
,anal4 ,hymn41 #ea1 ,introduction p4    
xx74      ,ad nocturnas horas           
,mediae noctis tempus est 7,mozarabic2  
in ,bangor ,antiphonary7      ,rex      
aeterne ,domine      ,magna et mirabilia
      ,aeterne rerum conditor           
,tempus noctis surgentibus      ,ad     

matutinas laudes      ,deus qui caeli   
lumen es      ,splendor paternae gloriae
      ,aeternae lucis conditor          
7,mozarabic7      ,fulgentis auctor     
aetheris 7,mozarabic7      ,deus aeterni
 luminis 7,mozarabic7      ,christe     
caeli ,domine      ,diei luce reddita   
,ad parvas horas      ,postmatutinis    
laudibus      ,certum tenentes ordinem  
7,mozarabic7      ,dicamus laudes       
,domino 7,mozarabic7      ,perfectum    
trinum numerum 7,mozarabic7      ,ad    
vesperas      ,deus creator omnium      
,deus qui certis legibus 7,mozarabic7   
,deus qui claro lumine      ,sator      
princepsque temporum      ,ad           
completorium      ,christe qui lux es et
 dies 7,mozarabic7      ,christe        
precamur adnue      ,proprii de tempore 
,intende qui regis      ,illuminans     
altissimus      ,dei fide qua vivimus   
,meridie orandum es      ,sic ter       
quaternis trahitur      ,hic est dies   
verus ,dei      ,iam surgit hora tertia 
,iam sexta sensim volvitur      ,ter    

hora trina volvitur      ,ad cenam agni 
providi      ,aurora lucis rutilat      
,de communi martyrum      ,aeterna      
,christi munera                         
,,chapter ,,three                       
,the ,ninth ,century ,revival3 ,hymns   
,i4 ,background of ,carolingian ,culture
    ,to explain fully the origin of a   
great literary movement must always be  
difficult1 for the subtle influences    
affecting its beginnings elude a        
scientific analysis of facts4 ,one      
observes the revival of ,latin          
hymnology between #gej and #ijj ,a4,d4  
with amazement4 ,the voices of          
,ambrose1 his contemporaries and his    
immediate imitators had been  silenced  
for centuries4 ,venantius ,fortunatus   
had stood forth1 a solitary  survival of
 the old ,latin poetic genius or1       
perhaps more accurately1 a  solitary    
herald of the new medieval awakening4   
,then a flowering of  religious poetry  
spread over western ,europe1 not to be  
withered by new  barbarian invasions but

 to be the permanent possession of the  
,christian  ,church4    ,in this period 
the older cycles of office hymns were   
revised and  expanded and fresh cycles  
created in such numbers as to justify   
the new  terminology of the ,later      
,hymnal or ,ninth ,century ,hymnal4 ,the
  sequence arose in the formal worship  
of the mass1 affording a new            
inspirational to clerical poets and     
resulting in a body of sacred verse  of 
increasing influence4 ,the processional 
hymn and its related forms  appeared in 
response to the new impulse toward a    
hymnic accompaniment to  ceremonial     
acts4 ,in effect1 the hymn during the   
period under  consideration1 was well   
established in every aspect of formal   
worship4    ,in the background of the   
age which created this literature must  
be  sought the trends and motivation    
which make intelligible the voices of   
its interpreters4 ,accordingly1 in the  
years from #gej to #ijj ,a4,d4 when  the
 ,carolingian rulers1 ,pippin1          

,charlemagne1 ,louis the ,pious and     
,charles  the ,bald were guiding the    
destinies of the ,franks1 the various   
influences affecting public worship must
 be surveyed4 ,the most important  were 
the liturgical reforms undertaken or    
sponsored by the ,carolingian  rulers2  
their promotion of ecclesiastical music 
and singing2 their  interest in the     
reform and expansion of the ,benedictine
 ,order2 the  literary activity of      
members of the ,carolingian court       
circles who  devoted themselves to      
liturgical studies or poetic expression2
 the part  played by ,celtic culture2   
the infiltration of ,byzantine ideas and
 arts  and the rise of ,germanic genius4
    ,the introduction and permanent     
establishment of the ,roman liturgy in  
,frankish realms form the background of 
public worship in the ,carolingian  era4
 ,when ,pippin ascended the throne in   
#geb1 the ,gallican ,rite  prevailed4   
,when the reign of ,charles the ,bald   
came to a close in #hgg1  the ,roman    

,rite was supreme4#a ,charlemagne       
received the ,gregorian  ,sacramentary  
from ,pope ,hadrian ,i4#b ,stimulated by
 his desire to unify  the ,germanic     
peoples under papal as well as imperial 
authority1 he  brought about by royal   
edicts or capitularies a widespread     
reform in the  western continental      
church4 ,those features of his program  
which affected  hymnology include       
requirements that priests must be       
educated1 that monks  observe their     
monastic rule1 that the singing of the  
psalms and the  gloria be improved1 that
 schools of singing and grammar be      
founded in  monastic and diocesan       
centers1 that both regular and secular  
clergy be  urged to acquire knowledge   
and skill in singing1 that the ,roman   
,chant be  ordained1 that a singing     
school be established at                
,aix-la-,chapelle1 that  the clergy read
 and sing well4#c ,charlemagne's        
successors1 ,louis the  ,pious and      
,charles the ,bald continued his        

reforming policy4    ,in the legislation
 cited above1 ,charlemagne had followed 
his father's  example which favored a   
training in ,gregorian music under      
,roman  teachers1 as developed in the   
schools of ,rome4#d ,pippin's interest  
had  resulted in the establishment of a 
musical center of great repute at       
,metz#e which also possessed a cathedral
 school representative of the  finest   
institutions which flourished at this   
time side by side with  monastic centers
 of learning4    ,charlemagne was       
presented with a copy of the            
,benedictine ,rule with choir  rules1   
office and festival hymns1 by           
,theodomar1 ,abbot of ,monte ,cassino1  
sometime between #ghg and #gig4f ,it    
became his chosen duty to promulgate    
the ,rule1 to require its observance    
everywhere within his realms and        
further to extend the influence of the  
,order in general4 ,consequently1       
monastic centers of music arose1 for    
example1 at ,st4 ,gall where the        

hymnody of the offices was fostered and 
gradually made available for the        
bishoprics as well4 ,louis the ,pious1  
7#had-hdj71 and ,charles the ,bald1     
7#hdc-hgg71 in their turn continued the 
patronage of the ,benedictine  ,order4  
,already fortified by the efforts of    
,charlemagne1 the ,benedictines  entered
 a period of religious and cultural     
influence which was later  merged into  
the age of the universities4 ,linked    
directly with the  program for monastic 
reform1 the impulse to write new hymns  
and the  encouragement to finer musical 
performance together created the annual 
cycles of this period in which the older
 hymns were retained and  supplemented  
by the new4    ,the writers and literary
 leaders of the ,carolingian period were
 by  virtue of their clerical profession
 actively engaged in liturgical         
studies4 ,alcuin compiled the missal    
which established the ,gregorian        
,sacramentary in ,frankish realms and   
constituted a recension acceptable  to  

the ,roman ,church4#g ,a significant    
innovation for hymnology was the        
decorative procession4#h ,alcuin was    
also influential through his  devotional
 works which supplemented the public    
worship of the mass and  offices4       
,paulus ,diaconus and ,angilbert were   
second to ,alcuin in  promoting         
liturgical studies4 ,the works of the   
great writers were  accompanied by      
numerous writings of lesser importance  
which bear  witness1 as will be evident 
below1 to the increasing practice of    
hymn-singing4 ,the influence of the     
,roman ,rite1 largely barren of hymns1  
was at the same period1 in contact with 
the influence of ,benedictine  precedent
 in hymn singing which in the end       
prevailed4    ,the ,latin poetry        
associated with the ,carolingian era has
 been edited and  published in a        
monumental form under the title ,poetae 
,latini ,aevi  ,carolini4#i ,the        
collection1 produced in the spirit of a 
classical  revival by a circle of court 

poets1 includes secular as well as      
religious verse4    ,carolingian culture
 not only in the specific field of      
literature but in  the broader sense    
afforded a medium for the spread of     
,celtic1 ,byzantine  and ,germanic      
genius4 ,the ,celtic portion of the     
poetry in the early  monastic cycles has
 already been described in connection   
with the ,old  ,hymnal4 ,prior to the   
eighth century1 a transfer of ,celtic   
scholarship  to the continent began to  
take place4 ,the missionaries1          
,columbanus1  ,gall1 ,foilan1 ,disibod  
and others1 came first1 during the      
seventh and  eighth centuries4          
,refugees1 fleeing before the ,norse    
invasions of the  late eighth and ninth 
centuries1 followed4 ,wanderers and     
pilgrims  crossed the ,channel1 among   
them peregrini who left their homeland  
to  live in new countries as a means of 
spiritual satisfaction and reward4      
,scholars came also who hoped for a more
 sympathetic reception for their        

teachings among the continentals4#aj ,on
 the whole1 ,celtic immigrants  found a 
welcome4 ,charlemagne himself favored   
them4#aa ,celtic teachers  were         
proficient in orthography1 grammar1     
,greek1 scriptural and  liturgical      
subjects and the arts4#ab ,they brought 
with them  manuscripts1 the influence of
 which was felt1 not only in their      
subject  matter but in musical notation 
and characteristic scripts4#ac ,the     
,bangor ,antiphonary1 the hymns of which
 have already been considered1  came to 
the continent at this time4 ,among the  
famous teachers of music  was           
,marcellus#ad who1 at ,st4 ,gall1       
instructed ,notker1 ,tutilo1 ,waltram   
and ,hartmann1 a fraternity devoted to  
finer ecclesiastical music and  hymnody4
    ,the role of ,byzantine influence   
cannot be ignored in any account of the 
cultural and historical background of   
ninth century literature4 ,one  should  
recall that the ,carolingian period was 
an era of general ,european  intercourse

 which could not fail to have an effect 
upon society4 ,the  foreign relations of
 the ,frankish ,empire necessitated much
 traveling1  visiting and               
correspondence4 ,warlike as well as     
peaceful movement1  commercial or       
cultural1 increased the interchange of  
ideas4 ,there was an  overlapping of    
boundary lines1 too1 which amalgated    
populations4 ,the  infiltration of      
,byzantine influence might be conceived 
as a by-product  of ,european           
intercourse4    ,insofar as hymnology is
 concerned1 musical contacts between the
  ,byzantine and ,frankish realms were  
frequent4 ,as early as ,pippin's reign1 
,byzantine musicians appeared at the    
,frankish court with a gift of an  organ
 from the ,emperor ,constantinus        
,copronymus4#ae ,many refugee monks  who
 fled to the west during the            
iconoclastic controversy remained there 
even after its close in #ghg1 enjoying  
monastic hospitality and imperial       
favor4 ,charlemagne permitted them to   

use the ,greek language in worship  and 
was so much impressed by the music      
employed in chanting the psalms  that he
 caused it to be adopted for the ,latin 
version also4#af ,the  paramount        
influence of ,byzantine music upon      
liturgical practice in the  west will be
 considered more fully in connection    
with the sequence4    ,verifiable traces
 of ,byzantine influence had already    
appeared with the  activities of        
,gregory the ,great and are entirely    
comprehensible1 so far  as he is        
concerned1 in view of his residence at  
,constantinople1 #egi-ehe1  as papal    
envoy of ,pelagius ,,ii4#ag ,the        
importation of litanies into the  west  
illustrates this type of influence4     
,when ,charlemagne received the         
,sacramentary from ,pope ,hadrian ,i1 it
 was labelled 8,gregorian40 ,but in  the
 interval between the lives of ,gregory 
and ,charlemagne1 popes of  eastern     
origin1 ruling at the end of the seventh
 and the beginning of  the eighth       

century were responsible for western    
practice4#ah ,the  influence of the     
,eastern upon the ,western ,church seems
 to have been  cumulative1 with         
,charlemagne in his day acting as the   
agent for its  diffusion throughout the 
,frankish ,church4    ,in matters       
concerning the church and its worship   
the ,greeks were an  acquisition not    
only as musicians but as scholars and as
 experts in the  fine arts4 ,their      
scholarship was in demand in ,new       
,testament studies4  ,illustrations of  
,greek and of oriental inspiration in   
general are  numerous in architecture1  
painting1 sculpture1 ivories1 work in   
precious  metals and the decoration of  
manuscripts4#ai ,perhaps it was a       
natural  desire to emulate the splendor 
and ornament of eastern rites which led 
,charlemagne to favor ,greek elements in
 western observance at the expense  of  
the ,gallican4    ,in the midst of      
,gallic1 ,celtic1 ,italian1 ,byzantine  
and oriental  influences mingled in     

,carolingian culture1 the presence of   
native genius  is strongly felt4        
,charlemagne has been criticized for his
 devotion to  classical rather than     
,germanic culture4 ,sacred poetry as    
produced in the  ,carolingian literary  
circles1 was written in ,latin and      
clothed in  classical garb4 ,it could   
hardly have been otherwise since ,latin 
was  demanded by the ,church and the    
vernacular languages of western ,europe 
were then in their early infancy4 ,but  
in spite of the studied  artificiality  
of this verse1 a note is sometimes heard
 in harmony with  the poetry of later   
centuries which emanates from ,germanic 
sources4    ,such in brief is the       
background of that revival of hymnody   
which appears  in the ,carolingian      
period4 ,it remains to trace1 in detail1
 the evolution  of the monastic hymnal  
known as the ,later or ,ninth ,century  
,hymnal4                                
,,ii4 ,the ,later ,hymnal    ,the       
enlargement and diversification of the  

,hymnal to which ,canon ,douglas        
referred in the words quoted at the     
close of ,chapter ,two1 occurred  within
 the general historical limits of the   
,carolingian era and with the  exception
 of ,spain and the ,british ,isles1     
within the general  geographical limits 
of ,carolingian political influence4    
,the hymn cycles  of the period1        
recorded in manuscripts which reflect   
the numerical  increase in hymns as well
 as their diffusion upon the continent1 
are  associated with religious centers1 
for example1 ,st4 ,martial1 ,laon1      
,douai1 ,moissac1 ,st4                  
,germain-des-,prs1 ,corbie1 ,jumiges1   
,reichenau1  ,treves1 ,schftlarn near   
,munich1 ,murbach1 ,rheinau1 ,st4 ,gall1
 ,einsiedeln1  ,bobbio1 ,monte ,cassino1
 ,benevento1 ,padua1 ,toledo1           
,canterbury1 ,naples and  many other    
places4 ,the nucleus of the ,later      
,hymnal has been identified  with the   
hymn cycle found partly in a hymnarium  
of the ninth century  from ,st4 ,paul's 

in ,lavantthal1 ,carinthia1 and partly  
in a similar  manuscript from ,karlsruh1
 both manuscripts being associated with 
,reichenau4#bj ,the basic hymns from    
this group of sources current in the    
,carolingian period are listed in the   
appendix to this chapter4 ,a  complete  
list of the manuscript sources 7prior to
 #aajj71 including the  above and       
others1 with an index of the hymns which
 they contain1  approximately #hjj in   
number1 was provided by ,james ,mearns1 
the ,english  hymnologist1 in his ,early
 ,latin ,hymnaries4#ba    ,so much for  
the evidence as to the actual hymns in  
use from sources  available at the      
period when the ,later ,hymnal          
flourished4 ,the origin  of the ,later  
,hymnal1 however1 is far from clear4 ,it
 has been defined  as a collection      
arising about the seventh century which 
superseded the  ,old ,hymnal and has    
since prevailed4#bb ,this opinion       
advanced by ,blume  and affirmed by     
,walpole1 depends upon the theory that  

the later cycle  had been in use in the 
,british ,isles since the period of     
,gregory the  ,great4 ,an ,anglo-,irish 
cycle therefore1 was posited which took 
possession  of the continent1 usurping  
the original ,benedictine hymnal4 ,as   
early as  #aiaa1 ,blume's theory was    
questioned by ,wilmart1 the ,benedictine
 scholar1  who asserted that the early  
cycle constituted a ,gallican hymnal    
only1--a  possibility mentioned above4  
,he thought that the ,later ,hymnal was 
a  new version of the ,benedictine cycle
 representing a normal growth  through  
the centuries4 ,other critics of note   
have adopted one or the  other          
viewpoint1 ,frere following that of     
,blume2 and ,raby1 that of  ,wilmart4#bc
 ,a final solution is obviously         
impossible for lack of  manuscript      
evidence4    ,at the accession of       
,charlemagne1 #gfh1 the future of       
liturgical hymnody  was uncertain as the
 forces of ,roman usage and ,benedictine
 practice were  in conflict and the     

possibility of transferring the         
,benedictine heritage  to the church    
extremely doubtful1 as the preceding    
survey has already  made clear4         
,secondary forces1 however1 were at work
 to achieve this very  end4 ,first1 the 
early gains made in compiling the       
,gallican ,hymnal and  extending it to  
the secular clergy were never entirely  
lost4 ,a precedent  had been set4       
,second1 the ,benedictine cycle was     
enjoined wherever the  ,rule was        
effective and its use was further       
stimulated by royal  capitularies upon  
the subject of music and singing4       
,third1 the  establishment of monastic  
centers of music in the leading         
,benedictine  abbeys was productive of  
literary as well as musical effort1     
attested by  the very manuscripts of    
hymn collections gathered there4 ,the   
manuscripts  of ,st4 ,gall1 for example1
 cover every department of contemporary 
medieval hymnology4    ,charlemagne was 
particularly interested in ,st4 ,gall   

but was also  concerned with the        
monastic centers at ,mainz1 ,fulda1     
,treves1 ,cologne1  ,bamberg1 ,hersfeld1
 ,lorsch1 ,wrzburg and ,reichenau4#bd   
,he founded  ,neustadt and endowed      
twelve monasteries in ,germany4         
,meanwhile missionary  zeal had guided  
,benedictine pioneers beyond the old    
boundaries1 and  ,bavaria and ,frisia   
had already been opened to missions and 
incidentally  to the full round of      
,benedictine activities4 ,louis the     
,pious was active  in monastic reform   
through his association with ,benedict  
of ,aniane2 he  was a special patron of 
,st4 ,gall and he stimulated the efforts
 of  leaders from ,corbie to found ,new 
,corbie4 ,charles the ,bald was a       
benefactor of ,marchiennes1 ,compigne1  
,prum and ,st4 ,denis4#be ,prior to     
this period1 the numerous and           
influential foundations established on  
the  continent by ,irish monks had      
adopted the ,benedictine ,rule1 swelling
 the  total number of centers devoted to

 religious and educational activities4  
,the numerical increase in the          
,benedictine abbeys offers in itself    
presumptive evidence of a greater use of
 hymns4 ,what is known of the  monastic 
centers and their store of hymnaries    
offers direct proof4 ,a  closer bond    
between the ,order and the cultural     
activities of the age is  found in the  
great personalities drawn from          
,benedictine ranks to serve  the        
imperial designs4 ,of particular        
interest here are the statements        
regarding hymns and hymn singing which  
appear in contemporary writings4        
,alcuin was chiefly interested in the   
,roman liturgy as such but he wrote  ,de
 psalmorum usu1 ,officia per ferias and 
the ,epistolae1 the last  of which shows
 a special interest in music4 ,rabanus  
,maurus testifies to  the general use of
 hymns by secular as well as regular    
clergy4 ,amalarius  of ,metz mentions   
the use of hymns outside the            
monasteries4 ,walafrid  ,strabo traces  

the use of hymns from the time of       
,ambrose and repeats the  ,canon of     
,toledo recommending hymns4 ,he says    
that churches which do not  use hymns   
are exceptional4#bf ,the testimony is   
scattered but it points  to the adoption
 of the hymnal by the secular clergy4   
,it should also be  recalled that the   
,ambrosian tradition of musical         
independence was  constantly maintained 
at ,milan4    ,as the ,latin language   
became more and more an exclusive       
clerical  possession1 the old safeguards
 provided by monastic walls were no     
longer  necessary4 ,the whole body of   
clergy whether regular or secular became
  the custodians of the hymnaries used  
in monastic and diocesan centers of     
music and scholarship4#bg ,the          
,christian laity of ,europe at this     
period  may have been largely ignorant  
of their hymnic heritage because the    
,carolingian extension of hymn writing  
and hymn singing occurred within        
clerical ranks4 ,there was at this time 

scant indication of the future  course  
of ,latin hymnology which would         
ultimately restore to the layman  his   
original possession handed down from the
 ,early ,christian ,church4    ,the     
poetical writings of the era included a 
substantial body of  religious verse    
from which hymns are attributed to the  
following  authors3 ,paulus ,diaconus1  
#a2 ,paulinus of ,aquileia1 #g2 ,alcuin1
 #c2  ,theodulphus1 #a2 ,rabanus        
,maurus1 #b2 ,walafrid ,strabo1 #e2     
,florus of ,lyons1  #b2 ,wandelbert of  
,prum1 #a2 ,paulus ,albarus of ,cordova1
 #a2 ,cyprian and  ,samson1 #b2         
,sedulius ,scottus1 #b2 ,milo1 #b2      
,ratbod1 #b2 ,hucbald1 #a2  ,hartmann1  
#d2 ,ratpert1 #d2 ,eugenius ,vulgarius1 
#a2 these with #gc of  doubtful         
authorship make a total contribution of 
#aad hymns4    7,see ,illustrative      
,hymns1 ,,viii4 ,ut queant laxis        
resonare fibris1 8,in  flowing measures 
worthily to sing10 ,paulus ,diaconus47  
,ambrosian meters are set aside in favor

 of the classical meters of the         
,greeks1 the ,sapphic and elegiac meters
 proving to be the most popular         
thereafter4 ,to what extent this        
influence is actually observable in hymn
  cycles may be determined by a         
comparison of the list of ,carolingian  
hymns with the lists of hymns provided  
by ,blume1 ,julian or ,mearns4          
,batiffol selected thirteen as found in 
later breviary lists#bh but the  actual 
direct contribution is much larger if   
other than breviary hymns  are admitted4
 ,moreover1 the literary and liturgical 
studies of the time  broadened the      
original ,benedictine concept that the  
hymns of the  monastic cycle should be  
,ambrosian in style4 ,the hymns of      
,sedulius and  particularly of          
,prudentius and ,fortunatus were        
recognized1 introduced or  freely       
adapted to ecclesiastical usage4    ,the
 direct influence of ,celtic culture    
upon the new hymn cycles must be        
associated with the introduction of     

biblical and liturgical works           
containing hymns into ,frankish         
territory4 ,later1 hymns were written by
  ,celtic scholars1 for instance1       
,samson1 ,sedulius ,scottus 7enumerated 
above7 and possibly others who are      
anonymous4 ,blume's theory of the       
,anglo-,irish hymn cycle1 originally    
sponsored by ,gregory the ,great and    
finally transferred to the continent1   
illustrates the most decisive form      
which ,celtic influence has so far been 
presumed to have exerted4 ,the  list of 
hymns 7see ,appendix7 bears1 on the     
contrary1 no resemblance to  the group  
of contemporary ,celtic hymns4#bi ,it   
seems much more probable  that ,gregory1
 the ,benedictine ,pope1 approved the   
use in ,anglo-,irish  lands1 of the     
continental hymn cycle which the ,order 
was responsible for  carrying northward 
with it when it entered ,britain4 ,in   
any case1 the  ,benedictine cycles from 
the ninth century onward are enriched   
from every  aspect of the diverse       

culture of the age1 in which the ,celtic
  contribution1 both direct and         
indirect1 is important4    ,at this     
period hymnology in the ,greek-speaking 
world was at its height4  ,yet proof is 
sought in vain that ,greek hymns were   
used in the west1  either in the ,greek 
language or in translation4 ,the hymnal 
of the  ,western ,church received from  
,greek sources its recorded tunes1 not  
its  words4 ,although the earliest      
liturgical manuscript with musical      
notation  dates from the ninth century1 
the ,greeks had already given their     
neumes  to the west4 ,as for the hymn   
melodies which are crystallized in these
  manuscripts when they do appear1      
theories of origin abound4 ,a definite  
system of notation was in existence from
 the seventh century but hymns  had been
 sung from the fourth century4    ,in   
modern times through the consecrated    
efforts of ,benedictine students  of the
 chant1 working chiefly at ,solesmes1 a 
collation of the existing  musical      

manuscripts produced in the ,middle     
,ages1 has been made4 ,their  object has
 been to determine the authentic        
melodies of the ,benedictine  cycle     
throughout its long history4 ,today the 
results of their  scholarship are       
available to the public and the great   
hymns which they  have fostered may be  
heard as well as read in their medieval 
form4    ,the assimilation by the       
,franks1 of alien cultures whether      
through  conquest or peaceful           
interchange1 may have been to a certain 
extent  inevitable and involuntary4     
,such phenomena occur in every period of
  history4 ,it is the conscious         
appropriation by the ,carolingian       
leaders of  a cultural heritage and its 
organization through existing           
institutions  which reveals their true  
genius4 ,this same process had taken    
place when  ,roman genius secured and   
conserved the achievement of the        
,greeks4 ,in the  field of religious    
culture with which this volume is       

concerned1 an  unbroken continuity had  
been maintained from the days of the    
primitive  church4 ,even in the minor   
category of ,christian hymnology1 the   
hymnal as  such1 created in the fourth  
century1 was to flourish all the way    
into  our own times and might have done 
so without any special intervention4    
,historically speaking1 in the ninth    
century and under ,frankish auspices1  a
 transformation took place which must be
 attributed to the conscious  effort of 
,frankish churchmen who1 receiving the  
old hymnology1 restored  it to formal   
worship with a much larger content and a
 greatly  diversified form4 ,herein lies
 the fundamental contribution of        
,germanic  genius to the ,later ,hymnal4
    ,individual hymn writers of the     
,carolingian age have been named above  
as  far as they are known1 of whom      
,theodulphus of ,orleans1 ,rabanus      
,maurus  and ,walafrid ,strabo are      
perhaps the most notable4    ,a ,goth by
 race1 a ,spaniard by birth1            

,theodulphus1 7c4 #gfj-;c4 #hba71       
belonged to that population dwelling    
north and south of the ,pyrenees  which 
the ,franks had amalgamated into their  
kingdom4 ,he was learned in  all the    
wisdom of that age and a man of action  
in a sense understandable  in any age4  
,bishop of ,orleans1 courtier1 officer  
in the administration  of ,charlemagne1 
he served the church and the state with 
equal  distinction4 ,theodulphus as a   
poet of sacred verse is best known for  
his  ,palm ,sunday processional hymn1   
,gloria1 laus et honor tibi sit1 8,all  
glory1 laud and honor10#cj which he     
wrote during the period of his fall     
from royal favor under ,louis the       
,pious4 ,this beautiful processional    
hymn1 a triumph of ,carolingian verse1  
invested with all the attraction  of    
legend and religious pageantry1 has been
 a favorite in every period  of         
,christian history4 ,theodulphus was not
 a member of the regular clergy  and he 
did not1 as far as we know1 write hymns 

for the monastic cycle4  ,he represents 
the contemporary trend which brought the
 hymn into new  areas of worship in the 
offices and ceremonies of the cathedral4
    ,rabanus ,maurus1 7#ghj-hef71 of    
,germanic origin1 was primarily a       
theologian4 ,his boyhood studies were   
completed at ,fulda4 ,as a young man  he
 became a pupil of ,alcuin at ,tours4   
,in his maturity he returned to  ,fulda 
reaching the climax of his career as    
,abbot of ,fulda and later1 as          
,archbishop of ,mainz4 ,as a writer1    
,rabanus undertook to hand on1 through  
excerpts1 the knowledge of his          
predecessors4 ,he wrote commentaries on 
the ,bible1 discussed ecclesiastical    
organization and discipline1  theology1 
liturgy and worship and the liberal     
arts4 ,he made translations  into       
,german with the collaboration of       
,walafrid and a ,latin-,german  glossary
 for the ,scriptures4 ,in connection    
with worship he became  interested in   
the ,latin hymns which were rapidly     

spreading through the  west4 ,he        
discussed the ,psalms as hymns and then 
the hymns of ,hilary and  ,ambrose1     
saying of the ,ambrosian hymns1 how     
widespread had become their  prestige in
 his day4 ,we know from other evidence  
that he was acquainted  also with the   
hymns of ,sedulius1 ,columba and ,bede4 
,it seems almost  certain that he       
practiced the art of poetry although we 
are restricted  to a very small remnant 
of verse conceded to be his4 ,the poems 
include a  number of hymns for the      
festivals of the seasons and of the     
saints1  illustrating the vogue for the 
classic in metrical forms4 ,like        
,theodulphus1 he wrote for processional 
ceremonies4 ,the ,pentecostal hymn1     
,veni1 creator spiritus1 has been       
persistently associated with the name   
of ,rabanus but without adequate proof4 
,it is a lasting hymn of the ninth      
century4    7,see ,illustrative ,hymns1 
,,ix4 ,veni1 creator spiritus1          
8,creator-,spirit1  all-,divine407      

,walafrid ,strabo1 7#hji-;c4 #hdi71 was 
like ,rabanus of ,germanic origin and   
like him a member of the regular clergy4
 ,at ,reichenau he received his  early  
education and at ,fulda his theological 
training under ,rabanus4  ,walafrid was 
drawn into the courtly circle of ,louis 
the ,pious whose son  ,charles he       
tutored and whose wife ,judith became   
his literary patron4 ,his  life was one 
of scholarship1 prosperity and          
contentment almost to the  end of his   
career4 ,louis had appointed him ,abbot 
of ,reichenau1 a place  dear to him from
 boyhood4 ,from these happy surroundings
 and from his  garden which he          
immortalized in careful and loving      
description1 he was  ousted during the  
civil conflict following the death of   
the emperor4 ,at  the end he was        
restored to ,reichenau and there he     
died4 ,his hymns like  those of         
,theodulphus and ,rabanus1 although few 
in number1 were written  in the spirit  
of the classical revival4 ,some were    

intended for festivals  and others which
 will be described in connection with   
processional  hymnody1 were written to  
honor royal patrons4    ,in reviewing   
the basic hymns of the ,later ,hymnal   
7see ,appendix71 one  finds only two of 
,mozarabic origin whereas nine were     
duplicated in the  ,old ,hymnal in      
,spain and ,gaul4 ,the new cycles in    
areas under ,frankish  influence appear 
to diverge from the ,mozarabic as they  
become more  diversified4 ,at the same  
time1 ,mozarabic sources reveal a       
parallel  evolution of the hymnal in the
 ,iberian peninsula4 ,the existing      
manuscripts were collated and edited in 
#ahig by ,blume in volume  twenty-seven 
of the ,analecta ,hymnica under the     
title ,hymnodia  ,gotica1 comprising    
#cab hymns of which #baj were identified
 by him as  ,mozarabic in origin4       
,the hymns of ,spain1 first assembled   
under the auspices of ,gothic  churchmen
 as recounted in ,chapter ,two1         
continued to increase with the          

encouragement and participation of      
,mozarabic liturgists1 scholars and     
prelates4 ,the generation that supported
 ,isidore of ,seville was succeeded  two
 hundred years later by the group       
associated with ,eulogius1  ,archbishop 
of ,cordova 7d4 #hei71 who fostered the 
old traditions under  ,moslem           
control4#ca ,in spite of a ruling power 
alien in every aspect of  culture1      
,christian hymnology held its own4      
,after the ,moorish invasions1  it is   
estimated that between thirty and forty 
hymns were written1  several of which   
contain references to the yoke of the   
oppressor and  petitions for its        
removal4#cb ,when the movement toward   
the expulsion of  the ,moors had been   
successfully initiated and the ,roman   
,rite introduced  7#ajhi7 the ,mozarabic
 hymnals were comparable to the finest  
of the  continental cycles4 ,in certain 
instances the contacts between ,spain   
and  ,gaul were close and direct even   
under the rule of the ,moslems4         

,theodulphus of ,orleans combined the   
,gothic and ,carolingian trends4        
,alcuin was indebted to ,mozarabic      
sources in his reform of the ,frankish  
rites4#cc ,hymns of ,mozarabic origin   
appeared in other parts of western      
,europe and vice versa4    7,see        
,illustrative ,hymns1 ,x4 ,deus immensa 
trinitas1 8,o glorious  immensity407    
,the possible influence of ,arabian     
music and poetry upon the ,christian    
hymn has been a tempting idea and one   
most elusive of pursuit4 ,studies  of   
medieval ,spanish music and musical     
instruments have failed to  demonstrate 
that the ecclesiastical chant in ,spain 
was thereby affected4  ,such novelties  
as it may have possessed have been      
traced to influences  similar to those  
which had long before affected the      
,ambrosian chant and  been transmitted  
to the west4 ,as for the tentative      
assumption that  ,arabian lyric poetry  
influenced contemporary hymn writers in 
,spain1 the  evidence narrows to the    

mono-rhyme or repeated end-rhyme common 
to  ,arabian poetry and to several      
,mozarabic hymns4#cd ,the whole subject 
of  the ,arabian impact1 highly         
controversial as it is1 appears to be   
concerned with influences1 which when   
scrutinized1 are observed to  spring    
from cultures prior both to             
,christianity and to ,islam4    ,the    
,mozarabic ,hymnal in its fully         
developed version possessed an          
unusually large number of hymns honoring
 local saints4 ,this feature must  be   
referred to the history of the ,roman   
persecution in the ,iberian  peninsula  
where the complete destruction of the   
,church was intended and  martyrdom was 
the rule4 ,again the ,hymnal is unique  
in its hymns for  public occasions      
either of mourning and intercession in  
time of war1  pestilence1 drought and   
flood or of joy1 in festivals of the    
consecration of bishops1 the coronation 
of kings and thanksgiving for  full     
harvests4                               

,,iii4 ,characteristics    ,for the most
 part the hymn writers of the later hymn
 cycles are  anonymous1 like their      
predecessors in this field4 ,anonymity  
is then the  first characteristic to be 
noted concerning the hymnal in this     
period1  which makes it necessary to    
survey the whole as an objective        
achievement  of the age1 not of a few   
individuals4    ,next to the anonymity  
of its authorship1 possibly the most    
conspicuous  feature of the new hymnal  
is the enlargement of each of its       
general  divisions1 the ,common and the 
,proper of the ,season and the ,common  
and  the ,proper of ,saints4 ,the old   
hymn cycle1 it will be recalled1        
comprised  thirty-four hymns as listed  
by ,blume4 ,the later cycle in its      
nucleus  numbers thirty-seven hymns of  
which seven are repeated from the old   
cycle4 ,in ten representative tenth     
century hymnals1 the hymns number  from 
about fifty to about one hundred1 many  
of them common to several  lists4#ce    

,not only is the total number of hymns  
increased but festival hymns are        
multiplied1 the ecclesiastical year as  
it was later known being fully          
established in hymnology4 ,advent1      
,nativity1 ,epiphany1 ,lent1 the        
,passion1  ,easter1 ,ascension1         
,pentecost and ,trinity have their own  
groups of hymns4  ,the various feasts of
 the ,virgin and that of ,all ,saints   
are honored4  ,among the ,apostles1     
,sts4 ,peter1 ,john and ,andrew are     
praised2 of other  biblical saints1     
,sts4 ,john the ,baptist1 ,stephen1     
,paul2 of the angels1  ,st4 ,michael2 of
 martyrs1 the ,innocents and ,st4       
,laurence2 of local  saints1 ,sts4      
,martin of ,tours1 ,gall1 ,germanus1    
,martial1 and a number of  others4 ,so  
stands the record of manuscripts of the 
tenth century when  hymnal gains had    
been consolidated4 ,the process went    
steadily onward as  ,latin hymns for the
 offices continued to be written to the 
end of the  ,middle ,ages4 ,a few have  

been added since the sixteenth century  
but1 with  certain exceptions1 the great
 body of office hymns of the medieval   
church was permanently established by   
#aajj1 the date which ,mearns  selected 
as a boundary line4 ,the same sources   
enriched the present-day  ,roman        
breviary which by a paradox of history1 
has preserved to modern  times the      
representative hymns to which the ,roman
 liturgy of that early  period was so   
inhospitable4    ,as a matter of fact1  
in the interval between and including   
the fourth  and the eleventh centuries1 
the ,latin hymn1 considered in its      
literary  implications and in its       
liturgical usage1 was founded for the   
ages4  ,attaching to the word hymn its  
strictest sense and narrowest function1 
that of the office hymn1 the student    
perceives the great significance of     
this department of medieval hymnology as
 compared with the sequence1            
processional and extra-liturgical hymns 
of the ,middle ,ages4 ,it becomes  more 

evident that here is the core and heart 
of ,latin hymnody4 ,the  ,church could  
and did in the event1 dispense with much
 of its medieval  collection1 but never 
with the hymnal4 ,here was preserved the
 ethics of  the ,christian life1 the    
intimacy of the scriptural narrative1   
the  presentment of the ,christian      
feasts and the praise of ,god and of his
  saints4                               
,appendix       ,later ,hymnal 7,see    
,anal4 ,hymn41 #ea1 ,introduction p4    
xx-xxi7      ,ad parvas horas      ,iam 
lucis orto sidere      ,nunc sancte     
nobis spiritus      ,rector potens verax
 ,deus      ,rerum ,deus tenax vigor    
,ad vesperas      ,lucis creator optime 
,immense caeli conditor      ,telluris  
ingens conditor      ,caeli ,deus       
sanctissime      ,magnae ,deus potentiae
      ,plasmator hominis ,deus          
,deus creator omnium 7,in ,old ,hymnal7 
,o lux beata trinitas 7,mozarabic7      
,ad nocturnas horas      ,primo dierum  
omnium      ,somno refectis artubus     

,consors paterni luminis      ,rerum    
creator optime      ,nox atra rerum     
contegit      ,tu trinitatis unitas     
,summae ,deus clementiae      ,ad       
matutinas laudes      ,aeterne rerum    
conditor 7,in ,old ,hymnal7             
,splendor paternae gloriae 7,in ,old    
,hymnal7      ,ales diei nuntius        
,nox et tenebrae et nubila      ,lux    
ecce surgit aurea      ,aeterna caeli   
gloria      ,aurora iam spargit polum   
,ad completorium      ,christe qui lux  
es et dies 7,in ,old ,hymnal2           
,mozarabic7      ,te lucis ante terminum
      ,proprii de tempore      ,ad cenam
 agni providi 7,in ,old ,hymnal7        
,aurora lucis rutilat 7,in ,old ,hymnal7
      ,de communi sanctorum      ,martyr
 ,dei qui unicum      ,rex gloriose     
martyrum      ,aeterna ,christi munera  
7,in ,old ,hymnal7      ,sanctorum      
meritis inclita gaudia      ,virginis   
proles opifexque      ,iesu corona      
virginum      ,summe confessor sacer    
,,chapter ,,four                        

,the ,ninth ,century ,revival3          
,sequences                              
,i4 ,origin    ,the problem presented by
 the origin of the sequence is perhaps  
the most  difficult of all those        
connected with the evolution of medieval
  hymnology4 ,so far the available      
information on the subject has never    
been brought together in one place4 ,to 
do so is a baffling task which  has by  
no means been completed here nor is that
 which follows either  exhaustive or    
conclusive4 ,it is merely an attempt to 
trace the origin  and early development 
as far as the evidence at hand makes it 
possible1  at the same time referring   
the reader to those scholars who have   
investigated special topics in detail4  
,the alleluia of the mass is the        
starting-point of the sequence4         
,inherited from the synagogue and       
incorporated in the ,byzantine rite1 it 
was nevertheless brought independently  
to ,rome4 ,the extension of the  final a
 constituted a musical phrase1 called a 

iubilus or  iubilatio4 ,this elaborated 
alleluia with iubilus is ,gregorian4#a  
,it became necessary for the sake of    
breathing1 to divide the extended       
iubilus into musical phrases1 each a    
sequentia and the whole  sequentiae4    
,some iubili however1 remained single   
while others were  sung by two choirs   
with a repetition of phrases4 ,the next 
step was the  composition of a text for 
some of the iubili1 which text was      
written  below the musical notation4    
,finally a text was supplied for every  
such  melody1 which resulted in the     
sequentia cum prosa4#b    ,it is one    
thing to note the preceding succession  
of steps as objective  phenomena4 ,it is
 quite another to explain the origin of 
the idea which  transformed the alleluia
 into the larger iubilus4 ,this is the  
most  obscure point in the musical      
development of the sequence1 which1 for 
lack of manuscript evidence cannot at   
present be clarified4 ,at least  three  
hypotheses have been offered4 ,arguing  

from the appearance of the  trope1 some 
have suggested that the iubilus is a    
musical interpolation  just as the trope
 is a textual interpolation4 ,this is   
quite possible but  perhaps too simple  
for an adequate solution4 ,a much more  
tempting  hypothesis has appealed to a  
variety of scholars1--that of the       
introduction of ,greek melodies4#c ,to  
these students it has seemed more  than 
probable that the intercourse between   
western ,europe and the  ,byzantine     
realms in the reign of ,charlemagne     
constitutes a sufficient  explanation   
for the appearance of fresh musical     
themes4 ,again1 a  possibility only has 
been suggested4 ,so far manuscript      
evidence for the  ,greek melodies from  
which the ,gregorian alleluiae and their
 iubili  are derived1 has not appeared4 
,blume1 whose treatment of the subject  
forms the basis of this chapter1 not    
only questions the hypothesis of  ,greek
 melodies but he offers a third         
suggestion and that tentatively2        

,gregory1 he thinks1 shortened the      
alleluia brought over by the ,greeks4   
,when1 later1 a tendency was felt to    
elaborate the forms of worship1 the     
longer melodies were once more revived  
in the sequence4 ,this very  interesting
 suggestion1 if one day capable of      
proof1 would harmonize the  ,byzantine  
and ,gregorian influences which produced
 the initial extension  of the final a  
of the alleluia4    ,for purposes of    
clearness a differentiation should be   
made between the  musical and poetical  
development of the sequence as soon as  
the  sequentia cum prosa is reached4    
,manifestly it is impossible to do so1  
in any complete fashion1 where words and
 music are so inextricably  interwoven  
in a common development4 ,it is better1 
however1 to attempt  the impossible and 
for the present1 to ignore              
overlappings4#d    ,the origin of the   
word sequentia itself1 in the phrase    
sequentia cum  prosa has often been     
discussed because of its significance in

 tracing  the musical development of the
 forms in question4 ,to some scholars   
sequentia means merely sequela1 i4e4    
notes following the a of  the alleluia1 
a simple and tenable theory4 ,to the    
great majority1  however1 sequentia is a
 translation of the ,greek akoulouthia4 
,in  fact it has been generally accepted
 as such1 although sequentia  conveys   
the idea of continuation in the ,greek  
word rather than its  technical meaning 
of a continuation specifically of songs1
 etc4 ,if this  is valid1 ,greek        
influence upon the origin of the        
sequence is  inferred4#e ,another form  
of the theory of ,greek influence is    
evident in  the suggestion that         
sequentia means hirmos1 that is1 a      
regular  continuation of tones4 ,hirmos 
may refer to poetry also4#f ,a          
derivation of sequentia from ,greek     
terms1 if proven1 would of course1      
buttress the theory of ,byzantine       
influence upon the whole development2   
but the weakness of the derivation from 

akoulouthia1 for example1 is  its       
dependence upon a misunderstanding of   
the ,greek form of worship to  which the
 word applies4#g ,an entirely different 
suggestion as to origin  arises from the
 formula used in the liturgy to announce
 the ,gospel1  ,sequentia ,sancti       
,evangelii secundum etc4#h ,often some  
practical  consideration1 extraneous    
condition or unrelated incidental       
circumstance  has affected liturgical   
change or development4 ,consequently1   
even a  slight suggestion like this     
provokes thought4    ,whatever may be   
the correct origin of the word sequentia
 the place of  origin of the sequence is
 generally conceded to have been ,france
  sometime in the eighth century4 ,the  
part played by other lands in the       
origin of the sequentia cum prosa cannot
 be wholly determined at  present4 ,it  
must suffice to study the evidence      
available4 ,it has been  demonstrated   
how the early ,french sequences have a  
closer tie with the  alleluia and how   

the word is sometimes retained to       
introduce the  prosae which accompany   
the music4 ,there is considerable       
evidence  supporting ,french priority   
over the ,germans in the creation of    
these new  musical forms1 the chief     
centers of composition being ,st4       
,martial1  ,luxeuil1 ,fleury-sur-,loire1
 and ,moissac1 the outstanding rival of 
,st4  ,martial4 ,an origin for the      
sequence in ,france is independently    
probable  due to the interest in        
liturgical music stimulated by          
,charlemagne1 who1  as shown in the     
preceding chapter1 favored ,gregorian   
and ,byzantine  innovations at the      
expense of ,gallican forms4    ,one of  
the suggestions mentioned to account for
 the original lengthening  of the       
alleluia in the iubilus is connected    
with the trope4 ,the word  has long been
 defined as a textual interpolation4#i  
,gastou1 however1  contends that it was 
originally and primarily musical1 a     
vocalization in  the existing chant and 

that it was created in the music school4
 ,the  ancient form of trope is a neuma 
triplex added to the response ,in  medio
 etc4 for the ,feast of ,st4 ,john the  
,apostle1 or to ,descendit de  caelis   
for ,christmas4 ,this vocalism is       
described by ,amalarius of ,metz  and   
indeed ,metz may be its place of origin4
 ,alcuin has been named as the  possible
 originator1 a theory strengthened by   
the fact that ,amalarius  was one of his
 pupils4#aj ,at any rate ,amalarius     
seems to have been the  first to call   
the melody following the alleluia1 a    
sequentia1#aa  from which it is evident 
that the iubili must have been regarded 
in  some other light prior to his       
writing4 ,the sequentia in connection   
with the alleluia may very reasonably   
have been considered a trope1  since    
vocalisms like these had already        
appeared elsewhere in rites of  worship1
 and sequences in addition to those     
which belong to the  alleluia of the    
mass have been found in antiphonaries4  

,to repeat1  ,gastou describes a musical
 interpolation or trope originating in  
the  music schools of the ,franks and   
appearing in various liturgical         
settings4 ,he likens the iubilus to a   
trope which ,amalarius called a         
sequentia4 ,the original divisions      
created by the musical phrases in  the  
iubilus now appear in a series1 each    
repeated a certain number of  times with
 introduction and conclusion and thus   
the completed sequence  structure comes 
into being4 ,the germ of its formal     
construction1 ,gastou  finds in certain 
,gregorian sources4 ,the ancient        
alleluia1 ,justus ut  palma florebit1   
shows such characteristics and reveals  
the liturgical  ,latin origin of the    
sequence1 its melody going back to the  
versus  alleluiaticus4    ,in spite of  
the evidence which would make the       
sequence a native musical  product of   
western ,europe1 the theory of ,greek   
origin is still  persistently held by   
certain scholars4 ,for that reason it   

must be  considered in greater detail4  
,gregory's adoption of ,greek novelties 
forms the starting point of this theory1
 while ,charlemagne's well-known        
enthusiasm for ,greek innovations       
carries its proponents still further4   
,the fact that the original ,greek      
melodies which are assumed to have been 
used in the west1 have never been       
produced in evidence1 is not a proof  of
 their non-existence4 ,an extensive     
study of certain sequence melodies  has 
been made in order to determine whether 
they are modeled upon ,greek  originals1
 since the ,greek names for these       
melodies and features of  notation point
 to such an origin4#ab ,but such names  
are secondary1 the  original and natural
 name being the first phrase of the     
,latin words  accompanying the melodies 
and the ,greek word a suggested title4  
,a ,greek  melody1 called ,organa1 for  
instance1 might be assumed to retain its
  name in ,latin4 ,the opposite is the  
case for the name ,filia matris is      

original and ,organa the suggested      
title4    ,regarding the argument from  
notation it is a matter of common       
knowledge  that the neume is native to  
,greek-speaking lands and may have      
existed  as early as the sixth          
century4#ac ,neumes took firm root at   
,st4 ,gall1  the great ,german center   
for the propagation of the sequence1 so 
much so1  that they persisted until the 
twelfth century even after the invention
  of the staff and in the interval were 
spread by teaching4 ,moreover1  neumes  
were written in the manner of the       
eastern church1 i4e4 in a  straight     
line1 not at different levels to        
indicate pitch4#ad ,it is  unfortunate  
that the dearth of manuscripts showing  
neumes makes a gap  in the evidence just
 where support is most needed1 for the  
earliest  musical manuscripts with this 
notation date from the ninth century2#ae
  but the assumption in favor of ,greek 
originals is at least strong enough  to 
forbid its being ignored4    ,an        

additional circumstance which supports  
the theory of ,greek origin is  the fact
 of musical parallelism in the structure
 of the sequence4 ,this  is an important
 point of contact between the sequence  
and ,byzantine  musical forms1 although 
it has not been universally convincing4 
,on the  contrary1 some have traced this
 phenomenon of musical parallelism to   
one  of those extraneous conditions1    
affecting liturgical practice1 namely1  
the use of antiphonal choirs4#af        
,nothing can be more unsatisfactory to  
the student who is trying to force  the 
sequence into any particular theory of  
musical origin than the  contemplation  
of what is actually known on this       
subject1 for the  question seems        
destined to remain undecided4 ,a better 
perspective may be  reached by examining
 the poetical development of the        
sequence which  began with the sequentia
 cum prosa and ended in a new form of   
,latin  hymn for which melodies were in 
turn composed4    ,the text written     

below the alleluia melody is generally  
accepted as of  ,french origin and      
likewise the naming of that text4 ,as   
the text became  important the melody   
too was named so that the melody and    
text were  differentiated from each     
other1 the latter as a prosa4 ,it is    
unknown  whether the name sequentia     
instead of prosa was chosen deliberately
  as differing from the ,french usage4  
,amalarius was apparently the first  to 
use the word sequentia in connection    
with the music4 ,later the term  was    
destined to supersede the name prosa for
 the poetical text4    ,we owe to       
,notker1 whose part in creating the     
sequence will be considered  in greater 
detail below1 an account of his         
invention of words as an aid  to        
memorizing the elaborate melody of the  
alleluia trope4 ,whether  ,notker was   
the first to see the value of this      
device and to employ it1  is unknown4#ag
 ,as a theory of origin it has always   
been popular1 being  held by ,frere and 

many others4 ,for the present it may be 
acknowledged  that it is a reasonable   
theory for1 of course1 only the choir   
leader had  a musical codex to refer to 
and the musical ability of the average  
monk  was unequal to the difficulties of
 memorization by ear alone4 ,moreover1  
this theory can always be accepted with 
others1 although it seems  inadequate by
 itself4    ,a second explanation of    
origin arises from the possibility that 
sequence  poetry originated in the      
imitation of ,greek hymn models4 ,the   
statement  has been made definitely that
 sequence poetry shows the transference 
of  the ,byzantine structure of hymnody 
to ,latin church poetry1 especially     
,notker's4#ah ,with every circumstance  
favoring such a transfer it is  amazing 
that the ,franks who heard so much of   
,greek hymns and could have  translated 
them into ,latin and sung them to the   
same tunes1 evidently  did nothing of   
the kind4 ,some other explanation of    
similarity must be  found4 ,metrical    

parallelism1 which is characteristic of 
the ,latin  sequence and contemporary   
,greek hymns1 in ,gastou's opinion1 can 
be  accounted for only by reference to  
,hebrew poetry as the ultimate          
inspiration of liturgical poetry4#ai    
,thus a ,byzantine theory of origin     
breaks down when metrical sources are   
subjected to closer scrutiny4  ,after   
all1 the sequence is unknown in the     
,byzantine ritual and therefore  the    
,byzantine influence could never have   
been direct4    ,a third theory         
emphasizes the metrical form of the     
alleluia melody as  the determining     
factor in creating a new poetical       
rhythm4#bj ,here1 the  desire to create 
fitting expressions of praise is not    
explained so much  as the form in which 
the praises are cast4 ,von ,winterfeld  
thought that  rhythmical prose was      
inseparable from the liturgical music   
which had  already been composed1 just  
as the ,greek chorus and the ,wagnerian 
music  drama found their complement in a

 dignified and sonorous prose           
rhythm4#ba ,this theory may well be     
called the liturgical4 ,it is most      
significant for the lyrical movement in 
general since a new metrical  form is   
created differing from the ,ambrosian   
meter or the revived  classical meters  
popular among ,carolingian poets4 ,the  
lyric is born  again1 as ,meyer         
expresses it1 in the music of the       
church4#bb ,a poem  arises consisting of
 a series of parallel strophes with     
introduction and  conclusion1 a lyric   
counterpart to the musical phrases of   
the  sequentia4                         
,,ii4 ,sequences of the ,german ,school 
,the importance played by ,st4 ,gall in 
the development of the sequence has     
given rise to the theory that it        
originated there4 ,present-day opinion1 
as indicated above1 concedes that       
sequences arose in ,france and that ,st4
  ,gall is not a place of origin but    
like ,st4 ,martial1 a prominent center  
for their composition and diffusion4    

,other centers were ,metz1 ,murbach1    
,fulda1 ,echternach1 ,kremnster and ,st4
 ,florian4 ,reichenau1 too1 was         
important in music and in the spread of 
sequence poetry4#bc    ,notker          
,balbulus1 7#hdj8-iab71 was largely     
responsible for the enviable  reputation
 enjoyed by ,st4 ,gall4 ,born in        
,switzerland1 ,notker had entered  the  
,benedictine monastery at ,st4 ,gall as 
a child to be educated and  there he    
continued as a member of the ,order     
until his death4 ,a pupil and  later a  
teacher of the music school in the      
period of ,louis the ,pious and  ,louis 
the ,german1 he shared the life of the  
,abbey during the height of  its        
reputation1 when its doors were open to 
travelers from every land  and every    
rank of society4 ,notker himself tells  
of the refugee from the  ,french        
monastery of ,jumiges who brought with  
him his famous  ,antiphonary4 ,tradition
 has it that ,notker composed words to  
fit the  forms of the alleluia-iubilus1 

note for note1 already in use in his    
monastery1 and thus originated the      
sequence1 finding his inspiration1  not 
in the ,ambrosian hymns but in the      
liturgy4#bd ,the ,jumiges  ,antiphonary 
reached ,st4 ,gall about #hfj1 by which 
time prosae were  already known in      
,france4 ,there is evidence1 moreover1  
from manuscripts1  that texts existed   
before ,notker's time in ,st4 ,gall4 ,he
 is not their  first composer nor are   
the sequences emanating from ,st4 ,gall 
necessarily  all ,notker's work4        
8,notkerian0 means for sequences what   
8,ambrosian0  means for hymns4    ,the  
problem of the authentic ,notkerian     
sequences was subjected to  critical    
study and variously solved by ,schubiger
 in #aheh1 ,wilmanns in  #ahgb1 and     
,werner in #aija4 ,more recent students 
have re-examined the  evidence and      
expressed their critical opinions as to 
,notker's poetical  and musical         
prestige3 ,singer in #aibb1 ,van ,doren 
in #aibe and ,clark in  #aibf4 ,of more 

than #ajj sequences attributed to       
,notker1 #dg were judged to  be         
authentic and edited in volume #ec of   
the ,analecta ,hymnica4 ,notker's       
ability as a musician appears to be a   
matter of controversy4 ,a new  review of
 the ,notkerian problem and its         
literature has been offered by  the     
,swiss scholar1 ,wolfram von den        
,steinen1 together with an edition of   
the sequences of the ,st4 ,gall         
school4#be ,what scholars in general    
have  taken away from ,notker with one  
hand they return with the other1 for if 
not an originator he is conceded to be  
the leading agent in introducing  the   
sequence into ,germany and setting a    
standard for this type of poetry  which 
included from ,notker's pen a notable   
group of sequences for the  festivals of
 the whole year4 ,his sequence for      
,pentecost is  representative of the    
achievements of the ,german school4     
7,see ,illustrative ,hymns1 ,,xi4       
,sancti spiritus adsit nobis gratia1    

8,the  grace of the ,holy ,ghost be     
present with us407    ,it is not        
surprising that scholars interested in  
the theory of ,greek  influence upon    
sequence poetry should seek confirmation
 of their views  in ,notker's work4     
,there is a majestic quality and a      
vigorous resounding  praise in these    
poems which has been thought a          
reflection of ,byzantine  hymns4        
,reference has already been made to the 
,byzantine strophic system  and its     
probable influence upon ,notker's       
poetical technique4 ,when one  considers
 that the monastery of ,st4 ,gall was   
always a port of call for  refugees and 
travelers from the east and in the      
preceding century may  have harbored    
many of them1 it is reasonable to       
suppose that ,notker was  acquainted    
with contemporary ,greek hymnody4       
,whatever may be the  explanation of the
 metrical system employed by ,notker1 he
 undoubtedly  named his melodies in such
 a way as to suggest a ,greek           

identification4#bf    ,there remains    
another line of research1 which is      
relatively unimportant1  yet should be  
noted when the question of ,greek       
influence is raised4 ,it  has been      
stated that ,greek words are used in    
,latin sequences1 thereby  proving      
contact with ,greek-speaking            
contemporaries on the part of their     
authors1 or with ,greek literary        
sources4 ,whenever this test is applied 
to any medieval writing produced by     
churchmen it should not be forgotten    
that the ,vulgate was the one great     
continuous source1 inspiration and      
standard of the ,latin language as      
employed in the ,middle ,ages4          
,throughout the period1 all ,latin hymns
 which include a narrative element  or  
refer in any other way to biblical      
statements are greatly indebted to  the 
,vulgate4 ,a considerable number of     
,greek words1 naturally1 appear in  the 
,vulgate4 ,applying the criterion of    
,greek words to ,notker's  sequences1   

one reaches no definitive results       
whatever4 ,in the forty-one  sequences  
attributed to ,notker by ,wilmanns1 some
 seven ,greek words  appear which are   
not in the ,vulgate4#bg ,if this proves 
anything in  ,notker's case1 it is      
significant only in connection with     
other evidence  from ,greek originals   
which has not been advanced4    ,having 
considered the separate development of  
the musical and poetical  aspects of the
 sequence1 as far as they can be        
sundered1 it remains to  view certain   
factors which may have affected that    
development but have  not as yet been   
stated4    ,the history of medieval     
music1 quite apart from the creation of 
the  iubilus and the sequentia1 should  
not be overlooked by the student  who is
 trying to understand liturgical music  
in this general period4  ,perhaps during
 the eighth and certainly from the ninth
 century1  polyphonic and harmonic forms
 began to appear4 ,new melodies for     
sequences were in demand and were       

produced1 which in turn were  influenced
 by popular and secular music1 with an  
interaction of words  and music taking  
place1 sometimes with words1 sometimes  
with music  leading the way4#bh ,the    
history of the sequence1 when complete1 
will  owe much to the studies of        
medieval music now in progress by       
musicologists1 some of whose conclusions
 have been noted above4 ,the  history of
 musical instruments is relevant here   
but in any case it must  always be      
remembered that the church possessed the
 musical notation and  was able to      
dominate the field4    ,if the course of
 secular and ecclesiastical music       
accompanying the  sequence remains      
uncertain1 so are the currents of       
medieval religious  and secular verse in
 ,latin still uncharted4 ,which is the  
original  stream8 ,latin secular poetry 
existed contemporary with the early     
sequence1 the secular form of which was 
known as a modus1#bi which1  like the   
sequence1 was inseparable from its      

musical accompaniment for  the minstrel 
both sang and played his unrhymed lay4  
,some have taken the  extreme point of  
view of the part played by secular      
influence and have  regarded the        
sequence as a popular lyric in worship1 
perhaps even a  ,volkslied4#cj ,but the 
question as to the predominance of      
influence  whether religious or secular1
 remains open4    ,the argument for     
influence from vernacular verse upon the
 sequence is  equally weak4 ,prior to   
the ninth century vernacular lyrics in  
the  ,germanic tongues are so rare as to
 be valueless in this discussion4       
,celtic lyrics from the seventh and     
eighth centuries are also rare4 ,it is  
possible that they were known to ,celtic
 teachers on the continent but  too much
 should not be assumed from this        
possibility or from the fact  that the  
oldest form of ,celtic lyric exhibits   
rhythmic parallelism4#ca  ,french1      
,spanish and early ,english vernacular  
lyrics appear too late to  be           

significant in the problem of origins4  
,in any case1 the question  hinges upon 
metrical technique which can be         
adequately explained without  recourse  
to vernacular lyrics1 which1 insofar as 
they do exist1 may be  regarded as      
themselves imitations of earlier ,latin 
forms4    ,the evidence offered by      
secular lyrics1 ,latin or vernacular1 in
 the  early ,middles ,ages points to an 
outstanding growth from the sequence    
rather than a creative source for the   
sequence4 ,as a matter of fact the      
sequence breaks away from the church and
 itself becomes secular1 as the  history
 of poetry in the later ,middle ,ages   
bears witness4    ,the above            
presentation of what is known as to the 
origin of the sequence  can scarcely be 
satisfactory to the scientific historian
 of medieval  culture4 ,full of         
inconvenient gaps and baffling          
inconsistencies the  evidence remains   
totally inadequate4 ,one conclusion     
alone may be  advanced and that         

tentatively2 the sequence appears to    
have been created  wholly within the    
liturgy of the mass4 ,the troparium or  
tropary1  later the gradual and missal  
contained the sequences for the annual  
feasts just as the hymnarium or hymnary1
 later the breviary had  contained the  
hymn cycles of the offices4    ,the     
appearance of the sequence in the       
history of medieval hymnody was an      
episode of the greatest importance not  
only in the evolution of ,latin         
religious and secular poetry but in     
their vernacular counterparts4 ,in      
order to understand the extraordinary   
popularity and wide diffusion of  the   
sequence it must be emphasized that it  
is not just another hymn1 but  an       
ornament to the mass1 individually      
created for each and every  festival    
with a particular theme in mind4 ,the   
seasons of ,advent1  ,nativity1 the     
,passion1 ,easter1 ,ascension1          
,pentecost1 ,trinity1 the ,virgin       
festivals of the ,nativity1             

,annunciation1 ,visitation1             
,purification and  ,assumption1 the     
feasts of the ,apostles and other       
biblical ,saints1 the  ,martyrs1        
,confessors and ,virgins formed a great 
series which challenged  the finest     
efforts of the clerical poets4 ,herein  
lies the essential  interest of this    
hymnody4 ,the original ,latin hymn was  
associated with  daily secular worship  
and then with the canonical hours of the
  monastery4 ,the sequence was          
associated with the celebration of the  
divine sacrifice4    ,as a closing      
illustration for this chapter the       
,alleluiatic sequence has  been         
selected4 ,based upon the canticle1     
,benedicite omnia opera1 and  often     
attributed to ,notker1 this superb      
sequence reaches a height of  expression
 comparable to the noblest hymns of the 
ninth century revival4    7,see         
,illustrative ,hymns1 ,,xii4 ,cantemus  
cuncti melodum nunc ,alleluia1  8,the   
strain upraise of joy and praise407     

,,chapter ,,five                        
,late ,middle ,ages3 ,hymns and         
,sequences      ,beginning with the     
twelfth century the large number of new 
hymns and  sequences produced point to a
 degree of creative activity that       
continued  through the ,high ,middle    
,ages4 ,a recent historian of medieval  
literature1  ,de ,ghellinck1 sees the   
religious poetry of the twelfth century 
rivalling  the secular1 and points out  
that ten thousand specimens of every    
type of  religious verse1 from #ajfj to 
#abbj1 are edited in the ,analecta      
,hymnica4#a ,maurice ,hlin1 whose       
attractive volume is available in       
,english translation1 considers the     
poetic product of the twelfth century   
the peak of ,latin poetry and 8its most 
original contribution to the            
intellectual patrimony of the west40#b  
,it is easier to repeat such a statement
 than to present acceptably the         
relevant evidence in the field with     
which this chapter is concerned4 ,one   

might expect a larger proportion of     
known authors but anonymity remains  the
 rule4 ,the exceptions command          
recognition among the most notable      
writers of hymns and sequences in any   
period of their production4             
,i4 ,sequences of the ,french ,school   
,the sequence1 originally a product of  
,france1 already perfected as a         
poetical form by ,notker and the ,german
 school of ecclesiastical hymn  writers1
 attained a greater influence and       
popularity under ,adam of ,st4  ,victor4
 ,in #aacj ,adam entered the            
,augustinian ,abbey of ,st4 ,victor on  
the  outskirts of ,paris and there he   
remained until his death4 ,whether a    
native of ,france or ,england is        
unknown4 ,like ,notker1 he followed in  
his  poetic themes the annual festivals4
 ,to him have been attributed more  than
 #ajj sequences which appear in the     
manuscripts of ,st4 ,victor4 ,they  were
 published first by ,leon ,gautier in   
#aheh and in the later nineteenth       

century were subjected to critical      
analysis by ,misset who regarded #de    
sequences as authentic4#c ,blume1 who   
edited the ,victorine sequences in      
volumes #ed and #ee of the ,analecta    
,hymnica1 attributed #dh to ,adam's     
authorship4    ,adam's poetical concepts
 are centered in the mystical           
interpretation of  biblical narratives  
and of ,christian theology as it was    
taught in the  schools of ,paris4 ,hugh 
and ,richard of ,st4 ,victor were his   
contemporaries  but ,adam was poet as   
well as theologian4 ,praise was to him  
an essential  harmony of voice and life4
 ,his verse departed from the earlier   
prose  rhythms of the ,german poets and 
was cast in a metrical form already     
popularized in the hymn4 ,a group of    
rhymed trochaic lines of eight          
syllables with a caesura after the      
fourth syllable at the end of a word1   
closes with a seven syllable line4 ,this
 scheme with its many variants          
characterizes the work of ,adam and his 

imitators in countless ,latin and       
later1 vernacular lyrics4 ,adam's       
sequence for the ,feast of ,st4 ,stephen
  has been selected as illustrative of  
his finest work4    7,see ,illustrative 
,hymns1 ,,xiii4 ,heri mundus exultavit1 
8,yesterday with  exultation407    ,to  
appreciate fully the function of the    
sequence in worship at this time  as    
well as its appeal to popular           
imagination1 one should isolate a       
single theme for more intimate          
enjoyment4 ,for this purpose1 the       
sequences written for the five feasts of
 the ,virgin are best suited4  ,while   
manifold saints were honored in the     
hymnology of the day1 the  veneration of
 the ,virgin reached at this time1 its  
pinnacle of  expression4 ,notker had    
provided sequences for her ,nativity1   
,purification  and ,assumption4 ,adam of
 ,st4 ,victor1 poet of the ,virgin1 drew
 upon all  the resources of medieval    
symbolism in his ,salve1 redemptoris    
mater1  8,hail1 mother of the           

,redeemer10 a masterpiece of medieval   
religious  verse4 ,clerical poets       
everywhere met the challenge of his     
example4 ,the  result was indicative not
 only of their devotion and their poetic
 skill  which was at times indifferent1 
but of the actual use of the ,virgin    
sequences in the numerous feasts which  
honored her and their familiarity  to   
wide congregations of clergy and laity4 
,during this period great sequence      
writers appeared1 some known and        
distinguished1 the majority anonymous4  
,to the latter group belongs the  author
 of the ,easter sequence1 ,victimae     
paschali laudes1 8,christians1  to the  
,paschal ,victim10 which represents the 
transition between the  ,notkerian and  
,victorine styles4 ,the growing         
relationship between ,latin  hymnology  
and the arts becomes obvious in this    
sequence which was of  importance in    
building the liturgical drama for       
,easter4 ,the dialogue  embedded in the 
poem1      8,speak1 ,mary1 declaring    

,what thou sawest wayfaring80    and her
 reply1 ending      8,yea1 ,christ my   
hope is arisen3    ,to ,galilee he goes 
before you40    contributed1 with other 
sources1 to the fully developed ,easter 
,play4    ,the so-called ,golden        
,sequence for ,pentecost1 ,veni sancte  
spiritus1  8,come1 thou ,holy ,spirit1  
come10#d also of undetermined           
authorship1  attained perhaps the       
greatest prestige1 having now been heard
 in  ,christian worship for more than   
eight hundred years4    ,the activities 
of the ,french school are largely       
responsible for the  popularity of      
sequences in the twelfth century and for
 their  multiplication in every part of 
western ,europe4 ,other factors played a
  part4 ,just as the ,latin hymn can    
best be understood in the historical    
setting of the late ,roman ,empire or of
 the early ,germanic kingdoms1 so  the  
development of the sequence must be     
interpreted in connection with  the     
social and cultural environment of the  

age4 ,the universities1  notably that of
 ,paris1 were dominating intellectual   
life4 ,economic  opportunity offered by 
the revival and expansion of            
craftsmanship1  commerce1 urban life and
 geographical knowledge resembled the   
achievement of ,roman days4 ,the        
,european centralized states had emerged
  and were assuming the national        
features which mark them today4 ,the    
modern languages of ,europe were highly 
developed in their literary  treasures  
and in everyday speech4 ,under reforming
 popes such as ,innocent  ,,iii1 the    
church was entering an era of unity and 
spiritual renewal4 ,side  by side with  
the reformed ,benedictine ,order1 the   
,augustinian canons with  their ancient 
prestige1 the ,franciscan1 ,dominican   
and other religious  orders were taking 
their part in the work for the          
regeneration of  society and the triumph
 of the ,faith4 ,pilgrimages and        
crusades were in  vogue for two hundred 
years from #ajie4 ,the hymnody of the   

church took on  new vitality in an era  
of ,european awakening4                 
,,ii4 ,later ,hymns    ,although the    
sequence had apparently occupied the    
center of attention1  the writing of    
office and festival hymns had never been
 interrupted and  certainly had never   
ceased4 ,gathering up the sources after 
the period of  ninth century influence  
described in ,chapter ,three1 one pauses
 at the  verse of ,peter ,damian1       
7#ihh-ajgb71 ,cardinal ,bishop of ,ostia
 and ,superior  of the monks of the     
,holy ,cross4 ,his theme was the joys of
 paradise in  the hymn ,ad perennis     
vitae fontem1 8,to the fount of life    
eternal10 a  topic about which a        
distinguished hymnody was ultimately    
created4    7,see ,illustrative ,hymns1 
,,xiv4 ,ad perennis vitae fontem1 8,to  
the fount  of life eternal407           
,fulbert1 ,bishop of ,chartres 7d4      
#ajbh71 is best known for his ,easter   
hymn1 ,chorus novae ,ierusalem1 8,the   
chorus of the ,new ,jerusalem10#e in    

which the militant ideal in its knightly
 form finds expression as the  warriors 
of the faith acclaim the victory of     
their royal and divine  leader4    ,in  
the twelfth century1 a complete new     
hymnary in all its parts was  written by
 ,abelard1 7#ajgi-aadb71 for the        
,convent of the ,paraclete of  which    
,heloise was the abbess4#f ,a collection
 of #ia hymns1 it has never  been highly
 praised by critics1 yet it has provided
 the hymn1 ,o quanta  qualia1 8,how     
mighty are the ,sabbaths10 in praise of 
the ,sabbath and the  ,good ,friday     
hymn1 ,solus ad victimam procedis1      
,domine1 8,alone to  sacrifice ,thou    
goest1 ,lord10 both of which have found 
a place in recent  hymnals4 ,helen      
,waddell's translations of the two      
illustrate modern  renderings at their  
best4 ,the same century saw the         
achievement of  ,bernard of ,cluny or   
,morlaix1 7fl4 #aabb71 whose long poem1 
,de contemptu  mundi furnished the      
selections on the heavenly country1     

,hora  novissima1 popularized by the    
translations of ,john ,mason ,neale4    
,perhaps  the best-known of these1 ,urbs
 ,sion aurea1 8,jerusalem the ,golden10 
in  its ,english rendering has attained 
a vernacular status independently of    
its ,latin original4 ,the great         
anonymous hymn1 ,jesu dulcis memoria1   
8,jesu1 the very thought of ,thee10 is  
also of the twelfth century4 ,its       
authorship has been variously ascribed  
but never certainly determined4    ,the 
thirteenth century was marked by the    
rise of hymn writing in the new         
religious orders founded by ,st4        
,francis of ,assisi and ,st4 ,dominic4  
,the  ,franciscan ,bonaventura          
7#abba-gd71 wrote ,recordare sanctae    
crucis1 8,be  mindful of the ,holy      
,cross10 on the theme of the ,cross4 ,to
 read this hymn  side by side with the  
,vexilla regis prodeunt of ,fortunatus1 
is to  apprehend more fully the         
increasing subjectivity of the ,latin   
hymn in  #ejj years of its history4 ,the

 passion of ,christ is1 moreover1 a     
favorite  theme and object of devotion  
of the friars1 ever present to their    
thinking4 ,thomas ,aquinas1 7#abbg-gd71 
greatest of the ,dominicans1 wrote  the 
hymns for the ,feast of ,corpus         
,christi1 established by ,pope ,urban   
,,iv  in #abfe4 ,of these1 ,pange       
lingua1 gloriosi corporis mysterium1    
8,sing my  tongue1 the ,saviour's       
glory10#g modeled after the form of the 
,pange  lingua of ,fortunatus1 is in its
 subject matter a poetic version of the 
mystical subtleties implicit in the     
dogma of the feast4 ,john ,peckham1     
,archbishop of ,canterbury1 7#abdj-ib71 
wrote ,ave vivens hostia1 8,hail1  true 
,victim10 a fine hymn upon the same     
theme which suggests the  inspiration of
 ,aquinas4                              
,,iii4 ,later ,sequences    ,from the   
sequences of the later ,middle ,ages    
only a few have gained  eminence but in 
certain cases as high a place as any in 
the whole range  of their composition4  

,thomas ,aquinas shows himself master of
 the  sequence as well as the hymn in   
his ,lauda ,sion ,salvatorem1 8,praise1 
,o  ,sion1 praise thy ,saviour10 a model
 of the ,victorine technique4    7,see  
,illustrative ,hymns1 ,,xv4 ,lauda ,sion
 ,salvatorem1 8,praise1 ,o ,sion1       
praise thy ,saviour407    ,dies irae1   
8,day of wrath10 most majestic of all   
sequences1 universally  acknowledged as 
the greatest achievement of ,latin      
hymnology1 was  probably written by the 
,franciscan ,thomas of ,celano4 ,it was 
originally  used at ,advent1 later for  
,all ,souls' ,day and for requiem       
masses4 ,the  ,judgment theme is        
obviously inspired by the words of the  
,prophet  ,zephaniah 7#a3ae7 from which 
the opening line ,dies irae1 dies illa  
is  taken4 ,a special literature1       
together with a multitude of            
translations1  has grown up around this 
hymn which deserves consideration       
impossible  here4 ,it should be read not
 only with reference to its biblical    

sources  but with the great ,judgment   
portals of the medieval cathedrals in   
mind1  since the sculpture and          
literature of the age here find a       
meeting  place4#h ,no less significant  
for its interpretation is the prevalence
  of the ,black ,death in the ages which
 produced it4#i ,the thought of a       
period in which pain and death were so  
tragically familiar and before  which   
the medieval man stood helpless1 is     
faithfully reflected in  contemporary   
hymns4    ,the lament in its poetic form
 is associated with the ,marian         
hymnology of  the fourteenth century4   
,the ,stabat mater dolorosa1 8,by the   
,cross her  vigil keeping10#aj its      
finest expression1 like the ,dies irae1 
needs  little comment in these pages4   
7,see ,illustrative ,hymns1 ,,xvi4      
,stabat mater dolorosa1 8,by the ,cross 
her  vigil keeping407    ,in this period
 it seems1 at least to the present      
writer1 that the  ,italian-born poets of
 the religious lyric come into their    

rightful  heritage4 ,the poets of       
,england and of the ,french1 ,german and
  ,spanish-speaking lands had at one    
time or another held the palm in the    
field of hymnody4 ,at the very moment1  
so to speak1 when the genius of  ,dante 
and ,petrarch had established the fame  
of ,italian letters1 the  ,christian    
hymn found new spokesmen in a literary  
medium which had  originated in the same
 environment a thousand years before4   
,what has already been said of the      
multiplication of new feasts as the     
medieval ages progressed1 is true in an 
even greater degree in the later        
centuries4 ,the ,feast of ,corpus       
,christi is only one of many which      
marked  this period of religious        
devotion1 and incidentally required new 
sequences4 ,if the collection of        
liturgical proses edited by ,daniel in  
his ,thesaurus ,hymnologicus and        
reprinted in volumes #ed and #ee of the 
,analecta ,hymnica be accepted as a     
guide1 the new demands become clear4    

,from the period of ,adam of ,st4       
,victor1 #agd feasts were furnished with
  sequences1 many times over in the case
 of the more important festivals4  ,the 
actual liturgical collections from which
 the ,analecta ,hymnica was  compiled   
constitute a more specific source of    
information4 ,if the  attention of the  
student is fixed upon the sequences used
 in well-known  missals and troparies   
from the thirteenth century and later1  
in the  leading ecclesiastical centers  
of ,europe1 a wealth of material is     
revealed4 ,many of these sequences in   
the great collections are  unfamiliar to
 the modern student1 some have never    
been translated into  ,english1 but as a
 whole they are truly representative of 
this body of  poetry in the period of   
its greatest interest4 ,a tropary of    
,st4 ,martial  of the thirteenth century
 contains an anonymous ,easter sequence1
 ,morte  ,christi celebrata 7,a4 ,h4 #h4
 #cc71 8,christ's passion now is        
o'er10#aa  which bears comparison with  

the better-known sequences which have   
been  named above4                      
,,iv4 ,liturgical ,collections    ,to   
determine the actual usage of the hymn  
or sequence rather than its  mere       
existence as a specimen of religious    
verse1 the liturgical  collection is    
indispensable4 ,the old hymnaries and   
psalters and other  books used in the   
offices were examined by liturgists of  
the period who  compiled the breviaries 
of the later ,middle ,ages4 ,working    
under  episcopal or monastic authority  
they subjected the hymnic material at   
their disposal to a selective process   
which necessarily discarded many  hymns 
in favor of those rendered sacred by    
their inclusion in the old  cycles1 or  
of hymns of recognized merit4 ,the      
,mozarabic ,breviary had been  compiled 
and its hymns determined by this process
 in an earlier century4  ,after the     
re-conquest of the ,spanish peninsula   
and the introduction of  the ,roman     
,rite in #ajhi1 a version of the ,roman 

,breviary was introduced4  ,episcopal   
centers in ,england1 such as ,hereford1 
,york and primarily  ,salisbury1        
compiled their service books and        
developed them continuously  to the     
close of the ,middle ,ages4 ,the process
 was repeated throughout  ,christian    
,europe4    ,from the troparies and     
local collections of sequences the      
selections for  the gradual and missal  
were made1 just as the hymns had been   
for the  breviary4 ,these liturgical    
sources offer to the modern student the 
range  of medieval hymnody at its best4 
,the episcopal rites are1 perhaps1 more 
official and authoritative in their     
selection of hymns and sequences but    
the monastic rites often reveal the     
legends of local saints or the more     
intimate flavor of traditional piety4   
,it should be understood that in        
countries where the ,roman ,rite        
prevailed there was no departure from   
its  authority in the matter of hymnody4
 ,at the same time the greatest         

latitude was observable4 ,a fine        
illustration is provided by the books of
  the ,rite of ,salisbury1 ,england1 or 
the ,sarum ,rite1 which were compiled   
and developed by great liturgists from  
the time of ,bishop ,osmund in the      
eleventh century to the close of the    
,middle ,ages4 ,the ,sarum ,breviary    
contains #aai hymns1 #be of which were  
written after #aajj and the ,missal     
contains #aja sequences1 #ed of which   
were written about #aajj4ab ,the        
figures are revealing in the case of    
hymns1 of the influence of the  older   
cycles and in the case of sequences1 of 
the multiplication of  feasts in the    
later centuries of the ,middle ,ages4   
,the ,processional book as a bearer of  
hymns will be treated in the  following 
chapter4 ,it remains here1 to mention   
the ,books of ,hours or  medieval       
,primers which also contained their     
quota of hymns4 ,the ,horae  may be     
defined as a series of devotions1 at    
first additional to the  ,seven ,hours  

of the daily office but in the twelfth  
century elaborated in  a separate book4 
,specifically the additions consisted of
 the penitential  psalms1 the ,office of
 the ,dead1 the ,cursus of ,all ,saints1
 that of the  ,holy ,cross1 and that of 
the ,blessed ,virgin4 ,even before its  
separation  from the ,canonical ,hours1 
the ,cursus of the ,blessed ,virgin had 
assumed  an importance which gave to the
 new collection its characteristic title
  of ,horae or ,hours of the ,blessed   
,virgin ,mary4 ,in the fourteenth       
century the single volume came to be    
known in ,england as ,primarius  ,liber 
or ,primarium from which the more       
familiar name ,prymer or ,primer  is    
derived4#ac ,its popularity may be      
judged by the fact that #bfe  printed   
editions were later known in ,england   
and #aehb on the  continent4#ad ,hymns  
are interspersed throughout the ,horae4 
,in the  ,york ,hours there are eighteen
 hymns and sequences of varied periods  
of  which thirteen are centered in      

devotion to the ,virgin4#ae ,in other   
words1 the hymns which were chosen for  
these books of popular devotion  are    
representative of later medieval        
favorites in hymnody1 indicating to     
what extent the older hymns were known  
and loved and to what extent  later     
poems had been accepted by lay folk as  
well as clergy4 ,the ,horae  are        
primarily valuable as a source for the  
later ,marian hymns upon the  themes of 
the ,joys and of the ,sorrows of the    
,virgin4 ,the appearance of  the beloved
 ,stabat mater dolorosa1 without doubt  
the finest expression  of the poetry of 
sorrow1 bears witness to the            
discriminative process by  which the    
,horae were compiled4 ,it seems         
remarkable that the liturgists  of the  
later period1 in which the ,latin hymn  
was beginning to show signs  of         
deterioration1 were able to skirt as    
successfully as they did1 the  limits of
 trashy sentimentality and worse poetry 
which were passing  current under the   

name of hymnody4    ,to those who are   
interested in the relations between     
literature and the  fine arts an        
examination of the ,virgin hymns1 as of 
the ,dies irae1  will yield similar     
interrelations4 ,the hymns which were   
written from the  twelfth century       
onwards upon the ,virgin theme may be   
closely correlated  with the sculptured 
forms which portray the ,mother apart   
from the ,son in  her ,sorrows and more 
particularly in her ,joys1 laden with   
her  distinctive honors and regnant as  
the ,queen of ,heaven4                  
,v4 ,influences affecting ,hymnody      
,once the typical hymns and sequences of
 the later period have been  reviewed1  
it remains to trace the influences      
operating from the  contemporary        
environment upon their evolution4 ,the  
problem of possible  influence of an    
ultimately oriental origin has already  
arisen in  connection with earlier      
hymns4 ,it has been considered in the   
relation of  ,byzantine culture to the  

origin of the sequence1 and also in the 
form of  ,arabian influence upon the    
,mozarabic hymnody4 ,in both fields the 
evidence is tenuous and especially in   
the latter where the imprint of         
,arabian cultural forms would seem to be
 most probable4 ,in the centuries  which
 produced the troubadours1 the problem  
takes the form of a possible  indirect  
influence from ,arabian origins through 
the ,provenal singers  upon the         
evolution of the sequence4#af ,it is    
true that the twelfth and  thirteenth   
centuries boasted at least four hundred 
troubadours whose  poetry is extant4    
,the names of others are known but not  
their poems4 ,as  the popularity of     
their songs is unquestioned1 an         
appreciable affect  upon religious      
lyrics might be presumed4 ,granted that 
the influence of  ,arabian poetry may be
 demonstrated upon the metrical aspects 
of  troubadour lyrics1 it must still be 
demonstrated that the impact of the     
latter was felt upon the ,latin hymn4   

,future studies may throw light upon    
these problems of medieval literature   
where obscurity now prevails4  ,metrical
 similarities undoubtedly exist between 
,arabian and ,latin verse1  as already  
illustrated in the field of late        
,mozarabic hymns4 ,perhaps the  most    
convincing evidence1 aside from these1  
is found in processional  hymns1 the    
subject of a later chapter4    ,much    
more obvious and one distinctly to be   
traced is the all-pervading  influence  
of the new religious orders upon        
medieval society and culture  in        
general4 ,hymn writers belonging1 as    
cited above1 to the ,franciscan1        
,dominican and other orders of friars1  
to say nothing of the ,cistercians1     
played a leading role among contemporary
 poets2 their names and themes  have    
already been mentioned4 ,many others    
must be numbered with the  anonymous    
majority4 ,the veneration of the ,virgin
 reflected so faithfully  in            
contemporary hymns may be largely       

attributed to their devotion4 ,as       
itinerant preachers1 moreover1 the      
friars translated hymns into the        
vernacular and brought them directly to 
their hearers1 thus imparting  the      
lessons of faith and morals4#ag ,it     
might be asserted1 at least             
tentatively1 that the friars were       
responsible for one of the earliest     
attempts to bridge the gap between the  
ritual and the popular use of  hymns4   
,a less tangible influence was at work  
emanating from schoolmen4 ,this was  the
 age of the universities in which       
thousands of students were pursuing  the
 studies of theology1 law and medicine4 
,early theological discussion  in the   
schools of ,paris1 prior to the founding
 of the universities1 is  implicit in   
the sequences of ,adam of ,st4 ,victor4 
,later1 ,thomas ,aquinas1  ,professor of
 ,theology at the ,university of ,paris1
 created a poetical  counterpart in his 
hymns1 to the prose exposition of dogma4
 ,no one else  reached his stature in   

this particular but hundreds of         
,european clerics  having theological   
degrees or a partial preparation for    
them1 were  active in the church and in 
secular life4 ,it is only fair to       
suppose  that they must be included in  
the great anonymous group which assisted
  in making that unique contribution to 
medieval literature which was  preserved
 in contemporary liturgical collections4
 ,without the  university-trained cleric
 how is it explicable that in the very  
age in  which the vernacular languages  
came to their full development in speech
  and in literature1 ,latin religious   
verse was at a peak of expression8 ,in  
the ,high ,middle ,ages the alumni of   
the great universities were  influential
 in every phase of society4 ,it is      
conceivable1 if not  demonstrable1 that 
the clerics among their ranks played an 
important  although hitherto            
unrecognized role in the evolution of   
,latin hymnody4    ,contemporary        
pilgrimages take the student far afield 

from the centers of  learning4 ,the     
crusading enterprise of two centuries   
which carried the  knightly companies of
 ,europe and their entourage to the     
,east was a  pilgrimage of continental  
proportions4 ,local shrines favored by  
pilgrims  abounded in the ,west from    
,canterbury and ,walsingham to          
,campostella4 ,what  effect1 if any1 had
 this wave of religious zeal or of      
adventurous  self-seeking upon the      
hymnology of the age8 ,we know that the 
familiar  ,latin hymns of the breviary  
were sung by the clerics who conducted  
the  services of religion in the        
crusading armies4 ,we possess the texts 
of a  variety of vernacular hymns and   
songs heard among the wandering bands   
who traversed the highways of ,europe or
 traveled by sea to distant  shrines4   
,we are told of the singing of ,latin   
hymns at the destination of  pilgrimage 
but their texts are rare4 ,a formal     
collection of ,latin hymns  associated  
with the shrine of ,st4 ,james of       

,campostella1 the ,carmina              
,campostellana1 has been edited in the  
seventeenth volume of the  ,analecta    
,hymnica4 ,as might be supposed1 they   
voice the praises of ,st4  ,james1 ,ad  
honorem regis summi1 8,to the honor of  
the ,king10 7,a4 ,h4  #ag4 #baj7 being a
 favorite in both ,latin and vernacular 
versions4#ah ,as  a matter of fact1 the 
hymnody of pilgrimage must have been    
largely  patronal1 a conclusion         
supported by existing ,latin texts4     
,unfortunately  we possess no great body
 of ,latin hymns arising from the       
religious  impulse which animated the   
crusader or the devotee of local        
shrines4 ,it  is possible1 however1 that
 the multiplication of hymns for saints 
at  this time may be attributed in part 
to the multiplication of shrines of     
pilgrimage4 ,if true1 an influence is   
seen at work1 which1 from the time  when
 ,ambrose built a church in ,milan to   
receive the relics of ,st4  ,gervasius  
and ,st4 ,protasius and wrote a hymn in 

their honor1 never  ceased to operate in
 the intervening centuries4#ai    ,with 
the pilgrim we come face to face with   
the layman and are once more  confronted
 with the question of lay participation 
in the singing of  ,latin hymns1 which  
hinges upon the further question of the 
degree to  which the layman could sing  
or even understand the ,latin hymn1 from
 the  twelfth century onward4 ,the pious
 injunctions of ,alexander of ,hales and
  ,henricus de ,gorichen 7#aeth ,c47 to 
sing hymns1 merely repeat a dictum of   
,st4 ,apollonius regarding the          
observance of the ,lord's ,day in the   
second  century and must not be taken   
too seriously by the modern student4#bj 
,it is indeed slight evidence for the   
singing of ,latin hymns by the  laity4  
,the problem is in reality linguistic   
and revolves about the  question of who 
was acquainted with ,latin at this time4
 ,setting aside  the clergy in their    
numerous ranks1 who are often said to   
have had the  complete monopoly of the  

hymn in an age when congregational      
singing was  unknown1 one must consider 
the remaining classes of society from   
the  point of view of contemporary      
education4    ,beginning with the       
university it should be recalled that   
the text books  and other sources of    
information were in ,latin and that     
,latin was the  medium of instruction4  
,in this respect the aspirant for a     
degree in law  or medicine was on a par 
with the would-be clergyman4 ,many      
students took  degrees in two and       
occasionally in all three disciplines1  
and the  majority were destined for the 
church if only in minor orders4 ,on the 
other hand1 it is certain that1 as in   
our own day1 a large number of  students
 never attained any degree although they
 had the ,latin  qualification4 ,in any 
case1 the lay alumnus or former student 
of the  universities1 with a ,latin     
training1 was a familiar figure in      
secular  affairs4    ,the degree and    
extent of elementary and secondary      

education upon which  the university    
instruction was necessarily founded1    
have been the  subject of several recent
 studies4 ,it seems certain that schools
 for  children and youth existed from   
the ninth century onward in cathedral   
and other centers and that1 as ,lynn    
,thorndike says1 8in the period of      
developed medieval culture elementary   
education was fairly wide-spread  and   
general40#ba ,without entering into the 
details of this program1  illuminating  
as they are1 we note that the curriculum
 was founded upon  the ,latin language  
and ,latin studies4 ,the contemporary   
growth of towns  involved an expansion  
of education which was marked by the    
appearance of  schools sponsored by     
municipal authority4 ,the ,latin school 
flourished  everywhere4 ,there is       
evidence that every social class        
participated to  some extent in the new 
education although illiteracy must at   
the same  time have been common4 ,it    
seems clear that the layman who had     

received  these early educational       
advantages could understand ,latin hymns
 or read  them if the texts were        
available4 ,both sexes shared elementary
 education  and lay women as well as    
nuns occasionally had access to advanced
  instruction4 ,such considerations as  
the above presuppose a degree of        
familiarity especially with the breviary
 hymns1 on the part of laymen1  even if 
singing or chanting was restricted to   
the choirs and clergy4    ,the          
university movement was accompanied by  
the rise of the wandering  scholars and 
poets whose verses1 for example1 from   
the ,carmina ,burana1  are familiar     
today in translation4 ,popular          
entertainers1 they sang their  ,latin   
lyrics at ale house doors and in the    
market places4 ,they must have  been at 
least partially understood by the       
populace4 ,other municipal              
entertainment was provided by the       
religious drama of the times which  made
 considerable demand upon the ,latin    

resources of the spectator who  had to  
be somewhat bilingual if he were to     
enjoy the public presentation  of the   
mystery plays4    ,again1 the bilingual 
or macaronic poetry which sprang up in  
the period  of rivalry between ,latin   
and the vernacular may be viewed both as
 a  means and a result of understanding 
,latin hymns4 ,macaronic verse was  both
 secular and religious in its forms1    
favorite phrases from  well-known ,latin
 hymns often being combined with the    
vernacular tongue4  ,the practice might 
even have spread to the ritual of the   
,church had it  not been forbidden by   
ecclesiastical decree4#bb ,the cantio of
 the  later medieval centuries and the  
familiar carol offer a wealth of        
evidence that macaronic religious verse 
was extremely popular4 ,indeed1  this   
may have been the earliest manifestation
 of actual hymn singing on  the part of 
medieval laymen4    ,even if            
congregational singing was not          
practiced1 the use of ,latin hymns  in  

private devotion is well authenticated4 
,the ,horae which were  included in the 
liturgical collections listed above1    
were circulated  among laymen from the  
fourteenth century onward1 and often    
used as text  books or ,primers from    
which children were taught to read4 ,the
 variant  title1 ,lay ,folks ,prayer    
,book1 also bespeaks its popular        
availability4    ,while it would be     
unsound to infer a universal knowledge  
of ,latin  hymnody among the laity of   
,europe upon any or all of the evidence 
here  assembled1 it is logical to       
suppose that this treasury of verse lay 
within the boundaries of average        
education and cultural ability4         
,combined with the effectiveness of     
visual means of conveying religious     
truths through architecture1 sculpture  
and stained glass1 popular  acquaintance
 with the teachings of ,christian       
hymnody must be supposed to  have       
overflowed the limits of clerical       
restriction1 if indeed1 any such        

existed4                                
,,vi4 ,characteristics    ,to close this
 somewhat rambling account of the ,latin
 hymn and sequence  in the later        
medieval centuries1 which is necessarily
 discursive even as  the civilization   
itself was everywhere expanding1 the    
characteristics of  this poetry should  
be reviewed in comparison with those of 
earlier ,latin  hymns4    ,an increasing
 variety of subject matter is first to  
be noted1 to  accompany the             
diversification of worship brought about
 by new feasts and  the appearance of   
new religious agencies4 ,hymns for the  
festivals of  saints provide the best   
illustrations of this tendency which has
 been  amply treated above4    ,a marked
 trend toward the compilation of local  
liturgical collections  and the         
differentiation of service books        
accompanies the unification of  rites in
 various ,european lands4 ,this tendency
 was observed in earlier  centuries1    
particularly in ,spain where the        

,mozarabic hymnal prevailed4  ,st4 ,gall
 had provided a monastic center of      
influence in ,german-speaking  lands in 
its day4 ,now1 the great diocesan and   
monastic centers1 on a  much larger     
scale1 are furnished with a full        
complement of ritual books  and guides  
to hymnody4 ,in ,england1 the ,sarum    
collection achieved great  prominence1  
acquiring national rather than diocesan 
proportions4    ,within the hymnic      
poetry itself changes are seen both in  
form and  spirit4 ,a full development of
 metrical forms takes place1 some of    
which  had appeared much earlier in     
isolated examples and were now widely   
accepted2 others were characteristic of 
late medieval literary art4 ,the  meters
 and rhythm of sequence poetry were     
popularly favored4 ,subjective          
qualities and attitudes which had been  
infrequent in the earlier hymns  devoted
 to biblical themes and theological     
expression are much more  obvious in    
later hymns4 ,the personal petition and 

the direct address to  deity and the    
saints are frequent4 ,it has been       
suggested above in  considering hymns   
upon the theme of the ,cross1 that a    
comparison of  hymns from the earlier   
and later groups is instructive4 ,but   
any of the  great themes may be selected
 for this purpose1 for example1 the     
,pentecostal theme1 with a group of     
hymns in which the earlier ones are     
simple narratives following the biblical
 account of the descent of the  ,holy   
,spirit2 the later ones are exemplified 
by ,veni1 sancte spiritus1  8,come1     
,thou ,holy ,spirit1 come10 already     
cited1 in which the ,spirit is          
addressed and invoked for personal      
blessings and the sevenfold gifts4      
,with the waning of the medieval        
centuries came a characteristic         
decadence in the poetical quality of    
,latin hymns and in their spiritual     
vitality4 ,this was true of the sequence
 and most obvious1 perhaps1 in  those   
which were devoted to the praise of the 

saints4 ,reference to this  phenomenon  
will be made in a later chapter in      
connection with the  possible reason for
 the loss of religious significance     
which must be  admitted although        
deplored by students of the subject4    
,finally1 one observes that certain     
hymns of these later centuries rival1   
if not surpass1 the representative hymns
 of the first half of the ,middle       
,ages4 ,four of the five sequences      
retained in the present-day ,roman      
,missal were all selected from this     
group1 namely3 ,lauda ,sion             
,salvatorem1 ,veni sancte spiritus1     
,dies irae1 and ,stabat mater  dolorosa4
 ,other illustrative hymns and sequences
 mentioned above prove  to be almost as 
familiar4    ,on the contrary1 decadent 
hymns have tended to disappear4         
,unworthy of  their theme and purpose1 a
 multitude of examples may be unearthed 
from  their present burial places in the
 ,analecta ,hymnica or other            
collections by the curious investigator4

 ,so far as actual usage is  concerned  
they have been gradually discarded and  
forgotten in the  process of time4      
,similarly those of greater merit have  
possessed a  survival value sufficient  
to insure recognition in every          
succeeding  century4                    
,,chapter ,,six                         
,late ,middle ,ages3 ,processional      
,hymns                                  
,i4 ,origins    ,the procession as a    
practice of the ,christian ,church      
originates in the  triumphal entry of   
,jesus into ,jerusalem4 ,all four       
evangelists record the  event and all   
four make mention of the hosannas and   
acclamations of the  people which       
accompanied it4#a ,true1 the procession 
is older than  ,christianity and wider  
in observance4 ,it seems to be a natural
 impulse  of humanity in all ages and in
 all lands to make orderly progress from
  one place to another for the          
expression of communal joy or           
lamentation  or to seek the aid and     

blessing of supernatural power in the   
activities  and vicissitudes of life4   
,processional ceremonies as they were   
observed in ancient oriental            
civilizations or in the culture of      
,greece and ,rome are not considered    
here1 except as they may have affected  
,christian origins4 ,the purpose of     
this chapter is to describe the         
background and setting of processional  
forms which1 in their evolution1 gave   
rise to a continuity of hymns2 to  trace
 the origin1 development and            
distinguishing features of such         
processional hymns in the ,middle ,ages 
and to display processional  hymnody in 
its distinctive character as a separate 
category of medieval  ,latin hymnology4 
,prior to the fourth century the record 
is obscure4 ,miscellaneous notices      
begin to appear in the last quarter of  
the century4 ,basil notes a  procession 
in the form of a litany 7c4 #cge74      
,ambrose mentions a  procession of monks
 7c4 #chh7 and also refers to a         

procession in ,rome  honoring ,sts4     
,peter and ,paul1 in his hymn1          
,apostolorum passio1 8,the  passion of  
the ,apostles10 7,a4 ,h4 #ej4 #ag74     
,chrysostom was active in  organizing   
processions in ,constantinople to offset
 ,arian influence  7#cij-djj74b ,at the 
same period1 #cgi-chh1 ,aetheria 7,st4  
,sylvia of  ,aquitania87 made her       
pilgrimage to the holy places of        
,palestine1  describing in her journal  
in detail1 the ceremonies enacted in the
  worship of the ,christian ,church at  
,jerusalem4#c    ,remarkable in all     
respects1 ,aetheria's narrative is      
obviously written in  a spirit of       
devotion with eager curiosity and joyful
 appreciation4 ,she  describes1 among   
other observances1 the ,hour services1  
especially the  lucernare when hymns    
were sung1 the ,sunday procession to the
 ,anastasis  or ,church of the          
,resurrection which marked the tomb of  
,jesus and the  procession and rites for
 the ,feasts of the ,epiphany1 ,ypapanti

 or  ,presentation of ,christ in the    
temple1 ,palm ,sunday and ,easter4#d    
,hymns  in which the laity as well as   
the clergy participated are mentioned in
  connection with these ceremonies but  
no specific hymn is named4 ,the         
immediate purpose of the processions at 
,jerusalem appears to have been  the    
enactment of scenes in the life of      
,jesus in the places where they         
occurred1 introducing a dramatic element
 which pervades medieval  processional  
observances throughout their history4   
,aetheria uses the words psalm1 antiphon
 and hymn in connection with the        
musical parts of the worship she        
observed1 but not indiscriminately4 ,she
  was probably familiar with hymns as   
they had developed in the fourth        
century both in the eastern and western 
churches4 ,it has been assumed  that the
 hymn sung at the daily lighting of the 
candles was ,phos  hilaron1 8,o gladsome
 light40#e ,the hymns she heard at the  
,good ,friday  observance have been     

tentatively identified as the ,idiomela 
for ,good  ,friday1 traditional in      
,byzantine ritual4#f ,in any case they  
were true  hymns1 perhaps of a metrical1
 or more probably of a rhythmical type4 
,it  is impossible to identify the      
processional hymns of which she speaks4 
,all that can be asserted is that       
non-scriptural1 as well as scriptural   
hymns1 were sung in the processions at  
,jerusalem4    ,in ,constantinople1     
contemporary processions have already   
been mentioned4  ,the practice of       
,jerusalem was also adopted there4 ,in  
the sixth century  under ,justinian1 the
 ,feast of ,ypapanti was introduced4#g  
,however1 the  history of ,byzantine    
processions must be omitted from this   
study which  is devoted primarily to the
 ,latin ,west4    ,in ,rome1 the        
,christian procession had an independent
 origin1 being  derived in part from the
 memorial honors paid to the ,christian 
martyrs  and in part from the           
,christianization of pagan ceremonies4  

,when the  period of persecution of     
,christianity had come to a close and   
the  triumphant ,church was able to     
assert publicly her influence and       
authority at ,rome1 processions were    
made as early as the fifth century  to  
the places where martyrs had suffered4  
,this is the origin of the  later       
station procession1 followed by the     
celebration of mass in the  various     
churches where the remains of martyrs   
removed from the catacombs  were buried4
 ,a century earlier in ,milan1 ,ambrose 
had discovered and  removed the bodies  
of ,st4 ,protasius and of ,st4          
,gervasius from their  original burial  
place to a church newly erected in their
 honor4#h ,pope  ,gregory the ,great    
7#eij-fjd7 observed the ,roman stations 
and ,pope ,sergius  7#fhg-gja7 completed
 their organization4#i ,the processions 
were  accompanied by the chanting of    
psalms but there is no record of        
non-scriptural hymns4 ,the symbolism of 
the procession1 however1 was  enriched  

by the idea of pilgrimage to a spot made
 sacred by martyrdom1 a  continuing     
processional motive throughout the      
,middle ,ages4    ,while the station    
processions developed in the vicinity of
 ,rome1 the  litany processions arose in
 ,gaul4 ,mametus1 the ,bishop of        
,vienne1 #dgd1  inaugurated the litania 
minor or the public blessing of the     
fields and  crops in the spring season4 
,in #eaa1 the ,council of ,orleans      
ordained the  observance for ,gaul1 and 
the ,council of ,girona1 in #eag1 for   
,spain4 ,the  litaniae minores or       
rogations1 perpetuate in their intent1  
processions  of the ,roman era4 ,the    
litaniae maiores which were prescribed  
by  ,gregory the ,great1 #eih1 and ,leo 
,,iii 7#gie-haf71 were of similar origin
  and purpose4 ,a litania septiformis   
was also organized by ,gregory on  the  
occasion of a pestilence at ,rome4#aj   
,the litania maior came to be  observed 
on ,april #be1 ,st4 ,mark's day1 and the
 litaniae minores in the  three days    

preceding ,ascension4 ,psalms but not   
hymns in the sense of  non-scriptural   
compositions were heard in the litanies4
 ,the procession  of supplication common
 alike to pagan and ,christian practice 
is  illustrated in the litanies1 a      
constant motive and a constant          
observance  in medieval rites4    ,it   
seems clear1 therefore1 that primitive  
,christian processions in ,rome         
consisted of stations and litanies4     
,festival processions were introduced   
into the west gradually4 ,ascension is  
spoken of as an ancient feast but  there
 is no specific evidence of its         
observance before the middle of the     
fourth century4 ,the ,ascension         
procession1 implied by ,aetheria in her 
journal1 is unknown in ,rome at this    
time4#aa ,pope ,sergius imported into   
,rome the festival procession for       
,candlemas or the ,feast of the         
,purification of the ,virgin4 ,the      
,feast of ,ypapanti or ,presentation1   
originally observed in ,jerusalem and   

later adopted in ,constantinople1 as    
noted above1 gained in the transfer a   
new feature4 ,the carrying of  lighted  
candles1 not mentioned by ,aetheria1    
seems to have been added in  ,byzantine 
practice4 ,the words spoken by ,simeon  
of the infant ,jesus1 8a  light to      
lighten the ,gentiles0 7,luke #b4 #cb7  
made the symbolic use of  lights almost 
inevitable4 ,the date of the ,feast of  
the ,purification1  ,february #b1 was   
approximately that of the pagan         
,amburbium or  ,amburbale1 an early     
,roman procession of lustration which   
had taken  place in that month4         
,possibly the procession for the ,feast 
is  reminiscent of this pagan           
practice4#ab ,it might be of interest to
  follow in closer detail the origin of 
the medieval ,candlemas1 but  attention 
must be directed to the ,candlemas hymns
 later to be written  and sung in       
procession at this ,feast4    ,the      
period of ,christian processional       
origins which may be considered to      

close with the seventh century1 saw the 
development of the processions  at      
,jerusalem1 their adoption in           
,constantinople and the evolution of the
  stations and litanies in the west4    
,festival processions also1 were  slowly
 making their way into the ,western     
,church4#ac                       ,,ii4 
,evolution in the ,early ,middle ,ages  
,that the ,latin processional hymn      
appeared first in ,gaul should surprise 
no one4 ,it has already been suggested  
that the hymns among the ,carmina  of   
,fortunatus were created in the         
atmosphere of freedom enjoyed by        
,gallic hymn writers in accordance with 
contemporary canons4 ,always a  poet of 
the occasion1 ,fortunatus wrote three   
hymns for the reception of  a relic     
believed to be of the true ,cross1 which
 was presented to  ,rhadegunda1 his     
patron1 by the ,byzantine ,emperor1     
,justin ,,ii and his wife  ,sophia1 for 
the convent at ,poitiers4 ,as a final   
stage in the journey  from              

,constantinople1 the relic was borne in 
procession from ,mign to  ,poitiers1    
accompanied by ,euphronius1 ,bishop of  
,tours4 ,on this day the  hymn1 ,vexilla
 regis prodeunt1 was first heard4#ad    
,two others1 ,pange  lingua and ,crux   
benedicta 7see ,chapter ,one7 were      
devoted by  ,fortunatus to the same     
theme of the ,holy ,cross1 although it  
cannot be  proved that they were sung in
 the same procession4    ,the           
,resurrection hymn1 ,tempora florigero  
rutilant distincta sereno1  8,season of 
luminous days1 marked bright with the   
birth of flowers10  7,carm4 #c4 #i71 was
 originally written for the ,easter     
baptismal rites  celebrated by ,felix1  
,bishop of ,nantes 7d4 #ehb74 ,it was a 
poem of #aaj  lines or #ee elegiac      
couplets1 from which the cento of #bh   
lines beginning  ,salve festa dies1     
8,hail thee1 festival day10 was later   
selected for an  ,easter                
processional4#ae    ,the metrical models
 provided by ,pange lingua of the       

trochaic pattern  and ,salve festa dies1
 the elegiac1 continued to be employed  
throughout  the ,middle ,ages for       
processional hymnody1 the elegiac       
excelling in  popularity4 ,first in the 
original hymn1 then in centos and       
finally in  imitative verse adapted to a
 multitude of feasts1 ,salve festa dies 
was  never superseded but maintained the
 influence of ,fortunatus for           
centuries4    ,spain must have known the
 processional hymn soon after its       
appearance in  ,gaul1 perhaps in the    
seventh century4 ,here1 the ,palm       
,sunday festival  seems to have been the
 source of inspiration for the          
procession and  blessing of palms is    
mentioned by ,isidore of ,seville as an 
observance of  his day4#af ,contemporary
 evidence indicates a similar procession
 in  ,italy4#ag ,the use of a           
processional hymn1 however1 is not as   
clearly  indicated4    ,it seems        
probable that the seventh century hymn1 
,magnum salutis  gaudium 7,a4 ,h4 #ea4  

#gc71 8,o great joy of salvation10 is   
one of the  earliest to be assigned for 
,palm ,sunday4 ,it is a simple rendering
 in the  ,ambrosian style1 of the events
 recounted in the biblical narrative4#ah
  ,in the early centuries when the      
concept of a specific processional hymn 
for a particular festival was almost    
unheard of1 a familiar hymn from  the   
old hymnals might be used in the new    
ceremonies4 ,it has been  suggested that
 ,magnum salutis gaudium was known to   
,theodulphus1 who in  the ninth century 
wrote the ,palm ,sunday processional    
hymn1 ,gloria laus  et honor1 for all   
the ages4    ,processions1 thus far1    
have been thought of chiefly1 as wholly 
or in  part outside the church edifice4 
,processions within the edifice were    
also frequently observed4 ,a procession 
of the clergy1 in connection with  which
 psalms and antiphons were sung1        
preceded the ,sunday high mass2  another
 took place as the ,gospel codex was    
carried to its place for  reading4      

,other ceremonies within the church1    
aside from the liturgy  proper1 were    
sometimes accompanied by hymns4#ai      
,perhaps the earliest hymn in use at a  
special ceremony1 once more a  selection
 from the hymnal1 was ,audi1 iudex      
mortuorum 7,a4 ,h4 #ea4 #hj71  8,hear   
,thou ,judge of the dead10 sung on ,holy
 ,thursday at the consecration  of the  
chrism4#bj ,the words ,o redemptor1 sume
 carmen temet  concinentium1 8,o        
,redeemer1 accept the hymn of ,thy      
people magnifying  ,thee10#ba formed a  
refrain1 a metrical feature which came  
to be the  unmistakable mark of the     
processional hymn4    ,in this early    
period from the sixth to the tenth      
century1 a new idea and  a new practice 
came into being1 the use of hymns apart 
from those of the  canonical hours and  
the sequences of the mass4 ,the ninth   
century revival  of hymnody in all its  
branches was taking place in western    
,europe just  as this period came to a  
close1 in connection with which the     

processional hymn was inevitably        
affected as the office hymn and the     
sequence had been by a fresh inspiration
 to poetry and worship4 ,the  movement  
came to fruition at ,st4 ,gall where the
 musical and ceremonial  aspects of that
 great monastic center were so highly   
developed1 a center  which had          
contributed so heavily to the           
,carolingian revival of  literature and 
the arts4    ,the ,french liturgical    
scholar1 ,leon ,gautier1 whose          
contributions to the  study of medieval 
hymnology have already been mentioned1  
was the first  to identify the          
processional hymn as a trope or         
liturgical  interpolation4 ,in a study  
of the ,st4 ,gall processional hymns he 
observed  that they were classified by  
the name versus which in itself points  
to  a separate hymnic category4 ,other  
earlier hymns used in processions were  
there called versus4 ,gautier discovered
 that musical notation always  appeared 
with the versus1 an indication that     

these hymns were  invariably chanted and
 he noted that the versus1 in the manner
 of the  hymn ,o redemptor1 sume carmen1
 cited above1 was without exception1    
accompanied by a refrain4#bb    ,the    
processional hymns of ,st4 ,gall1 like  
the sequences1 bore the  characteristic 
marks of the hymnic group to which they 
belonged4 ,from  this stage in their    
evolution they were set apart by their  
music1  classification and refrain4     
,the wider circle of ,carolingian       
liturgical interest included hymn       
writers other than those of ,st4 ,gall3 
,theodulphus of ,orleans1 ,walafrid     
,strabo of ,reichenau1 ,rabanus ,maurus 
of ,fulda1 ,radbert of ,corbie1 who     
with ,waldram and ,hartmann of ,st4     
,gall wrote processional hymns4 ,the    
hymns of ,theodulphus and of ,rabanus   
,maurus have been considered above4     
,other great festivals of the           
ecclesiastical year and of the saints   
were  now observed with processional    
honors for which new hymns were written2

  special ceremonies also1 were thus    
recognized4 ,hartmann wrote the  elegiac
 hymn ,salve1 lacteolo decoratum        
sanguine festum 7,a4 ,h4 #ej4  #bea71   
8,hail festival1 graced with the blood  
of the ,innocents10 for the  ,feast of  
the ,holy ,innocents4 ,the processional 
hymns of ,rabanus ,maurus  were heard at
 ,nativity1 ,easter and possibly the    
,feast of the  ,purification4 ,the      
dramatic spirit1 always present in the  
true  processional is felt in all these 
hymns while the refrain reiterates the  
message of the feast3    for ,easter1   
,r4   ,surrexit quia ,christus a        
sepulcro1      ,collaetetur homo choro  
angelorum4 7,a4 ,h4 #ej4 #aij7          
,since ,christ has risen from the tomb1 
,let man rejoice with the choir of      
angels4    for the ,nativity1    ,r4    
,christo nato1 rege magno      totus    
orbis gaudeat4 7,a4 ,h4 #ej4 #ahf7      
,since ,christ is born1 the mighty king1
      let the whole earth rejoice4      
,processional hymns for saints are      

represented by ,radbert's hymn honoring 
,st4 ,gall1    ,r4   ,annua1 sancte     
,dei1 celebramus festa diei1      ,qua1 
pater1 e terris sidera1 ,galle1 petis4  
7,a4 ,h4 #ej4 #bda7      ,we celebrate1 
,o ,saint of ,god1 our yearly feast on  
this day      ,when thou1 father        
,gallus1 dost leave the earth for       
heaven4    ,to celebrate the life and   
miracles of a patron saint was          
frequently the  inspiration of a        
medieval procession1 which1 in the case 
of ,st4 ,gall1  passed beyond the       
precincts of the monastery into the     
streets of the  town4#bc ,it is no      
wonder that the tradition of these      
processions1  furnished with all the    
splendor of festival vestments1 of robed
 choirs1  of monastic treasures and     
sacred banners should have made ,st4    
,gall  unique4    ,the ,sunday          
processions were sometimes accompanied  
by imposing hymns in  the form of       
litanies4 ,it should not be forgotten   
that the ancient  ,christian processions

 were1 in great part1 of this nature4   
,waldram1  ,hartmann and ,radbert wrote 
such hymns but ,hartmann's was evidently
 a  favorite1 ,summus et omnipotens     
genitor1 qui cuncta creasti1 8,mighty   
and omnipotent father1 who hast created 
all things10 with the refrain1    ,r4   
,humili prece et sincera devotione      
,ad te clamantes semper exaudi nos4 7,a4
 ,h4 #ej4 #bec7      ,with humble prayer
 and pure devotion1      ,ever hear us  
as we cry to ,thee4    ,it seems        
probable that the custom of singing a   
hymn in the procession  before the      
reading of the ,gospel originated at    
,st4 ,gall4 ,hartmann  provided a       
beautiful versus for this purpose1      
,sacrata libri dogmata      ,portantur  
evangelici4 7,a4 ,h4 #ej4 #bej7         
,the sacred words of the      ,gospel   
are borne4    ,a versus for the         
reception of the ,eucharist was written 
by ,radbert1  ,laudes omnipotens1       
ferimus tibi dona colentes 7,a4 ,h4 #ej4
 #bci71 8,in  reverence1 ,almighty1 we  

bring our praises as gifts to ,thee40   
,the  ,blessing of the ,font on ,holy   
,saturday inspired his ,versus ad       
,descensum  fontis 7,a4 ,h4 #ej4        
#bdb-c74 ,among the ceremonies most     
characteristic of  medieval piety was   
that of ,mandatum or foot-washing1      
commemorating the  act of ,jesus in     
washing his disciples' feet1 7,john #ac2
 #a-ae74 ,the name  8,maundy ,thursday0 
is a modern survival of the ancient     
terminology4#bd  ,the hymn associated   
with this rite appears first in ,gaul in
 the eighth  or ninth century and may   
have been current in ,italy in monastic 
centers4  ,the antiphon1 ,ubi caritas et
 amor1 ,deus ibi est1 8,where charity is
 and  love1 ,god is there10 is at once  
the motive and refrain of this hymn1    
,congregavit nos in unum ,christi amor  
7,a4 ,h4 #ab4 #bd71 8,the love of       
,christ has united us10 which follows   
the scriptural account4#be    ,the      
student must turn once more to the great
 monastic centers of the  ,germanic     

world for processional hymns honoring   
royalty4 ,visits of kings  and emperors 
to ,st4 ,gall and other noted           
monasteries were by no means  uncommon2 
that colorful processions and           
demonstrations of loyalty were a  part  
of their reception cannot be doubted4   
,walafrid ,strabo celebrates  the visit 
of ,lothair to ,reichenau with the hymn1
    ,r4   ,imperator magne1 vivas       
semper et feliciter4 7,a4 ,h4 #ej4 #agf7
      ,live1 ,o mighty emperor      ever
 in felicity4    ,walafrid ,strabo      
praised ,charles1 son of ,louis the     
,pious1 and ,radbert1  the ,empress     
,richgard4 ,other processionals could be
 used on the occasion  of the coming of 
any royal visitor4    ,vatican          
manuscripts offer evidence of           
contemporary processions in ,italy  and 
,rome1 the city of their origin4 ,from  
this source is derived the  processional
 hymn ,sancta ,maria1 quid est8 7,a4 ,h4
 #bc4 #gd71 8,sancta  ,maria1 what      
meaneth this80 written for the          

procession which marked the  eve of the 
,feast of the ,assumption1 about the    
year #ajjj4 ,specific  directions for   
the route1 the order of precedence and  
every detail of  the ceremonial are     
available1 while the hymn itself depicts
 the devotion  and human appeal         
attending this night time scene in      
,rome4#bf                      ,,iii4   
,evolution in the ,later ,middle ,ages  
,for the evolution of the processional  
hymn from this point to the close  of   
the ,middle ,ages1 we have in addition  
to hymnic manuscripts1 the  service     
books and manuals devoted to1 or        
including1 processional  practice4 ,the 
,ritual or ,roman ,pontifical was the   
earliest to include  directions for     
processions1 an illustration of which   
has been presented  above in the case of
 ,sancta ,maria1 quid est8 ,in the      
course of time1  since so many medieval 
processions were not thus provided for1 
the  ,processional came into existence1 
containing the order of processions  for

 a particular diocese or monastery4#bg  
,the ,st4 ,gall ,processionals1  for    
instance1 are informative as to customs 
already described above4 ,the  specific 
name versus gave rise to the title      
,versarius for a book of  processional  
hymns4#bh    ,in addition to the        
collections1 liturgical writers         
discussed the  procession4 ,of these1   
none was more influential than          
,durandus1 ,bishop of  ,mende1 who1     
about #abhf1 produced his ,rationale    
divinorum officiorum  which among many  
other liturgical subjects1 included     
processional  rites4#bi ,durandus was a 
leading authority upon ecclesiastical   
symbolism4 ,accordingly1 he dwells upon 
every minute detail of the great        
processions for ,easter1 ,ascension1    
,palm ,sunday and the ,purification as  
well as the ,sunday procession and      
others of lesser importance1 ascribing  
to each act a wealth of symbolic        
meaning4 ,much of this figurative       
interpretation is obvious and inherent  

in the feast to be celebrated but  in   
other cases he gives full play to his   
sense of the symbolic1 a phase  of      
contemporary thought already so         
characteristic of ,adam of ,st4 ,victor 
and other writers on religious themes4  
,finally he declares that whatever  else
 is suggested1 8the true procession is a
 progress to the celestial  country40   
7,ipsa vero processio1 est via ad       
coelestem patriam47#cj ,if  the         
fundamental concepts which entered into 
their origins be reviewed1  medieval    
processions apparently carried with them
 the familiar ideas of  supplication1 of
 dramatic representation or of          
pilgrimage to sacred  places4 ,durandus 
reiterates and sublimates these         
concepts1 giving them  an added         
significance4    ,the processional      
manuals1 especially of the ,english     
rites observed at  ,salisbury1 ,york1   
,canterbury and other cathedral centers1
 offer  descriptions and sometimes      
illustrations showing the order and     

vestments  of the clergy1 the position  
and functions of the choir1 the         
appropriate  acts involved1 together    
with the complete text of the antiphons1
 psalms1  other scriptural passages1    
hymns1 prayers and rubrics4 ,turning to 
the  processional hymns which were      
rendered in these centuries1 one is     
impressed by the gradual disappearance  
of hymns typical of the efforts  of the 
,st4 ,gall school and its               
contemporaries4 ,a tremendous vogue of  
the  original ,salve festa dies of      
,fortunatus which had never been lost   
sight of1 together with its centos1     
variants and copies1 takes  possession  
of the field4 ,there were in all1       
perhaps1 from one hundred to  one       
hundred and fifty true processional     
hymns in circulation throughout  the    
whole medieval period1 if one enumerates
 those which are edited in  the         
,analecta ,hymnica4 ,one half of these  
may be considered to be of the  ,salve  
festa dies type while similar elegiac   

metrical forms are found  in half of the
 remainder4    ,what has been said of   
the cultural background in which the    
sequence  developed and multiplied is   
equally true for the processional hymn4 
,the  same influences which created new 
seasonal feasts and additional feasts   
for the saints1 produced new            
processional hymns to accompany them4   
,there  is1 however1 a great disparity  
between the number of sequences and     
processional hymns that were written4   
,the sequence was regnant in sacred  and
 secular verse1 both in ,latin and the  
vernaculars4 ,office hymns1 too1  far   
outnumbered processionals4 ,this may be 
another way of saying that  the office  
hymns and the sequences had a liturgical
 function and  setting1 while the       
processional was always extra-liturgical
 and either  superfluous or purely      
ornamental from this point of view4 ,the
 antiphons  and psalms were sufficient  
to satisfy the essential choral demands 
of  any procession4    ,unfortunately   

,thomas ,aquinas did not include a      
processional hymn when he  furnished the
 hymnody for the ,feast of ,corpus      
,christi4 ,he could hardly  have        
envisaged the thousands of ,corpus      
,christi processions throughout         
,catholic ,christendom which have marked
 the ,feast even to this day4 ,nor      
could he have foreseen that his hymn    
,pange lingua gloriosi corporis         
mysterium1 written in the tradition of  
,fortunatus1 would be widely            
appropriated for that purpose4 ,other   
processionals for ,corpus ,christi      
appeared almost at once1 especially of  
the ,salve type4    ,contemporary       
devotion to the ,virgin ,mother and her 
festivals was felt in  the expansion of 
the ,marian hymnology for processions4  
,the establishment  of ,st4 ,osyth in   
,essex was a center in which new hymns  
were used for the  ,visitation1         
,salve festa dies1 toto venerabilis     
aevo1      ,qua ,christi mater visitat  
,elizabeth4 7,a4 ,h4 #aa4 #ea7          

,hail thee1 festival day1 blest day that
 is hallowed forever1      ,on which    
,christ's mother visits ,elizabeth4     
and the ,assumption1      ,salve festa  
dies1 toto venerabilis aevo1      ,qua  
fuit assumpta virgo ,maria pia4 7,a4 ,h4
 #aa4 #ee7      ,hail thee1 festival    
day1 blest day that is hallowed forever1
      ,on which the holy ,virgin ,mary  
was assumed4    ,a lengthy hymn of      
twenty stanzas for the ,feast of the    
,purification which  had been observed  
for so many centuries1 appears in a     
twelfth or  thirteenth century          
manuscript from ,kremsmnster1 ,laetetur 
omne  saeculum 7,a4 ,h4 #d4 #ed71 8,let 
every age rejoice40 ,the biblical scene 
of the ,presentation in the ,temple is  
described and reference is made to  the 
carrying of lighted candles4    ,later  
medieval practice perpetuated other     
earlier customs4 ,from the  original    
station processions at ,rome had        
developed the ceremonies to  celebrate  
the translation of relics of saints in  

western ,european lands4  ,pope         
,callistus ,,ii 7d4 #aabd7 wrote a      
processional hymn honoring ,st4 ,james  
of ,campostella1 ,versus ,calixti       
,papae1 cantandi ad processionem sancti 
,jacobi in solemnitate passionis ipsius 
et translationis ejusdem 7,a4  ,h4 #ag4 
#aid71 or ,versus of ,pope ,callistus1  
to be sung at the procession  of ,st4   
,james in the celebration of his passion
 and translation4 ,a hymn  for ,st4     
,kyneburga 7d4 #fhj7 commemorated the   
restoration of her relics to  their     
original burial place in ,peterborough  
,minster from which they had  been      
removed during the ,danish invasions4#ca
 7,a4 ,h4 #dc4 #bah7    ,a procession in
 which the relics were carried for the  
veneration of the  worshipers was       
familiar in many places4 ,records from  
,st4 ,gall testify  that ,st4 ,magnus   
was honored with such a procession and  
an appropriate  hymn of praise 7,a4 ,h4 
#ej4 #bfa74 ,the relics of saints       
treasured at  ,exeter were borne in     

procession with the singing of a hymn   
which  mentions their miraculous powers4
 7,a4 ,h4 #dc4 #bgg7    ,in an era      
marked by municipal drama and civic     
display as well as  religious festivals1
 the pageantry of the procession was    
understandably  popular4 ,rome always   
had its great processions4 ,accounts are
 extant of  ceremonies accompanied by   
hymns1 in ,tournai1 ,strasburg1         
,nuremberg and  other medieval towns1   
aside from those prescribed by episcopal
 and  monastic manuals of the day for   
the great cathedrals and abbeys4    ,the
 music to which the processional hymn   
was sung is1 in some cases1  available4 
,the ,st4 ,gall manuscripts1 as ,gautier
 noted1 were furnished  with musical    
notation4 ,this is occasionally true of 
later manuscripts1  especially as we    
enter the closing medieval centuries4   
,the traditional  melodies of certain   
hymns1 like the ,salve festa dies and   
,gloria laus  et honor are known to-day4
 ,musicologists and students of         

liturgical  music are currently engaged 
in bringing this music to present-day   
knowledge4 ,for example1 the hymn used  
in procession before the reading  of the
 ,gospel appears in the twelfth and     
thirteenth centuries as a  conductus or 
conductum which1 in turn1 is related to 
the  cantio4#cb ,a conductus for the    
festival of ,st4 ,james of ,campostella 
7,a4 ,h4 #ag4 #aii71 illustrates the    
evolution of a minor type of            
processional hymn from ,hartmann's      
solemn versus1 mentioned above1 to  the 
festive style of the late medieval      
period4 ,the recent study of the        
conductus by ,leonard ,ellinwood        
reflects the growing interest of        
musicians in these forms1 both secular  
and religious1 which preceded the       
,renaissance4#cc    ,to summarize the   
characteristic marks of the processional
 hymn which are  constant and quite     
independent of the date of their        
appearance1 the  student must recall the
 underlying motives3 #a7 supplication in

 the  litanies1 #b7 re-enactment of     
biblical scenes and #c7 religious       
pilgrimage4 ,respecting usage1 the      
special interest of a ceremony devoted  
to a particular occasion is present in  
processional hymns1 additional to  other
 rites4 ,lastly1 a group of hymns has   
come into existence1 not to be          
classified with the more formal         
categories of the office hymn and the   
sequence but dedicated to an            
extra-liturgical purpose4    ,as a      
group1 the processional hymns are not   
well-known or frequently used  in       
translation with the exception of the   
ageless hymns of ,theodulphus  and      
especially of ,fortunatus whose         
processionals usurped the medieval      
field for over one thousand years and   
are still current to-day4    7,see      
,illustrative ,hymns1 ,,xvii4 ,salve    
festa dies1 8,hail thee1 festival       
day407                                  
,,chapter ,,seven                       
,influence and ,survival of ,latin      

,hymns                             ,i4  
,late ,medieval ,influence    ,from the 
creation of the ,latin hymn in the      
fourth century by the  earliest writers 
to the efforts of poets heralding the   
,renaissance1  ,christian hymnody left  
its imprint upon contemporary verse both
 secular  and religious4 ,the field of  
inquiry suggested by this thesis has    
never  been fully explored although it  
abounds in fascinating possibilities for
  the student of medieval culture4 ,the 
subject1 of course1 cannot be  treated  
within the limits of this chapter but   
such hints may be offered  as have      
resulted from a partial study of        
particular areas or fall within  the    
bounds of reasonable assumption4        
,perhaps the most pervading influence   
and the simplest to trace is the        
metrical4 ,the iambic dimeter of        
,ambrose1 both in its quantitative and  
in  its rhythmical form1 became a       
standard for poetry of all types1       
appearing even in the modern age as the 

long meter of the metrical  versions of 
the ,psalms4 ,trochaic verse1 initiated 
in hymns by ,hilary1  employed most     
effectively by ,fortunatus and always a 
favorite1 rivalled  the iambic in the   
vernaculars4 ,as the metrical features  
of the ,victorine  sequence became      
increasingly popular1 they were taken   
over bodily by  secular poets writing   
both in ,latin and in the modern        
,european  languages4 ,classical meters 
fostered by ,prudentius and later by the
  ,carolingian poets showed less        
vitality as poetical models4 ,the       
liturgical hymn and the sequence are of 
prime importance in their  metrical     
aspects but the meters of the piae      
cantiones and other  religious lyrics   
were also widely appropriated4 ,the     
origin of rhyme is a  related problem   
which in the opinion of ,w4 ,b4         
,sedgwick 8centers around  the          
,christian hymn40#a ,numerous           
publications by scholars who1 like      
,sedgwick1 have spoken with authority1  

bear witness to the general  linguistic 
and literary interest attaching to these
 subjects of  research4    ,aside from  
aspects of meter and rhyme1 medieval    
secular verse in ,latin  borrowed       
generously from the hymn2 witness the   
songs of the wandering  scholars as     
recorded in the collection edited under 
the title ,cambridge  ,songs and also   
the goliardic poetry of the ,carmina    
,burana4#b  ,well-known hymns are       
frequently parodied and1 in general1 the
 liturgical  models are employed to     
create humorous allusion or pungent     
satire4 ,the  student song ,gaudeamus   
igitur is a familiar illustration of    
this  general group4    ,the adaptation 
of the sequence to secular purposes     
resulted in a novel  type of verse1 the 
modus1 already cited in connection with 
the origin  of the sequence1 illustrated
 by the ,modus florum of which many     
examples have been preserved varying in 
beauty and poetic conceit4  ,reference  
has been made in an earlier chapter to  

the deeper problems  underlying sequence
 origins on the poetical side4          
,discussion among  scholars as to the   
priority of the religious or secular    
,latin lyric is  still active4#c ,some  
would say that popular ,latin verse     
arose by virtue  of the hymnodic        
influence4 ,others would posit a        
vernacular impulse which  eventuated in 
the ,latin lyric both secular and       
religious4#d    ,apart from the lyric1  
there are in the general field of ,latin
 verse many  resemblances to hymnic     
models4 ,the lengthy narrative poems of 
the  ,peristephanon in which ,prudentius
 recounted the sufferings of the        
martyrs1 ,st4 ,laurence1 ,st4 ,vincent1 
,st4 ,agnes1 ,st4 ,eulalia and others1  
and celebrated their spiritual          
victories1 have been called hymns4 ,it  
has  been argued that they were actually
 sung1#e in full1 upon the festival     
days of the saints in question although 
the praises of ,st4 ,vincent1 for       
example1 are expanded to #egf lines1    

other hymns varying from #ff to #aadj   
lines4 ,it may have been possible in the
 more leisurely tempo of medieval  life 
to render the martyr hymns of           
,prudentius in their entirety4 ,a far   
more provocative suggestion makes them  
the starting point for the  medieval    
saints' legend of which illustrations   
exist in lengthy ,latin  poems and      
later1 in vernacular verse4    ,the     
contribution of hymns to the liturgical 
drama of the ,church has been  noted in 
connection with the sequence1 ,victimae 
paschali laudes4 ,it is  nowhere        
contended that the hymn created the     
drama but that the dramatic  phraseology
 is often reminiscent of the hymn and   
that the role of the  singers in the    
schola cantorum and the choir1 as actors
 in the  liturgical play1 becomes       
significant in connection with the      
hymnic  origins of these productions    
within the church4#f    ,finally1 an    
interesting group of ,latin poems having
 an interrelation  with the hymn is     

illustrated by ,o ,roma nobilis1 a tenth
 century lyric  praising the apostles   
and martyrs of the ,eternal ,city 7,a4  
,h4 #ea4  #bai74g    ,the transition    
from ,latin to vernacular languages took
 place as soon as  the latter were      
sufficiently developed to produce       
,christian verse4 ,the  ,gospels were   
rendered into ,germanic rhymed verse in 
the ninth century by  ,otfried the      
,frank who inserted a hymn of ten       
stanzas as a poetic version  of the     
opening of ,st4 ,john's ,gospel4 ,it is 
written in seven-syllable  couplets with
 four or six to a stanza4#h ,otfried is 
said to have been  influenced by        
,rabanus ,maurus and with good reason   
since the latter was a  recognized      
leader in mediating ,latin patristic and
 other writings to the  ,germanic world 
of his day4    ,otfried was the first of
 many medieval poets whose religious    
lyrics in  the vernacular1 often        
revealing the inspiration of the ,latin 
hymn1 have  been preserved4 ,their verse

 appears in ,wackernagel's great        
collection in  which he has edited #addh
 specimens from the time of ,otfried to 
that of  ,hans ,sachs4#i    ,celtic     
churchmen were pioneers among medieval  
,latin hymnists1 their  earliest        
contribution dating from the sixth      
century4 ,religious lyrics in  the      
,celtic tongue must have been produced  
and recorded before the ,danish         
invasions although the destruction of   
these manuscripts delayed the  compiling
 of new vernacular collections until the
 eleventh century4 ,the  hymn ,hymnum   
dicat turba fratrum1 written in trochaic
 tetrameter1 and  preserved in the      
,bangor ,antiphonary1 to which reference
 has been made in  ,chapter ,one1       
apparently influenced the metrical      
system of ,celtic poetry4  ,the metrical
 pattern used by ,otfried1 a quatrain of
 seven-syllable lines  with rhymed      
couplets1 is commonly found4#aj ,latin  
influence is at least  tentatively      
acknowledged by scholars in the rhyme   

and stanza structure  of ,celtic poetry 
prior to the eleventh century4#aa       
,after the creation of the ,latin       
sequence1 vernacular poetry is          
overwhelmingly affected by this new type
 of hymn4 ,germanic poets  followed the 
leadership of ,notker4 ,the ,victorine  
school1 rejecting the  strophic system  
and rhythmic model of the ,germans1     
built the couplet and  rhyme1 already   
existing in hymns1 into a characteristic
 structure which  proved to be easily   
transferable to vernacular uses4 ,it has
 been  asserted that the lyric poetry of
 the ,middle ,ages1 in ,german1 ,french1
  ,provenal and ,english was reborn in  
this conquest of the vernacular by  the 
,latin sequence4#ab ,at the same time1  
the possible influence of the           
vernacular over the ,latin must not be  
ignored4 ,there is a resemblance1  for  
instance1 between the narrative elements
 of sequences written in  honor of      
saints and the ballads of secular       
poetry4#ac ,whatever the  conflicting   

currents may have been in the period of 
origins1 the  smooth-flowing stream of  
the vernacular religious lyric with its 
many  tributaries1 refreshed the spirit 
of medieval man and recalled to memory  
his religious heritage4    ,the vitality
 of this new religious poetry which     
flourishes in the later  centuries1 in  
which the ,latin hymn suffered so marked
 a deterioration1  suggests that the    
future of the hymn1 like other media of 
,latin  literature1 was to be realized  
in a new linguistic environment4 ,it was
  not the verity but the language that  
was destined to change4    ,in order to 
appreciate the variety and interest of  
that vernacular lyric  poetry which     
arose within the sphere of influence of 
the ,latin hymn1  illustrations may be  
culled from many parts of ,europe4      
,mary-,verse in  ,meistergesang is the  
title chosen by ,sister ,mary ,schroeder
 for her  study of one aspect of the    
,german lyric4#ad ,a very large         
proportion1  perhaps two-thirds of the  

songs are religious in content1 showing 
to a  degree1 their dependence upon     
hymnal poetry1 while nearly one-fourth  
of  them are devoted to the praise of   
the ,virgin4 ,occasionally1 a ,latin    
sequence has been freely translated1    
paraphrased or elaborated4    ,the      
,swedish vernacular is represented by   
the patriotic poem of ,bishop  ,thomas  
of ,strngns1 who1 in the fourteenth     
century1 wrote in praise of  the        
national hero1 ,engelbrekt4 ,metrical   
and stanza form are both of the  hymnal 
type4#ae    ,the ,romance languages     
afford myriad examples of the sequence  
form4 ,st4  ,martial1 near ,limoges1    
already cited as a center in the        
production of  the sequence1 and ,paris1
 the home of the ,victorine school1 are 
both  places of origin for vernacular   
lyrics4 ,a close connection has been    
traced between the sequence and the     
,french romantic lyric1 especially  the 
lai1 a connection amply illustrated and 
tabulated for the  convenience of the   

student4#af ,more familiar1 perhaps1    
than the lais  are the appealing lines  
of ,franois ,villon1 8,dame des cieulx1 
regente  terrienne10 which possesses all
 the charm of the ,marian lyric at its  
best4    ,about the year #abgj1 ,alfonso
 ,x of ,castile made a collection of    
#djj poems  in the ,galician-,portuguese
 dialect1 the ,cntigas de ,santa ,mara  
around  which a considerable literature 
has grown up4 ,all are devotional in    
subject matter4 ,alfonso ,x was a       
literary patron4 ,ramon ,lull 7c4 #acae7
  was himself a poet who wrote in the   
,catalan tongue although his mystical   
writings are better known than his      
poetry4 ,his ,hours of our ,lady ,st4   
,mary was modeled upon the hymn and set 
to a hymn tune4#ag    ,the ,italian     
poets of religious verse flourished as  
writers both in the  vernacular and in  
,latin4 ,st4 ,francis of ,assisi1       
7#aaha-abbf71 whose  ,cantico di fratre 
sole#ah is known and loved by countless 
persons in  our own day1 was among the  

earliest poets of the ,laudi spirituali4
 ,the  origin of the laudi has been     
traced in part to the ejaculations of   
the  flagellants of northern ,italy     
where bands of these penitents were     
commonly seen in the thirteenth century4
 ,a century earlier1 religious          
societies of singers1 the laudisti1 were
 in existence in ,venice and  ,florence4
 ,arezzo knew such a group as early as  
#ajfh4ai ,included among  the known     
writers of laudi are ,jacopone da ,todi1
 7#abcj-acjf71 and  ,bianco da ,siena1  
7c4 #acjg71 both classified today as    
writers of hymns4    ,the movement      
represented by the laudisti spread to   
,france1  ,german-speaking lands1 the   
,low ,countries and ,poland4 ,everywhere
 the  vernacular was used with popular  
unison melodies4 ,as we approach the    
,renaissance1 ,florence is still        
conspicuous for her authors of the      
religious vernacular lyric1 among them  
,lorenzo di ,medici and ,savonarola1    
7#adeb-adih71 better known as the       

,florentine preacher whose passionate   
denunciations of the evils of his day   
brought him into conflict with the      
,church and resulted in his execution4  
,his ,laude al crucifisso has been      
translated in part by ,jane ,f4 ,wilde  
as a hymn1 8,jesus1 refuge of the       
weary40    ,the ,english religious      
lyrics of the thirteenth1 fourteenth and
 fifteenth  centuries may be read with  
enjoyment in the collections of         
,carleton  ,brown whose appraisement of 
this poetry was the fruit of great      
learning  and a sympathetic discernment 
of human values4#bj ,here the ,latin    
hymn  may be found as it was translated1
 adapted and imitated in ,english       
verse4 ,the ,latin sequence1 as it      
increased in popularity1 was taken over 
by ,english poets with great success4   
,some of these writers who  appropriated
 the ,latin models1 like ,william       
,herebert1 ,jacob ,ryman and  ,john     
,lydgate1 are known to us by name while 
others are anonymous4 ,their  poetic    

themes are varied but ,marian verse     
appears in many forms3 hymns1  laments1 
and rhymed petition4 ,incidentally1 a   
knowledge of the ,latin  original must  
be presupposed on the part of the       
,english laity of this  period4 ,chaucer
 wrote for the layman who must have     
understood his use of  the sequence     
,angelus ad ,virginem in the 8,miller's 
,tale0 and the  sequence ,alma          
redemptoris mater in the 8,prioress'    
,tale40    ,english macaronic verse best
 reveals the ,latin hymn4 ,over and over
  again1 ,latin quotations are used1    
sometimes embedded in the text1         
sometimes added as refrains1 an         
understanding of which is always vital  
to the appreciation of the poem4    ,the
 carol1 although extraneous to true     
hymnody1 because of its  non-liturgical 
character and usage1 was related to     
,latin origins2 to  some extent1 to the 
cantio and the conductus4 ,a form of    
vernacular  lyric1 the carol often      
shares the macaronic features which were

 common  in the blended phraseology of  
the ,european languages with ,latin in  
this  popular type of late medieval     
verse4 ,it is relevant here as a        
religious  lyric which bears the        
unmistakable mark of the hymnic         
inheritance4  ,whatever is true of the  
,english carol is equally true of the   
carol in  other lands4 ,to-day these    
lyrics are of great interest and of     
increasing  usage in the ,christian     
,church at large4 ,their musical and    
poetic aspects  are both subjects of    
enthusiastic research4 ,many persons in 
our modern  society who have never      
studied the classical languages are able
 to sing  the ,latin words and phrases  
they contain1 with understanding1 as did
  their medieval predecessors4          
,,ii4 ,influence and ,survival of ,latin
 ,hymns since the ,middle ,ages    ,the 
writing of ,latin hymns by no means died
 out with the medieval era in  the      
sixteenth century4 ,the great prestige  
of ,latin studies fostered by  the      

,renaissance alone would have been      
sufficient to perpetuate the  practice4 
,the ,church1 too1 was engaged in a     
movement to standardize and  improve the
 ,latinity of the breviary hymns which  
resulted in the  ,trentine cycle as we  
know it today4 ,a concurrent movement   
toward  uniformity of rites appreciably 
reduced the number of breviaries and the
  variety of their hymns1 but those     
breviaries which maintained an          
independent existence had their own     
complete cycles4 ,such were the         
,cluniac ,breviary of #afhf and the     
,paris ,breviary of #agcf for which new 
hymns were written and sung side by side
 with those of medieval origin4  ,among 
post-,renaissance poets represented in  
these collections were the  ,frenchmen  
,jean-,baptiste de ,santuil and his     
brothers ,claude and ,baptiste4         
,freshly inspired by classical studies1 
the new hymn writers repudiated         
medieval ruggedness and stylistic       
neglect in favor of the smooth and      

finished ,latinity affected by          
contemporary poets4 ,from the           
substantial  body of verse produced in  
these centuries1 ,adeste fideles1 8,o   
come1  all ye faithful10 has proved a   
favorite4 ,sometimes classified as a    
hymn1  sometimes as a carol1 it         
originated in the ,english colony at    
,douay about  the year #agdj1 from the  
pen of ,john ,francis ,wade4#ba    ,the 
continuity of the ,roman ,use1 however1 
was not disturbed4 ,the ,roman          
,breviary had acquired its cycle of     
hymns in the processes of evolution     
which have been traced in the preceding 
chapters4 ,trentine revisions  under the
 guidance of ,pope ,urban ,,viii1       
7#afbc-afdd71 made with the  highest    
motives but often deplored by later     
scholars1 transformed the  medieval     
originals into products of the          
,renaissance4 ,the ,trentine  ,breviary 
contains many of the finest medieval    
hymns which1 although they  have        
suffered alterations1 have carried the  

traditional heritage into  modern       
times4#bb    ,by virtue of its prestige 
and its world-wide circulation1 the     
,roman  ,breviary has been the vehicle  
by which the ,latin hymn has penetrated 
into the modern vernacular languages in 
translations4 ,it is a subject of       
frequent comment that the full treasury 
of hymns has not been drawn upon  by the
 ,catholic ,church since the hymns of   
the ,roman ,breviary have  monopolized  
the field4 ,the historical reason for   
this is clear and also  for the fact    
that in the ,roman ,missal only five    
sequences1 each of  recognized          
superiority1 have been retained4    ,the
 restriction of ,latin hymns in ,roman  
,catholic liturgical usage to a         
relatively small number allows certain  
exceptions4 ,the ,benedictine and  other
 religious orders use their own cycle of
 breviary hymns and  present-day        
,catholic hymnals in popular use often  
contain translations  of hymns and      
sequences additional to those of the    

,roman ,breviary and  ,missal4          
,protestant ,churches are not limited in
 their selection of ,latin hymns  for   
translation1 making their choices from  
the entire medieval store4  ,the revival
 of ,latin hymns in a translated form1  
which marked the ,oxford  ,movement in  
the ,anglican ,church in the            
mid-nineteenth century1 drew upon  the  
,sarum ,breviary as one native to       
,english soil and therefore  appropriate
 to the ,english ,church4 ,that these   
hymns were largely  represented in the  
,roman ,breviary1 was well-known but the
 earlier and  unrevised texts were      
preferred4 ,in his function as a        
translator1 ,john  ,mason ,neale was    
preeminently a leader in the task of    
making known to the  adherents of the   
,church of ,england their heritage of   
hymns4    ,an attempt was made at this  
time to perpetuate not only the words   
but  the ,gregorian ,chant as a suitable
 musical setting for the vernacular4    
,here the innovators were only partly   

successful and the chant1 although      
enthusiastically employed at first was  
gradually abandoned in the  ,english    
,church as the sole musical vehicle for 
the ,latin hymn in  translation4        
,similarly ,latin hymns have been taken 
over into other  modern languages by    
translators of ,protestant as well as   
,catholic  allegiance4    ,in the       
seventeenth and eighteenth centuries the
 influence of ,latin hymn  meters       
continued to be felt in vernacular      
hymnody4 ,metrical versions of  the     
,psalms made by ,isaac ,watts are often 
illustrative of old ,latin forms  which 
may also be recognized in his own hymns4
 ,this may not have been a  conscious   
imitation of ,latin originals for by    
this time hymn meters were  ingrained in
 ,english poetry1 but merely an indirect
 reflection1 for  example1 of the       
,ambrosian model4    ,more subtle has   
been the influence in modern times of   
the most ancient  canons of hymnic      
expression2 objective presentation of   

scriptural  narrative1 doctrinal        
emphasis and a certain joyful austerity 
in the  praise of ,god4 ,during the     
three and a half centuries which have   
passed  since the era of the ,protestant
 ,reformation1 the ,christian hymn has  
experienced a succession of literary    
movements1 reflecting1 for example1  the
 spirit of the ,age of ,reason and of   
the ,romantic ,era4 ,contemporary       
musical evolution has1 in turn1 been    
vitally important to the growth of  the 
hymn as it has been mated with the      
melodies of the ,genevan ,psalter1  the 
chorales of ,bach1 the musical novelties
 of instrumental origin1 the  folk song 
and latterly the native music of regions
 open to missionary  enterprise4        
,throughout this varied experience the  
stream of medieval ,latin hymnody  has  
continued its course4 ,as an            
accompaniment of ,roman ,catholic       
worship  this was only to be expected4  
,the conquest by the ,latin hymn of     
areas  beyond the limits of the ,roman  

,church is more significant4 ,the most  
recent hymnals of leading ,protestant   
denominations1 to which the ,latin  hymn
 in translation has made a modest but   
genuine contribution1 bear  witness to  
the ageless character of this hymnody4  
,modern investigation  of hymn sources1 
their origins1 authorship and influence1
 has created  the study of documentary  
hymnology as it is known today4 ,in the 
processes of this inquiry the medieval  
,latin hymn has been invested with  new 
interest in the minds of a multitude of 
worshipers1 both ,catholic  and         
,protestant1 who have hitherto been     
unaware of1 or indifferent to1  their   
common heritage4                        
,illustrative ,hymns                    
,i4    ,splendor paternae gloriae    #a4
   ,splendor paternae gloriae1    ,de   
luce lucem proferens1    ,lux lucis et  
fons luminis1    ,dies dierum           
illuminans1    #a4   ,o ,splendor of    
,god's glory bright1    ,o ,thou that   
bringest light from light1    ,o ,light 

of light1 light's living spring1    ,o  
,day1 all days illumining2    #b4       
,verusque sol illabere1    ,micans      
nitore perpeti1    ,iubarque sancti     
,spiritus    ,infunde nostris sensibus4 
#b4   ,o ,thou true ,sun1 on us thy     
glance    ,let fall in royal radiance1  
,the ,spirit's sanctifying beam    ,upon
 our earthly senses stream4    #c4      
,votis vocemus et ,patrem--    ,patrem  
perennis gloriae1    ,patrem potentis   
gratiae--    ,culpam releget lubricam1  
#c4   ,the ,father1 too1 our prayers    
implore1    ,father of glory evermore1  
,the ,father of all grace and might1    
,to banish sin from our delight3    #d4 
,informet actus strenuos1    ,dentem    
retundat invidi1    ,casus secundet     
asperos1    ,donet gerendi gratiam4     
#d4   ,to guide whate'er we nobly do1   
,with love all envy to subdue1    ,to   
make all-fortune turn to fair1    ,and  
give us grace our wrongs to bear4    #e4
   ,mentem gubernet et regat1    ,casto 
fideli corpore2    ,fides calore        

ferveat1    ,fraudis venena nesciat4    
#e4   ,our mind be in his keeping       
placed1    ,our body true to him and    
chaste1    ,where only ,faith her fire  
shall feed    ,to burn the tares of     
,satan's seed4    #f4   ,christusque    
nobis sit cibus1    ,potusque noster sit
 fides2    ,laeti bibamus sobriam       
,ebrietatem ,spiritus4    #f4   ,and    
,christ to us for food shall be1        
,from him our drink that welleth free1  
,the ,spirit's wine1 that maketh whole1 
,and mocking not1 exalts the soul4      
#g4   ,laetus dies hic transeat1        
,pudor sit ut diluculum1    ,fides velut
 meridies1    ,crepusculum mens nesciat4
    #g4   ,rejoicing may this day go    
hence1    ,like virgin dawn our         
innocence4    ,like fiery noon our faith
 appear1    ,nor know the gloom of      
twilight drear4    #h4   ,aurora cursus 
provehit1    ,aurora totus prodeat1     
,in ,patre totus ,filius1    ,et totus  
in ,verbo ,pater4    #h4   ,morn in her 
rosy car is borne2    ,let ,him come    

forth our perfect ,morn1    ,the ,word  
in ,god the ,father one1    ,the ,father
 perfect in the ,son4      ,tr4 ,robert 
,bridges1 from ,the ,yattendon ,hymnal  
7edited by ,robert    ,bridges  ,h4     
,ellis ,wooldridge7 by permission of the
 ,clarendon ,press1    ,oxford4         
,,ii4    ,vexilla regis prodeunt    #a4 
,vexilla regis prodeunt1    ,fulget     
crucis mysterium1    ,quo carne carnis  
conditor    ,suspensus est patibulo4    
#a4   ,the banners of the king advance1 
,the cross with mystery doth flame1     
,and from the tree the ,flesh of flesh1 
,word ,incarnate1 hangs in shame4    #b4
   ,quo vulneratus insuper    ,mucrone  
dirae lanceae1    ,ut nos lavaret       
crimine1    ,manavit unda1 sanguine4    
#b4   ,the lance's edge hath pierced    
,his side1    ,o look on ,him that for  
our good    ,cleansed us of the stain of
 sin1    ,washed out with water and with
 blood4    #c4   ,inpleta sunt quae     
concinit    ,david fideli carmine1      
,dicendo nationibus3    ,regnavit a     

ligno ,deus4    #c4   ,now is fulfilled 
what was foretold    ,by ,david in      
prophetic song3    ,suspended from the  
rood ,our ,god    ,will rule4 ,to ,him  
shall nations throng4    #d4   ,arbor   
decora et fulgida1    ,ornata regis     
purpura1    ,electa digno stipite       
,tam sancta membra tangere4    #d4   ,o 
glorious and radiant tree    ,in royal  
crimson richly decked1    ,his sacred   
limbs to touch and hold    ,thee did our
 ,lord1 fair rood1 elect4    #e4        
,beata1 cuius bracchiis    ,pretium     
pependit saeculi4    ,statera facta est 
corporis    ,praedam tulitque tartari4  
#e4   ,thou blessed cross upon whose    
arms    ,the body of the ,savior fell2  
,as with a balance thou didst weigh     
,the ,christ that bore us out of ,hell4 
#f4   ,fundis aroma cortice1    ,vincis 
sapore nectare1    ,iocunda fructu      
fertili    ,plaudis triumpho nobili4    
#f4   ,thy wood is all a sweet perfume1 
,thou art like nectar very sweet2       
,rejoicing in thy fruit thou mak'st     

,a perfect triumph more complete4    #g4
   ,salve ara1 salve victima    ,de     
passionis gloria1    ,qua vita mortem   
pertulit    ,et morte vitam reddidit4   
#g4   ,altar and sacred victim1 hail6   
,in thy passion is our glory4    ,life  
from death thou bringest back1    ,life 
in death shall be our story4    #h4   ,o
 crux ave1 spes unica1    ,hoc passionis
 tempore1    ,auge piis iustitiam1      
,reisque dona veniam4    #h4   ,hail    
thou cross1 ,o hail thou only    ,hope  
that agony may win2    ,to believers    
bring salvation1    ,take the sinner    
from his sin6      ,the #hth stanza is a
 later addition4 ,stanza #b omitted4    
,tr4 ,howard ,m4 ,jones 7,allen1 ,p4    
,s41 ,the ,romanesque ,lyric4 ,chapel   
,hill1 ,un4 of ,n4 ,c4 ,press1 #aibh1 p4
 #adf-g4 ,quoted by permission of       
publishers47                            
,,iii4    ,aeterna ,christi munera      
#a4   ,aeterna ,christi munera    ,et   
martyrum victorias1    ,laudes ferentes 
debitas    ,laetis canamus mentibus4    

#a4   ,the eternal gifts of ,christ the 
,king1    ,the ,martyrs' glorious deeds 
we sing2    ,and while due hymns of     
praise we pay1    ,our thankful hearts  
cast grief away4    #b4   ,ecclesiarum  
principes1    ,belli triumphales duces1 
,caelestis aulae milites1    ,et vera   
mundi lumina2    #b4   ,the ,church in  
these her princes boasts1    ,these     
victor chiefs of warrior hosts2    ,the 
soldiers of the heavenly hall1    ,the  
lights that rose on earth for all4      
#c4   ,terrore victo saeculi1           
,poenisque spretis corporis1    ,mortis 
sacrae compendio    ,vitam beatam       
possident4    #c4   ,the terrors of the 
world despised1    ,the body's torments 
lightly prized1    ,by one brief space  
of death and pain    ,life everlasting  
they obtain4    #d4   ,traduntur igni   
martyres    ,et bestiarum dentibus2     
,armata saevit ungulis    ,tortoris     
insani manus4    #d4   ,to flames the   
,martyr ,saints are hailed3    ,by teeth
 of savage beasts assailed2    ,against 

them1 armed with ruthless brand    ,and 
hooks of steel1 their torturers stand4  
#e4   ,nudata pendent viscera1          
,sanguis sacratus funditur1    ,sed     
permanent immobiles    ,vitae perennis  
gratia4    #e4   ,the mangled frame is  
tortured sore1    ,the holy life-drops  
freshly pour3    ,they stand unmoved    
amidst the strife1    ,by grace of      
everlasting life4    #f4   ,devota      
sanctorum fides1    ,invicta spes       
credentium1    ,perfecta ,christi       
caritas    ,mundi triumphat principem4  
#f4   ',twas thus the yearning faith of 
saints1    ,the unconquered hope that   
never faints1    ,the love of ,christ   
that knows not shame1    ,the ,prince of
 this world overcame4    #g4   ,in his  
paterna gloria1    ,in his voluntas     
filii1    ,exultat in his spiritus2     
,caelum repletur gaudiis4    #g4   ,in  
these the ,father's glory shone2    ,in 
these the will of ,god the ,son2    ,in 
these exults the ,holy ,ghost2          
,through these rejoice the heavenly     

host4    #h4   ,te nunc1 ,redemptor1    
quaesumus1    ,ut ipsorum consortio     
,iungas precantes servulos    ,in       
sempiterna saecula4    #h4   ,redeemer1 
hear us of thy love1    ,that1 with the 
glorious band above1    ,hereafter1 of  
thine endless grace1    ,thy servants   
also may have place4      ,tr4 ,john    
,mason ,neale1 ,hymnal ,noted4          
,,iv4    ,nocte surgentes vigilemus     
omnes    #a4   ,nocte surgentes1        
vigilemus omnes1    ,semper in psalmis  
meditemur1 atque    ,viribus totis      
,domino canamus            ,dulciter    
hymnos4    #a4   ,father1 we praise     
thee1 now the night is over1    ,active 
and watchful1 stand we all before thee2 
,singing we offer prayer and meditation3
            ,thus we adore thee4    #b4 
,ut pio regi pariter canentes    ,cum   
suis sanctis mereamur aulam    ,ingredi 
caeli1 simul et beatam                  
,ducere vitam4    #b4   ,monarch of all 
things1 fit us for thy mansions2        
,banish our weakness1 health and        

wholeness sending2    ,bring us to      
heaven1 where thy ,saints united        
,joy without ending4    #c4   ,praestet 
hoc nobis ,deitas beata    ,patris ac   
,nati pariterque sancti    ,spiritus1   
cuius reboatur omni            ,gloria  
mundo4    #c4   ,all-holy ,father1 ,son 
and equal ,spirit1    ,trinity blessed1 
send us thy salvation2    ,thine is the 
glory1 gleaming and resounding          
,through all creation4      ,tr4 ,percy 
,dearmer1 from ,the ,english ,hymnal by 
permission of the    ,oxford ,university
 ,press4                                
,v4    ,alleluia    #a4   ,alleluia piis
 edite laudibus1    ,cives aetherei1    
psallite naviter      ,alleluia perenne4
    #a4   ,sing alleluia forth in       
duteous praise1    ,ye citizens of      
heav'n2 ,o sweetly raise      ,an       
endless alleluia4    #b4   ,hinc vos    
perpetui luminis accola1    ,assumet    
resonans hymniferis choris1             
,alleluia perenne4    #b4   ,ye powers  
who stand before th' ,eternal ,light1   

,in hymning choirs re-echo to the height
      ,an endless alleluia4    #c4      
,vos urbs eximia suscipiet ,dei1        
,quae laetis resonans cantibus excitat  
,alleluia perenne4    #c4   ,the ,holy  
,city shall take up your strain1    ,and
 with glad songs resounding wake again  
,an endless alleluia4    #d4   ,felici  
reditu gaudia sumite    ,reddentes      
,domino glorificos melos1      ,alleluia
 perenne4    #d4   ,in blissful         
antiphons ye thus rejoice    ,to render 
to the ,lord with thankful voice        
,an endless alleluia4    #e4   ,almum   
sidereae iam patriae decus    ,victores 
capitis1 quo canor est iugis            
,alleluia perenne4    #e4   ,ye who have
 gained at length your palms in bliss1  
,victorious ones1 your chant shall still
 be this1      ,an endless alleluia4    
#f4   ,illic regis honor vocibus        
inclitis    ,iucunda reboat carmina     
perpetim      ,alleluia perenne4    #f4 
,there1 in one glad acclaim1 forever    
ring    ,the strains which tell the     

honour of your king1      ,an endless   
alleluia4      ,stanzas #g1 #h1 #i      
omitted4      ,tr4 ,john ,ellerton      
,,vi4    ,sancti venite    #a4   ,sancti
 venite1 ,christi corpus sumite1        
,sanctum bibentes1 quo redempti         
sanguinem4    #a4   ,draw nigh1 and take
 the ,body of the ,lord1    ,and drink  
the ,holy ,blood for you outpoured4     
#b4   ,salvati ,christi corpore et      
sanguine1    ,a quo refecti laudes      
dicamus ,deo4    #b4   ,saved by that   
,body1 hallowed by that ,blood1         
,whereby refreshed1 we render thanks to 
,god4    #c4   ,hoc sacramento corporis 
et sanguinis    ,omnes exuti ab inferni 
faucibus4    #c4   ,salvation's ,giver1 
,christ the ,only ,son2    ,by that ,his
 ,cross and ,blood the victory won4     
#d4   ,dator salutis1 ,christus filius  
,dei1    ,mundum salvavit per crucem et 
sanguinem4    #d4   ,offered was ,he for
 greatest and for least3    ,himself the
 ,victim1 and ,himself the ,priest4     
#e4   ,pro universis immolatus ,dominus 

,ipse sacerdos exstitit et hostia4      
#e4   ,victims were offered by the ,law 
of old1    ,that1 in a type1 celestial  
mysteries told4    #f4   ,lege          
praeceptum immolari hostias1    ,qua    
adumbrantur divina mysteria4    #f4     
,he1 ,ransomer from death and ,light    
from shade1    ,giveth ,his holy grace  
,his ,saints to aid4    #g4   ,lucis    
indultor et salvator omnium             
,praeclaram sanctis largitus est        
gratiam4    #g4   ,approach ye then with
 faithful hearts sincere1    ,and take  
the safeguard of salvation here4    #h4 
,accedant omnes pura mente creduli1     
,sumant aeternam salutis custodiam4     
#h4   ,he ,that in this world rules ,his
 ,saints1 and shields1    ,to all       
believers ,life ,eternal yields3    #i4 
,sanctorum custos1 rector quoque1       
,dominus1    ,vitae perennis largitor   
credentibus4    #i4   ,with ,heavenly   
,bread makes them that hunger whole2    
,gives ,living ,waters to the thirsty   
soul4    #aj4   ,caelestem panem dat    

esurientibus1    ,de fonte vivo praebet 
sitientibus4    #aa4   ,alpha et omega  
ipse ,christus ,dominus    ,venit1      
venturus iudicare homines4    #aj4      
,alpha and ,omega1 to ,whom shall bow   
,all nations at the ,doom1 is with us   
now4      ,tr4 ,john ,mason ,neale1     
,mediaeval ,hymns and ,sequences1       
,london4    ,masters1 #ahfg1 p4 #ac4    
,neale omits ,latin stanza #c4          
,,vii4    ,ave maris stella    #a4      
,ave maris stella1    ,dei mater alma   
,atque semper virgo1    ,felix caeli    
porta4    #a4   ,hail1 ,sea-star we name
 thee1    ,ever-maid acclaim thee1      
,god ,his ,mother1 ,portal    ,to the   
life immortal4    #b4   ,sumens illud   
,ave    ,gabrielis ore    ,funda nos in 
pace1    ,mutans nomen ,evae4    #b4    
,ave was the token    ,by the ,angel    
spoken3    ,peace on earth it telleth1  
,eva's name re-spelleth4    #c4   ,solve
 vincla reis1    ,profer lumen caecis1  
,mala nostra pelle1    ,bona cuncta     
posce4    #c4   ,free the worldly-minded

    ,luminate the blinded1    ,every ill
 repressing1    ,win us every blessing4 
#d4   ,monstra te esse matrem1    ,sumat
 per te preces1    ,qui pro nobis natus 
,tulit esse tuus4    #d4   ,plead1 and  
play the ,mother6    ,he will1 and no   
other1    ,born for our salvation1      
,hear thy supplication4    #e4   ,virgo 
singularis1    ,inter omnes mitis1      
,nos culpis solutos    ,mites fac et    
castos4    #e4   ,maiden meek and lowly1
    ,singularly holy1    ,loose the sins
 that chain us2    ,sanctify1 sustain   
us4    #f4   ,vitam praesta puram1      
,iter para tutum1    ,ut videntes ,iesum
    ,semper collaetemur4    #f4   ,help 
us live in pureness1    ,smooth our way 
with sureness1    ,till we also eye     
,thee1    ,jesu1 ever nigh ,thee4    #g4
   ,sit laus ,deo ,patri1    ,summo     
,christo decus1    ,spiritui ,sancto3   
,tribus honor unus4    #g4   ,doxology4 
,tr4 ,g4 ,r4 ,woodward                  
,,viii4    ,ut queant laxis resonare    
fibris                           7,st4  

,john the ,baptist7    #a4   ,ut queant 
laxis resonare fibris    ,mira gestorum 
famuli tuorum1    ,solve polluti labii  
reatum1        ,sancte ,ioannes4    #a4 
,in flowing measures worthily to sing   
,the wonders which of old by thee were  
done1    ,to lips unclean let ,heaven   
remission bring1        ,o ,holy ,john6 
#b4   ,nuntius celso veniens ,olympo1   
,te patri magnum fore nasciturum1       
,nomen et vitae seriem gerendae         
,ordine promit4    #b4   ,from highest  
,heaven a herald sent to earth    ,thy  
future greatness to thy father told2    
,thy name and life in order from thy    
birth        ,entire unrolled4    #c4   
,ille promissi dubius superni1          
,perdidit promptae modulos loquelae1    
,sed reformasti genitus peremptae       
,organa vocis4    #c4   ,yet doubting of
 the promise of his ,lord    ,his       
palsied tongue of language lost the     
power2    ,by thee was all his faltering
 speech restored        ,thy natal hour4
    #d4   ,ventris obtruso recubans     

cubili1    ,senseras regem thalamo      
manentem1    ,hinc parens nati meritis  
uterque        ,abdita pandit4    #d4   
,thou didst within the narrow womb      
discern    ,the ,king in that his       
chamber lie concealed2    ,each parent  
her ,son's dignity in turn        ,to   
each revealed4    #e4   ,sit decus      
,patri1 genitaeque ,proli1    ,et tibi1 
compar utriusque virtus1    ,spiritus   
semper1 ,deus unus1 omni                
,temporis aevo4    #e4   ,now whilst    
,heaven's citizens proclaim thy praise  
,god ever ,one and yet coequal ,three   
,for pardon we our suppliant voices     
raise        ,redeemed by ,thee6        
,tr4 ,j4 ,d4 ,chambers4 ,stanzas #f-ac  
omitted4                           ,,ix4
    ,veni creator spiritus    #a4       
,veni creator ,spiritus    ,mentes      
tuorum visita1    ,imple superna gratia1
    ,quae tu creasti pectora4    #a4    
,creator-spirit1 all-,divine1    ,come1 
visit every soul of thine1    ,and fill 
with thy celestial flame    ,the hearts 

which thou thyself didst frame4    #b4  
,qui ,paraclitus diceris1    ,donum ,dei
 altissimi1    ,fons vivus1 ignis1      
caritas1    ,et spiritalis unctio4      
#b4   ,o gift of ,god1 thine is the     
sweet    ,consoling name of ,paraclete--
    ,and spring of life and fire and    
love    ,and unction flowing from above4
    #c4   ,tu septiformis munere1       
,dextrae ,dei tu digitus1    ,tu rite   
promisso ,patris    ,sermone ditas      
guttura4    #c4   ,the mystic sevenfold 
gifts are thine1    ,finger of ,god's   
right hand divine2    ,the ,father's    
promise sent to teach    ,the tongue a  
rich and heavenly speech4    #d4        
,accende lumen sensibus1    ,infunde    
amorem cordibus1    ,infirma nostri     
corporis    ,virtute firmans perpeti4   
#d4   ,kindle with fire brought from    
above    ,each sense1 and fill our      
hearts with love2    ,and grant our     
flesh1 so weak and frail1    ,the       
strength of thine which cannot fail4    
#e4   ,hostem repellas longius1         

,pacemque dones protinus1    ,ductore   
sic te praevio    ,vitemus omne noxium4 
#e4   ,drive far away our deadly foe1   
,and grant us thy true peace to know2   
,so we1 led by thy guidance still1      
,may safely pass through every ill4     
#f4   ,da gaudiorum praemia1    ,da     
gratiarum munera1    ,dissolve litis    
vincula1    ,adstringe pacis foedera4   
#f4   ,to us1 through ,thee1 the grace  
be shown    ,to know the ,father and the
 ,son2    ,and ,spirit of them both1 may
 we    ,forever rest our faith in ,thee4
    #g4   ,per te sciamus1 da1 ,patrem1 
,noscamus atque ,filium1    ,te         
utriusque ,spiritum    ,credamus omni   
tempore4    #g4   ,to ,sire and ,son be 
praises meet1    ,and to the ,holy      
,paraclete2    ,and may ,christ send us 
from above    ,that ,holy ,spirit's gift
 of love4    #h4   ,sit laus ,patri cum 
,filio1    ,sancto simul ,paraclito1    
,nobisque mittat ,filius    ,charisma   
sancti ,spiritus4      ,tr4 ,j4 ,a4     
,aylward                           ,x4  

,deus immensa trinitas                  
7,mozarabic1 ,common of ,saints7    #a4 
,deus1 immensa trinitas1    ,unita      
semper gloria1    ,pater1 ,christe1     
,paraclite1    ,rerum invicte ,domine4  
#a4   ,o glorious immensity    ,and one 
eternal ,trinity1    ,father and        
,comforter and ,word1    ,of all that   
is1 unconquered ,lord1    #b4   ,qui    
largitatem muneris    ,quo praestasti   
martyri1    ,cuius festa votissima1     
,quam celebramus hodie4    #b4   ,the   
saint for whom our chants of praise     
,consenting on this feast we raise1     
,with princely guerdons thou didst      
bless3    ,thy crown1 thy palm1 thy     
happiness4    #c4   ,tormenta qui       
saevissima    ,ac varia supplicia       
,victrice tua dextera    ,mente robusta 
pertulit4    #c4   ,in tortures1 great  
and cruel pain    ,thou didst with thy  
right hand sustain    ,thy servant1 who 
with steadfast heart    ,bore the       
tormentor's every art4    #d4   ,huius1 
adclines1 ,domine1    ,te deprecamur1   

precibus1    ,aetherea consortia1       
,celsa dona fastigia4    #d4   ,thy     
gracious ear1 ,o ,christ divine1        
,unto thy servant's prayer incline1     
,to whom thy fairest gifts are given    
,within the gracious halls of heaven4   
#e4   ,qui princeps esse principum      
,rex mysticus agnosceris1    ,agnita    
nostra crimina    ,large dele clementia4
    #e4   ,thee ,prince of ,princes1 we 
proclaim1    ,the ,king that bears the  
mystic name3    ,blot out in thy great  
love1 we pray1    ,the sins that mar    
this holy day4    #f4   ,adventus ut cum
 fulgidus    ,tuus1 ,christe1 patuerit1 
,tuo ducante martyre    ,laeti pergamus 
obviam4    #f4   ,that so when ,thou    
shalt come again1    ,o ,christ1 in     
light1 on earth to reign1    ,led by thy
 martyr1 we may dare    ,to rise to meet
 thee in the air4    #g4   7added7      
,deo ,patri sit gloria    ,eiusque soli 
,filio    ,cum ,spiritu ,paraclito      
,et nunc et omne saeculum4    #g4       
7added7    ,to ,god the ,father glory   

be1    ,and ,god the ,son eternally1    
,with ,god the ,holy ,paraclete         
,through endless ages1 as is meet4      
,tr4 ,alan ,g4 ,mcdougall 7,pange       
,lingua etc41 ,burns1 ,oates            
,washbourne1 ,london1 #aiaf4 p4 #ga4    
,quoted by permission of publishers47   
,,xi4    ,sancti spiritus assit nobis   
gratia    #a4   ,sancti spiritus assit  
nobis gratia1    #a4   ,the grace of the
 ,holy ,ghost be present with us2    #b4
   ,quae corda nostra sibi faciat       
habitaculum    #b4   ,and make our      
hearts a dwelling place to itself2      
#c4   ,expulsis inde cunctis vitiis     
spiritalibus4    #c4   ,and expel from  
them all spiritual wickedness4    #d4   
,spiritus alme1 illustrator hominum1    
#d4   ,merciful ,spirit1 ,illuminator of
 men1    #e4   ,horridas nostrae mentis 
purga tenebras4    #e4   ,purge the     
fearful shades of our mind4    #f4      
,amator sancte sensatorum semper        
cogitatuum1    #f4   ,o holy ,lover of  
thoughts that are ever wise1    #g4     

,infunde unctionem tuam clemens nostris 
sensibus4    #g4   ,of ,thy mercy pour  
forth ,thine ,anointing into our senses4
    #h4   ,tu purificator omnium        
flagitiorum spiritus1    #h4   ,thou    
purifier of all iniquities1 ,o ,spirit1 
#i4   ,purifica nostri oculum interioris
 hominis1    #i4   ,purify the eye of   
our inner man1    #aj4   ,ut videri     
supremus genitor possit a nobis1    #aj4
   ,to the end that the ,father of all  
things may be seen by us1    #aa4       
,mundi cordis quem soli cernere possunt 
oculi4    #aa4   ,he1 ,whom the eyes of 
none save the pure in heart can behold4 
#ab4   ,prophetas tu inspirasti1 ut     
praeconia ,christi praecinuissent       
inclita2    #ab4   ,thou didst inspire  
the ,prophets to chant aforehand their  
glorious                heralding of    
,christ4    #ac4   ,apostolos           
confortasti1 uti tropaeum ,christi per  
totum mundum                veherent4   
#ac4   ,thou didst confirm the          
,apostles1 so that they shall bear      

,christ's                glorious trophy
 through the whole world4    #ad4       
,quando machinam per verbum suum fecit  
,deus caeli1 terrae1 marium1    #ad4    
,when by ,his ,word1 ,god made the      
system of heaven1 earth1 seas1    #ae4  
,tu super aquas foturus eas numen tuum  
expandisti1 spiritus4    #ae4   ,thou   
didst stretch out ,thy ,godhead over the
 waters1 and didst                      
cherish them1 ,o ,spirit6    #af4   ,tu 
animabus vivificandis aquas fecundas2   
#af4   ,thou didst give virtue to the   
waters to quicken souls2    #ag4   ,tu  
aspirando das spiritales esse homines4  
#ag4   ,thou1 by ,thine ,inspiration1   
grantest to men to be spiritual4    #ah4
   ,tu divisum per linguas mundum et    
ritus adunasti1 ,domine2    #ah4   ,thou
 didst unite the world1 divided into    
tongues and rites1 ,o                   
,lord6    #ai4   ,idolatras ad cultum   
,dei revocas1 magistrorum optime4       
#ai4   ,thou recallest idolaters to the 
worship of ,god1 best of ,masters6      

#bj4   ,ergo nos supplicantes tibi      
exaudi propitius1 sancte spiritus1      
#bj4   ,wherefore of ,thy mercy hear us 
who call upon ,thee1 ,holy ,ghost3      
#ba4   ,sine quo preces omnes cassae    
creduntur et indignae ,dei auribus4     
#ba4   ,without ,whom1 as the faith     
teaches1 all our prayers are in vain1   
and unworthy of the ears of ,god1       
#bb4   ,tu1 qui omnium saeculorum       
sanctos ,tui numinis docuisti instinctu 
amplectendo1 spiritus1    #bb4   ,thou1 
,o ,spirit1 who by embracing the ,saints
 of all ages1 dost                teach 
them by the impulse of ,thy ,divinity2  
#bc4   ,ipse hodie apostolos ,christi   
donans munere insolito et cunctis       
inaudito saeculis    #bc4   ,thyself1 by
 bestowing upon the ,apostles of ,christ
 a gift immortal1                and    
unheard of from all ages1    #bd4       
,hunc diem gloriosum fecisti4    #bd4   
,hast made this day glorious4      ,tr4 
,john ,mason ,neale1 ,mediaeval ,hymns  
and ,sequences1 ,london4    ,masters1   

#ahfg1 p4 #bi4                  ,,xii4  
,cantemus cuncti melodum nunc ,alleluia 
#a4   ,cantemus cuncti melodum nunc1    
,alleluia4    #a4   ,the strain upraise 
of joy and praise1            ,alleluia4
    #b4   ,in laudibus aeterni regis    
haec plebs resultet      ,alleluia4     
#b4   ,to the glory of their ,king      
,shall the ransomed people sing         
,alleluia4    #c4   ,hoc denique        
caelestes chori      cantant in altum   
,alleluia4    #c4   ,and the ,choirs    
that dwell on high    ,shall re-echo    
through the sky            ,alleluia4   
#d4   ,hoc beatorum      per prata      
paradisiaca      psallat concentus      
,alleluia4    #d4   ,they through the   
fields of ,paradise that roam1    ,the  
blessed ones1 repeat that bright home   
,alleluia4    #e4   ,quin et astrorum   
micantia luminaria      iubilant altum  
,alleluia4    #e4   ,the planets        
glitt'ring on their heavenly way1       
,the shining constellations1 join1 and  
say            ,alleluia4    #f4        

,nubium cursus1      ventorum volatus1  
fulgurum coruscatio      et tonitruum   
sonitus      dulce consonent simul      
,alleluia4    #f4   ,ye clouds that     
onward sweep6    ,ye winds on pinions   
light6    ,ye thunders1 echoing loud and
 deep6    ,ye lightnings1 wildly bright6
    ,in sweet consent unite your        
,alleluia4    #g4   ,fluctus et undae1  
imber et procellae1      tempestas et   
serenitas1      cauma1 gelu1 nix1       
pruinae1      saltus1 nemora pangant    
,alleluia4    #g4   ,ye floods and ocean
 billows6    ,ye storms and winter snow6
    ,ye days of cloudless beauty6       
,hoar frost and summer glow6    ,ye     
groves that wave in spring1    ,and     
glorious forests1 sing                  
,alleluia4    #h4   ,hinc1 variae       
volucres1      creatorem    laudibus    
concinite cum      ,alleluia4    #h4    
,first let the birds1 with painted      
plummage gay1    ,exalt their great     
,creator's praise1 and say              
,alleluia4    #i4   ,ast illinc         

respondeant      voces altae            
diversarum bestiarum      ,alleluia4    
#i4   ,then let the beasts of earth1    
with varying strain1    ,join in        
,creation's ,hymn1 and cry again        
,alleluia4    #aj4   ,istinc montium    
celsi vertices sonent      ,alleluia4   
#aj4   ,here let the mountains thunder  
forth1 sonorous1      ,alleluia         
,there let the valleys sing in gentler  
chorus1            ,alleluia4    #aa4   
,illinc vallium      profunditates      
saltent      ,alleluia4    #aa4   ,thou 
jubilant abyss of ocean1 cry            
,alleluia4    ,ye tracts of earth and   
continents1 reply            ,alleluia4 
#ab4   ,tu quoque1 maris      iubilans  
abysse1 dic      ,alleluia4    #ab4     
,to ,god1 ,who all ,creation made1      
,the frequent hymn be duly paid3        
,alleluia4    #ac4   ,necnon terrarum   
molis immensitates3      ,alleluia4     
#ac4   ,this is the strain1 the eternal 
strain1 the ,lord of all things         
loves3            ,alleluia4    ,this is

 the song1 the heav'nly song1 that      
,christ ,himself approves3              
,alleluia4    #ad4   ,nunc omne genus   
humanum laudans exsultet      ,alleluia4
    #ad4   ,wherefore we sing1 both     
heart and voice awaking1                
,alleluia4    ,and children's voices    
echo1 answer making1                    
,alleluia4    #ae4   ,et creatori       
grates frequentans consonet             
,alleluia4    #ae4   ,now from all men  
be outpour'd    ,alleluia to the ,lord2 
,with ,alleluia evermore    ,the ,son   
and ,spirit we adore4    #af4   ,hoc    
denique nomen audire      iugiter       
delectatur      ,alleluia4    #af4      
,praise be done to ,three in ,one4      
,alleluia6 ,alleluia6 ,alleluia6        
,alleluia6    #ag4   ,hoc etiam carmen  
caeleste      comprobat ipse ,christus  
,alleluia4    #ah4   ,nunc vos1 ,o      
socii1      cantate laetantes           
,alleluia4    #ai4   ,et vos1 pueruli1  
respondete semper      ,alleluia4       
#bj4   ,nunc omnes canite simul         

,alleluia ,domino1      ,alleluia       
,christo      ,pneumatique ,alleluia4   
#ba4   ,laus trinitati aeternae3        
,alleluia1 ,alleluia1      ,alleluia1   
,alleluia1      ,alleluia1 ,alleluia4   
,tr4 ,john ,mason ,neale1 ,mediaeval    
,hymns and ,sequences1 ,london4         
,masters1 #ahfg1 p4 #dc4      ,stanzas  
#aj-ac translate ,latin #aj-ba4         
,,xiii4    ,heri mundus exultavit    #a4
   ,heri mundus exultavit1    ,et       
exultans celebravit    ,christi         
natalitia3    ,heri chorus angelorum    
,prosecutus est caelorum    ,regem cum  
laetitia4    #a4   ,yesterday1 with     
exultation    ,joined the world in      
celebration      ,of her promis'd       
,saviour's birth2    ,yesterday the     
,angel nation    ,pour'd the strains of 
jubilation      ,o'er the ,monarch born 
on earth4    #b4   ,protomartyr et      
,levita1    ,clarus fide1 clarus vita1  
,clarus et miraculis1    ,sub hac luce  
triumphavit1    ,et triumphans          
insultavit    ,stephanus incredulis4    

#b4   ,but to-day1 o'er death           
victorious1    ,by ,his faith and       
actions glorious1      ,by ,his miracles
 renown'd1    ,dared the ,deacon        
,protomartyr    ,earthly life for       
,heav'n to barter1      ,faithful midst 
the faithless found4    #c4   ,fremunt  
ergo tanquam ferae1    ,quia victi      
defecere    ,lucis victi adversarii3    
,falsos testes statuunt1    ,et linguas 
exacuunt    ,viperarum filii4    #c4    
,in a hopeless strife engaging1    ,they
 like savage beasts are raging1         
,adversaries of the light2    ,false the
 witnesses they set2    ,tongues like   
swords the rabble whet1      ,viper     
brood of darkest night4    #d4          
,agonista1 nulli cede2    ,certa certus 
de mercede1    ,perservera1 ,stephane3  
,insta falsis testibus1    ,confuta     
sermonibus    ,synagogam ,satanae4      
#d4   ,forward1 champion1 in thy        
quarrel6    ,certain of a certain       
laurel1      ,holy ,stephen1 persevere6 
,perjur'd witnesses confounding         

,satan's ,synagogue astounding      ,by 
thy doctrine true and clear4    #e4     
,testis tuus est in caelis1    ,testis  
verax et fidelis1    ,testis            
innocentiae4    ,nomen habes coronati1  
,te tormenta decet pati    ,pro corona  
gloriae4    #e4   ,lo6 in ,heaven thy   
,witness liveth3    ,bright and faithful
 proof ,he giveth      ,of ,his         
,martyr's blamelessness3    ,thou by    
name a ,crown impliest2    ,meetly then 
in pangs thou diest      ,for the ,crown
 of ,righteousness6    #f4   ,pro corona
 non marcenti    ,perfer brevis vim     
tormenti1    ,te manet victoria4        
,tibi fiet mors1 natalis1    ,tibi poena
 terminalis    ,dat vitae primordia4    
#f4   ,for a crown that fadeth never1   
,bear the torturer's brief endeavour2   
,victory waits to end the strife3       
,death shall be thy birth's beginning1  
,and life's losing be the winning       
,of the true and better ,life4    #g4   
,plenus ,sancto ,spiritu    ,penetrat   
intuitu    ,stephanus caelestia4        

,videns ,dei gloriam    ,crescit ad     
victoriam1    ,suspirat ad praemia4     
#g4   ,whom the ,holy ,ghost endueth1   
,whom celestial sight embueth1          
,stephen penetrates the skies2    ,there
 ,god's fullest glory viewing    ,there 
his victor strength renewing      ,for  
his near reward he sighs4    #h4   ,en a
 dextris ,dei stantem    ,iesum1 pro te 
dimicantem1    ,stephane1 considera4    
,tibi caelos reserari1    ,tibi         
,christum revelari    ,clama voce       
libera4    #h4   ,see1 as ,jewish foes  
invade thee1    ,see how ,jesus stands  
to aid thee6      ,stands to guard ,his 
champion's death3    ,cry that opened   
,heaven is shown thee3    ,cry that     
,jesus waits to own thee3      ,cry it  
with thy latest breath6    #i4   ,se    
commendat ,salvatori1    ,pro quo dulce 
ducit mori    ,sub ipsis lapidibus4     
,saulus servat omnium    ,vestes        
lapidantium1    ,lapidans in omnibus4   
#i4   ,on his ,saviour's aid relying1   
,sweet to him the pain of dying1        

',neath the fearful rain of stone3      
,paul amidst the stoning throng1        
,guarding garments1 makes the wrong     
,of the angry ,jews his own4    #aj4    
,ne peccatum statuatur    ,his1 a quibus
 lapidatur1    ,genu ponit et precatur1 
,condolens insaniae3    ,in ,christo sic
 obdormivit1    ,qui ,christo sic       
obedivit1    ,et cum ,christo semper    
vivit1    ,martyrum primitiae4    #aj4  
,as the dying ,martyr kneeleth1    ,for 
his murderers he appealeth1    ,and his 
prayer their pardon sealeth1      ,for  
their madness grieving sore2    ,then in
 ,christ he sleepeth sweetly1    ,who   
,his pattern kept completely1           
,martyr first-fruits1 evermore6         
,tr4 ,john ,mason ,neale1 ,mediaeval    
,hymns and ,sequences1 ,london4         
,masters1 #ahfg1 p4 #acd4      ,st4 #c1 
tr4 ,stephen ,a4 ,hurlbut4 ,quoted by   
permission of author4 ,stanzas          
#aa1 #ab omitted4                       
,,xiv4    ,ad perennis vitae fontem     
#a4   ,ad perennis vitae fontem mens    

sitivit arida2    ,claustra carnis      
praesto frangi clausa quaerit anima3    
,gliscit1 ambit1 eluctatur exul frui    
patria4    #a4   ,to the fount of life  
eternal cries the soul with longing     
thirst1    ,and the spirit1             
flesh-imprisoned1 seeks the bars of     
flesh to burst2    ,strives to gain that
 heavenly country1 exiled now and       
sin-accurst4    #b4   ,dum pressuris ac 
aerumnis se gemit obnoxiam1    ,quam    
amisit1 dum deliquit1 contemplatur      
gloriam1    ,praesens malum auget boni  
perditi memoriam4    #b4   ,sore beset  
with care and danger1 groans the spirit 
for release1    ,still beholds1 though  
lost in ,eden1 glory forfeited and      
peace2    ,former good1 in memory       
dwelling1 doth the present ill increase4
    #c4   ,nam quis promat summae pacis 
quanta sit laetitia1    ,ubi vivis      
margaritis surgunt aedificia1    ,auro  
celsa micant tecta1 radiant triclinia8  
#c4   ,who can tell how great the joy of
 that ,peace surpassing all1    ,where  

of living pearls constructed rise the   
stately buildings tall1    ,where with  
gold the rooftree glitters1 shines with 
gold the                banquet-hall4   
#d4   ,solis gemmis pretiosis haec      
structura nectitur2    ,auro mundo1     
tamquam vitro1 urbis via sternitur2     
,abest limus1 deest fimus1 lues nulla   
cernitur4    #d4   ,all of precious     
stones compacted rise those structures  
of delight2    ,purest gold as crystal  
shining paves the heavenly city bright2 
,never mire nor filth defiling stains   
the streets of radiant light4    #e4    
,hiems horrens1 aestas torrens illic    
numquam saeviunt2    ,flos perpetuus    
rosarum ver agit perpetuum2    ,candent 
lilia1 rubescit crocus1 sudat balsamum4 
#e4   ,chilling winter1 burning summer1 
neither rages in that land1    ,but the 
crimson bloom of roses doth an endless  
spring demand2    ,white the lilies1 red
 the crocus1 fragrant doth the balsam   
stand4    #f4   ,virent prata1 vernant  
sata1 rivi mellis influunt2             

,pigmentorum spirat odor1 liquor et     
aromatum2    ,pendent poma floridorum   
non lapsura nemorum4    #f4   ,green the
 pastures1 flower-besprinkled1 fed by   
streams with honey                      
filled2    ,all the air is sweet with   
incense from the odorous herbs          
distilled2    ,never fails the ripened  
fruitage1 nor is bloom by winter        
chilled4    #g4   ,non alternat luna    
vices1 sol1 vel cursus siderum2         
,agnus est felicis urbis lumen          
inocciduum2    ,nox et tempus desunt ei1
 diem fert continuum4    #g4   ,waxeth  
not the moon nor waneth1 need not sun or
 stars to be1    ,but the ,lamb in that 
blest city shines a ,sun eternally2     
,there the daylight is unbroken1 night  
and time have ceased to be4    #h4      
,nam et sancti quique velut sol         
praeclarus rutilant2    ,post triumphum 
coronati mutuo coniubilant1    ,et      
prostrati pugnas hostis iam securi      
numerant4    #h4   ,shine the blessed   
with a splendor like the splendor of the

 sun2    ,crowned in triumph stand they 
singing that the race of life is run2   
,now secure1 they count the glories of  
the contest they have won4    #i4       
,omni labe defaecati carnis bella       
nesciunt1    ,caro facta spiritalis et  
mens unum sentiunt2    ,pace multa      
perfruentes scandalum non perferunt4    
#i4   ,cleansed from every stain of     
evil1 they from carnal strife are       
free2    ,flesh made spirit1 with the   
spirit doth for evermore agree1         
,there1 released from all temptation1   
they shall ,peace unbroken see4    #bj4 
,probes vires inexhausto laboranti      
proelio1    ,nec quietem post procinctum
 deneges emerito1    ,te que merear     
potiri sine fine praemio6    #bj4       
,strength supply1 in heat or conflict1  
ceaseless struggle to                   
maintain2    ,grant thy servant1 warfare
 ended1 well-deserved rest to gain2     
,grant that ,i1 ,thyself deserving1 may 
,thyself as prize attain6      ,tr4     
,stephen ,a4 ,hurlbut4 ,quoted by       

permission of author4                   
,,xv4    ,lauda1 ,sion1 ,salvatorem     
#a4   ,lauda1 ,sion1 ,salvatorem1       
,lauda ducem et pastorem    ,in hymnis  
et canticis3    ,quantum potes1 tantum  
aude1    ,quia maior omni laude1    ,nec
 laudare sufficis4    #a4   ,praise1 ,o 
,sion1 praise thy ,saviour1             
,shepherd1 ,prince1 with glad behavior1 
,praise in hymn and canticle3    ,sing  
,his glory without measure1    ,for the 
merit of your treasure      ,never shall
 your praises fill4    #b4   ,laudis    
thema specialis1    ,panis vivus et     
vitalis    ,hodie proponitur2    ,quem  
in sacrae mensa cenae    ,turbae fratrum
 duodenae    ,datum non ambigitur4      
#b4   ,wondrous theme of mortal singing1
    ,living bread and bread             
life-bringing1      ,sing we on this    
joyful day3    ,at the ,lord's own table
 given    ,to the twelve as bread from  
heaven1      ,doubting not we firmly    
say4    #c4   ,sit laus plena1 sit      
sonora    ,sit iucunda1 sit decora      

,mentis iubilatio3    ,namque dies est  
sollemnis    ,qua recolitur perennis    
,mensae institutio4    #c4   ,sing ,his 
praise with voice sonorous2    ,every   
heart shall hear the chorus      ,swell 
in melody sublime3    ,for this day the 
,shepherd gave us    ,flesh and blood to
 feed and save us1      ,lasting to the 
end of time4    #d4   ,in hac mensa novi
 ,regis    ,novum pascha novae legis    
,phase vetus terminat3    ,iam vetustas 
novitati1    ,umbra cedit veritati1     
,noctem lux eliminat4    #d4   ,at the  
new ,king's sacred table1    ,the new   
law's new pasch is able      ,to succeed
 the ancient rite3    ,old to new its   
place hath given1    ,truth has far the 
shadows driven1      ,darkness flees    
before the ,light4    #e4   ,quod in    
cena ,christus gessit1    ,faciendum hoc
 expressit    ,in sui memoriam3         
,docti sacris institutis1    ,panem1    
vinum in salutis    ,consecramus        
hostiam4    #e4   ,and as ,he hath done 
and planned it--    8,do this0--hear    

,his love command it1      8,for a      
memory of me40    ,learnd1 ,lord1 in thy
 own science1    ,bread and wine1 in    
sweet compliance1      ,as a ,host we   
offer ,thee4    #f4   ,dogma datur      
,christianis1    ,quod in carnem transit
 panis1    ,et vinum in sanguinem3      
,quod non capis1 quod non vides1        
,animosa firmat fides1    ,praeter rerum
 ordinem4    #f4   ,thus in faith the   
,christian heareth3    ,that ,christ's  
flesh as bread appeareth1      ,and as  
wine ,his precious blood3    ,though we 
feel it not nor see it1    ,living faith
 that doth decree it      ,all defects  
of sense makes good4    #g4   ,sub      
diversis speciebus1    ,signis tamen et 
non rebus1    ,latent res eximiae3      
,caro cibus1 sanguis potus1    ,manet   
tamen ,christus totus    ,sub utraque   
specie4    #g4   ,lo6 beneath the       
species dual    7,signs not things71 is 
hid a jewel      ,far beyond creation's 
reach6    ,though ,his flesh as food    
abideth1    ,and ,his blood as          

drink--,he hideth      ,undivided under 
each4    #h4   ,a sumente non concisus1 
,non confractus1 non divisus1           
,integer accipitur3    ,sumit unus1     
sumunt mille1    ,quantum isti1 tantum  
ille1    ,nec sumptus consumitur4    #h4
   ,whoso eateth it can never    ,break 
the ,body1 rend or sever2      ,christ  
entire our hearts doth fill3            
,thousands eat the bread of heaven1     
,yet as much to one is given3           
,christ1 though eaten1 bideth still4    
#i4   ,sumunt boni1 sumunt mali1        
,sorte tamen inaequali    ,vitae1 vel   
interitus3    ,mors est malis1 vita     
bonis3    ,vide1 paris sumptionis       
,quam sit dispar exitus6    #i4   ,good 
and bad1 they come to greet ,him3       
,unto life the former eat ,him1         
,and the latter unto death2    ,these   
find death and those find heaven2       
,see1 from the same life-seed given1    
,how the harvest differeth6    #aj4     
,fracto demum sacramento    ,ne         
vacilles1 sed memento    ,tantum esse   

sub fragmento1    ,quantum toto tegitur2
    ,nulla rei fit scissura1    ,signi  
tantum fit fractura1    ,qua nec status1
 nec statura    ,signati minuitur4      
#aj4   ,when at last the bread is       
broken1    ,doubt not what the ,lord    
hath spoken3    ,in each part the same  
love-token1      ,the same ,christ1 our 
hearts adore3    ,for no power the thing
 divideth--    ',tis the symbols ,he    
provideth1    ,while the ,saviour still 
abideth      ,undiminished as before4   
#aa4   ,ecce1 panis angelorum    ,factus
 cibus viatorum1    ,vere panis         
filiorum1    ,non mittendus canibus2    
,in figuris praesignatur1    ,cum ,isaac
 immolatur1    ,agnus paschae deputatur1
    ,datur manna patribus4    #aa4      
,hail1 angelic bread of heaven1    ,now 
the pilgrim's hoping-leaven1    ,yea1   
the bread to children given      ,that  
to dogs must not be thrown3    ,in the  
figures contemplated1    ',twas with    
,isaac immolated1    ,by the ,lamb 'twas
 antedated1      ,in the manna it was   

known4    #ab4   ,bone pastor1 panis    
vere1    ,iesu1 nostri miserere1    ,tu 
nos pasce1 nos tuere1    ,tu nos bona   
fac videre    ,in terra viventium4      
,tu qui cuncta scis et vales1    ,qui   
nos pascis hic mortales1    ,tuos ibi   
commensales1    ,cohaeredes et sodales  
,fac sanctorum civium4      #ab1 ,o     
,good ,shepherd1 still confessing       
,love1 in spite of our transgressing1-- 
,here ,thy blessed food possessing1     
,make us share ,thine every blessing    
,in the land of life and love3    ,thou1
 whose power hath all completed    ,and 
,thy flesh as food hath meted1    ,make 
us1 at ,thy table seated1    ,by ,thy   
saints1 as friends be greeted1      ,in 
,thy paradise above4      ,tr4 ,h4 ,t4  
,henry 7,eucharistica1 ,dolphin ,press1 
,phila41 #aiab1 p4    #ci-dc4 ,quoted by
 permission of publishers47             
,,xvi4    ,stabat mater dolorosa    #a4 
,stabat mater dolorosa    ,iuxta crucem 
lacrimosa1    ,dum pendebat filius1     
,cuius animam gementem1                 

,contristantem et dolentem              
,pertransivit gladius4    #a4   ,by the 
,cross her vigil keeping    ,stands the 
,queen of sorrows weeping1      ,while  
her son in torment hangs2    ,now she   
feels--,o heart afflicted    ,by the    
sword of old predicted6--      ,more    
than all a mother's pangs4    #b4   ,o  
quam tristis et afflicta    ,fuit illa  
benedicta    ,mater unigeniti1    ,quae 
maerebat et dolebat    ,et tremebat1 dum
 videbat    ,nati poenas inclyti4    #b4
   ,sad and heavy stands beside him     
,she who once had magnified him         
,one--begotten1 only--born2    ,while   
she sees that rich atoning1    ,long the
 moaning1 deep the groaning      ,of her
 mother--heart forlorn4    #c4   ,quis  
est homo1 qui non fleret1    ,matrem    
,christi si videret1    ,in tanto       
supplicio8    ,quis non posset          
contristari1    ,piam matrem contemplari
    ,dolentem cum filio8    #c4   ,who  
,christ's ,mother contemplating    ,in  
such bitter anguish waiting1      ,has  

no human tears to shed8    ,who would   
leave ,christ's ,mother1 sharing    ,all
 the pain her ,son is bearing1      ,by 
those tears uncomforted8    #d4   ,pro  
peccatis suae gentis    ,vidit ,iesum in
 tormentis    ,et flagellis subditum2   
,vidit suum dulcem natum    ,morientem1 
desolatum1    ,dum emisit spiritum4     
#d4   ,victim-priest of ,jewry's nation1
    ,there he hangs in expiation2       
,scourge and nail have had their will2  
,earth and heaven his cause forsaking1  
,now his noble heart is breaking1       
,now the labouring breath is still4     
#e4   ,eia mater1 fons amoris1    ,me   
sentire vim doloris    ,fac1 ut tecum   
lugeam2    ,fac1 ut ardeat cor meum     
,in amando ,christum ,deum1    ,ut sibi 
complaceam4    #e4   ,mother1 fount     
whence love flows truest1    ,let me    
know the pain thou knewest1      ,let me
 weep as thou hast wept2    ,love divine
 within me burning1    ,that diviner    
love returning1      ,may thy ,son this 
heart accept4    #f4   ,sancta mater1   

istud agas1    ,crucifixi fige plagas   
,cordi meo valide2    ,tui nati         
vulnerati1    ,tam dignati pro me pati1 
,poenas mecum divide4    #f4   ,mother1 
if my prayer be granted1    ,those five 
wounds of his implanted      ,in my     
breast ,i fain would see2    ,love      
exceeding hangs there bleeding1    ,my  
cause pleading1 my love needing--       
,bid him share his cross with me4    #g4
   ,fac me vere tecum flere1            
,crucifixo condolere1    ,donec ego     
vixero2    ,iuxta crucem tecum stare1   
,te libenter sociare    ,in planctu     
desidero4    #g4   ,till life fails1 ,i 
would not fail him1    ,still remember1 
still bewail him1      ,born thy ,son1  
and crucified2    ,by the cross my vigil
 keeping    ,i would spend those hours  
of weeping1      ,queen of sorrows1 at  
thy side4    #h4   ,virgo virginum      
praeclara1    ,mihi iam non sis amara1  
,fac me tecum plangere2    ,fac1 ut     
portem ,christi mortem1    ,passionis   
fac consortem    ,et plagas recolere4   

#h4   ,virgin1 boast of all creation1   
,heed my tears1 nor consolation      ,in
 thy bitterness repel2    ,at thy side  
his livery wearing1    ,his cross       
bearing1 his death sharing1      ,of    
these wounds the beads ,i'll tell4      
#i4   ,fac me plagis vulnerari1         
,cruce hac inebriari1    ,et cruore     
filii2    ,inflammatus et accensus1     
,per te1 virgo1 sim defensus    ,in die 
iudicii4    #i4   ,wounds of ,christ1 in
 spirit bruise me1    ,chalice of his   
blood1 bemuse me1      ,cross of        
,christ1 be thou my stay6    ,lest ,i   
burn in fires unending1    ,sinless     
,maid1 my cause befriending1            
,shield me at the judgement day6    #aj4
   ,fac me cruce custodiri1    ,morte   
,christi praemuniri1    ,confoveri      
gratia4    ,quando corpus morietur1     
,fac1 ut animae donetur    ,paradisi    
gloria4    #aj4   ,jesus1 when earth's  
shadows leave me1    ,through thy       
,mother's prayers receive me      ,with 
the palm of victory2    ,when my body   

lies forsaken    ,let my ransomed soul  
awaken      ,safe1 in ,paradise1 with   
thee4      ,tr4 ,ronald ,a4 ,knox       
7,westminster ,hymnal1 ,burns1 ,oates   
,washbourne1    ,london1 #aidj1 no4 #cg4
 ,quoted by permission of publishers47  
,,xvii4    ,salve1 festa dies           
7,sarum ,processional7    #a4   ,salve1 
festa dies1 toto venerabilis aevo1      
,qua ,deus infernum vicit et astra      
tenet4    #a4   ,hail thee1 ,festival   
,day6 blest day that art hallowed       
forever2      ,day wherein ,christ      
arose1 breaking the kingdom of death4   
#b4   ,ecce1 renascentis testatur gratia
 mundi      omnia cum ,domino dona      
redisse suo4    #b4   ,lo1 the fair     
beauty of earth1 from the death of      
winter arising1      ,every good gift of
 the year now with its ,master returns4 
#c4   ,qui crucifixus erat1 ,deus ecce  
per omnia regnat1      ,dantque creatori
 cuncta creata precem4    #c4   ,he who 
was nailed to the cross is ,god and the 
ruler of all things2      ,all things   

created on earth worship the maker of   
all4    #d4   ,pollicitam sed redde     
diem1 precor1 alma potestas1            
,tertia lux rediit2 surge1 sepulte      
,deus4    #d4   ,god of all pity and    
power1 let thy word be assured to the   
doubting2      ,light on the third day  
returns3 rise1 ,son of ,god1 from the   
tomb6    #e4   ,non decet ut humili     
tumulo tua membra tegantur1      ,neu   
pretium mundi vilia saxa premant4    #e4
   ,ill doth it seem that thy limbs     
should linger in lowly dishonor1        
,ransom and price of the world1 veiled  
from the vision of men4    #f4          
,indignum est cuius clauduntur cuncta   
pugillo1      ,ut tegat inclusum rupe   
vetante lapis4    #f4   ,ill it         
beseemeth that thou by whose hand all   
things are                encompassed1  
,captive and bound shouldst remain1 deep
 in the gloom of the rock4    #g4       
,lintea tolle1 precor1 sudaria linque   
sepulchro1      ,tu satis es nobis1 et  
sine te nihil est4    #g4   ,rise now1  

,o ,lord1 from the grave and cast off   
the shroud that                enwrapped
 thee2      ,thou art sufficient for us3
 nothing without thee exists4    #h4    
,funeris exsequias pateris vitae auctor 
et orbis1      ,intras mortis iter dando
 salutis opem4    #h4   ,mourning they  
laid thee to rest1 who art author of    
life and                creation2       
,treading the pathway of death1 life    
thou bestowedst on man4    #i4   ,redde 
tuam faciem1 videant ut saecula lumen1  
,redde diem1 qui nos te moriente fugit4 
#i4   ,show us thy face once more1 that 
the ages may joy in thy                 
brightness2      ,give us the light of  
day1 darkened on earth at thy death4    
#aj4   ,eripis innumerum populum de     
carcere mortis1      ,et sequitur liber1
 quo suus auctor adit4    #aj4   ,out of
 the prison of death thou art rescuing  
numberless captives2      ,freely they  
tread in the way whither their maker has
 gone4    #aa4   ,tristia cesserunt     
infernae vincula legis1      ,expavitque

 chaos luminis ore premi4    #aa4       
,jesus has harrowed hell2 he has led    
captivity captive3      ,darkness and   
chaos and death flee from the face of   
the light4      ,tr4 ,maurice ,f4 ,bell1
 from ,the ,english ,hymnal by          
permission of the    ,oxford ,university
 ,press4                                
,notes                                  
,chapter ,one            ,early ,middle 
,ages3 ,latin ,hymns of ,the ,fourth    
,century      #a4 ,jerome1 ,liber de    
viris illustribus1 #ajj 7,,mpl #bc1     
#fii74    #b4 ,hilarius autem1 ,gallus  
episcopus ,pictaviensis1 eloquentia     
conspicuus1 hymnorum carmine floruit    
primus4 ,de ecclesiasticis      officiis
 #a1 #f 7,,mpl #hc1 #gdc74    #c4 ,w4   
,n4 ,myers1 ,the ,hymns of ,saint       
,hilary of ,poitiers in the ,codex      
,aretinus 7,phila41 ,un4 of ,penn41     
#aibh7 #ab1 #bi1 #ec1 #fg4 ,for a       
discussion of other hymns attributed to 
,hilary1 see p4 #ad2 also ,a4      ,s4  
,walpole1 ,early ,latin ,hymns          

7,cambridge1 #aibb7 #a-d4 ,translations 
by ,w4 ,n4 ,myers4    #d4 ,antiphonary  
of ,bangor1 edited by ,f4 ,e4 ,warren1  
,henry ,bradshaw      ,society          
,publications1 vols4 #d1 #aj 7,london1  
#ahic1 #ahie74 ,for      discussion of  
authorship see vol4 #aj1 #cf4    #e4 ,or
 perhaps ,treves4    #f4 ,augustine1    
,confessions #i1 #g 7,,mpl #cb1 #ggj74  
,translation from      ,confessions of  
,s4 ,augustine1 ,ancient and ,modern    
,library of ,theol4      ,literature    
7,london1 #ahhf74    #g4 ,translations  
of first lines3 ,w4 ,j4 ,copeland1 ,c4  
,bigg1 ,r4 ,e4      ,messenger1 ,j4 ,m4 
,neale4    #h4 ,translations of first   
lines3 ,j4 ,m4 ,neale1 ,e4 ,caswall4    
#i4 ,translations of first lines3 ,j4   
,m4 ,neale1 ,h4 ,m4 ,jones1 ,r4 ,e4     
,messenger1 ,s4 ,hurlbut4    #aj4       
,myers1 op4 cit4 7see note #c7 #ah-bb4  
#aa4 ,g4 ,reese1 ,music in the ,middle  
,ages 7,new ,york1 #aidj7 #ajd4    #ab4 
,caelius ,sedulius1 #eth ,c41 an early  
imitator of ,ambrose1 wrote a           

well-known alphabetic hymn1 ,a solis    
ortus cardine4                          
,chapter ,two                     ,early
 ,middle ,ages3 ,the ,old ,hymnal       
#a4 ,regula ,sancti ,benedicti1 ,,ix4   
#b4 ,p4 ,batiffol1 ,historie du         
,breviare romain1 translated by ,a4 ,m4 
,y4      ,bayley 7,london1 #aiab71 chap4
 ,i4    #c4 ,dom ,a4 ,wilmart1 8,le     
,psautier de la ,reine10 7,cod4 ,vat4   
,reg4 ,,ii71      ,revue ,benedictine   
,,xxviii 7#aiaa7 #cgf ff4    #d4        
,walpole1 ,early ,latin ,hymns1 7ch4 #a1
 note #c71 xi-xiv4    #e4 ,laodicea1 c4 
#cfd1 ,canon #ei4 ,see ,g4 ,d4 ,mansi1  
,sacrorum      conciliorum--collectio   
7,florence1 ,venet4 et ,par41 #agfc7 ii1
 #egc2      ,braga1 #efc1 ,mansi ix1    
#ggh4    #f4 ,h4 ,f4 ,muller1           
8,pre-,history of the ,medieval ,drama10
 ,zeitschrift f4      romanische        
,philologie #dd 7#aibd7 #edd-ege4    #g4
 ,tours1 #efg1 ,mansi xiv1 #hjc4    #h4 
,h4 ,heimbucher1 ,die ,orden und        
,kongregationen der katholischen        

,kirche1 #c vols4 7,paderborn1 #aijg7   
vol4 ,i1 #bbd-bcf1 ,ausbreitung der     
,benediktinerregel4    #i4 ,f4 ,h4      
,dudden1 ,gregory the ,great 7,london1  
#aije71 #b vols41 ,,ii1      chap4 #h4  
#aj4 ,see ,a4 ,h4 7,analecta ,hymnica   
,medii ,aevi7 #ea4bd-da1 notes4 ,the    
hymns excepted are nos4 #bc-cj2 #cd-dj2 
,j4 ,julian1 ,dictionary of             
,hymnology4 ,gregory ,i41 ,st41 ,pope2  
,c4 ,blume1 8,gregor der ,grosse        
als ,hymnendichter10 ,stimmen aus       
,maria-,laach1 #aijh1 #bfi ff4    #aa4  
,h4 ,le,clercq1 ,l',espagne chrtienne   
7,paris1 #aijf7 #cjd-e4    #ab4 ,migne1 
,,pl #hj1 #fdb-gjj1 ,braulio's ,letters4
    #ac4 ,,iv ,council of ,toledo1 #fcc1
 ,canon #b1 ,mansi x1 #faf2 ,canon #ac1 
,mansi      x1 #fbb-c4 ,sicut igitur    
orationes1 ita et hymnos in laudem ,dei 
compositos1 nullus vestrum ulterius     
improbet1 sed pari modo ,gallia1        
,hispaniaque celebret3 excommunicatione 
plectendi1 qui hymnos      rejicere     
fuerint ausi4    #ad4 ,see ,r4 ,e4      

,messenger1 8,the ,mozarabic ,hymnal10  
,t,a,ph,a #ge 7#aidd7      #ajc-abf4    
#ae4 ,the ,irish ,liber ,hymnorum1      
edited by ,j4 ,h4 ,bernard and ,r4      
,atkinson1 ,henry ,bradshaw ,soc4 ,pub4 
#ac1 #ad 7,london1 #ahig1 #ahih71       
#ad1 #bc-f4    #af4 ,antiphonary of     
,bangor1 chap4 ,i1 note #d2 for history 
of the      manuscript now in the       
,ambrosian ,library at ,milan1 p4       
xii-xiii4    #ag4 ,translations of first
 lines1 #a7 ,j4 ,m4 ,neale1 #b71 #c71   
#d7 ,r4 ,e4      ,messenger4    #ah4    
,the ,celtic hymns are edited in ,a4 ,h4
 #ea1 ,part ,,ii4 ,see also ,j4 ,f4     
,kenney1 ,sources for the ,early        
,history of ,ireland1 #b vols4 7,new    
,york1 #aibi7 #beb-c1 #beh-bgd1 ,hymns4 
#ai4 ,translations of first lines in    
,summary by ,j4 ,m4 ,neale except #b7   
,c4      ,bigg1 #g7 ,g4 ,r4 ,woodward4  
#bj4 ,c4 ,w4 ,douglas1 ,church ,music in
 ,history and ,practice 7,new ,york1    
#aicg7 #afh4                            
,chapter ,three                         

,the ,ninth ,century ,revival3 ,hymns   
#a4 ,j4 ,m4 ,neale and ,g4 ,h4 ,forbes1 
,the ,ancient ,liturgies of the         
,gallican ,church 7,burntisland1 #ahee7 
p4 v4    #b4 ,p4 ,jaff1 ,regesta        
,pontificum ,romanorum 7,lipsiae1       
#ahhe-h7 #bdgc      7#aijj74    #c4     
,monumenta ,germaniae ,historica1 ,legum
 sectio1 ,,ii1 ,capitularia      ,regum 
,francorum1 ,i1 ,capitulare primum1     
#gfi2 ,capitulare      ,haristallense1  
#ggi2 ,admonitio generalis1 #ghi2       
,synodus      ,franconofurtensis1 #gid2 
,epistola de litteris colendis1         
#ghj-hjj2      ,epistola generalis1     
#ghf-hjj2 ,capitulare missorum generale1
 #hjb2      ,capitularia missorum       
specialia1 #hjb2 ,synodus et conventus  
aquisgrani habita1 #hjb2 ,capitulare de 
examinandis ecclesiasticis1      #hjb2  
,capitulare missorum1 #hjc2 ,capitulare 
de causis etc41 #haa2      ,capitulare  
aquisgranense1 #hja-hac2 ,capitulare cum
 episcopis      etc41 #ghj-gij2         
,capitulare mantuanum primum1 no date1  

p4 #aid2      ,pippini capitulare       
,italicum1 #hja-haj4    #d4 ,,mgh1      
,legum sectio1 ,,ii1 ,capitularia ,regum
 ,francorum1 ,i1      ,epistola         
generalis1 no4 #cj1 p4 #hj2 ,p4 ,jaff1  
,bibliotheca ,rerum      ,germanicarum1 
vol4 ,,iv1 ,monumenta ,carolina         
7,berlin1 #ahfg7 #aci1      #adj4    #e4
 ,dom ,r4 ,van ,doren1 tude sur         
l'influence musicale de l'abbaye de     
,saint-,gall 7,louvain1 #aibe7 ch4 vi1  
,metz4    #f4 ,e4 ,mhlbacher1 ,deutsche 
,geschichte unter den ,karolingern      
7,stuttgart1 #ahif7 #baa2 ,jaff1        
,monumenta ,carolina1 #ceh;ff4    #g4   
,e4 ,bishop1 ,liturgica ,historica      
7,oxford1 #aiah7 #di-ee4    #h4 ,a4     
,fortescue1 ,the ,mass 7,london1 #aiad7 
#ahc4    #i4 ,in ,monumenta ,germaniae  
,historica--,poetarum latinorum medii   
aevi1      vol4 iv1 edited by ,p4 von   
,winterfeld 7,berlin1 #aibc74    #aj4   
,w4 ,turner1 8,irish ,teachers in the   
,carolingian ,revival of                
,learning10 ,cath4 ,un4 ,bulletin1      

,,xiii 7,washington1 #aijg7 #chd-e2 ,j4 
,j4 ,o',kelly1 ,ireland3 ,elements of   
her ,early ,story 7,dublin1 #aiba7      
ch4 viii1 ,early ,irish on the          
,continent4    #aa4 ,einhard1 ,vita     
,caroli1 #ba4    #ab4 ,l4 ,gougaud1     
,gaelic ,pioneers of ,christianity1     
,,vi-,,xii ,century      7,dublin1      
#aibc7 #fj-c4 ,translated by ,victor    
,collins4    #ac4 ,s4 ,singer1 ,die     
,dichterschule von ,st4 ,gallen         
7,leipzig1 #aibb7      ,introd4 7by     
,peter ,wagner7 #aa4    #ad4 ,turner1   
supra1 #egj2 ,j4 ,m4 ,clark1 ,the ,abbey
 of ,st4 ,gall as a      ,center of     
,literature and ,art 7,cambridge1 #aibf7
 #ca4    #ae4 ,annales ,laurissenses1   
anno #geg 7,,mgh1 ,,ss1 ,i1 #adj74      
#af4 ,jaff1 ,regesta1 #bcdf 7#agii72    
,notker ,balbulus1 ,epistolae           
7,,mpl1 #aca1 #aagb72 ,gesta ,caroli1   
,,ii1 #g4    #ag4 ,f4 ,h4 ,dudden1      
,gregory the ,great 7ch4 #b1 note #i7   
,i1 ch4 ,,vi      ,gregory at           
,constantinople4    #ah4 ,p4 ,wagner1   

8,morgen- und ,abendland in der         
,musikgeschichte10      ,stimmen der    
,zeit1 ,bd4 #aad 7#aibg7 #ach4    #ai4  
,clark1 ,the ,abbey of ,st4 ,gall etc41 
#aab2 ,c4 ,diehl1 ,manuel d',art        
,byzantin 7,paris1 #aiaj7 #cei-cfj1     
#cfb-c2 ,m4 ,hauttmann1 ,die ,kunst des 
frhen ,mittelalters 7,berlin1 #aibi7    
#ea-fb2 ,j4 ,strzygowski1 ,origin       
of ,christian ,church ,art 7,oxford1    
#aibc7 #hd4    #bj4 ,anal4 ,hymn41 #ea1 
,introduction1 xvii-xix2 extended lists 
of the      later ,latin hymns appear in
 ,j4 ,julian1 ,dictionary of ,hymnology 
7,london1 #aibe7 #edf1 #edg4    #ba4 ,j4
 ,mearns1 ,early ,latin ,hymnaries      
7,cambridge1 #aiac74    #bb4 ,walpole1  
,early ,latin ,hymns1 7ch4 #a1 note #c7 
xi4    #bc4 ,walpole1 ibid1 xii2 ,w4 ,h4
 ,frere1 ,introduction to ,hymns        
,ancient      and ,modern ,historical   
,edition 7,london1 #aiji72 ,wilmart1 ,le
 ,psautier      de la ,reine etc41      
#cfb-c2 ,f4 ,j4 ,e4 ,raby1 ,christian   
,latin ,poetry      7,oxford1 #aibg7    

#ch-da4 ,see also ,r4 ,e4 ,messenger1   
8,whence the ,ninth      ,century       
,hymnal810 ,t,a,ph,a #fi 7#aich7        
#ddf-dfd4    #bd4 ,gesta ,caroli1 ,i1   
#aj2 ,einhard1 ,vita ,caroli1 edited by 
,garrod and      ,mowat 7,oxford1       
#aiae71 ,appendix1 p4 xxxvii4    #be4   
,heimbucher1 ,die ,orden und            
,congregationen etc41 vol4 ,i1 #bce1    
#bcg-i2 ,jahrbcher der deutschen        
,geschichte 7,berlin  ,leipzig1         
#ahff-aijb71 ,geschichte des            
,ostfrankischen ,reichs1 vol4 ,,ii1 #ci1
 #db1      #df4    #bf4 ,alcuin1 ,de    
psalmorum usu 7,,mpl1 #aja71 ,officia   
per ferias ,,mpl1      #aja1 ,epistolae 
#hd1 #id1 #afd1 #bbg 7,,mpl1 #aja73     
,rabanus ,maurus1 ,de      clericis     
instituts1 ,,ii1 #di 7,,mpl1 #ajg1      
#cfb73 ,amalarius of ,metz1      ,de    
officiis divinis 7continuation7 in ,j4  
,mabillon1 ,vetera      ,analecta       
7,paris1 #agbc7 #ii2 ,walafrid ,strabo1 
,de ecclesiasticarum      rerum exordiis
 etc41 ch4 xxv 7,,mpl1 #aad1 #ieb;ff474 

#bg4 ,h4 ,de ,boor1 ,die deutsche       
,literatur #ggj-aagj 7,mnchen1 #aidi7   
#ba4    #bh4 ,p4 ,batiffol1 ,history of 
the ,roman ,breviary 7,london1 #aiab7   
#adc-d4    #bi4 ,anal4 ,hymn4 #ea4      
#cj4 ,translation of first line1 ,j4 ,m4
 ,neale4    #ca4 ,dom ,p4 ,b4 ,gams1    
,die ,kirchengeschichte von ,spanien    
7,regensburg1      #ahfb-ahgi7 ,,ii1    
,pt4 #b1 #cjb1 #cbf-i2 ,z4 ,garca       
,villada1 ,historia      eclesistica de 
,espaa 7,madrid1 #aibi-cf7 ,v1 #he4     
#cb4 ,de ,urbel1 8,los himnos mozrabes10
 ,revista ecles4 ,silos #eh 7#aibg7     
#ef-fa4    #cc4 ,e4 ,bishop1 8,spanish  
,symptoms10 ,liturgica ,historica       
7,oxford1      #aiah7 #afh4    #cd4 ,l4 
,wiener1 ,contributions toward a        
,history of ,arabico-,gothic            
,culture 7,new ,york1 #aiag-ba7 #aja2   
,h4 ,g4 ,farmer1 ,historical ,facts     
for the ,arabian ,musical ,influence    
7,london1 #aicj7 #bc4    #ce4 ,anal4    
,hymn4 #ea1 ,introduction4              
,chapter ,four                    ,the  

,ninth ,century ,revival3 ,sequences    
#a4 ,fortescue1 ,the ,mass 7,see ch4 #c1
 note #h7 #bfh-i4    #b4 ,see           
,introduction to ,a4 ,h4 #ec1 by ,c4    
,blume and ,h4 ,m4 ,bannister4          
,this ,introduction has been used as the
 basis for the discussion of            
sequence origins4 ,theories and opinions
 of others are noted from      time to  
time4    #c4 ,w4 ,h4 ,frere1            
,introduction to ,hymns ,ancient and    
,modern 7,see ch4 #c1      note #bc7    
xxviii2 ,p4 ,wagner1 ,introduction to   
,gregorian ,melodies      7,london1     
#aijg7 #bbc1 translation by ,orme and   
,wyatt4    #d4 ,g4 ,reese1 ,music in the
 ,middle ,ages 7ch4 #a1 note #aa7       
passim4      ,this book contains an     
excellent standard account of the       
musical      aspect of the sequence4    
#e4 ,g4 ,schnrer1 ,kirche und ,kultur im
 ,abendland 7,paderborn1 #aibf7 ,,ii1   
#hh4    #f4 ,w4 ,christ1 8ber die       
,bedeutung von ,hirmos1 etc410          
,sitzungberichte      der kn4 bay4      

,akad4 der ,wissenschaft zu ,mnchen1    
,,ii 7#ahgj7 #hi;f4    #g4 ,a4 ,gastou1 
8,les ,types byzantins de la ,sequence10
 ,tribune de      ,saint-,gervais1 ,dec4
 #aibb1 #a1 #b4    #h4 ,frere1          
,introduction1 supra1 xxiv4    #i4 ,l4  
,gautier1 ,histoire de la posie         
liturgique au ,moyen ge 7,paris1        
#ahhf7 #a4    #aj4 ,a4 ,gastou1 8,les   
,origines liturgiques de la squence10   
,tribune de      ,saint-,gervais1 ,june1
 #aibb4 ,see also ,wetzer and ,welte1   
,kirchenlexicon1 ,sequenzen3 an         
important article4    #aa4 ,amalarius1  
,de ecclesiasticis officiis1 ,,iii1 #af 
7,,mpl1 #aje1      #aabc74    #ab4 ,j4  
,ottenwlder1 8,griechisch-byzantinische 
,einflsse10 ,theol4      ,quartalschr4  
,,xcvii 7#aiae71 #efd-g4    #ac4 ,reese1
 ,music in the ,middle ,ages1 supra1    
#acc4    #ad4 ,s4 ,singer1 ,die         
,dichterschule von ,st4 ,gallen 7ch4 #c1
 note #ac71      ,introduction1 #ad1    
#ae4    #ae4 ,the earliest manuscript is
 ,antiphonale missarum ,s4 ,gregorii1   

codex #bci of ,laon2 see ,palographie   
musicale1 ,x4 ,a4 ,gastou1 ,les         
,origines du ,chant ,romain 7,paris1    
#aijg7 #bej;f4    #af4 ,wetzer und      
,welte1 supra1 ,sequenzen4    #ag4      
,frere1 ,introduction1 supra1           
xxviii-xxix2 ,notker ,balbulus1 ,liber  
sequentiarum1 ,praefatio 7,,mpl1 #aca1  
#ajjc74    #ah4 ,p4 ,wagner1 8,morgen-  
und ,abendland in der ,musikgeschichte10
 7ch4 #c1      note #ah7 #aci2 ,schnrer1
 supra1 ,,ii1 #hh4    #ai4 ,gastou1     
8,les ,types byzantins de la ,squence10 
supra1 #b4    #bj4 ,w4 ,meyer1          
,gesammelte ,abhandlungen zur           
mittellateinischen ,rythmik             
7,berlin1 #aijh7 #cg4    #ba4 ,p4 ,von  
,winterfeld1 ,stilfragen aus der        
lateinischen ,dichtung des              
,mittelalters in ,deutsche ,dichter etc4
 7,mnchen1 #aibb7 #ddb4    #bb4 ,w4     
,meyer1 supra1 #da3 8,so ist die        
lyrische ,dichtung des                  
,mittelalters durchaus dem              
,kirchengesang neu geboren worden40     

#bc4 ,e4 ,wellesz1 ,eastern ,elements in
 ,western ,chant4 ,studies in the       
,early ,history of ,ecclesiastical      
,music 7,oxford1 #aidg7 ,pt4 ,,iv1 ch4  
#a1      ,origin of sequences and       
tropes1 an excellent summary of the     
subject as investigated to #aidg4       
#bd4 ,notker1 supra1 note #ag4    #be4  
,p4 ,a4 ,schubiger1 ,die ,sngerschule   
,st4 ,gallens vom viii4-xii4            
,jahrhundert 7,einsiedeln1 #aheh72 ,w4  
,wilmanns1 8,welche ,sequenzen hat      
,notker verfasst810 ,zeitschrift f4     
deutsches ,altertum1 ,,xv 7#ahgb7       
#bfg;f42 ,j4 ,werner1 ,notkers          
,sequenzen4 ,beitrge zur ,geschichte der
      ,lat4 ,sequenzendichtung 7,aarau1 
#aija7 ,,iii1 ,,iv2 ,s4 ,singer1 supra2 
,van ,doren1 7ch4 #c1 note #e7 ch4 #i2  
,clark1 7ch4 #c1 note #ad7 #age4 ,w4    
von den ,steinen1 ,notker der ,dichter  
und seine geistliche ,welt1 #b          
vols4 7,bern4 #aidh74 ,this author      
reviews previous literature4    #bf4    
,ottenwlder1 supra1 #dfd-e4    #bg4     

,they are ,canopica1 ,styx1 ,phlegethon1
 sophia1 herous1      ,myrmidonas1      
spermologos4    #bh4 ,p4 ,s4 ,allen1    
,romanesque ,lyric 7,un4 of ,north      
,carolina ,press1      #aibh7 #ff1 #bba1
 #bbb2 ,schnrer1 supra1 #hi2 ,wellesz4  
supra1 #afe2 ,w4      ,b4 ,sedgwick1    
8,origin of ,rhyme10 8,revue ,bndictine0
 ,,xxxvi 7#aibd71      #cda4    #bi4    
,several attractive illustrations of the
 modus may be found in      ,karl       
,breul's edition of ,the ,cambridge     
,songs 7,cambridge1 #aiae74    #cj4     
,schnrer1 supra1 #hi2 ,r4 ,molitor1 ,die
 ,musik in der ,reichnau1      reviewed 
in ,jahrbuch f4 ,liturgiewissenschaft   
,,vi 7#aibf7 #cca4    #ca4 ,see ,chapter
 ,,vii4                                 
,chapter ,five                   ,late  
,middle ,ages3 ,hymns and ,sequences    
#a4 ,j4 ,de ,ghellinck1 ,s4 ,j41        
,l',essor de la ,littrature ,latine au  
,x,i,ie      ,sicle1 #b vols4           
7,brussels1 #aidf7 ,,ii1 #bhe4    #b4   
,m4 ,hlin1 ,history of ,medieval ,latin 

,literature 7,new ,york1 #aidi71        
translated by ,j4 ,c4 ,snow from        
,littrature d'occident3 ,histoire des   
,lettres latines du ,moyen ,age1 #gi4   
#c4 ,l4 ,gautier1 ,oeuvres potiques     
d',adam de ,saint-,victor1 #b vols4     
7,paris1 #aheh-i72 ,e4 ,misset et ,p4   
,aubry1 ,les ,proses d',adam de         
,saint-,victor 7,paris1 #aijj74    #d4  
,translations of first lines3 ,r4       
,messenger1 ,anon1 ,e4 ,caswall4    #e4 
,translations of first lines3 ,s4 ,a4   
,hurlbut1 ,r4 ,messenger4    #f4 ,a4 ,h4
 #dh4 #ada-bcb4    #g4 ,translations of 
first lines3 #a and #b1 ,h4 ,waddell2 #c
 and #e1 ,e4      ,caswall2 #d1 ,r4     
,messenger4    #h4 ,hlin1 supra1 #aag4  
#i4 ,p4 ,wagner1 ,introduction to the   
,gregorian ,melodies 7ch4 #d1 note #c7  
#bda4    #aj4 ,translations of first    
lines3 #a and #d1 ,r4 ,a4 ,knox2 #b1 ,h4
 ,t4 ,henry2      #c1 ,w4 ,j4 ,irons4   
#aa4 ,translation of first line3 ,r4    
,messenger4    #ab4 ,r4 ,e4 ,messenger1 
8,hymns and ,sequences of the ,sarum    

,use10 ,t,a,ph,a1      #ei 7#aibh7      
#ii-abi4    #ac4 ,e4 ,bishop1 ,liturgica
 ,historica 7,oxford1 #aiah7 #baa-cg4   
#ad4 ,e4 ,hoskins1 ,horae ,beatae       
,mariae ,virginis etc4 7,london1 #aija72
 ,h4      ,bohatta1 ,bibliographie des  
livres d'heures 7,wien1 #aibd71 #bnd    
edition4    #ae4 ,r4 ,e4 ,messenger1    
8,hymns in the ,horae ,eboracenses10    
,classical      ,weekly1 #ch 7,jan41    
#aide7 #ij-e4    #af4 ,s4 ,singer1      
8,arabische und europische ,poesie im   
,mittelalter10      ,zeitschrift f4     
deutsche ,philologie1 ,,lii 7,april1    
#aibg72 ,k4 ,burdach1      8ber den     
,ursprung des mittelalterichen          
,minnesangs1 etc40 in      ,vorspiel ,i 
7,halle1 #aibe7 #caa2 ,a4 ,f4 von       
,schack1 ,poesie und ,kunst      der    
,araber etc41 #b vols4 7,stuttgart1     
#ahgg7 ,,ii1 #aja-e4    #ag4 ,c4 ,f4    
,brown1 ,religious ,lyrics of the #adth 
,century 7,oxford1      #aibd74         
,translations of ,william ,herebert 7d4 
#accc7 xiii4    #ah4 ,ad honorem ,regis 

summi1 translation of first line3 ,r4   
,e4      ,messenger4 ,see ,c4 ,daux1    
,les ,chansons des ,plerins de ,st4     
,jacques      7,montauban1 #ahii74      
#ai4 ,a4 ,s4 ,walpole1 ,early ,latin    
,hymns1 7ch4 #a1 note #c7 #hg-ib4       
#bj4 ,e4 ,rodgers1 ,discussion of       
,holidays in the ,later ,middle ,ages   
7,new      ,york #aidj7 #cc4 ,miss      
,rodgers sums up the evidence here1     
reaching an      affirmative conclusion4
    #ba4 ,l4 ,thorndike1 8,elementary   
and ,secondary ,education in the ,middle
      ,ages10 ,speculum1 #ae 7#aidj7    
#djj-h1 p4 #dja4    #bb4 ,w4 ,o4        
,wehrle1 ,macaronic ,hymn ,tradition    
etc4 7,washington1 #aicc74              
,chapter ,six                    ,late  
,middle ,ages3 ,processional ,hymns     
#a4 ,matt4 #ba3 #d-ll2 ,mark #aa3 #g-aa2
 ,luke #ai3 #ce-ch2 ,john #ab3          
#ab-e4    #b4 ,basil1 ,ep4 #bjg1 ,ad    
,neocaes1 ,,mpg #cb4 #gfe2 ,ambrose1    
,ep4 #dj4 #af1      ,ad ,theodosium1    
,,mpl #af4 #aajg2 ,sozomen1 ,hist4      

,eccles4 ,,viii1 #h2 see      also      
,tertullian1 ,ad uxorem1 ,,ii1 #d1 ,,mpl
 #a4 #abid4    #c4 ,s4 ,silviae1 quae   
fertur1 ,peregrinatio ad loca sancta1 in
 ,itinera      ,hierosolymitana1        
,saeculi ,,iii-,,viii1 ed4 ,p4 ,geyer   
7,vindobonae1 #ahih7      ,,csel #ci4   
#ce-aja4    #d4 ,ibid4 ,,xxiv1 #a-g1    
#h-ab2 ,,xxv1 #g2 ,,xxvi2 ,,xxxi2 ,,xl1 
#a-b4    #e4 ,a4 ,bludau1 ,die          
,pilgerreise der ,aetheria1 ,studien zur
 ,gesch4 u4      ,kultur d4 ,altertums  
,,xv1 #a_/b1 7,paderborn1 #aibg7 #ef4   
,translation1      ,robert ,bridges4    
#f4 ,a4 ,baumstark1 ,die ,idiomela der  
byzantinischen ,karfreitagshoren        
etc4 ,reviewed in ,jahrbuch f4          
,liturgiewissenschaft1 #aj 7#aicj7      
#cci-dj4    #g4 ,p4 ,batiffol1 tudes de 
liturgie et d'archologie chrtienne1     
7,paris1 #aiai7 ch4 ,,vi1 ,la           
,chandeleur1 p4 #bjj4    #h4 ,ambrose1  
,ep4 #aa7ec71 ,,mpl #ag4 #gdc-d2        
,augustine1 ,de ,civ4 ,dei      #bb4 #h2
 ,conf4 #i4 #g2 ,see also the hymn      

,grates tibi1 ,jesu1 novas1             
attributed to ,ambrose1 ,a4 ,h4 #ej4    
#ag4    #i4 ,g4 ,h4 ,cobb1 8,early      
,catholic ,outdoor ,processions10 ,the  
,month1 #adh      7#aibf7 #eci-edb4     
#aj4 ,for ,mamertus1 see ,greg4         
,turonen41 ,hist4 franc4 #b4 #cd1 ,,mpl 
#ga4      #bcj-cb4 ,councils4 ,council  
of ,orleans1 #eaa1 canon #ag1 ,mansi    
,,viii1      #cee2 ,council of ,girona1 
#eag1 ,capit4 #b  #c1 ,mansi1 ,,viii1   
#edi2 see      also #agth ,council of   
,toledo1 #fid1 ,capit4 #f1 ,mansi ,,xii1
 #ii-ajj4      ,litaniae maiores1 ,greg4
 ,magnus1 ,ep4 ,v1 #aa1 ,litany on      
,feast of      ,st4 ,john ,baptist1     
,,mpl #gg1 #gcb-c2 ,litania septiformis1
 ,greg4      ,turonen41 ,hist4 franc4   
#aj1 #a1 ,,mpl #ga4 #eai-bj2 ,joh4      
,diac41 ,vita      ,greg4 ,magn41 #a4   
#da1 #db1 ,,mpl #ge4 #hj4    #aa4 ,l4   
,duchesne1 ,christian ,worship1         
7,london1 #aijd7 #bdj1 #eae4    #ab4 ,p4
 ,batiffol1 7note #g7 #aig-bja2 ,l4     
,eisenhofer1 ,handbuch der              

,katholischen ,liturgik1 #b vols4       
7,freiburg im ,breisgau1 #aibc7 ,i1     
#ehb-f4    #ac4 ,at this point the      
definition of processio in ,canon ,law  
is of      interest3 ,nomine sacrarum   
processionum significantur solemnes     
supplicationes quae a populi fideli1    
duce clero1 fiunt eundo      ordinatim  
de loco sacro ad locum sacrum1 ad       
excitandam fidelium      pietatem1 ad   
commemoranda ,dei beneficia eique       
gratias agendas1 ad      divinum        
auxilium implorandum4 ,can4 #abij4  ,i4 
#ad4 ,b4 ,m4 ,peebles1 8,fortunatus1    
,poet of the ,holy ,cross10 ,amer4      
,church      ,monthly #ch 7#aice1       
,july-,sept47 #aeb-aff4 ,his account is 
based upon      ,greg4 ,turonen41 ,hist4
 franc41 ,,ix1 #dj2 ,baudonovia1 ,vita  
,s4 ,rad41      ,,ii4 #af4    #ae4 ,r4  
,e4 ,messenger1 ,salve festa dies1      
,t,a,ph,a1 #gh 7#aidg7 #bjh-bbb4        
,translation1 ,s4 ,a4 ,hurlbut2 for     
,salve festa dies1 traditional4    #af4 
,dom ,m4 ,frotin1 ,liber ordinum1 in    

,monumenta ecclesiae      liturgica1 #e 
7,paris1 #aijd7 #agh-hg2 ,isidore of    
,seville1 ,de      ecclesiasticis       
officiis1 #a4 #ch4    #ag4 ,frotin1     
supra1 #agi4    #ah4 ,a4 ,s4 ,walpole1  
,early ,latin ,hymns1 7ch4 #a1 note #c7 
#ccg-cdj4      ,translation1 #ast line1 
,walpole4    #ai4 ,duchesne1 supra1     
#afb-d4    #bj4 ,walpole1 supra1 #cdb-d4
    #ba4 ,translations in this chapter1 
unless otherwise noted1 are             
furnished by the author4    #bb4 ,l4    
,gautier1 ,histoire de la ,posie        
liturgique etc4 7ch4 #d1 note      #i7  
ch4 ,,vi1 ,versus4    #bc4 ,von den     
,steinen1 ,notker der ,dichter etc4 7ch4
 #d1 note #be7 ,i1      #dj-db4    #bd4 
,eisenhofer 7see note #ab7 ,i1 #ebb-c4  
#be4 ,dom ,a4 ,wilmart1 ,auteurs        
spirituels etc4 7,paris1 #aicb7 #bf-cf4 
#bf4 ,r4 ,e4 ,messenger1 ,sancta ,maria 
quid est81 ,cath4 ,choirmaster1         
,june1 #aiej4    #bg4 ,eisenhofer1      
supra1 ,i1 #ajj-ajb4    #bh4 ,du ,cange1
 see versarius4    #bi4 ,gulielmus      

,durandus1 ,rationale divinorum         
officiorum 7,lugdini1      #afab7 ,bk4  
,,iv1 ,de accessu sacerdotis ac         
pontificis ad altare et de              
,processione4    #cj4 ,ibid4 fol4 #ajb4 
#ca4 ,d4 ,attwater1 ,dictionary of      
,saints 7,london1 #aich7 #ahj4    #cb4  
,g4 ,reese1 ,music in the ,middle ,ages 
7ch4 #a1 note #aa7 #bja4    #cc4 ,l4    
,ellinwood1 8,the ,conductus10 ,musical 
,quarterly1 #bg 7#aida7 #b4             
#afe-bjc4                               
,chapter ,seven                         
,influence and ,survival of ,latin      
,hymns      #a4 ,w4 ,b4 ,sedgwick1 8,the
 ,origin of ,rhyme10 7ch4 #d1 note #bh7 
#ccc4    #b4 ,for translations see      
,helen ,j4 ,waddell1 ,medieval ,latin   
,lyrics      7,london1 #aibi72 ,the     
,wandering ,scholars 7,new ,york1       
#aidi71 new      edition4    #c4 ,p4 ,s4
 ,allen1 ,romanesque ,lyric 7ch4 #d1    
note #bh71 ,ch4 ,,xii1      especially  
p4 #bbc4    #d4 ,f4 ,j4 ,e4 ,raby1      
,history of ,secular ,latin poetry in   

the ,middle      ,ages1 #b vols4        
7,oxford1 #aicd7 ,,ii1 #ccb4    #e4 ,e4 
,m4 ,sanford1 8,were the ,hymns of      
,prudentius actually sung80             
,classical ,philology #ca 7#aicf7 #ga4  
#f4 ,for the texts of liturgical plays1 
see ,k4 ,young1 ,the ,drama of the      
,medieval ,church1 #b vols4 7,oxford1   
#aicc74    #g4 ,b4 ,m4 ,peebles1 8,o    
,roma nobilis10 ,amer4 ,benedictine     
,review1 ,i      7#aiej7 no4 #a4    #h4 
,r4 ,stroppel1 ,liturgie und geistliche 
,dichtung 7,frankfurt am ,main1         
#aibg7 #ec-e3 ,s4 ,singer1              
8,karolingische ,renaissance10          
,germanisch-,romanisch ,monatschrift1   
#ac 7#aibe7 #bjj-a4    #i4 ,k4 ,e4      
,wackernagel1 ,das deutsche ,kirchenlied
 etc41 #e vols4      7,leipzig1         
#ahfd-gg7 vol4 ,i4    #aj4 ,k4 ,meyer1  
,selections from ,ancient ,irish ,poetry
 7,london1 #aiaa7      ,introd4 #ac4    
#aa4 ,j4 ,pokorny1 ,die lteste ,lyrik   
der grnen ,insel 7,halle ,s41 #aibc7    
#ac1 #ad4    #ab4 ,w4 ,meyer1           

8,liturgie1 ,kunst und ,dichtung in     
,mittelalter10      ,gesammelte         
,abhandlungen 7,berlin1 #aije7 #cga4    
#ac4 ,p4 von ,winterfeld1 8,stilfragen  
der lateinischen ,dichtung des          
,mittelalters10 ,deutsche ,dichter des  
lateinischen ,mittelalters              
7,mnchen1 #aibb7 #ddj4    #ad4          
,washington1 ,d4 ,c41 ,catholic ,un4    
,press1 #aidb1 especially p4 #bba1      
#bca1 #bdh1 #bff4    #ae4 ,h4 ,koht1    
8,medieval ,liberty ,poems10 ,amer4     
,hist4 ,review1 #dh 7#aidc7      no4 #b1
 #bha-bij4    #af4 ,h4 ,spanke1 8ber das
 ,fortleben der ,sequenzenform in den   
,romanischen ,sprachens10 ,zeitschrift  
f4 ,rom4 ,philol4 #ea 7#aica7           
#cji-ccd4    #ag4 ,e4 ,a4 ,peers4 ,ramon
 ,lull 7,london1 #aibi7 #adj4    #ah4   
,see translation by ,h4 ,c4 ,robbins1   
#aici1 8,most ,high1 ,omnipotent1       
,good ,lord40    #ai4 ,for a brief      
account1 see ,j4 ,pulver1 8,laudi       
spirituali10 ,musical      ,opinion1    
,march1 #aich1 #ejc-d2 ,april1 #aich1   

#fjb-c2 ,may1 #aich1 #fia-b4    #bj4    
,see ,bibliography for these titles4    
#ba4 ,dom ,jean ,stphan1 ,the ,adeste   
fideles1 8,publications10 ,buckfast     
,abbey1 ,south ,devon1 ,england1 #aidg4 
,translation1 ,frederick ,oakeley4      
#bb4 ,m4 ,britt1 ,hymns of the ,breviary
 and ,missal 7,new ,york1 #aibb1        
#aidh71 a standard and indispensable    
work4                                   
,bibliography                           
,i4 ,bibliographies    ,leclercq1 ,l41  
,article 8,hymnes01 ,dictionnaire       
d'archologie chrtienne  et de liturgie4 
,contains extensive bibliography upon   
the subject of  medieval hymnology4     
,farrar1 ,c4 ,p4 and ,evans1 ,a4 ,p41   
,bibliography of ,english ,translations 
from medieval sources4 ,new ,york1      
#aidf4 ,hymns1 #bjbe-bjde4    ,raby1 ,f4
 ,j4 ,e41 ,history of ,christian-,latin 
poetry from the beginning to  the close 
of the ,middle ,ages4 ,oxford1 #aibg4   
,bibliography classified by  authors and
 periods4    ,reese1 ,g41 ,music in the 

,middle ,ages4 ,new ,york1 #aida4       
,contains  extensive bibliography       
including many periodical articles4     
,,ii4 ,collections and ,indices         
,analecta hymnica medii aevi1 edited by 
,c4 ,blume and ,g4 ,m4 ,dreves1 #ee     
vols4 ,leipzig1 #ahhf-aibb4             
,introductions most informative4        
,analecta liturgica1 part #b1 vols4 ,i1 
,thesaurus hymnologicus2 ,,ii1  ,prosae1
 edited by ,e4 ,misset and ,w4 ,h4 ,j4  
,weale4 ,insulis et ,brugis1            
#ahhh-aijb4    ,blume1 ,c4 and ,dreves1 
,g4 ,m41 ,hymnologische ,beitrge        
7,quellen und  ,forschungen zur         
,geschichte der lateinischen            
,hymnendichtungen1 #b vols474  ,leipzig1
 #ahig-aija4    ,chevalier1 ,c4 ,u4 ,j41
 ,repertorium hymnologicum1 catalogue   
des chants1  hymnes1 proses1 sequences1 
tropes1 #f vols4 ,louvain1 ,bruxelles1  
#ahib-aibj4 ,published as supplements to
 the ,analecta ,bollandiana4    ,daniel1
 ,h4 ,a41 ,thesaurus hymnologicus1 #e   
vols4 ,lipsiae1 #ahee-ahef1 #bnd        

edition4    ,gaselee1 ,s41 ,the ,oxford 
,book of medieval ,latin verse4 ,oxford1
 #aibh4    ,germing1 ,m41 ,latin hymns4 
,chicago1 #aibj4 ,text book4    del     
,grande1 ,c41 ,liturgiae preces hymni   
,christianorum e papyris  collecti4     
,neapel1 #aicd4    ,grenfell1 ,b4 and   
,hunt1 ,a41 ,oxyrhynchus papyri1 ,part  
,,xv4 ,london1 #aibb4    ,harris1 ,r4   
and ,mingana1 ,a41 ,the odes and psalms 
of ,solomon1 ,i4 ,text1  ,,ii4          
,translation4 ,manchester1 #aiaf-aibj4  
,hurlbut1 ,s4 ,a41 ,hortus conclusus1   
,medieval ,latin hymns with ,english    
renderings1 #aj parts4 ,washington1 ,d4 
,c41 #aicj-aicf4    ,kehrein1 ,j41      
,lateinische ,sequenzen des             
,mittelalters4 ,mainz1 #ahgc4 ,the  most
 extensive collection of sequences made 
up to that date4    ,mc ,dougall1 ,a4   
,g41 ,pange lingua3 breviary hymns of   
old uses with an  ,english rendering4   
,london1 #aiaf4    ,mearns1 ,j41        
,canticles of the ,christian ,church    
eastern and western in  early and       

medieval times4 ,cambridge1 #aiad4      
,merrill1 ,w4 ,a41 ,latin hymns4 ,new   
,york1 #aiag4 ,text book4    ,mone1 ,f4 
,j41 ,lateinische ,hymnen des           
,mittelalters1 #c vols4 ,freiburg im    
,breisgau1 #ahec-ahee4    ,morel1 ,g41  
,lateinische ,hymnen des ,mittelalters1 
grsstentheils aus  ,handschriften       
schweizerischen ,kloster1 als ,nachtrag 
zu den  ,hymnensammlungen von ,mone1    
,daniel  ,andern4 ,einsiedeln1 #ahff4   
,neale1 ,j4 ,m41 ,hymni ecclesiae e     
breviariis quibusdam et missalibus      
,gallicanis1 ,germanis1 ,hispanis1      
,lusitanis desumpti4 ,oxford1 #ahea4    
----1 ,sequentiae ex missalibus         
,germanis1 ,anglicis1 ,gallicis1        
aliisque  medii aevi1 collectae4        
,london1 #aheb4    ,newman1 ,j4 ,h41    
,hymni ecclesiae1 ,london1 #ahch1 #ahfe4
    ,phillimore1 ,j4 ,s41 ,the hundred  
best ,latin hymns4 ,london1 #aibf4      
,attractive anthology4    ,poetae latini
 aevi ,carolini in ,monumenta ,germaniae
 ,historica4444  ,poetarum latinorum    

medii aevi1 vol4 iv1 edited by ,p4 von  
,winterfeld4  ,berlin1 #aibc4    ,roth1 
,f4 ,w4 ,e41 ,lateinische ,hymnen des   
,mittelalters4 ,augsburg1 #ahhg4        
,intended as a supplement to larger     
collections4    ,wackernagel1 ,k4 ,e41  
,das deutschen ,kirchenlied1 #e vols4   
,leipzig1  #ahfd-ahgg4 ,vol4 ,i contains
 ,latin hymns4    ,walpole1 ,a4 ,s41    
,early ,latin hymns4 ,cambridge1 #aibb4 
,weale1 ,w4 ,h4 ,j41 ,analecta          
liturgica1 ,part ,,ii1 vols4 ,i1 ,,ii1  
,thesaurus  hymnologicus--,prosae4      
,insulis et ,brugis1 #ahhh-aijb4        
,,iii4 ,history and ,authors of ,latin  
,hymns    ,allen1 ,p4 ,s41 ,mediaeval   
,latin lyrics4 ,chicago1 #aica4         
,baldwin1 ,c4 ,s41 ,medieval rhetoric   
and poetic4 ,new ,york1 #aibh4          
,bardenhewer1 ,o41 ,geschichte der      
altkirchlichen ,literatur1 #e vols4     
,freiburg in ,breisgau1 #aiab-aicb4     
,beck1 ,c41 ,mittellateinische          
,dichtung4 ,berlin1 #aibg4    ,benson1  
,l4 ,f41 ,hymnody of the ,christian     

church4 ,new ,york1 #aibg4    ,biraghi1 
,l41 ,inni sinceri e carmi di           
,sant',ambrogio4 ,milano1 #ahfb4        
,blume1 ,c41 ,articles 8,hymn01         
8,hymnody and ,hymnology40 ,cath4 ,enc4 
,coulter1 ,c4 ,c41 8,latin hymns of the 
,middle ,ages01 ,studies in  ,philology1
 #ba 7#aibd7 #ega-ehe4    ,de,ghellinck1
 ,j41 ,s4 ,j41 ,littrature ,latine au   
,moyen ,age1 #b vols4  ,paris1 #aici4   
----1 ,littrature ,latine au ,x,i,ie    
,sicle1 #b vols4 ,brussels1 #aidf4      
,de ,labriolle1 ,p41 ,histoire de la    
,littrature latine chrtienne4 ,paris1   
#aibd4 ,translation by ,h4 ,wilson1     
,history and ,literature of             
,christianity  from ,tertullian to      
,boethius4 ,new ,york1 #aibe4           
,donahue1 ,d4 ,j41 8,the sacred songs of
 the ,middle ,ages01 ,cath4 ,hist4      
,rev41 ,n4 ,s4 vol4 #c 7#aibc7 #bag-bce4
    ,dreves1 ,g4 ,m41 ,ein ,jahrtausend 
lateinischer ,hymnendichtung1 ,eine     
,bltenlese aus den ,anal4 hymn4 mit     
literarhistorischen ,erluterungen1 #b   

vols4 ,leipzig1 #aiji4    ,duckett1 ,e4 
,s41 ,gateway to the ,middle ,ages4 ,new
 ,york1 #aich4    ----1 ,latin writers  
of the #eth century4 ,new ,york1 #aicj4 
,dudden1 ,f4 ,h41 ,gregory the ,great4  
,his place in history and thought1 #b   
vols4 ,new ,york1 #aije4    ----1 ,the  
life and times of ,st4 ,ambrose1 #b     
vols4 ,oxford1 #aice4    ,duffield1 ,s4 
,w41 ,the ,latin hymn-writers and their 
hymns4 ,new ,york1  #ahhi4    ,ebert1   
,a41 ,allgemeine ,geschichte der        
,literatur des ,mittelalters im         
,abendlande1 #c vols4 ,leipzig1         
#ahhj-ahhi4 #bnd edition of vol4 ,i4    
,gastou1 ,a41 8,proses et squences01    
,tribune d4 ,s4 ,gervais 7#aibb71       
#fi-gb2 8,les origines liturgiques      
latines de la squence01 #aec-aeh2 8,les 
types byzantins de la squence01 7#aibc7 
#a-f4    ,gautier1 ,l41 ,oeuvres        
potiques d',adam de ,saint-,victor4     
,paris1 #ahha4    ,gillman1 ,f4 ,j41    
,evolution of the ,english hymn4 ,new   
,york1 #aibg4    ,heider1 ,a4 ,b41 ,the 

,blessed ,virgin in early ,christian    
,latin poetry4  ,washington1 ,d4 ,c41   
#aiah4    ,hlin1 ,m41 ,history of       
medieval ,latin literature4 ,new ,york1 
#aidi4  ,translated by ,j4 ,c4 ,snow    
from ,littrature d'occident3 ,histoire  
des  lettres ,latines du ,moyen ,age4   
,hughes1 ,h4 ,v41 ,dom ,anselm1 ,latin  
,hymnody4 ,london1 #aibb4    ,julian1   
,j41 ,dictionary of hymnology4 ,london1 
#aibe4    ,kayser1 ,j41 ,beitrge zur    
,geschichte und ,erklrung der ltesten   
,kirchenhymnen1 #b vols4 ,paderborn1    
#ahha1 #ahhf4    ,koebner1 ,r41         
,venantius ,fortunatus4 ,leipzig1 #aiae4
    ,kroll1 ,j41 ,die christliche       
,hymnodik bis zu ,klemens von           
,alexandreia4  ,knigsburg3 ,prog4 d4    
,ak4 von ,braunsberg1 #aiba-b4 s4       
#dg-ih4    ----1 8,die ,hymnendichtung  
des frhen ,christentums01 ,die ,antike1 
#b 7#aibf7  #beh-bha4    ,kuhnmuench1   
,o41 ,s4 ,j41 ,early ,christian ,latin  
poets from the #dth-#fth  century4      
,chicago1 #aibi4    ,lynch1 ,c4 ,h41    

,st4 ,braulio1 ,bishop of ,saragossa4   
,washington1 ,d4 ,c41  #aich4    ,mac   
,gilton1 ,a4 ,k41 ,study of ,latin      
hymns4 ,boston1 #aiah4    ,manitius1    
,m41 ,geschichte der                    
christlich-lateinischen ,poesie bis zur 
,mitte des #h4 ,jahrhunderts4           
,stuttgart1 #ahia4    ----1 ,geschichte 
der lateinischen ,literatur des         
,mittelalters1 #c vols4  ,mnchen1       
#aiaa-aica4    ,maryosip1 ,m41 ,the     
oldest ,christian hymn-book4 ,temple1   
,texas1 #aidh4    ,meyer1 ,w41 ,der     
,gelegenheitsdichter ,venantius         
,fortunatus4 ,berlin1 #aija4    ,misset1
 ,e4 et ,aubry1 ,p41 ,les ,proses       
d',adam de ,saint-,victor1 texte et     
musique4 ,paris1 #aijj4    ,myers1 ,w4  
,n41 ,the hymns of ,saint ,hilary of    
,poitiers in the codex  ,aretinus4      
,phila41 #aibh4    ,peebles1 ,b4 ,m41   
8,fortunatus1 poet of the ,holy ,cross01
 ,amer4 ,church  ,monthly1 #ch 7#aice7  
#aeb-aff4    ----1 ,the ,poet           
,prudentius4 ,boston ,college ,candlemas

 ,lectures on  ,christian ,literature3  
no4 #b4 ,new ,york1 #aiea4    ,phillips1
 ,c4 ,s41 ,hymnody past and present4    
,london1 #aicg4    ,rand1 ,e4 ,k41      
,founders of the ,middle ,ages4         
,cambridge1 #aibh4    ,sage1 ,c4 ,m41   
,paul ,albar of ,cordova3 ,studies on   
his life and writings4  ,washington1 ,d4
 ,c41 #aidc4    ,tardi1 ,d41 ,fortunat4 
tude sur un dernier reprsentant de la   
posie  latine le ,gaule merovingienne4  
,paris1 #aibg4    ,trench1 ,r4 ,c41     
,sacred ,latin poetry4 ,london1 #ahgd4  
,weyman1 ,c41 ,beitrge zur ,geschichte  
der christlich-lateinischen  ,poesie4   
,mnchen1 #aibf4    ,wilmart1 ,a4 ,dom1  
,auteurs spirituels et textes dvots du  
moyen ge  ,latin4 tudes d'histoire      
litteraire4 ,paris1 #aicb4    ----1 8,le
 ,psautier de la reine1 ,n4 ,,xi1 sa    
provenance et sa date01 ,revue          
,bndictine1 ,july-,oct4 #aiaa1 #cda ff4 
,wrangham1 ,d4 ,s41 ,liturgical poetry  
of ,adam of ,st4 ,victor4 ,london1      
#ahha4                                  

,,iv4 ,hymns and ,liturgy               
,antiphonarium ,hartkeri1 saec4 ,,xi1   
,st4 ,gall ,,ms1 #cij-cia1 p4 #ae-af4   
,palographie ,musicale1 ,deuxime ,srie1 
,tome #a4    ,antiphonary of ,bangor1   
,an early ,irish manuscript in the      
,ambrosian  ,library at ,milan1 edited  
by ,f4 ,e4 ,warren4 ,henry ,bradshaw    
,society ,pub4  vols4 #d1 #aj4 ,london1 
#ahic1 #ahie4    ,batiffol1 ,p41 tudes  
de liturgie et d'archologie chrtienne1  
,ch4 ,,vi1  ,la ,chandeleur1 #aic-bae4  
,paris1 #aiai4    ----1 ,history of the 
,roman ,breviary4 ,translated from the  
#crd ,french  edition by ,a4 ,m4        
,baylay4 ,london1 #aiab4    ,bishop1    
,e41 ,liturgica historica1 ,oxford1     
#aiah4    ----1 8,spanish ,symptoms01   
,theological ,studies1 #h 7#aijg7       
#bgh-bid4    ----1 ,the ,mozarabic and  
,ambrosian ,rites4 ,london1 #aibd4      
,blume1 ,c41 ,der cursus ,s4 ,benedicti 
,nursini und die liturgischen ,hymnen   
des #f4-i4 ,jahrhunderts4 ,leipzig1     
#aijh4    ----1 ,unsere liturgischen    

,lieder4 ,regensburg1 #aicb4            
,bohatta1 ,h41 ,bibliographie des livres
 d'heures etc4 ,wien1 #aibd1 #bnd  ed4  
,breviarium ,gothicum1 edited by ,a4    
,lorenzana4 ,madrid1 #agge4 ,see ,migne1
  ,p4 ,l41 #hf4    ,britt1 ,m41 ,hymns  
of the ,breviary and ,missal4 ,new      
,york1 #aibb1 #aidh4    ,buchanan1 ,e4  
,s41 ,an early ,latin song-book4 ,new   
,york1 #aicj4 #acth ,c4 ,ms4            
,burgess1 ,h41 ,select metrical hymns   
and homilies of ,ephrem ,syrus4         
,london1 #ahee4    ,chambers1 ,j4 ,d41  
,divine worship in ,england in the #acth
 and #adth1  contrasted with and adapted
 to that in the #aith ,c4 ,london1      
#ahgg4    ,chatfield1 ,a4 ,w41 ,songs   
and hymns of the earliest ,greek        
,christian  poets4 ,london1 #ahgf4      
,dowden1 ,j41 ,church year and kalendar4
 ,cambridge1 #aiaj4    ,duchesne1 ,l41  
,origines du culte chrtien4 ,translation
 ,christian  worship3 origin and        
evolution from the #crd ,french edition 
by ,m4 ,l4  ,mc,clure4 ,london1 #aijd4  

,durandus1 ,gulielmus1 ,rationale       
divinorum officiorum 7#abhf74 ,lugduni1 
#afab4    ,fisher1 ,a4 ,h41 ,cathedral  
church of ,hereford4 ,london1 #ahih4    
,fortescue1 ,a41 ,concerning ,hymns4    
,see ,introduction to ,a4 ,g4           
,mc,dougall1  ,pange lingua1 above4     
----1 ,the ,mass3 a study of the ,roman 
liturgy4 ,london1 #aiad4    ,gautier1   
,l41 ,histoire de la ,posie liturgique  
au ,moyen ,age4 ,les  ,tropes4 ,paris1  
#ahhf4    ,hereford ,breviary1 edited by
 ,w4 ,h4 ,frere and ,l4 ,e4 ,g4 ,brown4 
,henry  ,bradshaw ,society ,pub4 vols4  
#bf1 #dj4 ,london1 #aijd1 #aiaa4        
,horae ,beatae ,mariae ,virginis or     
,sarum and ,york ,primers1 edited by ,e4
  ,hoskins4 ,london1 #aija4    ,horae   
,eboracenses1 ,prymer or ,hours of the  
,b4 ,v4 ,m41 edited by ,c4  ,wordsworth4
 ,surtees ,society ,pub4 vol4 #acb4     
,london1 #aiai4    ,hymnale secundum    
usum 444 ecclesiae ,sarisburiensis1     
edited by ,a4 ,c4  ,wilson and ,dr4     
,stubbs4 ,littlemore1 #ahej4            

,hymnarium ,sarisburiense4 ,london1     
#ahea4 ,incomplete4    ,the ,hymner1    
,translations of the hymns from the     
,sarum ,breviary together  with sundry  
sequences and processions4 ,london1     
#aije4    ,hymns1 ,ancient and ,modern1 
historical edition4 ,london1 #aiji4     
,introduction by ,w4 ,h4 ,frere on      
history of hymns1 treats ,latin hymns   
from  liturgical point of view4         
,irish ,liber ,hymnorum1 edited by ,j4  
,h4 ,bernard and ,r4 ,atkinson4 ,henry  
,bradshaw ,society ,pub4 vols4 #ac1 #ad4
 ,london1 #ahig1 #ahih4    ,jahrbuch fr 
,liturgiewissenschaft1 edited by ,o4    
,casel1 ,o4 ,s4 ,b4  ,mnster i4 ,w41    
#aiba-aicd4 ,vol4 xiv 7#aicd7 was       
published in #aich4  ,invaluable        
bibliography for every field of medieval
 hymnology4 ,many  reviews of articles  
otherwise unobtainable4    ,jones1 ,w4  
,h41 ,diocesan histories3 ,salisbury4   
,london1 #ahhj4    ,latin hymns of the  
,anglo-,saxon church1 edited by ,j4     
,stevenson4 ,surtees  ,society ,pub4    

vol4 #bc4 ,durham1 #ahea4    ,mc,clure1 
,m4 ,l4 and ,feltoe1 ,e4 ,l41 ,the      
,pilgrimage of ,etheria4  ,translations 
of ,christian literature1 ,series ,,iii1
 ,liturgical texts4  ,london1 #aiai4    
,manuale et processionale ad usum       
insignis ecclesiae ,eboracensis1  edited
 by ,w4 ,g4 ,henderson4 ,surtees        
,society ,pub4 vol4 #fc4 ,durham1 #ahge4
    ,maskell1 ,w41 ,ancient liturgy of  
the church of ,england4 ,oxford1 #ahhb4 
#crd edition4    ----1 ,monumenta       
ritualia ecclesiae ,anglicanae1 #c vols4
 ,oxford1 #ahhb4 #bnd  edition4         
,mearns1 ,j41 ,early ,latin hymnaries1  
an index of hymns in hymnaries  before  
#aajj1 with an appendix from later      
sources4 ,cambridge1 #aiac4    ,missale 
ad usum insignis ecclesiae ,eboracensis1
 edited by ,w4 ,g4  ,henderson4 ,surtees
 ,society ,pub4 vols4 #ei1 #fj4 ,durham1
 #ahgd4    ,missale ad usum percelebris 
ecclesiae ,herfordensis1 edited by ,w4  
,g4  ,henderson4 ,leeds1 #ahgd4         
,missale mixtum1 edited by ,a4 ,lesley1 

,s4 ,j4 ,rome1 #agee4 ,see ,migne1 ,p4  
,l4 #hf4    ,mozarabic ,psalter1 edited 
by ,j4 ,p4 ,gilson4 ,henry ,bradshaw    
,society ,pub4  vol4 #cj4 ,london1      
#aije4    ,neale1 ,j4 ,m4 and ,forbes1  
,g4 ,h41 ,the ancient liturgies of the  
,gallican  church4 ,burntisland1 #ahee4 
,ordinale and customary of the          
,benedictine nuns of ,barking abbey1    
edited by ,j4 ,b4 ,l4 ,tolhurst4 ,henry 
,bradshaw ,society ,pub4 #b vols4       
,london1  #aibg1 #aibh4    ,ornsby1 ,g41
 ,york3 diocesan histories4 ,london1 no 
date4    ,phillott1 ,h4 ,w41 ,hereford3 
diocesan histories4 ,london1 no date4   
,processional of the nuns of ,chester1  
edited by ,j4 ,w4 ,legg4 ,henry         
,bradshaw ,society ,pub4 vol4 #ah4      
,london1 #ahii4    ,processionale ad    
usum 444 ,sarum1 edited by ,w4 ,g4      
,henderson4 ,leeds1  #ahhb4    ,prymer1 
edited by ,h4 ,littlehales4 ,early      
,english ,text ,society1 original       
series #aje1 #aji4 ,london1 #ahie1      
#ahig4    ,rock1 ,d41 ,church of our    

fathers as seen in ,st4 ,osmund's rite  
for the  cathedral of ,salisbury1 #d    
vols4 ,edited by ,g4 ,w4 ,hart and ,w4  
,h4 ,frere4  ,london1 #aijc-aijd4       
,sarum ,missal1 edited by ,j4 ,w4 ,legg4
 ,oxford1 #aiaf4    ,sarum missal1 done 
into ,english by ,a4 ,h4 ,pearson4      
,london1 #ahhd4 #bnd  edition4    ,sarum
 missal1 translated by ,f4 ,e4 ,warren4 
,london1 #aiaa4 7,library of            
liturgiology and ecclesiology for       
,english readers1 vols4 #h and #i47     
,s4 ,silviae1 quae fertur1 ,peregrinatio
 ad loca sancta1 ,,csel #ci4 #ce-aja4   
,vindobonae1 #ahih4    ,stroppel1 ,r41  
,liturgie und geistliche ,dichtung      
#ajej-acjj4 ,frankfurt am  ,main1 #aibg4
    ,swete1 ,h4 ,b41 ,church services   
and service books before the            
,reformation4 ,london1 #ahif4           
,thalhofer1 ,v4 and ,eisenhofer1 ,l41   
,handbuch der katholischen ,liturgik1   
#b vols4 ,freiburg im ,breisgau1 #aiab4 
,tropary of ,ethelred1 published in     
,missale 444 ,eboracensis1 above4       

,winchester troper1 edited by ,w4 ,h4   
,frere4 ,henry ,bradshaw ,society ,pub4 
,london1 #ahid4    ,wordsworth1 ,c41    
,ceremonies and processions of the      
cathedral church of  ,salisbury4        
,cambridge1 #aija4    ----1 ,notes on   
mediaeval services in ,england4 ,london1
 #ahih4    ----1 and ,h4 ,littlehales1  
,the old service books of the ,english  
church4  ,london1 #aijd4    ,york       
breviary1 edited by ,j4 ,h4 ,srawley4   
,surtees ,society ,pub4 vols4 #ga1  #ge4
 ,durham1 #ahhj1 #ahhc4        ,v4      
,hymns and ,medieval ,culture1          
especially ,art1 ,drama1 ,literature and
                                        
,music    ,acta ,sanctorum quotquot orbe
 coluntur 444 collegit ,joannes         
,bollandus  etc41 #afdc et seq4         
,addison1 ,j4 ,t41 ,medieval            
,missionary4 ,a study of the conversion 
of  northern ,europe ,a4 ,d4 #ejj-acjj4 
,new ,york1 #aicf4 ,this book supersedes
  earlier works4    ,allen1 ,p4 ,s41    
,romanesque lyric4 ,chapel ,hill1 #aibh4

    ,altamira1 ,r41 ,history of ,spanish
 ,civilization1 translated by ,p4       
,volkov4 ,london1 #aicj4                
,ante-,nicene fathers1 vol4 ,,viii4     
,american ,reprint4 ,buffalo1 #ahhf4    
,for  ,apocryphal books of the ,n4 ,t4  
,antiphonale monasticum pro diurnis     
horis ordinis ,sancti ,benedicti a      
solesmensibus monachis restitutum4      
,parisiis1 ,tornaci1 ,romae4 #aice4 ,for
  ,gregorian music4    ,apocryphal ,new 
,testament1 edited by ,m4 ,r4 ,james4   
,oxford1 #aibd4    ,blume1 ,c41         
8,hymnologie und ,kulturgeschichte des  
,mittelalters01 in  ,festschrift f4     
,georg von ,hertling4 ,kempten1 #aiac4  
,pp4 #aag-acj4    ,brehier1 ,l41 ,l'art 
chrtien4 ,paris1 #aibh4 #bnd edition4   
,brown1 ,c41 ,english lyrics of the     
#acth century4 ,london1 #aicb4    ----1 
,religious lyrics of the #adth century4 
,oxford1 #aibd4    ----1 ,religious     
lyrics of the #aeth century4 ,oxford1   
#aici4    ----1 ,register of ,middle    
,english religious and didactic verse1  

,pt4 ,,ii4  ,oxford1 #aibj4    ,burdach1
 ,k41 ,vorspiel1 ,bd4 ,i4 ber den       
,ursprung des mittelalterlichen         
,minnesangs1 ,liebesromans und          
,frauendienstes4 ,halle ,s41 #aibe4     
,chambers1 ,e4 ,k41 ,mediaeval ,stage1  
#b vols4 ,oxford1 #aijc4    ,clark1 ,j4 
,m41 ,the abbey of ,st4 ,gall as a      
center of literature and art4           
,cambridge1 #aibf4    ,cohen1 ,g41      
,histoire de la mise en scne dans le    
thatre religieux  franais du moyen ge4  
,paris1 #aibf4 ,fine bibliography4      
,creizenach1 ,w41 ,geschichte des       
neueren ,dramas1 vol4 ,i4 ,halle1 #aiaa4
    ,cutts1 ,e4 ,l41 ,parish priests and
 their people in the ,middle ,ages4     
,london1 #aiad4    ,delehaye1 ,h41 ,les 
legendes hagiographiques4 ,bruxelles1   
#aije4    ,diehl1 ,c41 ,manuel d'art    
,byzantin4 ,paris1 #aiaj4    ,dill1 ,s41
 ,roman ,society in ,gaul in the        
merovingian age4 ,london1 #aibf4        
,douglas1 ,w4 ,c41 ,church music in     
history and practice4 ,new ,york1 #aicg4

    ,drake1 ,m4 and ,w41 ,saints and    
their emblems4 ,london1 #aiaf4          
,duchartre1 ,p4 ,l41 ,mittelalterliche  
,plastik in ,frankreich4 ,mnchen1       
#aibe4    ,evans1 ,j41 ,monastic life at
 ,cluny1 #iaj-aaeg4 ,london1 #aica4     
,farmer1 ,h4 ,g41 ,historical facts for 
the ,arabian musical influence4         
,london1 #aicj4    ----1 ,history of    
,arabian music to the ,x,i,i,ith ,c4    
,london1 #aibi4    ,fellerer1 ,k4 ,g41  
,beitrge zur ,musikgeschichte ,freisings
 etc4 ,freising1  #aibf4    ,gams1 ,dom 
,p4 ,b41 ,die ,kirchengeschichte von    
,spanien1 #e vols4  ,regensburg1        
#ahfb-ahgi4    ,garcia ,villada1        
,historia eclesistica de ,espaa1 #c     
vols4 in #e4 ,madrid1  #aibi-aicf4      
,gasquet1 ,f4 ,a41 ,parish life in      
mediaeval ,england4 ,london1 #aijg4     
,gautier1 ,l41 ,la posie religieuse dans
 les clotres des ,i,xe-,x,ie  sicles4   
,paris1 #ahhg4    ,gougaud1 ,l41 ,les   
chrtients ,celtiques4 ,paris1 #aiaa4    
,gourmont1 ,r4 de1 ,le ,latin mystique2 

les poetes de l'antiphonaire et la      
symbolique au moyen ge4 ,paris1 #aiac4  
,hauttmann1 ,m41 ,die ,kunst des frhen  
,mittelalters4 ,berlin1 #aibi4          
,higginson1 ,j4 ,v41 ,revival of        
,gregorian chant4 ,papers of the ,hymn  
,society of ,america1 ,,xv4 ,new ,york1 
#aidi4    ,jacopo de ,voragine1 ,golden 
legend4 ,lives of the saints as         
,englished by  ,william ,caxton1 #g     
vols4 ,temple ,classics1 edited by ,f4  
,s4 ,ellis4  ,london1 #aijj4            
,jeanroy1 ,a41 ,le thatre religieux en  
,france du ,x,ie au ,x,i,i,ie sicles4   
,paris1 #aibd4    ----1 ,les origines de
 la posie lyrique en ,france au moyen   
ge4 ,paris1  #aibe4    ,kretzman1 ,p4   
,e41 ,the liturgical element in the     
earliest forms of the  medieval drama4  
,un4 of ,minnesota ,studies in ,language
 and ,literature1  no4 #d1 #aiaf4       
,knstle1 ,k41 ,ikonographie der         
,heiligen4 ,freiburg im ,breisgau1      
#aibf4    ,lang1 ,p4 ,h41 ,music in     
western civilization4 ,new ,york1 #aida4

    ,lvi-,provenal1 ,e41 ,la            
civilization arabe en ,espagne1 vue     
general4 ,le  ,caire1 #aich4            
,luchaire1 ,a4 7,d4,j4,a47 ,social      
,france at the time of ,philip          
,augustus1  translated from the #bnd    
,french edition by ,e4 ,b4 ,krehbiel4   
,new ,york1  #aiab4    ,mle1 ,e41 ,l'art
 religieux du ,x,i,ie sicle en ,france4 
,paris1 #aibb4    ----1 ,l'art religieux
 du ,x,i,i,ie sicle en ,france4 ,paris1 
#aibc4    ----1 ,l'art religieux de la  
fin du moyen ge en ,france4 ,paris1     
#aibb4    ----1 ,l'art allemand et l'art
 franais du moyen ge4 ,paris1 #aibb4    
,meyer1 ,k41 ,selections from ancient   
,irish poetry4 ,london1 #aiaa4          
,meyer1 ,w41 ,gesammelte ,abhandlungen  
zur mittellateinischen ,rythmik1 #b     
vols4 in #a4 ,berlin1 #aije4    ,mller1 
,h4 ,f41 8,pre-history of the mediaeval 
drama01 ,zeitschrift fr  romanische     
,philologie1 ,bd4 #dd 7#aibd7 #edd-ege4 
,nelson1 ,p41 ,ancient stained glass in 
,england4 ,london1 #aiac4    ,owst1 ,g4 

,r41 ,preaching in medieval ,england4   
,cambridge1 #aibf4    ,prior1 ,e4 ,a4   
and ,gardner1 ,a41 ,an account of       
medieval figure-sculpture  in ,england4 
,cambridge1 #aiab4    ,pokorny1 ,j41    
,die lteste ,lyrik der grnen ,insel4    
,halle ,s41 #aibc4    ,quasten1 ,j41    
,musik und ,gesang in den ,kulten der   
heidnischen ,antike und  christlichen   
,frhzeit4 ,mnster im ,w41 #aicj4        
,raby1 ,f4 ,j4 ,e41 ,a history of       
secular ,latin poetry in the ,m4 ,a41 #b
  vols4 ,oxford1 #aicd4    ,riao1 ,j4   
,f41 ,critical and bibliographical notes
 on early ,spanish  music4 ,london1     
#ahhg4    ,schroeder1 ,sister ,m4 ,j41  
,mary-,verse in ,meistergesang4         
,washington1 ,d4  ,c41 #aidb4           
,sedgwick1 ,w4 ,b41 8,origin of rhyme01 
,revue ,bndictine1 #cf 7#aibd7          
#ccj-cdf4    ,singer1 ,s41 ,die         
,dichterschule von ,st4 ,gallen4        
,leipzig1 #aibb4    ,spanke1 ,h41       
,deutsche und franzsische ,dichtung des 
,mittelalters4  ,stuttgart1 #aidc4      

----1 8,zur ,geschichte der spanischen  
,musik des ,mittelalters01 ,hist4       
,vierteljahrschrift1 #bh 7#aicd71       
#gcg-ff4    ,steinen1 ,w4 von den1      
,notker der ,dichter und seine          
geistliche ,welt1 #b  vols41 ,bern1     
#aidh4 ,reviews and supersedes earlier  
literature on ,notker4  ,vol4 ,,ii      
contains complete works of ,notker4     
,strzygowski1 ,j41 ,origin of ,christian
 church art1 translated by ,dalton  and 
,braunholtz4 ,oxford1 #aibc4    ,taylor1
 ,h4 ,o41 ,the medieval mind1 #b vols4  
,new ,york1 #aiad4    ,trend1 ,j4 ,b41  
,the music of ,spanish history to #afjj4
 ,london1 #aibf4    ,turner1 ,w41       
8,irish teachers in the ,carolingian    
revival of learning01  ,cath4 ,un4      
,bulletin1 ,,xiii1 ,washington1 ,d4 ,c41
 #aijg1 pp4 #chb1 #efb4    ,van ,doren1 
,dom ,r41 tude sur l'influence musicale 
de l'abbaye de  ,saint-,gall4 ,louvain1 
#aibe4    ,wagner1 ,p41 ,einfhrung in   
die ,gregorianischen ,melodien1 ,london1
 #aijg4    ----1 8,morgen- und          

,abendland in der ,musikgeschichte01    
,stimmen der ,zeit1  ,bd4 #aad 7#aibg7  
#aca-ade4    ----1 8,der mozarabische   
,kirchengesang und seiner berlieferung01
 in ,finke1  ,h41 ,gesammelte ,aufstze  
zur ,kulturgeschichte ,spaniens1 ,reihe 
,i1 ,bd4 ,i1  p4 #ajb-ada4 ,mnster1     
#aibh4    ,ward1 ,j4 ,b41 ,gregorian    
,chant ,,ii4 ,belgium1 #aidi4           
,wehrle1 ,w4 ,o41 ,the macaronic hymn   
tradition in medieval ,english          
literature4 ,washington1 ,d4 ,c41 #aicc4
    ,wells1 ,j4 ,e41 ,manual of the     
writings in middle ,english #ajej-adjj4 
,new  ,haven1 #aiaf4    ,von            
,winterfeld1 ,p41 8,die ,dichterschule  
,st4 ,gallens und der ,reichenau  unter 
der ,karolingern und ,ottonen01         
8,stilfragen der lateinischen  ,dichtung
 des ,mittelalters01 ,deutsche ,dichter1
 p4 #djb-dbb1 #dbc-ddd4  ,mnchen1 #aibb4
    ,woerdeman1 ,dom ,j41 8,the source  
of the ,easter play01 ,orate ,fratres1  
#bj  7#aidf71 ,apr4 #be1 p4 #bfb-bgb4   
,young1 ,k41 ,the drama of the medieval 

church1 #b vols4 ,oxford1 #aicc4        
,ruth ,ellis ,messenger                 
,publications    ,ethical ,teachings in 
the ,latin ,hymns of ,medieval ,england1
 ,columbia ,un4  ,studies in ,history1  
,economics and ,public ,law 7,new ,york1
 #aicj7 #baj p4                         
,articles      ,papers of the ,hymn     
,society of ,america1 ,editor1 ,carl ,f4
 ,price1 ,new            ,york4         
,no4 ,,iii1 8,the ,praise of the ,virgin
 in ,early ,latin ,hymns10 #aicb1       
reprinted #aidd1 #aj p4      ,no4 ,,ix1 
8,christian ,hymns of the ,first ,three 
,centuries10 #aidb1            reprinted
 #aidi1 #be p4      ,no4 ,,xiv1 8,latin 
,hymns of the ,middle ,ages10 #aidh1 #ad
 p4      ,transactions and ,proceedings 
of the ,american ,philological          
,association      8,hymns and ,sequences
 of the ,sarum ,use10 vol4 #ei 7#aibh7  
#ii-abi4      ,abstract3 8,origin of the
 ,sequence10 vol4 #fd 7#aicc7 lxv-lxvi4 
8,the ,descent ,theme in ,medieval      
,latin ,hymns10 vol4 #fg 7#aicf7        

#abf-eg4      8,whence the ,ninth       
,century ,hymnal810 vol4 #fi 7#aich7    
#ddf-fd4      8,recent ,studies in      
,medieval ,latin ,hymns10 vol4 #ga      
7#aidj7 #bdh-bfa4      8,the ,mozarabic 
,hymnal10 vol4 #ge 7#aidd7 #ajc-abf4    
8,salve ,festa ,dies10 vol4 #gh 7#aidg7 
#bjh-bbb4      8,medieval ,processional 
,hymns before #aajj10 vol4 #hj 7#aidi7  
#cge-cib4      8,processional ,hymns of 
the ,later ,middle ,ages10 vol4 #ha     
7#aiej7            #ahe-aii4            
,miscellaneous articles      ,catholic  
,choirmaster        8,notker ,balbulus10
 ,sept4 #aidf1 #aja-e1 #aci4            
8,sancta ,maria quid est810 ,june1      
#aiej1 #ei-fa1 #ha4        8,rabanus    
,maurus10 ,summer1 #aiea1 #ee-eg4       
,classical ,outlook        8,medieval   
,easter ,hymns10 ,april1 #aidd1 #fe-f4  
8,adam of ,st4 ,victor10 ,feb41 #aidg1  
#di-ea4        8,greek ,hymns of the    
,nativity10 ,dec41 #aidh1 #be-f4        
8,the ,eighth ,day10 ,may1 #aiej1 #hh-i4
      ,classical ,weekly        8,the   

,legend of ,st4 ,agnes in ,early ,latin 
,hymns10 ,nov4 #bi1 #aidc1 #ge4         
8,the ,legend of ,st4 ,eulalia in       
,mozarabic ,hymns10 ,oct4 #i1 #aidd1    
#ab-c4        8,hymns in the ,horae     
,eboracenses10 ,jan4 #ae1 #aide1 #ij-e4 
,folia        8,sources of the ,sequence
 ,scalam ad ,caelos10 ,may1 #aidg1      
#ee-fc4        8,classical ,influence in
 the ,hymns of ,st4 ,ambrose10 vol4 #d1 
nos4            #a-c 7#aidi7 #a-e4      
8,aurelius ,prudentius ,clemens10 vol4  
#f1 no4 #b 7#aieb7 #gh-ii4      ,the    
,hymn        8,john ,mason ,neale1      
,translator10 ,oct41 #aiea1 #e-aj4      
,speculum        8,hymnista10 ,jan41    
#aidg1 #hc-d4      ,traditio            
8,mozarabic ,hymns in ,relation to      
,contemporary ,culture in ,spain10      
vol4 #d 7#aidf7 #adi-gg4                
,index                                  
,index of ,latin ,hymns                 
,a    ,ad cenam agni providi1 #ag1 #cd  
,ad honorem regis summi1 #ef    ,ad     
perennis vitae fontem1 #di1 #ajc        

,adae carnis gloriosae1 #a1 #f          
,adeste fideles1 #hj    ,aeterna caeli  
gloria1 #cd    ,aeterna ,christi munera1
 #h1 #ag1 #cd1 #hf    ,aeternae lucis   
conditor1 #ag    ,aeterne rerum         
conditor1 #c1 #ag1 #cc    ,ales diei    
nuntius1 #cd    ,alleluia piis edite    
laudibus1 #ad1 #hh    ,alma redemptoris 
mater1 #gi    ,altus prosator1 #ad      
,angelus ad virginem1 #gi    ,annua1    
sancte ,dei1 celebramus festa diei1 #fg 
,ante saecula qui manens1 #a            
,apostolorum passio1 #fa    ,audi1 iudex
 mortuorum1 #ff    ,aurora iam spargit  
polum1 #cd    ,aurora lucis rutilat1    
#ag1 #cd    ,ave maris stella1 #af1 #ia 
,ave vivens hostia1 #ej                 
,c    ,caeli ,deus sanctissime1 #cc     
,cantemus cuncti melodum nunc ,alleluia1
 #de1 #ih    ,certum tenentes ordinem1  
#ag    ,chorus novae ,ierusalem1 #di    
,christe caeli ,domine1 #ag    ,christe 
precamur adnue1 #ag    ,christe qui lux 
es et dies1 #ag1 #cd    ,christo nato1  
rege magno1 #fg    ,claro paschali      

gaudio1 #af    ,conditor alme siderum1  
#af    ,congregavit nos in unum ,christi
 amor1 #fi    ,consors paterni luminis1 
#cc    ,corde natus ex parentis1 #d     
,crux benedicta nitet1 #e1 #fe          
,d    ,dei fide qua vivimus1 #ag        
,deus aeterni luminis1 #ag    ,deus     
creator omnium1 #c1 #ag1 #cc    ,deus   
immensa trinitas1 #ca1 #id    ,deus qui 
caeli lumen es1 #ag    ,deus qui certis 
legibus1 #ag    ,deus qui claro lumine1 
#ag    ,dicamus laudes ,domino1 #ag     
,diei luce reddita1 #ag    ,dies irae1  
#ej1 #fj                                
,f    ,fefellit saevam verbum factum te1
 caro1 #a    ,fulgentis auctor aetheris1
 #ag                                    
,g    ,gloria1 laus et honor1 #bi1 #fe  
,h    ,heri mundus exultavit1 #dg1 #aja 
,hic est dies verus ,dei1 #ag    ,hymnum
 dicat turba fratrum1 #b1 #ad1 #gf      
,i    ,iam lucis orto sidere1 #cc       
,iam sexta sensim volvitur1 #ag    ,iam 
surgit hora tertia1 #c1 #ag             
,illuminans altissimus1 #ag    ,immense 

caeli conditor1 #cc    ,imperator magne1
 vivas1 #fi    ,intende qui regis1 #ag  
,j    ,jesu corona virginum1 #cd        
,jesu dulcis memoria1 #di               
,l    ,laetetur omne saeculum1 #gb      
,lauda ,sion ,salvatorem1 #ej1 #fj1 #aje
    ,laudes omnipotens1 ferimus tibi    
dona colentes1 #fh    ,lucis creator    
optime1 #af1 #cc    ,lux ecce surgit    
aurea1 #cd                              
,m    ,magna et mirabilia1 #ag          
,magnae ,deus potentiae1 #cc    ,magnum 
salutis gaudium1 #fe    ,martyr ,dei qui
 unicum1 #cd    ,mediae noctis tempus   
est1 #ad1 #ag    ,meridie orandum est1  
#ag    ,morte ,christi celebrata1 #eb   
,n    ,nocte surgentes vigilemus omnes1 
#ab1 #hg    ,nox atra rerum contegit1   
#cc    ,nox et tenebrae et nubila1 #cd  
,nunc sancte nobis spiritus1 #cc        
,o    ,o lux beata trinitas1 #cc    ,o  
quanta qualia1 #di    ,o ,roma nobilis1 
#gf    ,o sola magnarum urbium1 #d      
,p    ,pange lingua1 gloriosi corporis  
mysterium1 #ej1 #ga    ,pange lingua1   

gloriosi proelium certaminis1 #e1 #ej1  
#fd1 #fe    ,perfectum trinum numerum1  
#ag    ,plasmator hominis ,deus1 #cc    
,postmatutinis laudibus1 #ag    ,primo  
dierum omnium1 #cc                      
,q    ,quem terra pontus aethera1 #af   
,r    ,recordare sanctae crucis1 #ej    
,rector potens verax ,deus1 #cc         
,rerum creator optime1 #cc    ,rerum    
,deus tenax vigor1 #cc    ,rex aeterne  
,domine1 #ag    ,rex gloriose martyrum1 
#cd                                     
,s    ,salve festa dies4444 ,qua deus   
infernum vicit1 #gc1 #aaj    ,sacrata   
libri dogmata1 #fh    ,salve festa      
dies4444 ,qua ,christi mater visitat1   
#ga    ,salve festa dies4444 ,qua fuit  
assumpta ,maria1 #gb    ,salve1 lacteolo
 decoratum sanguine festum1 #fg         
,salve redemptoris mater1 #dg    ,sancta
 ,maria1 quid est81 #fi    ,sancti      
spiritus assit nobis gratia1 #db1 #ie   
,sancti venite ,christi corpus sumite1  
#ad1 #ae1 #hi    ,sanctorum meritis     
inclita gaudia1 #cd    ,sator           

princepsque temporum1 #ag    ,sic ter   
quaternis trahitur1 #ag    ,solus ad    
victimam procedis1 ,domine1 #di         
,somno refectis artubus1 #cc            
,splendor paternae gloriae1 #c1 #g1 #ag1
 #cc1 #hd    ,stabat mater dolorosa1    
#ea1 #ec1 #fj1 #ajh    ,suffragare      
trinitatis unitas1 #ad    ,summae ,deus 
clementiae1 #cc    ,summe confessor     
sacer1 #cd    ,summus et omnipotens     
genitor1 #fh    ,surrexit quia ,christus
 a sepulchro1 #fg                       
,t    ,te lucis ante terminum1 #cd      
,telluris ingens conditor1 #cc          
,tempora florigero rutilant1 #e1 #f1 #fe
    ,tempus noctis surgentibus1 #ag     
,ter hora trina volvitur1 #ag    ,tu    
trinitatis unitas1 #cc                  
,u    ,urbs beata ,jerusalem1 #af       
,urbs ,sion aurea1 #di    ,ut queant    
laxis resonare fibris1 #bf1 #ib         
,v    ,veni1 creator spiritus1 #bi1 #ic 
,veni redemptor gentium1 #c    ,veni    
sancte spiritus1 #dh1 #fj    ,verbum    
supernum prodiens1 #af    ,versus ad    

descensum fontis1 #fh    ,vexilla regis 
prodeunt1 #e1 #ej1 #fd1 #he    ,victimae
 paschali laudes1 #dg1 #ge    ,virginis 
proles opifexque1 #cd                   
,general ,index                         
,a    ,abelard1 #di    ,adam of ,st4    
,victor1 #df-g1 #ea1 #ee1 #gj           
,advent1 #d1 #af1 #cb1 #dd1 #ej         
,aetheria1 #fa-b    ,alcuin1 #ba1 #bf1  
#cg    ,alfonso ,x of ,castile1 #gh     
,amalarius of ,metz1 #bf1 #cg1 #ch1 #ci 
,ambrose1 ,b4 of ,milan1 #b1 #h1 #ef1   
#fc    ,ambrosian chant1 #g    ,arabian 
influences1 #ca1 #ed    ,ascension1 #dd1
 #fc1 #gj    ,augustine1 ,st41 #c       
,aurelian1 ,b4 of ,arles1 #i            
,b    ,bangor ,antiphonary1 #ad1 #gf    
,benedict1 ,st41 #i1 #aa-b              
,benedictine ,order1 #i1 #aa1 #bj1 #bg  
,benedictine ,rule1 #aa1 #bj1 #be       
,bernard of ,cluny 7,morlaix71 #di      
,bonaventura1 #ej    ,book of ,hours1   
#ec    ,braulio1 ,b4 of ,saragossa1 #ac 
,breviary1 ,roman1 #hj1 #ha    8,by the 
,cross her vigil keeping10 #ea1 #ajh    

,byzantine influences1 #bb1 #bc1 #cf1   
#dj1 #db                                
,c    ,caesarius1 ,b4 of ,arles1 #i     
,cambridge ,songs1 #ge    ,canonical    
,hours1 #i    ,cantico di fratre sole1  
#gh    ,cntigas de ,santa ,mara1 #gh    
,carmina ,burana1 #eh1 #ge    ,carol1   
#gi    ,cathemerinon1 #c    ,celtic     
,hymns1 #ad-e    ,celtic influences1    
#ba-b1 #bg1 #dd    ,charlemagne1 #ai1   
#bj1 #bb1 #bc1 #cf1 #cg    ,charles the 
,bald1 #ai1 #bj1 #ba1 #be    ,columba1  
,st41 of ,iona1 #ad    ,conductus1 #gc  
,corpus ,christi1 #ej1 #ea1 #ga         
,council of ,braga 7#efc71 #aj          
,council of ,laodicea 7#cfd71 #aj       
,council of ,orleans 7#eaa71 #fc        
,council of ,toledo1 ,,iv1 7#fcc71 #ac  
,council of ,tours 7#efg71 #aa          
,council of ,girona 7#eag71 #fc         
8,creator-,spirit1 all ,divine10 #bi1   
#ic                                     
,d    ,damasus1 ,pope ,st41 #b    8,draw
 nigh and take the body of the ,lord10  
#ae1 #hi    ,durandus1 ,b4 of ,mende1   

#gj                                     
,e    ,easter1 #af1 #cb1 #dd1 #dg1 #eb1 
#fe1 #fg1 #gj    ,epiphany1 #d1 #cb     
,eugenius ,,ii1 ,primate of ,toledo1 #ac
    ,eulogius1 ,archb4 of ,cordova1 #cj 
,f    8,father we praise ,thee10 #ab1   
#hg    ,fortunatus1 ,venantius1 #d1 #aa1
 #bg1 #fd    ,francis1 ,st4 of ,assisi1 
#gh    ,fulbert1 ,b4 of ,chartres1 #di  
,fulda1 #aa1 #be1 #bi1 #cj              
,g    ,gaudeamus igitur1 #ge    ,greek  
influences1 #bc1 #bg1 #ch1 #db          
,gregorian chant1 #ab1 #ha    ,gregory  
the ,gt41 ,pope ,st41 #ab1 #ad1 #bc1    
#bg1 #cf1 #fc                           
,h    8,hail1 ,sea-,star we name ,thee10
 #af1 #ia    8,hail thee1 festival day10
 #gc1 #aaj    ,hartmann of ,st4 ,gall1  
#fg    ,hilary ,b4 of ,poitiers1 #a1 #gd
    ,horae1 #ec1 #eh    ,hymn cycles1   
#i-aj    ,hymnarium or hymnary1 #bd1 #dd
                                        
,i    ,ildefonsus1 ,primate of ,toledo1 
#ac    8,in flowing measures10 #bf1 #ib 
,isidore of ,seville1 #a1 #ac1 #cj1 #fe 

,j    ,james1 ,st41 of ,campostella1 #ef
    ,jumiges ,antiphonary1 #da          
,jerome1 ,st41 #a                       
,l    ,later ,hymnal1 #ai1 #bc1 #bd-e1  
#bh1 #cj1 #cc    ,laude al crucifisso1  
#gh    ,laudi spirituali1 #gh    ,lent1 
#cb    ,louis the ,pious1 #ai1 #bj1 #ba1
 #be1 #cj                               
,m    ,macaronic verse1 #eh    ,mary the
 ,virgin1 ,st41 feasts of1 #cb1 #dd1    
#dg1 #fd1 #fg1 #fi1 #gj1 #ga1           
#gb    ,metrical forms of ,latin hymns1 
#e1 #f1 #bf1 #bg1 #fe1 #gd1 #gf         
,metz1 #bj1 #cg1 #da    ,modus1 #dc1 #ge
    ,monte ,cassino1 #af1 #bj           
,mozarabic ,hymns1 #ab-d1 #cj-a1 #ed1   
#ei    ,music1 #f-g1 #ab1 #bj1 #bb1     
#bg-h1 #ce1 #ci1 #dc1 #gc1 #ha-b        
,n    ,nativity1 #h1 #cb1 #dd1 #fg      
,neumes1 #bg1 #ch-i    ,ninth ,century  
,hymnal1 see ,later ,hymnal    ,notker  
,balbulus1 #bb1 #ci1 #da1 #db1 #dc1 #de1
 #df1 #dg1 #gg                          
,o    8,o glorious immensity10 #ca1 #id 
8,o ,splendor of ,god's glory10 #c1 #hd 

,old ,hymnal1 #aj1 #ab1 #ag1 #cj        
,osmund1 ,b4 of ,salisbury1 #eb         
,otfried the ,frank1 #gf                
,p    ,palm ,sunday1 #fe1 #gj           
,passion1 #cb1 #dd1 #fb    ,paulus      
,diaconus1 #ba1 #bf    ,peckham1 ,john1 
,archb4 of ,canterbury1 #ej             
,pentecost1 #cb1 #dd1 #dh               
,peristephanon1 #c1 #ge    ,peter       
,damian1 #di    ,phos hilaron1 #fb      
,pilgrimage hymns1 #ef    ,pippin1 #aa1 
#ai1 #bj1 #bb    8,praise1 ,o ,sion1    
praise thy ,saviour10 #ej1 #aje         
,processional 7,book71 #ec1 #gj         
,processions 7,litany71 #fc1 #fh        
,processions 7,station71 #fc    ,primer1
 #ec    ,prosa or prose1 #ce1 #cg1 #da  
,prudentius 7,aurelius ,prudentius      
,clemens71 #c1 #h1 #bg1 #gd1 #ge        
,psalmi idiotici1 #aj                   
,r    ,rabanus ,maurus1 #bf1 #bi1 #fg   
,radbert of ,corbie1 #bf1 #fg1 #fh      
,reichenau1 #bd1 #be1 #cj1 #fi    ,roman
 chant1 #g1 #bj    ,roman ,rite1 #ab1   
#bj1 #eb                                

,s    ,st4 ,gall 7monastery71 #aa1 #bb1 
#bd1 #be1 #da1 #db1 #ei1 #ff-gj         
7passim71            #gb1 #gc    ,st4   
,martial1 #bd1 #cg1 #da1 #gg    ,saints1
 feasts of1 #h1 #cb1 #dd1 #dg1 #ef1 #fa1
 #fg1 #gb1 #ge    ,salisbury1 #eb1 #ec1 
#gj    ,sarum1 see ,salisbury           
,savonarola1 #gh    ,sedulius1 #ac1 #bg1
 #bi    ,sergius1 ,pope 7#fhg-gja71     
#fc-d    ,sequence1 origin of1 #ce-dj   
8,sing alleluia forth10 #ad1 #hh        
,solesmes1 #bh                          
,t    8,the grace of the ,holy ,ghost10 
#db1 #ie    8,the strain upraise10 #de1 
#ih    8,the banners of the king10 #e1  
#he    8,the eternal gifts of ,christ   
the ,king10 #h1 #hf    ,theodulphus1 ,b4
 of ,orleans1 #bf1 #bh1 #ca1 #fg        
,thomas ,aquinas1 ,st41 #ej1 #ee1 #ga   
,thomas of ,celano1 #ej    8,to the     
fount of life eternal10 #di1 #ajc       
,trinity1 #cb1 #dd    ,troparium or     
tropary1 #dd1 #eb    ,trope1 #cg        
,v    ,vernacular religious lyrics1     
#gg-i    ,versus1 #ff    ,villon1       

,franois1 #gh                           
,w    ,walafrid ,strabo1 #bf1 #cj1 #fg1 
#fi                                     
,y    8,yesterday with exultation10 #dg1
 #aja                                   
,transcriber's ,notes      --,generated 
an original cover image for free and    
unrestricted use with    this e,book4   
--,copyright notice provided as in the  
original--this e-text is public         
domain in the country of publication4   
--,silently corrected palpable typos2   
left non-standard spellings and         
dialect unchanged4    --,in the text    
version only1 italicized text is        
delimited by    underscores4