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LIBRARY  OF  THE  THEOLOGICAL  SEMINARY 


PRINCETON,  N.  J. 


Division -v-- 


Section. 


A:.. 


X 


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dl}i^tJ-6c4j 


atin 


putjS 


ORIGINAL    TRANSLATIONS 

IN   FOUR   PAkTS 

I.  DIES    IR^  (In  Thirteen  Versions) 

II.  STABAT   MATER  (Dolorosa) 

III.  STABAT    MATER  (Speciosa) 

IV.  OLD   GEMS    IN    NEW   SETTINGS 


ABRAHAM    COLES,   M.  D.,   LL.  D. 


ILLUSTRATED 


^^ 


NEW  YORK 

D.  APPLETON  AND  COMPANY 

i8q2 


COPYRIGHTED    ACCORDING    TO    LAW,    BY 

J.  AcKERMAN  Coles,  M.D. 
1892 


NEWARK,  N.  J. 

ADVERTISER  PRINTING  HOUSE, 

1892 


DIES    IR^ 


DESCRIPTION   OF   THE    FRONTISPIECE. 

THE  "  Dies  Irae  "  of  painting  by  the  greatefl  of  paint- 
ers,  Michel  Angelo's  famous  fresco  of  the  Laft  Judg. 
merit,  confefTedly  the  moft  extraordinary  pifture  in  the 
hiftory  of  Art,  occupies  the  end  wall  of  the  Sifline  Chapel  at 
Rome,  and  is  forty-five  feet  wide  by  fifty-seven  feet  high. 
It  was  completed  and  firft  thrown  open  to  the  public  on 
Chrirtmas  Day,  1546.  The  artifl:  was  then  in  his  sixty- 
seventh  year,  and  had  been  employed  on  the  paintings  and 
cartoons  nearly  nine  years.  "  We  have  seen,"  says  one, 
"  Michel  Angelo,  and  he  is  terrible."  In  the  centre  of  this 
vaft  compofition,  confiding  of  at  leaft  two  hundred  figures  in 
every  conceivable  attitude,  appears  the  majeftic  form  of  the 
Saviour  in  the  aft  of  pronouncing  sentence  upon  the  wicked, 
"  Depart,"  etc.  By  his  fide  is  the  Virgin.  Near  her,  to- 
wards the  right,  is  a  figure  with  the  back  turned,  done  in  the 
ftyle  of  the  fineft  antique  ;  and  next  beyond  is  Adam,  ex- 
preflTing  by  the  contour  of  his  members  and  his  relaxed 
muscles  extreme  old  age.  Between  these  two,  half-way 
down,  can  be  seen  a  face,  wi;h  long  flowing  beard,  answer- 
ing to  our  idea  of  an  ancient  patriarch.  Farther  to  the 
right  is  a  woman,  defigned  with  exquifite  grace  and  ele- 
gance, with  a  young  girl  clinging  to  her  and  hiding  her  face 
in  terror.  On  the  left  of  the  Saviour,  the  ftooping  figure  is 
Peter,  in  the  act  of  surrendering  the  keys  ;  the  face  close  to 
his  is  Moses.  The  group  ))ehind  represents  the  prophets  in 
ftudied  and  ftriking  attitudes.  Below  are  the  martyrs,  with 
the  symbols  of  their  sufferings.  Juft  at  the  feet  of  the  Vir- 
gin is  St.  Lawrence,  with  his  gridiron  {la  gratkola) ;  then 
comes  St.  Bartholomew,  with  a  knife  in  one  hand  and  his 
(kin  in  the  other ;  St.  Catharine  is  known  by  her  broken 
wheel  ;  St.  Hippolytus,  by  his  currycombs  with  iron  teeth  ; 
St.  Seballian,  by  his  arrows  held  in  his  left  hand.  Higher  up 
is  St.  Andrew  on  a  cross,  a  fine  figure.  Above  and  around 
is  an  innumerable  company  of  the  bleiled.     In  the  angles  at 


DESCRIPTION    OF    THE    FRONTISPIECE. 

the  higheft  part  are  angels,  bearing,  on  one  fide,  the  cross,  the 
crown  of  thorns,  the  dice  used  in  calling  lots  on  Chrift's 
garment  ;  and  on  the  other,  the  pillar  of  scourging,  etc. 
Far  below  is  another  group  of  angels,  blowing  seven  trum- 
pets to  wake  the  dead,  two  of  them  holding  in  their  hands 
the  books  of  life  and  death.  At  the  right,  near  the  bottom, 
are  seen  the  dead  in  all  ftages  of  decay,  quickened  and 
llowly  rifing, — saints  and  angels  affifting  the  righteous  in  their 
ascent  to  heaven.  In  one  case  a  demon  makes  conteft  for 
polfefTion.  On  the  left  is  presented  the  terrific  spedacle  of 
the  condemned  dragged  down  by  demons, —  among  them,  a 
wicked  pope,  with  the  keys  in  his  hand,  falling  headlong 
the  prey  of  exultant  fiends  ;  also  a  licentious  cardinal,  a  liv- 
ing contemporary  of  the  artift.  "  Forms  and  faces,"  says 
one,  "  more  trembling  and  convulsed  with  despair  were  never 
embodied  or  conceived."  Charon,  the  internal  ferryman,  in 
accordance  with  Dante's  description, — 

"  With  eyes  of  burning  coal,  collefts  them  all, 
Beckoning,  and  each  that  lingers  with  his  oar 
Strikes."  Inferno,  Canto  iii.  vv.  102  —  104. 

In  the  extreme  left  corner,  at  the  loweft  point,  are  two 
heads,  "one  a  cowl  unto  the  other,"  borrowed  likewise  from 
Dante, —  Count  Ugolino  gnawing  the  Ikull  of  his  enemy:  — 

"  Upon  the  wretched  fkull  his  teeth 
He  faftened,  like  a  maltitf's,  'gainll  the  bone 
Firm  and  unyielding." 

Inferno,  Canto  xxxiii.  vv.  74-76. 

Close  by  is  Midas,  with  afl's  ears  and  serpent  around  the 
body,  —  a  likeness  of,  it  is  said,  and  a  savage  satire  upon, 
Meller  Biaggio,  his  critic.  At  the  footof  the  picture,  in  the 
middle,  is  the  pit  of  hell,  with  demons  at  its  mouth.  —  The 
miniature  copy  here  given,  photographed  ffom  an  outline 
engraving  by  Piroli,  firlt  publilhed  at  i-'aris  in  1808,  faithful 
and  full,  down  to  the  minuteft  anatomical  details,  was  deemed 
not  an  inappropriate  embellifliment  to  this  volume.  \i  df- 
fired,  it  can  be  indefinitely  magnified  by  a  glass. 


THE     LAST     JUDGMENT. 
(micbael  anqelo.) 


tn  mvix 


IN 


THIRTEEN   ORIGINAL   VERSIONS 


BY 


ABRAHAM   COLES,   M.  D.,  Ph.D. 


SIXTH   EDITION. 


NEW   YORK 

D.   APPLETON    AND    COMPANY 
1891 


ILLUSTRATIONS. 


DIES    IR^. 

Last  yiidgment.     (M.  Angelo  —  Rubens  —  Cornelius). 
O  what  fear  shall  it  engender, 
When  the  Judge  shall  come  in  splendor, 
Strict  to  mark  and  just  to  render  ! 

Christus  Remunerator.     (Ary  Scheffer.) 
Be  there.  Lord,  my  place  decided, 
With  Thy  sheep  from  goats  divided. 
Kindly  to  Thy  right  hand  guided  ! 

STABAT   MATER  (Dolorosa). 

Mary  at  the  Cross.     (Carlo  Dolce  —  Paul  Delaroche). 

Stood  th'  afflicted  mother  weeping. 
Near  the  cross  her  station  keeping. 
Whereon  hung  her  Son  and  Lord. 

STABAT  MATER  (Speciosa). 

Nativity.     La  Notte.     (Correggio). 

Virgin  and  Child.     Madonna  di   San  Sisto.     (Ra- 
phael.) 
Oh  what  grace  to  her  allotted. 
Blessed  mother  and  unspotted 
Of  the  Sole  Begotten  One  ! 


VI  ILLUSTRATIONS. 

OLD   GEMS   IN  NEW   SETTINGS 

67.  Augustine  and  his  Af other )      / ,       c  v,  ff    ^ 
Hope  and  Faith  j"     ^-^T  ^cnetter.) 

O  country  most  dear,  our  longing  eyes  here 
As  they  view  thee  afar  with  desire  are  acliing. 

Ecstasy  and  Praye?'.     (Landelle.) 

My  innermost  eyes,  thus  piercing  the  skies, 

From  the  mind's  highest  peaks  delighted  behold  thee. 

Now  in  thee  I  am  glad,  now  in  me  I  am  sad, 

I  sob  and  I  sigh  with  breast  heaving  and  swelling. 


INTRODUCTION. 

T  would  be  difficult  to  find,  in  the 
whole  range  of  literature,  a  produiSlion 
to  which  a  profounder  intereft  attaches 
than  to  that  magnificent  canticle  of  the 
Middle  Ages,  the  DIES  IR^.  Faftening  on  that 
which  is  indeftru6lible  in  man,  and  giving  fitter  ex- 
preffion  than  can  elsewhere  be  found,  to  experiences 
and  emotions  which  can  never  cease  to  agitate  him, 
it  has  loft  after  the  lapse  of  fix  centuries  none  of  its 
original  freftiness  and  transcendent  power  to  affedi 
the  heart.  It  has  commanded  alike  the  admiration 
of  men  of  piety  and  men  of  tafte.  By  common  con- 
sent, it  is  as  Daniel  remarks :  sacne  poeseos  sumrnum 
decus  et  Ecclesice  La  tines  Kei[ifi?uov  est  pretiofijjimum. 
Among   gems    it  is  the  diamond.     It  is  solitary  in 


VI  INTRODUCTION. 

*ts  excellence.  Of  Latin  Hymns,  it  is  the  beft 
known  and  the  acknowledged  mafterpiece.  There 
are  others  which  poiTess  much  sweetness  and  beauty, 
but  this  ftands  unrivalled.  It  has  superior  beauties, 
with  none  of  their  defedls.  For  the  moft  part  they 
are  more  or  less  Romifh,  but  this  is  Catholic,  and 
not  Romifh  at  all.  It  is  universal  as  humanity.  It 
is  the  cry  of  the  human.  It  bears  indubitable  marks 
of  being  a  personal  experience. 

The  author  is  supposed  to  have  been  a  monk :  an 
incredible  suppofition  truly  did  we  not  know  that  a 
monk  is  also  a  man.  One  thing  is  certain,  that  the 
monk  does  not  appear,  and  that  it  is  the  man  only 
that  speaks.  He  no  longer  dreams  and  drivels.  He 
is  effe6lually  awake.  The  veil  is  lifted.  He  sees 
Chrift  coming  to  Judgment.  All  the  tumult  and  the 
terror  of  the  Laft  Day  are  present  to  him.  The  final 
pause  and  syncope  of  Nature  ;  the  (huddering  of  a 
horror-ftruck  Universe  ;  the  down-rufhing  and  wreck 
of  all  things — all  are  present.  But  these  material 
circumftances  of  horror  and  amazement,  he  feels  are 
as  nothing  compared  with  "  the  infinite  terror  of 
being  found  guilty  before  the  Juft  Judge."      This 


INTRODUCTION.  Vll 

fingle  confideration  swallows  up  every  other.  The 
interefts  of  an  eternity  are  crowded  into  a  moment. 

One  great  secret  of  the  power  and  enduring  popu- 
larity of  this  Hymn  is,  undoubtedly,  its  genuineness. 
A  vital  fmcerity  breathes  throughout.  It  is  a  cry  de 
trofundh ;  and  the  cry  becomes  sometimes — so  in- 
tense are  the  terror  and  solicitude — almoft  a  Ihriek. 
It  is  in  the  higheft  degree  pathetic.  The  Muse 
is  "  Mater  Lachrymarum,  Our  Lady  of  Tears." 
Every  line  weeps.  Underneath  every  word  and  syl- 
lable, a  living  heart  throbs  and  pulsates.  The  very 
rhythm,  or  that  alternate  elevation  and  depreflion  of 
the  voice,  which  prosodifts  call  the  arfis  and  the 
thefiSf  one  might  almoft  fancy  were  synchronous 
with  the  contraction  and  the  dilatation  of  the  heart. 
It  is  more  than  dramatic.  The  horror  and  the  dread 
are  real :  are  actual  not  adted.  A  human  heart  is 
laid  bare,  quivering  with  life,  and  we  see  and  hear  its 
tumultuous  throbbings.  We  sympathize — nay,  be- 
fore we  are  aware,  we  have  changed  places.  We, 
too,  tremble  and  quail  and  cry  aloud. 

All  true  Lyric  Poetry  is  subje6live.  The  Dies 
Ikj£  is,  as  we  have  seen,  remarkable  for  its  intense 


via  INTRODUCTION. 

subje6livity  ;  and  whoever  duly  appreciates  this  char- 
aiteriftic,  will  have  little  difficulty  in  underftanding 
its  superior  efFe£liveness  over  everything  else  that 
has  been  written  on  the  same  theme.  The  life  of 
the  v/riter  has  pafled  into  it  and  informs  it,  so  that  it 
is  itself  alive.  It  has  vital  forces  and  emanations. 
Its  life  mingles  with  our  life.  It  enters  into  our 
veins  and  circulates  in  our  blood.  A  virtue  goes  out 
from  it.  It  is  eledlrically  charged,  and  conta6l  is 
inftantly  followed  by  a  fhock  and  fhuddering. 

Springing  from  its  subjectivity,  if  not  identical  with 
it,  we  would  further  notice,  the  intenfifying  effe6t  of 
what  may  be  called  its  personalism,  in  other  words 
its  ego-ism.  It  is  I  and  not  We.  Subftitute  the 
plural  pronoun  for  the  fingular,  and  it  would  lose 
half  its  pungency.  We  have  had  occafion  to  observe 
the  weakening  effe6l  of  this  in  tranflation.  The 
truth  is,  the  feeling  is  of  a  kind  too  concentrated  and 
too  exa6ling  to  allow  itself  to  be  diffipated  in  the 
vagueness  of  any  grouping  generality.  The  heart 
knoweth  its  own  bitterness.  There  is  a  grief  that 
cannot  be  fhared,  neither  can  it  be  joined  on  to 
another's.      It  is  not  social  nor  common.      It  is  mine 


INTRODUCTION.  IX 

and  not  yours.  It  is  exclufive,  not  because  it  is  sel- 
fish, but  because  it  has  depths  beyond  the  soundings 
of  ordinary  sympathy. 

This  is  especially  true  of  some  of  the  intenser 
forms  of  religious  experience,  proceeding  as  they  do 
from  that  which  is  moft  intimate  and  innermoft,  the 
penetralia  of  a  man's  consciousness,  his  moft  secret 
and  peculiar  self.  There  is  an  inner  and  privileged 
san6luary  of  the  heart,  which  is  kept  as  a  chamber 
locked  up.  It  is  hidden  and  sacred.  It  may  be, 
that  the  individual,  dwelling  habitually  in  the  outer 
courts  of  his  being,  rarely  if  ever  enters  into  it  him- 
self. For  man  is  twofold.  A  veil  divides  between 
the  outer  and  the  inner  man.  Gross  and  sensual, 
the  majority  of  mankind  are  averse  to  lifting  the  con- 
cealing medium,  for  fear  of  unwelcome  revelations 
and  discoveries  respeitina:  themselves.  Goethe  is  an 
example  of  this  portentous  preference  for  half  knowl- 
edge :  "  Man,"  he  says,  "  is  a  darkened  being  ;  he 
knows  not  whence  he  came,  nor  whither  he  goes  ; 
he  knows  little  of  the  world  and  less  of  himself.  I 
know  not  myself,  and  may  God  prote6t  me  from  it." 

In  converfion  to  God  this  veil  is  rent  from  top  to 
b 


X  INTRODUCTION. 

bottom.  There  is  a  self-revelation.  Behind  the 
curtain,  there  in  the  Moft  Holy  Place,  where  ought 
to  be  the  Shekinah,  the  Ihining,  senfible  Manifefta- 
tion  of  the  Divine  Presence,  he  beholds  the  Abomi- 
nation of  Iniquity  set  up.  He  awakes  to  the  flart- 
ling  fa6l  that  he  is  "  without  God  and  without  hope 
in  the  world."  A  voice  of  urgency  is  sounding  in 
his  ears  :  "  Flee  from  the  Wrath  to  Come."  He 
anticipates  the  terrors  of  the  Judgment.  He  feels 
that  there  is  not  a  moment  to  lose.  Instinct 
prompts,  and  the  Word  of  God  enjoins,  that  he  seek 
to  save  himself  firft.  He  knows  not  whether  others 
are  in  as  bad  a  case  as  he.  But  of  his  own  guilt  and 
danger  he  has  no  doubt.  An  offended  Maker  con- 
fronts him,  him  in  particular.  So  he  prays  and  ago- 
nizes. His  may  not  be  "the  thews  which  throw  the 
w^orld" — he  is  conscious  of  weakness  rather  than 
ftrength — yet  fmgly  and  alone,  he  wreftles  with  God 
like  Jacob,  and  prevails  like  Israel. 

The  Hymn  is  not  only  lyrical  in  its  effence,  but 
also  in  its  form.  It  is  inftin6t  with  mufic.  It  fmgs 
itself.  The  grandeur  of  its  rhythm,  and  the  affo- 
nance  and  chime  of  its  fit  and  powerful  words,  are^ 


INTRODUCTION.  Xi 

even  in  the  ears  of  those  unacquainted  with  the  Latin 
language,  suggeftive  of  the  richeft  and  mightieft  har- 
monies. The  verse  is  ternaiy ;  and  the  ternary 
number,  having  been  efteemed  anciently  a  symbol 
of  perfedion  and  held  in  great  veneration,  may  pos- 
sibly have  had  something  to  do  with  the  choice  of 
the  ftrophe.  Be  this  as  it  may,  its  metrical  ftruc- 
ture,  as  all  agree,  conftitutes  by  no  means  the  leaft  of 
its  extraordinary  merits.  Trench,  in  his  Selections 
from  Latin  Poetry,  speaks  of  the  metre  as  being 
grandly  devised,  and  fitted  to  bring  out  some  of  the 
nobleft  powers  of  the  Latin  language  ;  and  as  being, 
moreover,  unique,  forming  the  only  example  of  the 
kind  that  he  remembers.  He  notices  the  solemn 
efFeil  of  the  triple  rhyme,  comparable  to  blow  fol- 
lowing blow  of  the  hammer  on  the  anvil.  Knapp,  in 
his  Liederschatz,  likens  the  original  to  a  blaft  from 
the  trump  of  resurredion,  and  declares  its  power 
inimitable  in  any  tranflation. 


HISTORY   OF   THE    HYMN. 


HE  authorfhip  of  the  Dies  Irae  is  as- 
cribed, apparently  upon  good  grounds, 
to  Thomas  of  Celano,  so  called  from  a 
small  town  of  that  name  in  Italy.  He 
was  a  friend  and  pupil  and  subsequently  the  biog- 
rapher of  St.  Francis  of  Aflifi,  the  founder  of  the 
order  of  Minorites,  (called  also  PViars-Minor,  Grey 
Friars  or  Franciscans,  being  one  of  the  four  orders 
of  mendicant  friars,)  inftituted  in  1208.  Wadding, 
an  Irifhman  and  a  Minorite,  who  lived  in  the  firft 
half  of  the  seventeenth  century,  and  who  wrote  a 
hifl:ory  of  his  order,  expreffly  refers  it  to  Celano. 
He  mentions  two  other  hymns  or  Sequences  com- 
posed by  him,  one  beginning :  Fregit  v'lSlor  virtua- 
lis ;  the  other  :   SanSfitatis  nova  figna.     The  circum- 


XIV  HISTORY    OF    THE    HYMN. 

ftance  of  the  Dominican  Sixtus  Senenfis  affecting 
to  sneer  at  it,  calling  it  rhythmus  inconditus^  is  re- 
garded as  confirmatory  of  the  opinion,  that  it  was  at 
leaft  the  work,  of  a  Franciscan  ;  the  bitter  rivalries 
subfifting  between  the  two  orders  affording,  it  is 
thought,  the  moft  plaufible  explanation  of  a  criticism 
so  manifeftly  splenetic  and  unjuft.  Another  cor- 
roborative circumftance  is  its  early  admiffion  into 
the  Franciscan  MifTals,  by  which  means  a  knowl- 
edge of  it  wi"*  spread  throughout  Europe.  The 
corre6lness  of  this  inference  is  further  suftained  by 
the  fa6l,  that,  inscribed  on  a  marble  flab  in  the 
Franciscan  Church  of  St.  Francis  at  Mantua,  was 
found  one  of  the  earliefl:  copies  of  the  hymn,  rep- 
resenting, it  is  believed,  the  text  as  it  came  from 
the  hands  of  the  author.  Dr.  Mohnike,  a  learned 
and  able  editor  of  the  Dies  Irae,  furnifhes  an  old 
copy  of  the  Mantuan  text,  which  differs  from  the 
Received  Text  chiefly  in  this,  that  the  firfl  four 
ftanzas  are  additional.  They  are  here  given  with 
a  tranflation  annexed  ;  also  the  heading  which  is  as 
follows  : 


HISTORY    OF    THE    HYMN.  XV 

Meditatio  Vetufta  et  Venufta 

de  NovifTimo  Judicio 
quse  Mantuse  in  aede  D.  Francisci  in 

marmore  legltur. 

I.     Cogita,  anima  fidelis, 
Ad  quid  respondere  velis, 
Chrifto  venture  de  coelis. 

Weigh  with  solemn  thought  and  tender, 
What  response,  thou,  Soul,  wilt  render, 
Then  when  Chrift  fliall  come  in  splendor 

a.     Cum  deposcet  rationem 
Ob  boni  omiflionem, 
Ob  mali  commiflionem. 

And  thy  life  fhall  be  inspe6led. 
All  its  hidden  guilt  detefled. 
Evil  done  and  good   negle£ted. 

3.     Dies  ilia,  dies  irse, 

Quam  conemur  prasvenire 
Obviamque  Deo  ire ; 

For  that  day  of  vengeance  neareth 

Ready  be  each  one  that  heareth  \y 

God  to  meet  when  He  appeareth. 


XVI  HISTORY    OF    THE    HYMN. 

4.     Seria  contritione, 

Gratia;  apprehenlione, 
VitiE  emendatione. 

By  repenting,  by  believing, 

By  God's  offered  grace  receiving, 

By  all  evil  courfes  leaving. 

The  succeeding  fixteen  verfes  are  the  same,  with 
flight  variations,  as  those  of  the  Church  or  Received 
text ;  but  in  place  of  the  next  verse,  which  forms 
the  17th  of  this,  beginning:  Oro  supplex  et  acclinh^ 
the  Mantuan  copy  has  the  following  for  its  2 1  ft  and 
concluding  ftanza  : 

21.     Confers  ut  beatitatis 
Vivam  cum  juftlficatis 
In  sevum  aeternitatis.   Amen. 

That  in  fellowfbip  fraternal 

With  inhabitants  supernal 

I  may  live  the  life  eternal.   Amen. 

That  the  abbreviation  of  the  poem,  by  the  omis- 
fion  of  the  four  opening  ftanzas,  adds  greatly  to  its 
general,  and  ftill  more  to  its  lyric  effecStiveness,  there 
can  be  no  doubt.      The  reje6led  verfes,  partaking  of 


HISTORY    OF    THE    HYMN.  XVli 

a  quiet  and  meditative  charadler,  impair  the  force  of 
the  lyric  element.  In  its  present  form,  all  is  vehe- 
ment ftir  and  movement,  from  the  grand  and  ftart- 
ling  abruptness  of  its  opening,  to  the  sw^eet  and 
powerful  pathos  of  its  solemn  and  impreffive  close. 

Befides  Celano,  various  other  names  have  had 
their  supporters  for  the  honor  of  the  authorfhip  of 
this  poem.  It  has  been  attributed  to  Gregory  the 
Great,  who  lived  at  a  period  some  fix  hundred 
years  earlier.  But  this  would  involve  the  neceflity 
of  suppofmg  that  a  poem  of  such  extraordinary  merit 
could  remain  unknown  and  unnoticed  during  so 
many  centuries,  which  is  not  at  all  likely.  Befides, 
it  is  certain,  that,  while  rhyme  was  not  altogether 
unknown  or  unused  at  that  time,  it  had  by  no  means 
reached  that  ftate  of  perfe6lion  which  this  poem 
exhibits.* 

Leonard  Meifter,  a  Swiss  writer,  claimed  that 
Felix  Hammerlin,  (Latinized  into  Malleolus,)  a 
Church  dignitary  of  Zurich,  born  in  1389,  and  who 
died  about  1457,  "^^^  ^^e  author  of  Dies  Irae,  because 
among  Hammerlin's  poems  he  found  a  manuscript 
of  this  hymn  ;  but  the  evidence  is  quite  conclufive, 
*  See  Appendix — Origin  of  Latin  Rhyme. 


XVlll  HISTORY    OF    THE    HYMN. 

that  the  hymn  was  in  exiftence  before  his  time.  In 
the  Hammerlin  text,  the  i6th  verse  is  followed  by 
eight  more,  probably  supplied  by  Hammerlin  him- 
self.    They  are  here  subjoined. 

17.  Oro  supplex  a  ruinis, 
Cor  contritum  quaii  cinis  : 
Gere  curam  mei  finis ! 

From  the  ruins  of  creation, 
Make  I  contrite  supplication : 
Interpose  for  my  salvation ! 

18.  Lachrymosa  die  ilia. 
Cum  resurget  ex  favilla, 
Tanquam  ignis  ex  scintilla, 

On  that  day  of  woe  and  weeping. 
When,  like  fire  from  spark  upleaping. 
Starts,  from  afhes  where  he's   fleeping, 

19.  Judicandus  homo  reus, 
Huic  ergo  parce,  Deus ! 
Efto  semper  adjutor  mens ! 

Man  account  to  Thee  to  render; 
Spare  the  miserable  offender  ! 
Be  my  Helper  and  Defender ! 


HISTORY    OF    THE    HYMN.  xlx 

20.  Quando  coeli  sunt  movendi, 
Dies  adsunt  tunc  tremendi, 
Nullum  tempus  poenitendi. 

When  the  heavens  away  are  flying. 
Days  of  trembling  then  and  crying. 
For  repentance  time  denying; 

21.  Sed  salvatis  lasta  dies, 
Et  damnatis  nulla  quies, 
Sed  daemonum  effigies. 

To  the  saved  a  day  of  gladness,  / 

To  the  damned  a  day  of  sadness, 
Demon  forms  and  fhapes  of  madness. 

22.  O  tu  Deus  majeftatis, 
Alme  candor  Trinitatis, 
Nunc  conjunge  cum  beatis  ! 

God  of  infinite  perfeftion, 
Trinity's  serene  refleftion, 
Give  me  part  with  the  elefllon! 

23.  Vitam  meam  fac  felicem 
Propter  tuam  genetricem, 
Jefle  florem  et  radicem. 


XX  HISTORY    OF    THE    HYMN. 

Happiness  upon  me  fliower. 

For  Thy  Mother's  sake,  with  power 

Who  is  Jefle's  root  and  flower. 

24.      Frsefta  nobis  tunc  levamen, 
Dulce  noftrum  fac  certamen, 
Ut  clamemus  omnes.  Amen  ! 

From  Thy  fulness  comfort  pour  us, 
Fight  Thou  with  us  or  fight  for  us, 
So  we'll  fhout,  Amen,  in  chorus. 

Taking  for  slanted  that  the  Mantuan  was  the 
original  text,  it  would  follow  that  the  truncation  of 
the  four  introdu6lory  verfes  spoken  of  had  already 
taken  place  at  the  time  of  Hammerlin  ;  and  it  is 
furthermore  obvious  that  the  17th  and  1 8th  verfes 
of  the  Received  Text  muft  have  been  formed  out  of 
the  firft  three  of  the  supplemented  verfes  of  Ham- 
merlin,  as  follows,  viz.  :  by  subftituting,  in  the  17th 
verse,  "  et  acclinis "  for  *' a  ruinis,"'  and  taking 
the  firft  two  lines  of  the  two  succeeding  verfes, 
being  triplets,  to  make  up  the  i8th  verse,  which 
confifts  of  four  lines.  Bating  a  few  verbal  varia- 
tions, the  firft  fixteen  verfes  of  the   Hammerlin  and 


HISTORY    OF    THE    HYMN.  XXI 

Church  texts  correspond.  The  laft  named  is  founded 
on  the  Roman  Miffal  firft  publiflied  in  1567,  under 
the  san6lion  and  after  the  revifion  of  the  Council  of 
Trent.  It  forms  the  bafis  of  the  present,  as  it  does 
of  moft  tranflations. 

A  brief  reference  to  some  of  the  more  important 
variations  in  the  text,  and  an  explanation  of  certain 
allufions  which  occur  therein,  may  not  be  unintereft- 
ing.  The  firft  line,  Dies  irce^  dies  illa^  plainly 
points  to  a  paflage  of  Scripture  from  the  Vulgate, — 
Zephaniah  I.  15.  The  whole  verse  reads  thus  : 
"  Dies  ir^,  dies  illa,  dies  tribulationis  et  anguftias, 
dies  calamitatis  et  miseriae,  dies  tenebrarum  et  caligi- 
nis,  dies  nebulae  et  turbinis,  dies  tubae  et  clangoris." 
In  the  third  line,  the  change  of  the  Mantuan  read- 
ing, "  Petro "  into  "  David,"  as  it  now  ftands, 
may  have  been  due,  it  is  conje6lured,  to  a  feeling 
that  there  was  greater  appropriateness  in  David's 
being  affociated  with  the  ante-Chriftian  Sibyl.  From 
the  averfion  felt  to  the  introdu6lion  of  a  heathen 
Sibyl  into  a  Chriftian  and  ftill  more  a  Church 
hymn,  a  MifTal  of  the  diocese  of  Metz,  publiflied  in 
1778,  reje£ling  the  third    line,  adopts,  but  without 


XXll  HISTORY    OF    THE    HYMN. 

the  authority  of  a  fingle  manuscript,  another  reading 
as  follows  : 

Dies  iras,  dies  ilia, 
Crucis  expandens  vexilla, 
Solvet  sseclum  in  favilla. 

Day  of  wrath,  that  day  amazing, 
High  the  bannered  cross  upraifing. 
While  the  universe  is  blazing. 

The  allufion  here  is  to  the  Tign  of  the  comino-  of 
the  Son  of  Man  in  heaven,  mentioned  in  Matthew 
xxiv.  3  ;  and  is  indicative  of  the  belief,  that  the  fign 
there  spoken  of  would  have  its  fulfilment  in  the 
apparition  of  a  cross  in  the  Iky.  But  the  older  and 
the  true  reading  is  doubtless  the  other,  which  refers 
to  the  Sibyl  as  bearing  concurrent  teftimony  with 
the  prophet  of  the  Old  or  the  New  Teftament, 
David  or  Peter,  (Psalm  xcvi.  13  ;  xcvii.  3  ;  xi. 
6  ;  2  Peter  iii.  7,)  touching  the  deftrudtion  of  the 
world  and  the  final  judgment.  The  2d,  7th,  and  8th 
books  of  the  "  Sibylline  Oracles  "  are  full  of  pas- 
sages which  refer  to  these,  but  it  is  probable  that  the 
reference    here    is    more    immediately  to  verfes  ex- 


HISTORY    OF    THE    HYMN.  XXIH 

trailed  therefrom,  found  in  LacStantius  (Divin.  In- 
ftitut.  lib.  vii.  De  Vita  Beata,  cap.  16—24).  I"  the 
earherages  of  the  Church,  these  pretended  prophecies 
were  regarded  with  no  little  veneration  ;  wherefore 
it  is  by  no  means  uncommon  to  find  Chriflian  writ- 
ers placing  them  fide  by  fide  with  Scriptural  proph- 
ecies, and,  as  in  the  case  before  us,  making  solemn 
appeal  to  them.  The  discovery  of  their  true  char- 
a6ler  as  worthless  forgeries  was  reserved  for  a  later 
period. 

This  poem,  which,  there  is  every  reason  to  believe, 
was  originally  the  inspiration  of  retirement,  the  soli- 
tary outpouring  of 

"  a  suppliant  heart  all  crufhed 
And  crumbled  into  contrite  duft," — 

to  adopt  the  language  of  Crafhaw's  verfion  at  the  1 7th 
verse, —  came  afterwards,  when  it  had  pafTed  into 
Church  use,  to  receive  the  title  of  Sequence,  from 
the  place  affigned  to  it  in  the  service  of  the  Mass 
for  the  Dead.  The  precise  time  when  this  occurred 
cannot  be  determined,  but  it  muft  have  been  early, 
for  Albizzi  speaks  of  it  as  being  in  common  use 
as   a  Sequence  in  1385.      For  an  explanation  of  this 


Xxiv  HISTORY    OF    THE    HYMN. 

term,  the   reader   is  referred  to  the  Appendix  at  the 
end  of  this  volume. 

If  the  origin  of  the  hymn  be  somewhat  obscure, 
not  so  have  been  its  subsequent  fortunes.  Through 
the  long  centuries  that  have  elapsed  fmce  the 
time  it  firft  became  known  to  the  world,  its  ex- 
traordinary merits  have  been  fteadily  recognized. 
Its  light  has  been  that  of  a  ftar,  whose  keen  and. 
diamond  luftre  intermits  not  nor  grows  dim,  but 
ftiines  on  the  same  from  age  to  age.  Its  miflion 
from  the  beginning  has  been  one  of  power.  To 
some,  there  is  reason  to  believe,  it  has  been  "  the 
power  of  God  unto  salvation."  Scattered  every- 
where along  its  track  are  seen  the  luminous  foot- 
prints of  its  victorious  progress  as  the  subduer  of 
hearts.  The  greateft  minds  have  delighted  to  bear 
teftimony  to  its  worth.  Goethe  evinced  his  appre- 
ciation of  it  by  introducing  certain  verses  of  it  into 
his  "Fauft," — with  how  grand  an  effect  we  all  know. 
Boswell  relates  of  Dr.  Johnson,  that,  "  when  he 
would  try  to  repeat  the  celebrated  Prosa  Ecclefiajl'ica 
pro  Afortuisy  beginning  :  Dies  ir^^  dies  iila,  he  could 
never  pass  the  flanza  ending  thus  :  Tantus  labor  non 
fit  cajjiis^  without  burfting   into  a  flood  of  tears." 


HISTORY    OF    THE    HYMN.  XXV 

It  is  said  that  Ancina,  a  ProfefTor  of  Medicine  ir. 
the  Univerfity  of  Turin,  was  so  ftrongly  affe£ted  by 
hearing  one  day  the  Dies  Irae  chanted  in  the  service 
for  the  dead,  that  he  determined  to  abandon  the 
world.  He  afterwards  became  Bifhop  of  Saluzzo. 
Milman,  in  his  "  Hiftory  of  Chriftianity,"  speaking  of 
the  Latin  poetry  of  the  Chriftian  Church,  remarics  : 
"  There  is  nothing,  in  my  judgment,  to  be  compared 
with  the  monkifh  Dies  irce^  dies  ilia."  To  these 
names  might  be  added  those  of  many  other  eminent 
scholars  and  critics,  all  bearing  like  teftimony.  But 
the  crowning  proof  of  its  unrivalled  excellence  is 
found  in  the  fact,  that,  mingled  with  the  fighs  and 
gaspings  of  diffolving  Nature,  the  measured  beat  of 
its  melodious  rhythm  has  been  so  often  heard  ;  now, 
it  may  be,  in  the  soft  murmur  of  words  half  audible, 
and  now  in  the  clear  tones  of  a  diftinct  utterance, 
iffuing  from  the  pale  and  trembling  lips  of  the  dying. 
The  Earl  of  Roscommon,  we  are  told,  repeated  with 
great  energy  and  devotion,  in  the  moment  when  he 
expired,  two  lines  of  his  own  tranflation  of  the  17th 
verse  : — 

"  My  God,  my  Father,  and  my  Friend, 
Do  not  forsake  me  in  my  end ! " 
d 


XXVI  HISTORY    OF    THE    HYMN. 

Sir  Walter  Scott  evinced  his  regard  for  it  in  the  same 
afFe6ling  manner,  during  his  laft  hours  :  "  We  very 
often,"  says  his  biographer,  "  heard  diftin6l]y  the 
cadence  of  the  Dies  Irae." 

It  is  certainly  somewhat  remarkable,  that,  vv^hile 
thus  solemnly  alTociated  with  the  dying  moments  of 
these  two  illuftrious  mafters  of  song,  who  had  likewise 
employed  their  pens  in  the  tafk  of  rendering  it  into 
Englifli,  it  fhould  have  had  a  conne6lion  not  diflim- 
ilar  with  the  death  of  that  great  composer  by  whose 
means  this  immortal  poem  has  come  to  be  worthily 
wedded  to  immortal  mufic.  It  is  well  known  that 
Mozart's  Requiem  is  founded  on  it.  This,  his 
greateft  work,  perhaps,  was  deftined  also  to  be  his 
lafl,  of  which,  it  is  said,  he  had  a  solemn  presenti- 
ment. His  death  occurred  before  it  was  entirely 
finifhed.  Befides  Mozart,  other  diilinguifhed  com- 
posers, such  as  Cherubini,  Haydn,  Jomelli,  Palaftrina, 
and  Pergolefi,  have  exercised  their  genius  upon  the 
same  theme  and  the  same  text. 


TRANSLATIONS    OF   THE    HYMN. 


HE  number  of  tranflations  made  of  this 
hymn  into  different  languages  it  were 
not  easy  to  eflimate.  Those  in  Ger- 
man are  particularly  numerous.  In  a 
work  dedicated  to  these,  edited  by  Dr.  F.  G.  Lisco, 
(Berlin,  1840,)  as  many  as  seventy  verfions,  more  or 
less  complete,  are  given  ;  the  number  being  further 
increased  three  years  afterwards  by  the  addition  of 
seventeen  others,  appended  to  a  volume  of  tranfla- 
tions,  by    the   same   editor,   of  the   Stabat  Mater.* 


*  For  the  loan  of  both  the  above  works  the  writer  is  in- 
debted to  the  Rev.  William  R.  Williams,  D.  D.,  who,  in  a 
Note,  afterwards  somewhat  enlarged  and  thrown  into  an  Appen- 
dix, affixed  to  an  Address  on  the  "  Conservative  Principle  of 
our  Literature,"  firfl:  publifhed  in  1843,  ^nd  subsequently  in- 
cluded  in  his  volume  of  "  Miscellanies,"   has,  with  his  usual 


XXVlil  J-RANtiLATIONS     OF     THE     HVjMN. 

There  is  one  in  P  rench,  one  in  Romaic  or  Modern 
Greek,  one  in  Dutch,  and  one  in  Latin,  all  the  reft 
being  German.  In  nearly  every  case,  pains  have 
been  taken  to  preserve  the  exait  measure  and  form 
of  the  original.  The  superior  flexibility  of  the  Ger- 
man, and  its  greater  supply  of  v/ords  adapted  for 
double  rhyme,  give  tranflators  in  that  language  a 
decided  advantage.  The  difficulty  involved  in  tripli- 
cating the  double  rhymes,  owing  to  the  poverty  of 
our  language  in  v/ords  suitable  for  the  purpose,  with- 
out praClifing  awkward  and  inelegant  inverfions,  is 
probably  the  reason  why  English  tranflators,  even 
where  they  have  been  careful  to  retain  the  triplet 
form  of  the  ftanza,  have  failed  to  preserve  the 
rhyming  close. 

Crafliaw's,  one  of  the  oldeft  and  nobleft  of  the 
English  tranflations,  and  which  in  the  opinion  of  an 
eminent  critic  was  not  surpafled  by  anything  he  ever 
wrote,  is  done  in  quatrains,  or  fingle  rhymed  couplets 

eloquence  and  exhauftive  learning,  given  a  very  full  and  inftruc- 
tive  account  of  this  hymn  and  its  tranflations  ;  adding  in  the 
later  editions  a  verfion  of  his  own,  one  of  the  first  made  in 
ternary  double  rhyme. 


TRANSLATIONS    OF     THE     HYMN.  XXIX 

repeated  ;  and,  on  account  of  the  freeness  of  the  ren- 
dering, might  more  properly  be  called  a  reprodu6lion 
than  a  tranflation.  The  Earl  of  Roscommon,  cele- 
brated in  Dryden's  verse  as  the  greateft  poet  of  his 
time,  was  the  author  of  a  verfion  praised  by  Pope 
as  the  bed  of  his  poetical  performances  ;  although  he 
is  confidered  as  having  borrowed  both  from  Crafliaw 
and  Dryden.  It  is  in  triplets  like  the  original,  but 
without  double  rhyme,  and  the  verse  is  iambic  in- 
flead  of  trochaic. 

The  few  verfes  introduced  by  Sir  Walter  Scott 
into  the  "  Lay  of  the  Laft  Minftrel,"  and  which  have 
found  their  way  into  almoft  all  the  more  recent  Col- 
lections of  Hymns  used  in  our  Churches,  though 
spirited  and  impreilive,  can  scarcely  be  called  a  trans- 
lation, being  little  more  than  an  echo  of  one  or  two 
of  the  leading  sentiments  of  the  Latin  original. 
Another  familiar  hymn,  contained  in  moft  Hymn 
books,  commencing, 

"  Lo  !   He  comes  in  clouds  descending," 

purports  to  be  a  tranflation  of  the  Dies  Irae  ;  but 
in  respect  neither  to  form  nor  spirit  does  it  corre- 


XXX  TRANSLATIONS     OF    THE     HYMN. 

spond  very  accurately  to  the  original.  Although  there 
are  other  verfions  of  more  or  less  merit,  some  made 
by  our  own  scholars,  a  further  enumeration  might  be 
tedious.  "  It  is  not  wonderful,"  as  Trench  remarks, 
"that  a  poem  such  as  this  fhould  have  continually 
allured  and  continually  defied  tranflators." 

The  Author  of  the  Tranflations  here  publifhed 
scarcely  knows  how  to  fliield  himself  from  the  im- 
putation of  presumption  to  which  his  attempt  ex- 
poses him.  The  number  of  his  verfions  is  Thir- 
teen. The  first  fix  have  the  somewhat  rare  merit, 
so  far  at  leaft  as  Englifh  verfions  are  concerned,  of 
being  metrically  conformed,  both  as  it  respects 
rhyme  and  rhythm,  to  the  original.  The  five  suc- 
ceeding ones  are  like  in  rhythm,  but  vary  from  the 
original  in  not  preserving  the  double  rhyme.  The 
one  which  follows  is  in  iambic  triplets,  like  Roscom- 
mon's ;  and  the  laft  in  quatrains,  after  the  manner 
of  Crafhaw's   verfion. 

It  has  been  the  aim  of  the  Tranflator  to  be  in  all 
cafes  as  faithful  as  poflible  to  the  senfe  and  spirit 
of  the  original,  and  likewise  to  the  letter,  but  not 
so    flavifhly   as    to    preclude   variety.       He    has    en- 


TRANSLATIONS    OF    THE    HYMN.  XXXJ 

deavored  to  carry  out  likeness  in  unliiceness,  and  to 
give  to  each  verfion,  so  far  as  pra6licable,  the  inteieft 
of  a  diftinct  poem.  How  far  he  has  succeeded 
others  muft  judge.  The  preservation  of  the  double 
rhyme  involved  some  special  difficulties,  which  he  has 
overcome  as  well  as  he  could  ;  but  he  would  not  be 
surprised  if  some  readers  preferred  the  eafier  metres, 
and  indulges  the  hope  that  the  multiplication  of  ver- 
fions  may  serve,  among  other  things,  to  meet  this 
diverfity  of  tafte.  But  there  are  some,  if  he  mis- 
takes not,  who  enjoy  those  pleasing  surprises  in 
viewing  an  obje6l,  that  result  from  an  altered  atti- 
tude and  a  new  angle  of  vision, — the  curious  changes 
which  follow  every  fresh  turn  of  a  revolving  kaleido- 
scope,— and  the  writer  is  willing  therefore  to  believe 
that  such,  at  any  rate,  will  not  be  displeased  at  this 
attempt  to  supply  the  deficiency  of  one  verfion  by 
another  and  yet  another,  in  the  hope  that  thereby 
the  original  may  be  exhibited,  approximately  at  least, 
in  its  solid  entireness. 

Young,  in  his  "  Effay  on  Lyric  Poetry,"  aflerts 
that  difficulty  overcome  gives  grace  and  pleasure, 
and  he  accounts  for  the  pleasure  of  rhyme  in  general 


X.XXII  TRANSLATIONS    OF    THE    HYMN. 

upon  this  principle.  Having  failed  in  his  own  case 
to  afford  an  exemplification  of  great  success  in  this 
particular,  his  critic  and  biographer,  Johnson,  some- 
what sarcaflically  remarks :  "  But  then  the  writer 
muft  take  care  that  the  difficulty  is  overcome  ;  that 
is,  he  muft  make  rhyme  confift  with  as  perfe6l 
senfe  and  expreffion  as  would  be  expected,  if  he 
were  perfectly  free  from  that  (hackle."  Hence,  the 
greater  the  difficulties  to  be  surmounted,  the  greater 
is  the  need  of  elaboration,  until  art  conceals  art. 

The  present  Tranflator,  recognizing  fully  the  pro- 
priety of  the  rule  here  ftated,  does  not  feel  that  he 
has  any  right  to  plead  the  arduousness  of  his  tafk,  as 
an  excuse  for  any  inftances,  if  such  there  be,  of 
forced  and  unnatural  conftru6lion,  resorted  to  in 
order  to  meet  the  exigencies  of  rhyme  or  metre. 
What  is  called  poetic  license  is,  he  is  aware,  a 
license  of  power  and  grace,  and  not  of  weakness  and 
deformity,  being  tantamount  to  a  license  to  dance  or 
fing,  in  place  of  ordinary  walking  or  speaking.  Po- 
etic chains,  undoubtedly,  were  meant  not  to  confine 
and  cripple,  but  to  regulate  movement  in  conformity 
with  settled   laws  ;    the  obje£l  being,  not  to   puniih 


TRANSLATIONS    OF    THE    HYMN.  XXXlll 

speech,  but  to  exalt  and  honor  it, — to  grace  language, 
not  disgrace  it. 

To  preserve,  in  connection  with  the  utmost  fidelity 
and  ftri6lness  of  rendering,  all  the  rhythmic  merits 
of  the  Latin  original, — to  attain  to  a  vital  likeness  as 
well  as  to  an  exa(£t  literalness,  at  the  same  time  that 
nothing  is  sacrificed  of  its  mufical  sonorousness  and 
billowy  grandeur,  easy  and  graceful  in  its  swing  as 
the  ocean  on  its  bed, — to  make  the  verbal  copy, 
otherwise  cold  and  dead,  glow  with  the  fire  of  lyric 
passion, — to  refleil,  and  that  too  by  means  of  a  fingle 
verfion,  the  manifold  aspects  of  the  many-sided  orig- 
inal, exhaufting  at  once  its  wonderful  fulness  and 
pregnancy, — to  cause  the  white  light  of  the  primitive 
so  to  pass  through  the  medium  of  another  language 
as  that  it  fhall  undergo  no  refra6lion  whatever, — 
would  be  defirable,  certainly,  were  it  practicable  ; 
but  so  much  as  this  it  were  unreasonable  to  expe6l 
in   any  tranflation. 

All  the  verfions  here  given  were  written  and  nearly 

ready  for  the  press  more  than  two  years  ago  ;  but, 

influenced  partly  by  a  senfe  of  their  imperfedlness, 

and  partly  by  a  doubt  as  to  the  reception  that  a  book 

e 


XXXIV  TRANSLATIONS    OF    THE    HYMN. 

exclufively  devoted  to  a  fingle  hymn  might  meet 
with  from  the  pubhc,  the  Translator  has  delayed 
their  appearance  until  now,  when,  encouraged  by 
the  favorable  opinion  exprefled  by  some,  whose 
names,  were  it  proper  to  give  them,  would  be  re- 
garded, he  doubts  not,  as  an  apology  for  his  bold- 
ness, he  ventures  the  experiment  of  publication. 
He  does  not  deny  that  the  amount  of  public  favor 
that  has  been  already  accorded  to  two  of  the  ver- 
fions,  viz.,  those  marked  1.  and  11.,  publifhed  anony- 
moufly  in  the  "Newark  Daily  Advertiser"  sev- 
eral years  fmce,  the  firft  as  long  ago  as  1847,  ^^^ 
had  something  to  do  with  overcoming  his  diftruft. 
To  avoid  misapprehenfion,  it  is  right  to  ftate,  that 
two  verses  of  the  firft  were  introduced  into  Mrs. 
Stowe's  "  Uncle  Tom's  Cabin,"  and  by  these  acci- 
dental means  have  enjoyed  a  world-wide  currency. 
More  recently  this  verfion  has  been  honored  with 
a  place  in  the  "  Plymouth  CoUedlion  of  Hymns  and 
Tunes,"  edited  by  Henry  Ward  Beecher,  and  set 
to  mufic.  It  was,  so  far  as  the  Tranflator  knows, 
the  firft  attempt,  with  a  fingle  exception,  to  repro- 
duce in  English  the  ternary  double  rhyme  of  the 
original. 


DE   NOVISSIMO  JUDICIO. 


lES  irae,  dies  ilia 
Solvet  saeclum  in  favilla, 
Tefte  David  cum  Sibylla. 


Quantus  tremor  eft  futurus, 
Quando  Judex  eft  venturus, 
Cundta  ftriile  discuflurus ! 

Tuba,  mirum  spargens  sonum 
Per  sepulchra  regionum, 
Coget  omnes  ante  thronum. 


Mors  ftupebit  et  natura, 
Quum  resurget  creatura 
Judicanti  responsura. 


DIES    IRJE. 

Liber  scriptus  proferetur, 
In  quo  totum  continetur, 
De  quo  mundus  judicetur. 

Judex  ergo  quum  sedebit, 
Quidquid  latet,  apparebit, 
Nil  inultum  remanebit. 

Quod  sum  miser  tunc  di6lurus, 
Quem  patronum  rogaturus, 
Quum  vix  juftus  fit  securus  ? 

Rex  tremendae  majeftatis, 
Qui  salvandos  salvas  gratis, 
Salva  me,  fons  pietatis! 

Recordare,  Jesu  pie, 
Quod  sum  causa  tuae  viae, 
Ne  me  perdas  ilia  die  ! 

Quaerens  me  sedifti  lafTus, 
Redemifti  crucem  paflus  : 
Tantus  labor  non  fit  caflus! 


DIES    IRiE. 

Jufte  Judex  ultionis, 
Donum  fac  remiflionis 
Ante  diem  rationis  ! 

Ingemisco  tanquam  reus, 
Culpa  rubet  vultus  meus  : 
Supplicanti  parce,  Deus  ! 

Qui  Mariam  absolvifti, 
Et  latronem  exaudifti, 
Mihi  quoque  spem  dedifti. 

Praeces  meae  non  sunt  dignae, 
Sed  tu  bonus  fac  benigne 
Ne  perenni  cremer  igne  ! 

Inter  oves  locum  praefta, 
Et  ab  haedis  me  sequeftra, 
Statuens  in  parte  dextra! 

Confutatis  maledi6lis, 
Flammis  acribus  addidtis, 
Voca  me  cum  benedi6lis  ! 


DIES    IRM. 


Oro  supplex  et  acclinis, 
Cor  contritum  quasi  cinis 
Gere  curam  mei  finis  ! 

Lachrymosa  dies  ilia, 
Qua  resurget  ex  favilla, 
Judicandus  homo  reus  : 
Huic  ergo  parce,  Deus ! 


I. 


AY  of  wrath,  that  day  of  burning, 
Seer  and  Sibyl  speaic  concerning. 
All  the  world   to  afhes  turning. 


Oh,  what  fear  fhall  it  engender, 

When  the  Judge  fliall  come  in  splendor, 

Stridl  to  mark  and  juft  to  render  ! 

Trumpet,  scattering  sounds  of  wonder. 
Rending  sepulchres  asunder. 
Shall  resiftless  summons  thunder. 


All  aghaft  then  Death  fhall  fhiver. 
And  great  Nature's  frame  fhall  quiver. 
When  the  graves  their  dead  deliver. 


DIES    IR^. 


Volume,  from  which  nothing 's  blotted, 

Evil  done  nor  evil  plotted, 

Shall  be  brought  and  dooms  allotted. 


When  fhall  fit  the  Judge  unerring, 
He'll  unfold  all  here  occurring. 
Vengeance  then  no  more  deferring. 


What  fhall  /  say,  that  time  pending  ? 
Ask  w^hat  advocate's  befriending. 
When  the  juft  man  needs  defending  ? 

Dreadful  King,  all  power  pofTeffing, 

Saving  freely  those  confefling. 

Save  thou  me,  O  Fount  of  Blefling  ! 

Think,  O  Jesus,  for  what  reason 

Thou  didft  bear  earth's  spite  and  treason. 

Nor  me  lose  in  that  dread  season  ! 

Seeking  me  Thy  worn  feet  hafted. 
On  the  cross  Thy  soul  death  tafted  : 
Let  such  travail  not  be  wafted ! 


DIES    IRJE. 


Righteous  Judge  of  retribution  ! 
Make  me  gift  of  absolution 
Ere  that  day  of  execution  ! 

Culprit-like,  I  plead,  heart-broken. 
On  my  cheek  (hame's  crimson  token: 
Let  the  pardoning  word  be  spoken! 

Thou,  who  Mary  gav'ft  remiflion, 
Heard'ft  the  dying  Thief's  petition, 
Cheer'ft  with  hope  my  loft  condition. 

Though  my  prayers  be  void  of  merit. 
What  is  needful,  Thou  confer  it. 
Left  I  endless  fire  inherit ! 

Be  there.  Lord,  my  place  decided 
With  Thy  ftieep,  from  goats  divided, 
Kindly  to  Thy  right  hand  guided ! 

When  th'  accursed  away  are  driven, 

To  eternal  burnings  given. 

Call  me  with  the  blessed  to  heaven! 


DIES    IR^. 

I  beseech  Thee,  proftrate  lying, 
Heart  as  afhes,  contrite,  fighing. 
Care  for  me  when  I  am  dying ! 

Day  of  tears  and  late  repentance, 
Man  fhall  rise  to  hear  his  sentence : 
Him,  the  child  of  guilt  and  error, 
Spare,  Lord,  in  that  hour  of  terror  ! 


II. 


AY  fhall  dawn  that  has  no  morrow. 
Day  of  vengeance,  day  of  sorrow, 
As  from   Prophecy  we  borrow. 


It  fhall  burn,  that  day  of  trouble, 
As  a  furnace  heated  double, 
And  the  wicked  fhall  be  flubble. 

O,  what  trembling,  when  the  rifted 
Skies  fhall  fhow  the  Judge  uplifted. 
And  all  flrictly  fhall  be   fifted! 

Trump  fhall  sound  a  blafl  appalling. 
On  the  grave's  deep  flillness  falling. 
Small  and  great  before  Him  calling. 

Death  with   fear  fhall  be  o'ertaken, 
Nature  to  her  base  be  fhaken. 
When  the  fleeping  dead  fhall  waken. 


10  DIES    IRJE. 

Volume  fhall  be  brought,  whose  pages 

Regifter  the  deeds  of  ages, 

Whence  the  world  fhall  have  juft  wages. 

When  that  Court  fhall  hold  its  sefHon, 
Every  mouth  fhall  make  confeflion, 
Left  unpunifhed  no  transgreflion. 

How,  alas  !   in  that  dread  season, 
Shall  I  answer  for  my  treason. 
When  the  righteous  fear  with  reason  ? 

Awful  King,  who  nothing  craveft, 
Since  Thyself  full  ransom  gavefl, 
Save  Thou  me,  who  freely  savefl! 

Me,  for  whom,  with  love  so  tender, 
Thou  didft  leave  Thy  throne  of  splendor, 
Jesus,  do  not  then  surrender  ! 

Wearily  for  me  Thou  toiledft, 
Diedft  for  me  and   Satan  spoiledft  : 
Let  not  triumph  whom   Thou  foiledfl  ! 


DIES    IRJE.  II 

Thou,  whose  frown  will  be  damnation. 
Grant  me  earneft  of  salvation, 
Ere  that  day  of  consummation  ! 

Culprit-like,  1,  self-convicted, 
Blufhing,  proftrate,  and  affli6ted, 
Kneel  for  mercy  unreftridled. 

Thou,  who  Mary's  faith  rewardedft, 
Pardon  to  the  Thief  accordedft. 
Me,  too,  trembling  hope  afFordedft. 

Poor  my  prayers,  but  give  ensample 
Of  Thy  goodness  rich  and  ample. 
Left  insulted  Juftice  trample  ! 

With  Thy  chosen  flock  unspotted. 
Severed  from  the  herd  besotted. 
Be  my  place  that  day  allotted  ! 

When  Thy  curse  fliall  blaft  and  wither, 

Doom  to  hell  and  banifh  thither, 

Bid  me  with   the  blelTed,  Come   hither  ! 


12 


DIES    IR^. 


Care  for  me  as  one  who  feareth, 
One  who  hafteth  when  he  heareth, 
When  my  solemn  exit  neareth! 

When  the  light  of  that  day  flafhes, 
And   man  rises  from  his  afhes 
At  Thy  bar  account  to  render, 
Spare  then,  Lord,  the  pale  offender  ? 


III. 


AY   of  Vengeance  and  of  Wages, 
Fiery  goal  of  all  the  ages, 
Burden  of  prophetic  pages  ! 


Guilty  wretches,  vainly  fleeing 

From  that  flaming  Eye,  whose  seeing 

Searches  all  the  depths  of  being. 

Wakened  by  that  Trump  of  Wonder, 
Answering  Earthquakes,  roaring  under. 
Heave  and  split  the  ground  asunder ; 

And  the  buried  generations. 
People  of  all  times  and  nations. 
Live  again  and  take  their  ftations. 

Each  immortal  pale  offender. 

Round  the  Great  White  Throne  of  Splendor, 

Stri(5l  account  to  God  to  render  i 


14  DIE^    I?--5. 

Who,  unmocked  and  unmiflaken, 
Shall  pronounce  the  doom  unihaken. 
And  long  flumbering  vengeance  waken. 

What  if  weighed  and  found  deficient  ? 
Standing  at    that  bar  omniscient. 
Who  hath  righteousness  sufficient  ? 

Dreadful  Majef^y  of  Heaven  I 
Freely  thy  salvation's  given, 
Fount  of  Mercy,  save  me  even  I 

Me,  for  whom  Thou  fbame  didll  borrow, 
Trod'ft  the  paths  of  earthly  sorrow. 
Lose  not  on  that  dreadful  morrow  I 

Seeking  me  Thou  weary  sankeft, 

All  my  cup  of  trembling  drankeft. 

Nor  from  death,  to  save  me,  shrankeft. 

Aluft  I  fink  yet  to  perdition  ? 
God  of  Vengeance,  grant  remiffion, 
Ere  that  Day  of  Inquifition  ! 


DIES    IRJE.  15 

Filled  with  Ihame  and  confternatlon. 
Lifting  hands  of  supplication. 
Spare  me,  God  or  my  Salvation  I 

Let  such  grace  be  manifefted, 

As  on  weeping  Mary  refted, 

As  was  towards  the  Thief  attefted  ! 

Though  no  worth  in  me  discerning, 
Spurn  not,  though  I  merit  spurning  : 
Rescue  me  from  endless  burning  ! 

When  divifion  is  efFe6led 

'Mong  the  race  of  men  coUefted, 

Leave  me  not  with  the  rejedled  ! 

When  Thy  curse  from  Thee  fhall  sever, 
Kindling  hells,  extinguifhed  never, 
Join  me  to  Thyself  forever  ! 

From  the  afhes  of  contrition. 
From  the  depths  I  make  petition  : 
Grant  m.y  soul  a  safe   dismiffion  ! 


i6 


DIES     IRJE. 


When  that  day  fhall  snare   th'  unwary. 
And  fhall  guilty  man   unbury, 
Spare  me  then.  Dread  Adversary ! 


AY  of  Prophecy  !  it  flafhes, 
Falling  spheres    together  dafhes, 
And  the  world  consumes  to  aflies. 


O,  what  fear  of  wrath  impending, 
When  the  Judge  is  seen  descending, 
Inquifition  ftrict  intending ! 

God's  awakening  Trump  fhall  scatter 
Summons  through  the  world  of  matter, 
And  the  Throne  of  Death  ihall  fhatter. 

What  amazement,  when  forgotten 
Generations,  dead  and  rotten. 
Suddenly  are  rebegotten! 

Book  and  Record  universal 
Shall  be  opened  for  rehearsal. 
Whence  the  doom  without  reversal. 
3 


l8  DIES    IR^. 

When  by  that  dread  Judge  inspe6led. 
Nothing  fhall  pass  undetected, 
Unavenged  nor  uncorrected. 

o 

How  fhall  I,  a  wretch  unftaDle, 

Bide  that  hour  inevitable, 

When  the  juft  man  scarce  is  able? 

Dreadful  King,  from  Thee,  the  Giver, 
Flows  salvation  like  a  river  : 
Fount  of  Mercy,  me  deliver  ! 

Thou,  who,  touched  with  my  condition, 
Cam'st    to    save  me  from  perdition, 
Be  Thou  mindful  of  Thy  miflion  ! 

Let  Thy  death  for  my  offences, 
Horror  of  Thy  soul  and  senses, 
Be  not  void  of  consequences! 

Blot  my  fins,  ere  that  revifion, 
Day  of  ultimate  decifion. 
When  Thy  foes  are  in  deriiion ! 


DIES    IR^.  19 

From  my  eyes  repentance  guflies, 

O'er  my  cheeks  spread  crimson  blufties  : 

Spare  the  worm  Thy  terror  crufhes  ! 

Thou,  who  wert  of  old  moft  gracious 
Ev'n  to  finners  moft  audacious, 
Is  Thy  mercy  now  less  spacious  ? 

Worthless  alll  the  prayers  I  offer  : 
Grace  muft  seal  what  grace  doth  proffer, 
Else  I  perifh  with  the  scoffer. 

When  Thou  maiceft  separation. 
With  Thy  sheep  aflign  my  ftation, 
Saints  of  every  age  and  nation  ! 

When  the  malison  eternal 
Banifhes  to  fires  infernal. 
Bid  me  enter  realms   supernal ! 

Thou,  who  doft,  with  care  unfleeping, 
Keep  that  trufted  to  Thy  keeping, 
Save  my  eyes  from  endless  weeping  ! 


20 


DIES    IR^. 


Day  of  tears,   consuming,  cruel. 
With  a  burning  world  for  fuel ! 
Man  fliall  rise  from  glowing  embers, 
Made  complete  in  all  his  members  : 
Ah!  what  plea  will  then  be  valid. 
When  the  finner,  trembling,  pallid, 
Waits  to  hear  his  sentence  given  ? 
Spare  him  then,  O  God  of  Heaven! 


V. 


AY  of  vengeance,  end  of  scorning, 
World  in  afties,  world  in  mourning, 
Whereof  Prophets  utter  warning ! 


O,  what  trembling,  when  the  falling 
Rocks  and  mountains  hear  men  calling, 
"  Hide  me  from  that  face  appalling  !  " 

Freezing  fear  the  blood  will  thicken, 
Death  and   Hell  be  horror-ftricken, 
When  the  myftic  Trump  fhall  quicken 

All  the  buried  duft  of  ages, — 
Monarchs,  chieftains,  ftatesmen,  sages, 
A£tors  on  unnumbered  ftages, — 


Summoned  to  the  dread  recital 
Of  that  Record  ftricSt  and  vital, 
Basis  of  a  juft  requital. 


22  DIES    IRJE. 

Every  mafk  of  falsehood  riven, — 
Guilt,   from  every  covert  driven, 
Shall  to  punifhment  be  given. 

*Mid  the  horror  and  confufion 
Of  that  sorrowful  conclufion 
Of  each  miserable  delufion, 

Whither,  ah!  fhall  I  betake  me? 

Thou,  O  King,  vi^hose  terrors  fhake  me, 

Of  Thy  grace  a  trophy  make  me ! 

Jesus  !  by  Thine  incarnation, 
By  Thy  miflion  of  salvation. 
Then  avert  juft  condemnation! 

By  Thy  pity,  love  unfailing. 
By  the  cross's  bitter  nailing, 
Let  not  all  be  unavailing  ! 

Dread  Avenger  of  transgreflion. 
Cleanse  these  lips  that  make  confeilion. 
Ere  th'  awards  of  that  laft  seflion. 


DIES    IR^.  23 

Spare  a  culprit,  groans  faft  heaving, 
SeIf-convi(5led,  blufhing,  grieving, 
In  Thy  power  and  grace  believing. 


Since  Thy  nature  doth  not  vary, 

Thou,  who  heard'ft  the  Thief  and   Mary, 

My  transgreflions  blot  and  bury  I 

Worthless  works  behind  me  cafting — 
Grace  muft  save,  not  prayer  nor  fafting, 
From  the  fire  that's  everlafting. 

On  Thy  right  hand  fix  my  ftation 
With  the  chosen  generation. 
In  the  iheep-fold  of  salvation  ! 

When  Thy  curse  the  wicked  chases. 
With  the  bleft  in  heavenly  places 
Call  me  to  Thy  dear  embraces! 

Care  for  me,  whom  guilt  abafhes, 
Proftrate,  contrite,  heart  as  afhes. 
When  that  day  of  terror  flafhes  ! 


H 


DIES    IR^. 


Day  of  weeping  and  of  wailing, 
Human  hearts  and  fates   unveiling ! 
Then,  when  Time  fliall  be  no  longer, 
And  the  ftrong  yields  to  the  Stronger, 
Death  and   Hell  their  dead   surrender. 
And  the   Sea  its  own  fhall  tender, 
Multitudinous,  unbounded 
Generations  rise  aflounded, 
Each  to  answer  for  his  finning, 
He  who  lived  at  the  beginning. 
He  who  when  the  world  is  hoary,— 
Spare,  O,  spare.  Thou  God  of  Glory! 


VI. 

AY  of  wrath  and  confternation, 
Day  of  fiery  consummation, 
Prophefied  in  Revelation  I 


O,   what  horror  on  all  faces, 

When  the  coming  Judge  each  traces. 

Flaming,  dreadful,  in  all  places  ! 

Trump  fhall  sound,  and  every  fingle 
Mortal  slumberer's  ears  fhall  tingle. 
And  the  dead  fhall  rise  and   mingle  : 

All  of  every  tribe  and  nation. 
That  have  lived  fince  the  creation, 
Answering  that  dread  citation. 

Book,  where  adlions  are  recorded. 

All  the  ages  have  afforded. 

Shall  be  brought  and  dooms  awarded. 

4- 


26  DIES    IR^. 

Judge,  who  fits  at  that  aflizes, 
Shall,  deceived  by  no  disguises, 
Try  each   work  that  man  devises. 

How  fhall  I,  a  wretch  polluted, 

Answer  then  to  fins  imputed. 

When  the  juft  man's  case  is   mooted  ? 

Awful  Monarch  of  Creation  ! 
Saving  without  compensation, 
Save  me.  Fountain  of  Salvation! 

Lose  me  not  then,  Jefus,  seeing 
I  am  Thine  by  gift  of  being, 
Doubly  Thine  by  price  of  freeing ! 

Thou,  the  Lord  of  Life  and  Glory, 
Hung'ft  a  vi6lim  gafhed  and  gory; 
Let  not  all  be  nugatory ! 

Pardon,  Thou  whose  vengeance  smireth, 
But  whom   mercy  moft  delighteth. 
Ere  that  reck'ning  day  affrighteth! 


DIES    IR^.  27 

As  a  culprit,  Hand  I  groaning, 
Bluftiing,  my  demerit  owning  : 
Sprinkle  me  with  blood  atoning  ! 

Thou,  who  Mary's  sins  remittedft, 
And  the  softened  Thief  acquittedft, 
Likewise  hope  to  me  permittedft. 

Weak  these  prayers  Thy  throne  aflailing} 
But  let  grace,  o'er  guilt  prevailing, 
Save  me  from  eternal  wailing ! 

While  the  goats  afar  are  driven, 
'Mid  Thy  fheep  me  place  be  given, 
Blood-wafhed  favorites  of  Heaven ! 

While  "  Depart !  "  fhall  doom  and  gather 
Those  to  flame,  address  me  rather  : 
*'  Come  thou  blefled  of  my  Father  !  " 

In  my  final  hour,  when  faileth 

Heart  and  flefh,  and  my  cheek  paleth, 

Grant  that  succor  which   availeth ! 


28 


DIES    IR^. 


Day  unutterably  solemn  ! 
Crypt  and  pyramid  and  column, 
Ifle  and  continent  and  ocean, 
Rocking  with  a  fearful  motion, 
Shall  give  up,  a  countless  number 
Starting  from  their  long,  long  {lumber, 
Horror  ftamping  every  feature. 
While  is  judged  each  fmful  creature, 
End  of  pending  controversy  : 
Spare  Thou  then,  O   God  of  Mercy  ! 


VII. 

AY  of  wrath,  that  day  of  days, 
Present  to  my  thought  always, 
[|   When     the    world    (hall    burn    and 
blaze ! 


O,  what  trembling,  O,  what  fear. 
When  th'   Omniscient  Judge  draws  near. 
Scanning  all  with   eyes  severe! 

When  the  Trump  of  God  (hall  sound 
Through  the  vague  and  vaft  profound 
Of  the  regions  under  ground  ; 

And  th'  innumerable  dead, 
Answering  to  that  summons  dread. 
Shall  forsake  their  dufty  bed  ; 

And  that  Book  of  ancient  date 
Shall  be  opened,  whereon  wait 
Mighty  iflues  big  with  fate  ; 


3C  DIES    IRJE. 

And  each  secret  thing  fhall  lie 
Thenceforth  bare  to  every  eye, 
Nought  unpunifhed  or  pafTed  by. 

Ah,   me  !  what  fhall   I  then  plead, 
Who  for  me  then  intercede, 
When  the  juft  of  help  have  need  ? 

Thou,  who  doft,  O   Heavenly  King, 
Free  forgiveness  freely  bring. 
Let  me  drink  of  Mercy's  Spring  ! 

Thou  didft  empty  and  exhauft 
Heaven  for  me  :  when  such  the  coft, 
Jesus,  let  me  not  be  loft! 

Wearily  Thou  soughteft  me, 
Bought'ft  me  on  th'  accursed  tree  : 
Let  it  not  all  fruitless  be  ! 

Righteous  Judge,  who  wilt  repay. 
Grant  me  pardon,  ere   that  day 
Of  decifion  and  dismay  ! 


DIES    IRJE.  31 

I,  a  finful  man  and  base, 
Blufhing,  groaning  o'er  my  case, 
Seek  and  supplicate  Thy  grace. 

Thou,  who  heardeft  Mary's  fighs, 

Thou,  who  openedft  Paradise 

To  the  Thief,  regard  my  cries  !        * 

Worthless  are  my  prayers  and  worse. 
But,  good  Lord,  be  not  adverse, 
Left  I  fink  beneath  the  curse  ! 

Set  me,  when  at  Thy  command 

All  mankind  divided  ftand. 

With  the  fheep  at  Thy  right  hand  ! 

When  th'  insufferable  doom 
Shall  the  reprobate  consume. 
With  Thy  chosen  give  me  room  ! 

In  the  solemn  hour  of  death. 
When  the  earthly  vanifheth, 
O,  receive  my  parting  breath ! 


r^ 


DIES    IR^. 


Ah !  that  day  made  up  of  tears. 

When  from  afhes   reappears 

Th'  Adam  of  fix  thousand  years,— 

Who,  by  its  red  glare  and  gleam, 
Sees,  as  in  an  awful  dream, 
Juftice  lift  her  trembling  beam,— 

Conscious  on  that  hinge  of  fate 
All  things  hang  and  hefitate  : 
Spare  then.  Lord,  if  not  too  late! 


VIII. 

THAT  dreadful  day,  my  soul ! 
Which  the  ages  fliall  unroll, 
When  the    knell   of  Time    fhall 
toll  ! 


O,  the  terror  and  the  fhame, 
When  the  Judge  with  eyes  of  flame 
Shall  make  piercing  search  of  blame ! 

Suddenly  the  Trumpet's  fhock 
Doors  of  Hades  fhall  unlock, 
And  before   Him  all  fhall  flock. 

Struck  with  wonder  and  dismay. 
Death  and  Nature  fhall  obey 
Summons  to  give  up  their  prey. 

Loudly  each  indi6lment  dread 
Shall  in  every   ear  be  read 
Of  the  living  and  the  dead. 
5 


34  DIES    IRJE. 

Every  idle  word  and  thought, 
Every  work  in  secret  wrought, 
Into  Judgment  fhall  be  brought. 

Scarce  the  juft  man's  case  is  sure. 
Scarce  the  heavens  themselves  are  pure 
Ah  !  how  then  fhall  I  endure  ? 

Dreadful  Potentate  and  high, 

Who  doft  freely  juftify, 

Fount  of  Grace,  my  need  supply! 

Jefus,  mind  the  kind  intent 
Of  Thy  weary  banifhment. 
And  my  ruin  then  prevent ! 

Let  Thy  paffion  and  Thy  pain, 
All  Thou  sufFeredft  me  to  gain, 
Be  not  barren  and  in  vain  ! 

Righteous  Arbiter  of  fate  ! 

Life  and  death  upon  Thee  wait, 

Pardon,  ere  it  be  too  late  ! 


DIES    IKJE.  35 

Spare  me,  vileft  of  the  race, 
Guilty,  infamous  and  base, 
Bluftiing  mendicant  of  grace  ! 

Though  of  fmners  I  be  chief. 

Hear  me.  Thou  who  heard'ft  the  Thief, 

Driedft  the  fount  of  Mary's  grief! 

All  my  prayers  are  guilty  breath, 
And  the  beft  nought  meriteth  : 
But  in  mercy  save  from  death  ! 

When,  disposed  on  either  hand, 
All  mankind  before  Thee  ftand, 
Set  me  with  Thy  chosen  band  ! 

When,  O,  terrible  to  tell! 

Yawns  inevitable   Hell, 

With  the  bleffed  bid  me  dwell! 

When  I  reach  the  awful  goal. 
And  Death's  billows  o'er  me  roll. 
Care  for  my  undying  soul! 


36 


DIES    IRJE. 


Day  of  weeping  and  surprise, 
Opening  tombs  and  opening  eyes, 
Rocking  earth  and  burning  fkies  ! 

Day  of  universal  dread, 

When  the  quick  and  quickened  dead 

Shall  have  solemn  sentence  said  ! 

Then,  O,  then,  vi^hen  in  despair, 
Man  fhall  speak  or  fhriek  the  prayer, 
*'  Spare  me  !  "  God  of  Mercy,  spare  ! 


IX. 

AY  foretold,  that  day  of  ire, 
Burden  erft  of  David's  lyre. 
When    the  world  fhall  fink  in 
fire! 


O,  what  horror  and  amaze, 
When  at  once  on  mortal  gaze 
All  the  Judge's  pomp  fhall  blaze! 

When  the  Trumpet's  myftic  blaft. 
To  the  world's  four  corners  caft. 
Disentombs  the  buried   Paft  ; 

And  from,  all  the  heaving  sod, 
From  each  foot  of  trampled  clod, 
Starts  a  multitude  to  God  ; 

And  that  Volume  is  unrolled 
Wherein  are  minutely  told 
Ail  men's  doings  from  of  old  ; 


38  DIES    IRJE. 

While,  from  what  is  there  contained. 
Shall  be  judged  a  world  arraigned, 
And  eternal  fates  ordained  : 

What  defence  can  I  then  make, 

To  what  Patron  me  betake, 

When  the  righteous  fear  and  quake  ? 

King,  who  doft  all  power  pofTess, 
Free  Thy  grace  and  limitless, 
Save  me.  Fount  of  Blefledness  ! 

Jefus,  Mafter,  Thou  doft  know 
I  Thy  miffion  caused  below. 
All  Thy  weariness  and  woe  ! 

Let  Thy  blood,  that  drenched  the  hilt 
Of  that  sword  unfheathed  for  guilt, 
Be  not  vainly  fhed  and  spilt  ! 

O  my  Judge,  forgive,  forget ! 
Cancel  my  tremendous  debt. 
Ere  the  sun  of  grace  fhall  set ! 


DIES    IRJE.  29 

Filled  with  fhame  I  hang  my  head, 
Blufhes  deep  my  face  o'erspread  : 
Stay  Thy  lightnings  fierce  and  red  ! 

Thou  canft  darkeft  ftains  efface  ; 
Haft  made  monuments  of  grace 
Of  the  vileft  of  the  race. 

My  poor  prayers  please  not  repel  ! 
Grace  and  goodness  with  Thee  dwell : 
Snatch  me  from  the  flames  of  Hell ! 

When  Thou  (halt  discriminate, 
Sheep  from  goats  fhalt  separate. 
Let  me  on  Thy  right  hand  wait ! 

When  Thy  sentence,  smiting  dumb, 
Down  to  Hell  fhall    banifh  some, 
With  the  blefled  bid  me  come ! 

To  Thy  care,  O  Kind  as  Juft  ! 
Heart  all  penitential  duft, 
I  my  end  commit  and  truft ! 


40 


DIES    IR^. 


Floods  of  tears  that  day  ftiall  pour ; 
Man  fhall  wake  to  fleep  no  more  ; 
Guilty,  horribly  afraid  : 
Spare  him,  Lord,  whom  Thou  haft  made ! 


X. 

O  !    it  comes,  with  ftealthy  feet, 
Day,  the    ages   fhall   complete, 
When  the  world  fhall  melt  with 
heat! 


O,  what  trembling  fhall  there  be. 
When  all  eyes  the  Judge  fhall  see. 
Come  to  fift  iniquity  ! 

Trump  fhall  syllable  command. 
And  the  dead  of  sea  and  land 
All  before  the  Throne  fhall  fland. 

Death  fhall  fhudder.  Nature  too. 
When  the  creature  lives  anew. 
Called  to  render  answer  true. 

Volume,  that  omitteth  nought 
Man  e'er  said  or  did  or  thought, 
Shall  for  sentence  then  be  brought. 
6 


4-2  DIES    IR^. 

When  fhall  fit  the  Judge  severe, 
All  that's  dark  {hall  be  made  clear. 
Nothing  unavenged  appear. 

What,  alas!  fhall  I  then  say, 

To  what  Interceflbr  pray. 

When  the  juft  fhrink  with  dismay? 

Awful  King,  fince  all  is  free. 
Without  merit,  without  fee. 
Fount  of  Mercy,  save  Thou  me  ! 

Mind,  O  Jesus,  Friend  fincere. 
How  I  caused  Thy  advent  here, 
Nor  me  lose  who  coft  so  dear  ! 

Straying,  I  by  Thee  was  sought, 
On  the  cross  with  blood  was  bought 
Let  it  not  be  all  for  nought  ! 

Righteous  Judge !  Avenging  Lord ! 
Full  remiflion  me  afford. 
Ere  that  final  day's  award  I 


DIES    IKJE.  43 

Groan  I,  like  a  culprit  base, 
Conscious  guilt  inflames  my  face ; 
Spare  the  suppliant,  God  of  Grace  I 

Thou,  who  erft  didft  Mary  clear, 
And  the  dying  Thief  didft  hear, 
Hope  haft  given  me  to  cheer. 

Though  my  prayers  create  no  claim. 
Be  propitious.  Lord,  the  same. 
Left  I  burn  in  endless  flame! 

Place  among  Thy  ftieep  provide. 
From  the  goats  me  sunder  wide. 
Standing  safe  at  Thy  right  fide  ! 

While  "  Depart !  "  to  foes  addrefl'ed 

Baniftieth  to  woes  unguefled. 

Call  me  near  Thee  with  the  blefl'ed! 

Contrite  pangs  my  bosom  tear. 
Heart  as  afties  :   hear  my  prayer, 
Let  my  end  be  not  despair! 


44 


DIES    IR^. 


On  that  day  of  grief  and  dread, 
When  man,  rifing  from  the  dead, 
Shall  eternal  juftice  face. 
Spare  the  fmner,  God  of  Grace . 


XI. 

AY  of  wrath,  that  day  of  dole, 
When  a  fire  (hall  wrap  the  whole. 
And  the  earth  be  burnt  to  coal  ! 


O,  what  horror,  smiting  dumb 
When  the  Judge  of  all  fhall  come, 
Sinful  deeds  to  search  and  sum! 

Trump's  reverberating  roar 
Through  the  sepulchres  fhall  pour, 
Citing  all  the  Throne  before. 

Death  and  Nature  fland  aghaft. 
While  the  dead  in  numbers  vaft 
Rise  to  answer  for  the  paft. 

Volume,  writ  by  God's  own  pen. 

Chronicling  the  deeds  of  men, 

Shall  be  brought,  and  dooms  be  then. 


46  DIES    IRJE. 

When  the  Judge  (hall  sit,  behold  ! 
What  is  secret  He'll  unfold, 
No  juft  punifhment  withhold. 

Ah  !  what  plea  fliall  I  prepare. 
To  what  Patron  make  my  prayer, 
When  the  juft  well-nigh  despair  ? 

King,  majeftic  beyond  thought. 
Whose  free  grace  cannot  be  bought. 
Save  me,  whose  desert  is  nought! 

O,  remember,  Jefus,  I 

Was  the  cause  and  reason  why 

Thou  didft  come  on  earth  to  die  I 

Me  Thou  sought'ft  with  weary  feet, 
And  my  ransom  didft  complete  : 
Let  such  pity  nought  defeat ! 

Judge,  inflexible  and  ftridt. 
Pardon,  ere  that  day  convi6l 
And  th*  unchanging  doom  infli£l  ! 


DIES    IR^.  47 

Like  a  criminal  I  sigh, 
Bluftiing,  penitently  cry  : 
Pass,  Lord,  my  offences  by ! 

Thou,  who  Mary  erft  did'ft  bless, 
Heard'ft  the  Thief  in  his  diftress, 
Hope  haft  given  me  no  less. 

Worthless  are  my  prayers  and  vain, 
But  in  love  do  not  disdain. 
Left  I  reap  eternal  pain  ! 

On  Thy  right  hand  grant  me  place 
*Mid  the  flieep,  a  chosen  race, — 
Far  from  goats  devoid  of  grace! 

When  the  thunder  of  Thine  ire 
Headlong  hurls  to  quenchless  fire, 
Let  Thy  welcome  me  inspire  ! 

I  entreat  Thee,  bending  low. 
Heart  as  afhes,  full  of  woe. 
Succor  in  my  end  beftow  I 


48 


DIES    IR^. 


When  upon  that  day  of  tears 
Man  from  duft  again  appears, 
Fate  depending  on  Thy  nod  : 
Spare  the  finner  then,  O   God  ! 


XII. 

DAY  of  wrath  !   O  day  of  fate! 
Day  foreordained  and  ultimate, 
When    all    things    here    fhall    termi- 
nate ! 


What  numbers  horribly  afraid, 

When  comes  the  Judge,  in  fear  arrayed, 

To  try  the  creatures   He  hath  made! 

The  blare  of  Trumpet,  pealing  clear. 

Shall  through  the  sepulchres  career. 

And  wake  the  dead,  and  bring  them  near. 

Aftoniflied  Nature  then  ftiall  quail, 
What  time  the  yawning  graves  unveil, 
And   man  comes  forth,  amazed  and  pale. 

To  answer  :     The  o'erwritten  scroll 
Shall  charge  and  certify  the  whole, 
Whence  Ihall  be  judged  each   human  soul. 

7 


50  DIES     IR^.. 

The  Judge  enthroned  fhall  bring  to  light 
Whate'er  is  hid,  in  open  fight 
Avenge  and   vindicate  the  right. 

Ah  !   with  what  plea  fhall  I  then  come, 
-When,  terror-locked,  each  sense  is  numb, 
And  even  righteous  lips  are  dumb  ? 

O  King  immortal  and   supreme, 

Whose  fear  is  great,  whose  grace  extreme. 

Make  me  to  drink  of  Mercy's  ftream  ! 

Remember,  Jefus,  Thou  didft  make 
Thyself  incarnate  for  my  sake. 
Left  Hell  insatiate  claim  and  take ! 

Thou  soughteft  me  when  far  aftray, 
Didft  on  the  cross  my  ransom  pay  : 
Let  not  such  love  be  thrown  away  ! 

Juft  Judge,  of  purity  intense, 
Remit  my  infinite  offence. 
Before  that  day  of  recompense  ! 


DIES    IR^.  51 

Like  one  convinced  of  heinous  deed, 
I  groan,  I  weep,  I  blufli,  I  plead  : 
Lord,  spare  me  in  that  hour  of  need  ! 

Thou,  who  wert  moved  by  Mary's  tears, 
Absolved  the  Robber  from  his  fears, 
Haft  given  me  hope  in  former  years. 

My  prayers  are  worthless  well  I   know  ; 
But,  good,  do  Thou  Thy  goodness  (how, 
And  save  me  from  impending  woe  ! 

Number  and  place   me  'mong  Thy  own. 
Beneath  the  fhelter  of  Thy  Throne, 
Until  Thy  wrath  be  overblown! 

When  that  the  almighty  word  fhall  leap 
From  out  Thy  Throne,  Thy  foes  to  sweep, 
My  soul  in  perfecSl  safety  keep  ! 

In  proftrate  worfhip,  I  implore. 
With  heart  all  penitent  and  sore : 
Then  care  for  me  when  life  is  o'er ! 


52 


DIES    IR^. 


Ah  !  on  that  day  of  grief  and  dread, 

And  resurre6lion  of  the  dead, 

Of  trial  and  of  juft  award, 

In  wrath  remember  mercy,  Lord  ! 


XIII, 

HAT  day,  that  awful  day,  the  laft, 
Result  and  sum  of  all  the  Paft, 
Great  neceflary  day  of  doom. 
When  wrecking    fires  fhall    all   con- 
sume ! 


What  dreadful  fhrieks  the  air  fhall  rend, 
When  all  fhall  see  the  Judge  descend. 
And  hear  th'  Archangel's  echoing  fhout 
From  heavenly  spaces  ringing  out  ! 

The  Trump  of  God  with  quickening  breath 
Shall  pierce  the  filent  realms  of  Death, 
And  sound  the  summons  in  each  ear : 
"  Arise  !   thy  Maker  calls  !   Appear  !  " 

From  eaft  to  wefl,  from  south  to  north. 
The  earth  fhall  travail  and  bring  forth  ; 


54  DIES    IRJE. 

As  desert's  sands  and  ocean's  waves 
Shall  be  the  sum  of  empty  graves. 

Th'  unchanging  Reco/J  of  the  Paft 
Shall  then  be  read  from  firfl:  to  laft  ; 
And  out  of  things  therein  contained. 
Shall  all  be  judged  and  fates  ordained. 

No  lying  tongue,  that  truth  diilorts, 
Shall  witness  in  that  Court  of  Courts  , 
Each  secret  thing  fliall  be  revealed, 
And  every  righteous  sentence  sealed. 

Ah!  who  can   Itand  when   He  appears? 
Confront  the  guilt  of  finful  years  ? 
What   hope   for   me,   a  wretch   depraved, 
When  scarce  the  righteous  man   is  saved  ? 

Dread  Monarch  of  the   Earth  and   Heaven? 
For  that  salvation's  great   'tis  given  ; 
And   fince  the  boon   is  wholly   free, 
()  Fount  of  Pity,  save  Thou  me  ! 


DIES    IRJE.  ,55 

Remember,  Jefus,  how   my  case 
Once  moved  Thy  pity  and  Thy  grace, 
And  brought  Thee  down  on  earth  to  flay : 
O,  lose  me  not,  then,  on  that  day! 

I  seek  Thee,  who  didft  seek  me  firft. 
Weary  and  hungry  and  athirft  ; 
Didft  pay   my  ransom  on  the  tree  : 
Let  not  such  travail  fruftrate  be  ! 

Juft  Judge  of  vengeance  in  the  end, 
Now  in  the  accepted  time  befriend ! 
My  fins,  O,  gracioufly  remit. 
Ere  Thou  judicially  fhalt  fit! 

Low  at  Thy  feet  I  groaning  lie  ; 
With  bluftiing  cheek,  and  weeping  eye. 
And  ftammering  lips,  I   urge  the  prayer : 
O  spare  me,  God  of  Mercy,  spare  ! 

When  Mary  Thy  forgiveness  sought, 
Wept,  but  articulated  nought, 


56  DIES    IRJE. 

Thou  didft  forgive  ;  didfl:  hear  the  brief 
Petition  of  the  dying  Thief. 

On  grace  thus  great  my  hope  is  built 
That  Thou  wilt  cancel,   too,   my  guilt ; 
That,  though  my  prayers  are   worthless  breath, 
Thou  wilt  deliver  me  from  death. 

When  Thy  dividing  rod  of  might 
Appointeth   ftations  oppofite, 
Among  Thy  ftieep  grant  me  to  ftand. 
Far  from  the  goats,  at  Thy  right  hand ! 

And  when  despair  fhall  seize  each  heart 
That  hears  the  dreadful  sound,  "Depart!" 
Be  mine,  the  heavenly  lot  of  some. 
To  hea-r  that  word  of  welcome,  "  Come  !  ** 

I  come  to  Thee  with  trembling  truft, 
And  lay  my  forehead  in  the  duft  ; 
In  my  laft  hour  do  Thou  befriend. 
And  glorify  Thee  in  my  end ! 


APPENDIX.— SEQUENCE. 


i,v^v  STATEMENT  of  the  order  observed 
Q  in  the  celebration  of  Mass  will  beft  ex- 
plain the  nature  and  import  of  this  term, 
^^-^i  in  its  application  by  the  Romifh  Church 
to  a  large  body  of  hymns, — Daniel,  in  the  5th  vol- 
ume of  his  learned  and  laborious  work,  "  Thesaurus 
Hymnologicus,"  citing  no  less  than  eight  hundred, 
the  laft  one  given  being  a  new  Sequence,  composed 
in  honor  of  the  Virgin  in  1855,  "  Sequentia  de  Beata 
Maria  Virgine  fine  Labe  Concepta,  Virgo  Virginum 
Praeclara." 

The  dispofition  of  parts  in  the  Mass  is  as  follows, 
viz.  :  I.  1'he  Introit,  which  is  the  part  sung  or 
chanted  when  the  prieft  enters  within  the  rails  of  the 
altar.  2.  The  Collect,  or  Prayer.  3.  Reading 
OF  THE  Epistle,  being,  in  the  Mass  for  the  Dead, 
I  Cor.  XV.  51-57,  or  Rev.  xiv.  13.  4.  The  Grad- 
JAL,  so  called  from  its  having  been  sung  or  chanted 


58  SEQUENCE. 

formerly  from  the  fleps  [gradus)  of  the  altar,  clofing 
with  the  Alleluia.  5.  The  Tract,  which  is 
omitted  when  the  Alleluia  is  sung;  otherwise  it  is 
sung  in  the  interval  to  prepare  for  the  following. 
The  primary  meaning  of  the  word  (from  traho^  to 
protract  or  draw  out)  is  adapted  to  suggeft  either  the 
use  here  indicated,  i.  e.  to  fill  up  time,  or  else  to  ex- 
press the  flow,  mournful  movement  which  chara£ler- 
izes  the  chant.  6.  The  Sequence,  being,  in  the 
Mass  for  the  Dead,  the  Dies  Ir^.  7.  Reading 
OF  THE  Gospel,  being,  in  the  Mass  for  the  Dead, 
John  V.  25-29.  8.  The  Offertory,  which  is  a 
fhort  sentence  that  varies.  9.  The  Secret,  a  brief 
prayer  recited  by  the  prieft  in  a  very  low  tone  of 
voice.  10.  Communion,  or  the  application  of  the 
Mass.      II.   Post-Communion. 

The  Sequence,  it  will  be  seen,  occupies  a  pofition 
exactly  midway,  being  juft  after  the  Gradual  and 
Tract,  and  immediately  before  the  Gospel.  The 
Reading  of  the  Gospel  happening  to  be  introduced  by 
the  words,  "  Sequentia  San6li  Evangelii  secundum 
,"  (The  Continuation  of  the  Holy  Gospel  ac- 
cording to ,)  some  have  supposed  that  the  term 

Sequentia  or  Sequence  was  derived  from  this  source. 
Michael   Prastorius  was   of  this  opinion.       But   the 


SEQ^IKNCE.  5^ 

mod  approved  authorities  give  the  following  explana- 
tion oi  its  origin. 

From  an  early  period,  it  was  the  cuftom  of  the 
Latin  Church  to  fing  the  Gradual  with  the  Alleluia 
between  the  Epiftle  and  the  Gospel  ;  the  Gradual 
being  completed,  the  Alleluia  followed  ;  and  in  order 
to  give  to  the  officiating  prieft  or  deacon  sufficient 
time  to  prepare  and  ascend  the  ambon  or  pulpit,  the 
choir  repeated  and  continued  the  laft  syllable  A 
through  a  series  of  notes.  This  neuma^  as  it  was 
called,  or  mufical  prolongation  of  a  letter,  was  named 
Sequentia,  because  it  was  sequent  to  and  governed 
by  the  melody  and  rhythm  of  the  Alleluia.  At  a 
later  period,  this  paflage  of  notes  sung  without  text, 
conftituting  the  original  form  of  the  Sequence,  came 
to  have  words  set  thereto,  thereby  preparing  the 
way  for  other  changes  ;  and  forasmuch  as  the  firft 
eflays  of  this  kind  were  unmetrical  in  their  ftruilure, 
the  term  Prosa  or  Prose  was  applied  by  way  of  dis- 
tinction to  this  species  of  compofition  ;  of  which 
Notker,  surnamed  the  Stammerer,  (Balbulus,)  who 
died  in  912,  canonized  in  1 5 14,  is  confidered  to  have 
been  the  originator.  Gradually,  rhyme,  so  much 
and  so  fondly  cultivated  in  the  Middle  Ages,  found 
"ts  way  into  these  also  ;  and  from  the  twelfth  century 


60  SEqiJENCE. 

onward,  Sequences  became  proper  metrical  songs, 
differing  from  other  hymns  only  in  this,  that  the 
ftrophes,  inftead  of  four,  were  made  to  consist  of 
three  or  fix  lines,  according  as  they  were  double 
or  fmgle.  To  this  rule,  however,  there  were  some 
exceptions.  The  name  of  Prose,  although  not 
ftrictly  proper  in  its  application  to  metrical  composi- 
tions, continued  to  be  used,  nevertheless,  as  a  general 
title  for  all  Sequences  ;  and  so  we  find  the  Dies  Ira? 
bearing  the  appellation  in  the  Mass-books  of  "  Prosa 
Ecclefiaftica  de  Mortuis." 

Defigned  in  the  firft  inftance,  as  alleged  by  Notlcer, 
merely  to  aflift  the  memory  in  retaining  the  long- 
drawn,  caudal  melodies  of  the  Alleluia,  the  defirable- 
ness  of  having  other  songs  for  the  Mass  than  the 
Gloria  in  Excelfis,  Kyrie,  Credo,  &c.,  songs  eafiei 
in  ftrudture,  which  could  be  joined  in,  not  only  by 
the  choir,  but  also  by  the  congregation, — perhaps, 
too,  the  wifli  to  introduce  greater  variety  into  the 
service,  and  bring  the  fmging  into  closer  relation 
with  the  objects  of  particular  Church  fellivals,  which 
could  be  done  more  readily  by  these  Sequences, — 
caused  them  to  be  multiplied  greatly. 

But  the  Roman  ritual  finally  limited  them  to  four, 
viz.  :   VictimcE  paschali  laudis^  S,  for  Eafler  Sunday  j 


SEQUENCE. 


6i 


Ven'i  Sancte  Spiritus^  S.  for  Whitsunday  and  St, 
Peter's  Dav  \  Lauda  Sion  Sahatorem^  S.  for  Solem- 
nity of  Corpus  Chrifti  ;  and  Z)/>^  /r^,  S.  Mass  for 
the  Dead  and  All-Souls'  Day  ;  nevertheless,  other 
Mass-books  of  diocefes  and  monaftic  orders  con- 
tain more  Sequences.  The  Sequence  firft  named 
has  a  different  metre  from  the  other  three,  being  one 
of  those  rare  cafes  in  which  the  chara61:eriflic  triplet 
form  of  the  flrophe  is  departed  from.  The  second 
named,  Veni  Sanile  Spiritus,  which  Trench  speaks 
of  as  "  the  loveliefl,  though  not  the  grandeft,  of 
all  the  hymns  in  the  whole  circle  of  Latin  sacred 
poetry,"  contains  ten  ftrophes  of  three  lines  each. 
Its  author  was  Robert  the  Second,  son  of  Hugh 
Capet,  who  ascended  the  throne  of  France  in  the 
year  997,  and  died  in  103 1.  Like  Henry  the  Sixth 
of  England,  of  a  meek  and  gentle  dispofition,  a  lov- 
er of  peace,  he  was  ill  suited  to  contend  with  the 
turbulent  and  reftless  spirits  who  surrounded  him, 
whose  delight  was  in  war.  The  next  Sequence  has 
twelve  double  flrophes  of  fix  lines  each.  It  is  com- 
monly attributed  to  the  so-called  Angelical  Doctor, 
St.  Thomas  Aquinas.  The  laft,  which  is  the  Dies 
Ir^,  grand  and  unapproachable  in  its  excellence, 
comprises  seventeen  ftrophes  of  three  lines  each,  and 
one  of  four  lines. 


ORIGIN   OF   LATIN    RHYME. 


HILE  it  is  true  that  the  Latin  hymns 
written  during  the  firft  centuries  of  the 
Chriftian  era  are,  speaking  generally, 
chara£lerized  by  the  absence  of  rhyme, 
and  that  the  prevalence  of  rhyme  belongs  peculiarly 
and  almoft  exclufively  to  the  period  intervening 
between  the  pontificate  of  Gregory  the  Great  and 
that  of  Leo  X.,  it  would  be  a  great  error  to  suppose 
that  rhyme  was  then  firft  introduced,  or  that  it  was 
borrowed,  as  some  have  surmised,  from  the  Romance 
or  Gothic  languages.  If  we  look  for  its  origin,  we 
(hall  find  preludings  and  anticipations  of  it  in  every 
one  of  the  Latin  poets,  not  excepting  the  oldeft. 
Examples  of  both  middle  and  final  rhyme  occur  in 
all.    In  the  Introdudlion  to  Trench's  "  Sacred  Latin 


ORIGIN    OF    LATIN    RHYME.  63 

Poetry,"  where  this  whole  subject  is  ably  discuiled, 
we  have  a  collation  of  many  of  these.  Witness  the 
following.  An  ancient  author,  quoted  by  Cicero, 
(Tusc.  1.  I.  c.  28,)  pofTibly  Ennius,  has  this  • — 

Coelum  nitescere,  arbores  frondescere, 
Vites  laetific^  pampinis  pubescere, 
Rami  baccarum  ubertate  incurvescere. 

Of  middle  rhyme,  we  have  in  Ennius  :  — 
Non  cauponantes  bellum,  sed  belligerantes ; 

In  Virgil :  — 

Limus  ut  hie  durescit,  et  hsec  ut  cera  liquescit ; 

In  Ovid:  — 

Quern  mare  carpentem,  substrictaque  crura  gerentem  ; 

Where  also  is  found  this  example  of  leonine  pen- 
tameter :  — 

Qusrebant  flavos  per  nemus  omne  favos. 

Of  final  rhyme,  we  have,  in  Virgil  :  — 

Nee  non  Tarquinium  ejeetum  Porsenna  jubebat 
Aeeipere,  ingentique  urbem  obsidione  premebat  v 

Ailso  : 

Omnis  campis  difFugit  arator, 
Oinnis  et  agricola,  et  tuta  latet  aree  viator : 


54  ORIGIN    OF    LATIN    RHYME. 

In  Horace  :  — 

Non  satis  est  pulcra  esse  poemata ;  dulcia  santo, 
Et  quocumque  volant,  animum  auditoris  agunto ; 

Also  .    — 

Multa  recedentes  adimunt.     Ne  forte  seniles 
Mandentur  juveni  partes,  pueroque  viriles. 

Lucan  abounds  in  examples.  Even  the  Latin  prose- 
writers,  it  would  seem,  did  not  disdain  now  and  then 
to  play  at  rhyme,  by  putting  rhyming  words  in  jux- 
tapofition.  Cicero  has  Jiorem  et  colorem  ;  Pliny,  ve- 
ram  et  mera?n  ;  Plautus,  melle  et  felle  ;  and  so  others. 
Rhyme  being  thus  shown  to  have  been  a  thing 
known  to  the  language  from  the  earlieft  times,  it 
may  be  thought  surprifing,  that  what  at  a  later 
period  was  so  highly  prized,  and  so  fondly  and  so 
laboriously  cultivated,  should  have  been,  during  so 
many  centuries,  to  such  an  extent,  negle6ted  ;  having 
been  apparently  fhunned  rather  than  sought  for,  par- 
ticularly by  those  great  mafters  of  poetry  who  illus- 
trated the  Auguftan  age.  The  fadt  is,  that  the 
ancient  claffic  metres,  though  found  occafionally,  as 
we   have   seen,  toying  with   rhyme,   never  seriously 


ORIGIN    OF    LATIN    RHYME. 


65 


afFecSled  it ;  and  it  was  not  until  the  fhackles  imposed 
by  these  had  been  wholly  fhaken  off,  and  a  fimpler 
and  more  natural  verfification,  based  upon  accent 
inftead  of  quantity,  had  succeeded  in  eftablifhing  its 
juft  claims  over  the  Greek  intruder,  that  the  regime 
of  rhyme  fairly  commenced. 


®itprian  (![Itanf. 


From  the  "  Graduale  Romanum." 


^g^^^iii^^i 


^^m^^m 


T' 

1.  Di  -  63       i  -  rae,  di  -  es        il  -  la      Sol  -  vet    s!B-clum 

2.  Quantus    tre-mor  est    fu   -   tu-rus,  Quan-do    Ju-dex 

7.  Quod  sum  mi  -  ser  tunc  die  -  tu  -  rus,  Quem  pa  -  tro-nam 

8.  Hex  tre-men-dse  ma  •  jes  -   ta  -  tis,     Qui    sal  -  vau-do3 

13.  Qui   Ma  -  ri  -  am  ab  -  sol  -  vis  -  ti,       Et     la  -  tro-nem 

14.  Piffi-ces    me-se  non   sunt   dig-nae,   Sed   tu     bo-nus 


^^^^g^P^^ 


^^f^f^^^ 


in    ta  -  vil  - 'S..  Tes  -  te    Da- vid  cum  Si  -  byl-la.      3.  Tu-ba   mi-rum 
est  ven- tu-rus,  Cuncta  stric-te    dis- cus- su-rus.    4.  Mors  stu-pe-bit 
ro- ga- tu-rus.   Cum  vix  Justus  sit    se-cu-rus?    9.  Re -cor- da- re 
sal-vas  gra-tis,  Sal-va  rae,  f on s  pi  -  e-ta-tis!    10.  Quaerens  me  se  • 
ex- au- dis- ti.  Mi  -  hi   quo-que  spem  de-dis-ti.      15.  In  -  ter    o  -  ves 
fac    be-nig-ne,  Ne   per-en-ni    cre-mer  ig-ne.    16.  Con-fu  -  ta- tis 


spargens  so-num  Per  se-pul-chra  re  -  gi  -  o  -  num,  Co- get  om-nes 
et  na  -  tu  -  ra.  Cum  re  -  sur-get  ore  -  a  -  tu  -  ra,  Ju-di-can-ti 
Je  -  su     pi  -   e.  Quod  sum  cau-sa    tu  -  eb     vi  -  se,     Ne   me  per-das 

dis  -  ti  las  -  sus,  He  -  de  -  mis-  ti  cru-cem  pas-sus  :  Tan-tu5  la  -  bor 
lo-cum  pras-sta.  Kt  ab  h '-dis  me  se-questra,  Sit»  ti'  e"*  'n 
ma- le  -  die  •  tis,   Flammis  a  -  cri  -  bus  ad -die- tis,    '^   -*»    •,- dmta 


an  -  te  thronum.  5.  Li  -  ber  scriptus  pro-fe  -  re  -  tur,  In  quo  totiun 
re-spon-su  -  ra.  6.  Ju  -  dex  er  -  go  cum  se-  <ie  -  bit,  Qui.lquid  latet 
jl  -  la  di-e!  ll.Ju8-te  Ju -dex  m  -  ti  -  o  -  nis,  Donum  fac  re - 
not  sit  cassus!  12.  In  ge  -  mis-co  tanquam  re  -  us,  Cul-pa  ru-bet 
be'- ne  ^dfc-tt  i  '''•  ^  '  ""^     8"P-Plex  et    ac  -  cli  -  nis,  Cor  contritum 


con-ti    -    ne-tur,  Uu-de  mundus  ju- di  -    ce-tur 
ap  -  pa  -    re  -  bit,  Nil  in  -  ul  -  turn  re  -  ma-  -  ne-  bit. 

"    vnVf  nl  '    °-"'^  ^n-te    diem    ra-ti    -    o  -  nis.  18.  La-chry-mo-sa 
vul-tus     me-us:  Suppli-can-ti     par-ce,      De  -  us ! 
qua-  si       ci  -  nis :  Ge-  re  cu-ram  me  -  i        fi  -  nis  ! 


'Jt  A 


fe^^ 


di-es     il  -   la   Qua  re  -  sur-get     ex    fa-vil-la,    Ju-di-can-d 


ho  -   mo      re  -  us :    Hu  -  ic       er  -  go      par  -  ce,     De  -  ug ' 


DIES   IR^   PARODIED. 

JLLIAM  HENRY  NASSAU,  Prince 
of  Orange  —  son  of  William  II.,  Prince 
of  Orange,  by  the  Princefs  Mary,  eldeft 
daughter  of  Charles  I.  —  was  called  to 
the  throne  of  England  in  1689,  '"  conjun6lion  with 
his  wife,  Mary,  eldeft  daughter  of  the  deposed  James 
II.,  James  having  fled  to  France,  and  with  his  family 
become  penfioners  of  Louis  XIV.,  who  in  1692  made 
a  vigorous  attempt  to  efFe6l  his  reftoration.  A  treaty 
formed  in  1699,  providing  for  the  settlement  of  the 
succeffion  to  the  throne  of  the  Spanifh  empire  on 
the  extin6lion  of  the  eldeft  branch  of  the  house  of 
Auftria,  was  violated  by  Louis  XIV.  in  accepting 
the  Spanifti  throne  for  his  grandson,  the  Duke  of 
Anjou,  who  thus  became  Philip  V.  of  Spain.  In 
■addition  to  this,  on  the  death  of  James  II.  he  gave  a 


70  DIES    IR^    PARODIED. 

further  affront  by  acknowledging  his  son  James  king 
of  Great  Britain  and  Ireland. 

From  the  union  of  the  French  and  Spanifh  crowns 
in  the  Bourbon  family,  and  the  anticipated  reftora- 
tion  of  James  II.  and  his  son,  the  Pretender,  to  the 
throne  of  England,  a  certain  Catholic  prieft,  it  would 
seem,  thought  himself  warranted  in  predicting  the 
speedy  downfall  of  Proteftant  Holland,  the  conver- 
fion  of  England,  and  the  overthrow  of  Lutheranism 
and  Calvinism  throughout  Europe  —  not  scrupling 
with  profane  audacity  to  travefty  the  celebrated  Latin 
Judgment  Hymn,  the  Dies  Irae,  in  the  ventilation 
of  his  malignant  vaticinations.  The  following 
*'  Nenia  Batavorum  "  or  Dutchman's  Ditty,  is  fur- 
niftied  by  the  great  scholar  Leibnitz,  written,  it  is 
said,  in  the  year  1700. 

The  fkill  and  dexterity  fhown  by  the  parodift  in 
his  manipulation  of  the  original  text  are  undeniable  ; 
but  whatever  may  be  thought  of  him  as  a  poet,  sub- 
sequent events  have  made  it  certain  that  he  was  no 
prophet  ;  while  the  licentious  irreverence  amounting 
to  blasphemy,  which  leads  him  to  put  the  "  Grand 
Monarque "   in    the   place   of  Chrift   the   Judge,  is 


DIES    IRJE    PARODIED.  71 

quite  {hocking  to  all  right  feeling  and  good  talte. 
Still,  as  one  of  the  Curiofities  of  Literature,  it  pos- 
sefTes  much  intereft.  It  is  for  this  reason,  and  be- 
cause it  poffefles  a  hiftorical  value,  that  we  give  it 
here. 

Dies  ira;,  dies  ilia, 

Solvet  foedus*  in  favilla. 

Teste  Tago,  Scaldi,  Scyila. 

That  day  of  wrath,  how  it  (hail  burn 
And  fliall  the  league  to  afhes  turn. 
From  Tagus,  Scheldt,  and  Scyila  learn. 

Quantus  tremor  eft  futurus 

Dum  Phillippus  eft  venturus 

Has  Paludes  aggrefTurus  ! 

What  trembling  multitudes  afraid, 
^^'hile  Philip  fhall  the  land  invade, 
And  through  the  marfhes  march  and  wade  ! 

Tuba  mirum  spargens  sonum 

Per  unita  regionum 

Coger  omnes  ante  thronum. 

*  The  league  between  England  and  Holland. 


2  DIES    IRJE    PARODIED. 

The  blare  ot   trumpet  making  known 
Through  the  united  countries  blown 
Shall  bring  them  all  before  the  throne. 

Mars  ftupebit  et  Bellona 

Dum  rex  dicit  :   Redde  bona 

Poft  hoc  vives  sub  corona. 

Mars  and  Bellona  dumb  (hall  ftand 
What  time  the  king  fhall  give  command 
"Yield  to  my  sceptre,  self  and  land." 

Miles  scriptus  adducetur, 

Cum  quo  Gallus  unietur 

Unde  leo  subjugetur. 

His  levied  hofls  he  forth  {hall  call, 
And  joined  to  these  fhall  be  the  Gaul 
Therewith  the  lion  to  enthrall. 

Hie  Rex  ergo  cum  sedebit, 

Vera  fides  refulgebit, 

Nil  Calvino  remanebit. 

Then  when  this  King  (hall  fit  and  reign, 
Lo  !   the  true  faith  fliall  fhine  again, 
And  nought  to  Calvin  fhall  remain. 


DIES    IRJE    PARODIED. 

Quid  sum  miser  tunc  cli6turus, 

Quem  patronum  rogaturus, 

Cum  nee  Anglus  fit  securusi' 

What  (hall  I  say  forlorn  and  poor, 
What  Patron  sue  then  or  procure, 
When  not  the  Englishman  's  secure  ? 

Rex  invi6ta2  pietatis  I 
Depreffifti  noflros*  satis, 
Si  cadendum,  cedo  fatis. 

King  of  unconquered  piety  ! 

Vexed  haft  thou  ours  sufficiently  j 

FaHing,  I  yield  to  deftiny. 

Pofthoc  colam  Romam,  pie, 

Efle  nolo  causa  viae, 

Ne  me  perdas  ilia  die. 

Henceforth  at  Rome  my  vows  I  'II  pay, 
Will  not  be  cause  more  of  the  way, 
Left  thou  deftroy  me  on  that  day. 

*  Huguenots  of  France. 


73 


74  DIES    IRJE    PARODIED. 

Pro  Leone  multa  paffus, 

Ut  hie  ftaret*  eras  laflus 

Tantus  labor  non  fit  caffus. 

Thou  for  the  Lion  much  haft  borne, 
That  he  might  ftand  haft  been  much  worn, 
Let  not  such  toil  of  fruit  be  fhorn  ! 

Magne  Rector  liliorum,t 

Amor,  timor  populorum, 

Parce  terris  Batavorum. 

Great  Ruler  of  the  lilies,  hear  ! 

The  people's  love,  the  people's  fear. 

Spare  thou  the  Dutchmen's  lands  and  gear! 

Ingemisco  tanquam  reus, 

Culpa  rubet  vultus  meus  — 

Cadam,  nifi  juvat  Deus. 

Like  one  condemned,  I  make  my  plaint. 
Remembered  faults  my  visage  paint  — 
Uniefs  God  aid,  I  '11  fall  and  faint. 

*  Formerly  when  France  aided  the  Dutch. 
+  In  allufion  to  fleur-de-lis,  or  the  lilies  quartered  in  the  royal 
arms  of  France. 


DIES    IRiE    PARODIED.  75 

Dum  Iberim  domuifti, 

Lufitaiium  erexifti, 

Mihi  quoque  spem  dedifti. 

For  that  while  thou  haft  conquered  Spain, 

Haft  Portugal  upraised  again, 

I  too  some  hope  may  entertain. 


Preces  meae  non  sunt  dignae, 

Sed,  Rex  Magne,  fac  benigne, 

Ne  bomborum  cremur  igne. 

My  worthlefs  prayers  no  favor  earn. 
But  be.  Great  King,  benign,  not  ftern, 
Left  that  by  blazing  bombs  I  burn  ! 


Inter  tuos  locum  praefta, 

Ut  Romana  colam  fefta, 

Et  ut  tua  canam  gefta. 

Among  thy  own  me  reinftate. 
That  I  Rome's  feafts  may  venerate, 
And  thy  achievements  celebrate  ! 


76  DIES    IRJE    PARODIED. 

Confutatis  calvi  brutis,* 

Patre,t  nato,  reftitutis 

Redde  mihi  spem  salutis. 

When  quelled  the  Bald-head's  ftupid  horde, 
The  father  and  the  son  reftored, 
Then  hope  of  safety  me  afford  ! 


Oro  supplex  et  acclinis 

Calvinismus  fiat  cinis, 

Lachrymarum  ut  fit  finis. 

Do  thou,  I  humbly  supplicate, 

All  Calvinism  extirpate, 

That  so  our  tears  may  terminate. 

*  William,  Prince  of  Orange,  who  was  bald. 
+  James  II.  and  his  son,  the  Pretender 


■■  6tanat     Mater     Dolorosa 
Juxta     Crucem     Lachry  mosa. ' 

(PAUL    DELAROCHE.) 


Mni  mntn 


(DOLOROSA) 
HYMN    OF    7'HE    SORROWS    OF    MARY 


TRANSLATED    BY 


\y 


ABRAHAM  COLES,  M.  D.,  Ph.  D. 


THIRD    EDITION. 


N  E  W    YORK 

D.    APPLETON    AND    COMPANY 

1891 


PROEM. 


HE  celebrated  Paffion  Hymn,  the  Stabat 
Mater,  is  so  conftantly  aflbciated  with 
the  Dies  Irse  that  to  mention  the  one  is 
to  suggeft  the  other.  It  has  been  thought, 
therefore,  that  a  Tranflation  of  this  Prosa  liicewise, 
made  as  literal  as  poffible,  might  be  acceptable  to 
some  readers,  and  form  a  not  unsuitable  appendage 
to  the  former  volume,  by  supplying  a  ready  means 
of  comparison  between  two  productions,  about  which, 
down  to  this  day  even,  there  has  been  a  difference 
of  opinion  as  to  which  should  be  awarded  the  palm 
of  superiority. 

It  is  hardly  necelTary  to  say  that  reference  is  here 
had  to  their  lyrical  merits  only  ;  for  while  the  devout 
Proteftant  finds  nothing  in  the  Judgment  Hymn  to 
jar  with  his  own  religious  convi6lions,  he  is  neces- 
sarily offended  in  the  Stabat  Mater  by  a  devotion  he 


4  PROEM. 

believes  misdire6led  and  idolatrous,  in  the  adoration 
which  it  pays  to  the  Virgin.  He  is  aware,  however, 
that  in  the  formation  of  a  critical  eftiniate  of  the  two, 
theological  confiderations  have  no  right  to  enter  ; 
and  certainly  the  moft  zealous  Romanill  will  be  con- 
ftrained  to  admit  that  there  has  been  no  backward- 
ness evinced  on  the  part  of  those  who  are  not  of  his 
faith  to  do  ample  juftice  to  the  lyric  excellence  of 
the  latter.  Some  have  gone  so  far  as  to  place  it 
above  its  great  rival,  but  this  is  not  the  general  judg- 
ment, nor  is  it  ours. 

Beautiful  it  undoubtedly  is,  and  powerful  in  its 
pathos  beyond  almoft  anything  that  has  ever  been 
written  ;  but  it  is  nevertheless  true  (and  the  same 
indeed  may  be  said  of  the  Dies  Irae  likewise)  that  it 
owes  much  of  its  power  to  make  us  admire  and  weep 
to  the  transcendent  nature  of  its  theme.  Beyond 
controversy,  the  moft  affe£ling  spectacle  ever  ex- 
hibited to  the  gaze  of  the  universe,  was  that  wit- 
nefTed  on  Mount  Calvary.  That  amazing  scene  — 
Jesus  on  the  cross  and  his  mother  ftanding  near  — 
had  been,  of  course,  a  familiar  obje61:  of  contempla- 
tion  to    all  Chriftian    hearts,    centuries    before    the 


PROEM.  5 

author  wrote.  His  chief  bufmess  therefore  would 
be  not  to  originate  but  reproduce. 

Evidently  the  key-note  of  the  Hymn  is  ftruck  in 
the  two  firft  lines,  of  which  the  language  is  wholly 
borrowed  (bating  the  epithets,  which  are  not  in  the 
manner  of  the  sacred  writers)  from  the  Evangeliit 
John,  as  found  in  the  Latin  verfion  :  Stabat  juxta 
crucem  mater  ejus.  This  brief  but  wonderfully  sug- 
geftive  sentence,  furnifhes  an  outline  which  the 
pooreft  imagination  would  be  capable  of  filling  up 
in  a  degree.  Every  mother's  heart,  for  example, 
would  suffice  to  tell  what  an  abyss  of  tears  muft 
have  gone  to  make  up  that  hiatus  in  the  narrative, 
which  leaves  solely  to  inference  what  were  the  feel- 
ings of  her,  who,  without  comprehending  the  mys- 
tery, flood  there  gazing  upward  on  the  agonized  face 
and  writhing  form  of  her  divine  Son,  through  the 
long  hours  of  mortal  anguifh  during  which  he  hung 
upon  the  cross. 

But  however  spontaneous  and  natural,  —  however 
true,  beautiful,  and  even  poetic,  —  and  however  vivid 
the  emotions  of  sorrow,  terror,  and  pity,  arifing  out 
of    these    inftinctive    and    uninltrudled    perceptions, 


PROEM. 


there  is  a  vagueness  as  well  as  vividness,  and  a  re- 
sulting incapacity  to  express  clearly  and  adequately 
what  is  so  genuinely  felt.  The  ability  to  do  this  is 
rare,  and  rarer  ftill  the  poetic  faculty,  whereby  the 
unwritten  melody  of  the  heart  is  accommodated  to 
all  lips  and  sung  in  all  ears.  To  say  that  the  author 
of  the  Stabat  Mater  pofTefled  this  power  and  achieved 
this  triumph  is  to  beftow  upon  him  and  his  work 
the  higheft  praise. 

Rude  though  he  be,  and  a  ftammerer  of  barbarous 
Latin,  he  gives  undeniable  evidence  of  being  a  true 
poet.  He  has  clairvoyance  and  second  fight.  The 
diftant  and  the  paft  are  made  to  him  a  virtual  here 
and  now.  He  is  in  Italy,  but  he  is  also  in  Judea. 
He  lives  in  the  thirteenth  century,  but  is  an  eye- 
witness of  the  crucifixion  in  the  beginning  of  the 
firft.  He  has  immediate  vifion.  All  that  is  tran- 
spiring on  Golgotha  is  diftinilly  pi6lured  on  the  retina 
of  his  mind's  eye.  And  by  the  light  which  is  in 
him  he  photographs  what  he  sees  for  the  use  of 
others.  His  ecce !  is  no  pointless  indication,  but  an 
actual  fliowing.  The  wail  he  utters  is  a  veritable 
echo  of  that  which  goes  up  from  the  cross.  Every- 
thing; is  true  to  nature  and  to  life. 


PROEM.  7 

The  Hymn  confifts  of  two  parts.  The  firft  four 
verses  give  a  description  of  the  fituation  and  charac- 
ter of  the  a6lors  in  the  drama,  as  pi6lorially  powerful 
as  scripturally  juft.  From  this  fruitful  source  have 
come  all  the  Mater  Dolorosas  of  the  Painters.  It 
is  alTumed,  in  accordance  with  the  belief  of  the 
Fathers,  that  the  prophecy  of  Simeon  :  "  A  sword 
(hall  pass  through  thy  own  soul  also,"  had  then  its 
proper  fulfilment.  In  the  remaining  fix  verses,  the 
writer  henceforth  diflatisfied  with  the  role  of  a  spec- 
tator, seeks  to  identify  himself  with  the  tragic  scene  ; 
prays  that  he  may  be  permitted  to  bear  a  part,  not 
in  the  way  of  sympathy  merely,  but  of  suffering  also, 
and  this  too,  the  same  both  in  kind  and  degree  ;  that, 
enduring  ftripe  for  flripe,  wound  for  wound,  there 
might  be  to  him  in  every  flage  of  the  Redeemer's 
paffion,  groan  answering  to  groan.  • 

It  is  now  that  the  Franciscan  appears  quite  as 
much  as  the  Chriftian.  Even  when,  as  in  the  8th 
verse,  he  quotes  St.  Paul  (who  speaks  of  "  bearing 
about  in  the  body  the  dying  of  the  Lord  Jesus"),  he 
is  evidently  thinking  of  St.  Francis.  He  would  fain 
have  repeated  the  miracle  of  the  '*  Stigmata"  in  his 


8  PROEM. 

own  person,  — have  an  a6lual  and  vifible  reproduc- 
tion of  the  print  of  the  nails  and  the  spear  in  his  own 
hands  and  feet  and  fide.  As  "  plagas  "  in  the  laft 
line  of  the  same  verse  is  used  not  unfrequently  in  the 
sense,  not  so  much  of  wounds  as  the  marks  and  ap- 
pearances left  by  wounds,  it  would  correspond  very 
exactly  with  the  ftigmata  named  in  the  legend,  and 
moft  likely,  in  the  author's  use  of  it,  it  was  intended 
as  a  synonym.  The  poffibility  of  such  a  literalness, 
however  incredible  to  us,  would  not  be  so  to  him. 

This  Hymn  is  full  of  the  implied  merit  of  suffering, 
—  its  meritoriousness  in  itself.  And  this  is  probably 
one  of  the  reasons  why  it  became  such  a  favorite 
with  the  Flagellants,  otherwise  called  Brethren  of 
the  Cross  (Crucifrates)  and  Cross-Bearers  (Cruciferi), 
penitents  who,  in  the  thirteenth,  fourteenth,  and 
fifteenth  centuries  went  about  in  proceflion  day  and 
night,  travelling  everywhere,  naked  to  the  waist, 
with  heads  covered  with  a  white  cap  or  hood,  whence 
they  received  likewise  the  appellation  of  Dealbatores, 
finging  penitential  psalms,  and  whipping  themselves 
until  the  blood  flowed.  By  their  means  it  was  that 
the  knowledge  of  this  Hymn  was  firft  carried  to 
almoft  every  country  in  Europe. 


PROEM. 


The  authorfhip  of  the  Stabat  Mater,  like  that  of 
the  Dies  Irze,  has  been  the  suhje6l  of  dispute.  It 
has  been  varioufly  ascribed  —  to  Pope  Innocent  III., 
but  backed  by  no  evidence  whatever  ;  to  one  of  the 
GregorieSj  (either  the  9th,  loth,  or  nth,  which,  is 
not  ftated,)  on  the  authority  of  the  old  Florentine 
hiftorian  Antoninus,  who  lived  in  the  fifteenth  cen- 
tury ;  to  John  XXII.,  on  the  faith  of  the  Genoese 
Chancellor  and  hifborian,  Georgius  Stella,  who  wrote 
a  few  years  earlier  than  the  lall  named,  dying  in 
1420.  The  text,  as  supplied  by  him,  the  oldeft 
perhaps  extant,  differs  but  little  from  that  of  the 
Miffale  Romanum,  except  that  it  contains  three  more 
verses.  Others  have  referred  its  paternity,  contrary 
to  all  probability,  to  St.  Bernard.  Dismiffing  all  these 
as  conje6lures  unsupported  by  proof,  it  is  now  gen- 
erally conceded,  that  evidence  both  external  and  in- 
ternal makes  it  wellnigh  certain  that  the  Hymn  was 
the  work  of  a  Franciscan  friar,  a  junior  contemporary 
as  well  as  brother  of  the  author  of  Dies  Irae,  named 
Jacobus  de  Benedi6lis,  commonly  called  Jacopone, 
that  is,  the  great  Jacob.  This  latter  name,  it  seems, 
ivas  originally  defigned  as  a   kind   of  nickname  ;   the 


10  PROEM. 

syllabic  suffix,  one^  meanmg  in  Italian  great,  having 
been  added  by  scoffing  contemporaries  by  way  of  de- 
jifion,  on  account  of  the  ftrangeness  of  his  appearance 
and  behavior.  Indeed,  if  we  may  credit  the  ftories 
told  by  Wadding,  the  Irifh  hiftorian  of  the  order, 
himself  one  of  the  number,  his  condu6l  at  times 
so  far  exceeded  the  bounds  of  ordinary  fanatical  ex- 
travagance, as  to  be  totally  irreconcilable  with  the 
pofleffion  of  right  reason.  Wadding  expreffly  says 
that  he  was  subject  to  fits  of  insanity,  leading  him  at 
one  time  to  enter  the  public  market-place  naked, 
with  a  saddle  on  his  back  and  a  bridle  in  his  mouth, 
going  on  all  fours  ;  and  at  another,  after  anointing 
himself  with  oil,  and  rolling  himself  '\\\  feathers  of 
various  colors,  to  make  his  appearance  suddenly,  in 
this  unseemly  and  hideous  guise,  in  the  midft  of  a 
gay  affembly  gathered  together  at  the  house  of  his 
brother  on  the  occafion  of  his  daughter's  marriage, — 
and  this  too,  in  disregard  of  previous  precautionary 
entreaties  of  friends,  who,  apprehenfive,  it  seems,  at 
the  time  they  invited  him  that  he  might  be  guilty  of 
some  crazy  manifeftation  or  other,  had  begged  him 
not  to  do  anything  to  difturb  the  wedding  feftivities, 
but  to  behave  as  an  ordinary  citizen. 


PROEM.  II 

The  {hocking  circumftances  under  which  he  loft 
a  pious  and  beloved  wife  (the  fall  of  a  scaffold  upon 
which  a  large  number  of  females  were  seated  wit- 
nefling  some  speilacle),  and  the  discovery  after  death 
that  fhe  wore  a  girdle  of  hair  around  her  naked  body 
as  a  means  of  mortification  to  the  flefh,  afFe6led  him, 
it  is  said,  to  such  a  degree,  that  he  immediately  re- 
solved to  abandon  the  world,  and  devote  the  remainder 
of  his  days  to  the  severeft  penances.  He  accordingly 
gave  up  all  his  civil  honors,  and  divided  his  eftate 
among  the  poor.  Uniting  himself  to  one  of  the 
exifting  orders,  he  now  went  abroad  as  a  monk, 
clothed  in  rags,  and  pra6liring  all  manner  of  ascetic 
severities  beyond  what  was  required  of  him  by  the 
rules  of  his  order. 

It  is  charitable  to  suppose  that  the  fhock  of  his 
domeftic  calamity,  while  it  awakened  his  religious 
senfibilities,  had  the  efFe6l  at  the  same  time  of  un- 
settling his  reason,  caufing  partial  insanity.  It  is  in 
no  wise  inconfiftent  with  this  suppofition,  that  he  was 
able  to  write  poems  of  such  excellence  as  the  Stabat 
Mater,  and  that  other  one  ascribed  to  him  by  Wad- 
ding :  "  Cur  mundus  militat  sub  vana  gloria,"  &c.. 


12  PROHM. 

Ciice  it  is  weil  Iciiown  that  mental  unsoundness  on 
some  one  point  is  not  neceffarily  incompatible  with  the 
normal  exercise  of  the  general  powers  of  the  mind. 
This  medical  fa6l  was  not  so  well  underftood  in  his 
time  as  now  ;  and  when  at  the  end  of  ten  years  he 
defired  to  be  received  by  the  Minorites,  and  thev 
hefitated  on  account  of  his  reputed  insanity,  their 
scruples  were  overcome  by  reading  his  work  *'  On 
Contempt  of  the  World,"  conceiving  that  it  was 
impoflible  that  an  insane  man  could  write  so  excellent 
a  book.  This  would  seem  to  have  been  a  prose  w^ork, 
written  probably  in  his  own  Italian  vernacular,  and 
therefore  not  to  be  confounded  with  the  Hymn  juft 
referred  to,  which  usually  bears  likewise  the  title 
of  "  De  Contemptu  Mundi." 

As  a  Minorite  he  was  not  willino-  to  become  a 
priefl:,  only  a  lay-brother.  Very  severe  againfl  him- 
self, he  was,  says  Wadding,  always  full  of  defire  to 
imitate  Christ  and  suffer  for  Him.  In  an  ecftasy  he 
imagined  at  times  that  he  faw  Him  with  his  bodily 
eyes,  and  believed  that  Jesus  often  conversed  with 
him,  —  calling  him  deareft  Jacob.  Very  frequently 
he  was  seen  fighing  ;  sometimes  weeping,  sometimes 


PROEM.  13 

Tinging,  sometimes  embracing  trees,  and  exclaiming, 
"  O  sweet  Jesus !  O  gracious  Jesus  !  O  beloved 
Jesus  '  "  Once  when  weeping  loudly,  on  being  afked 
the  cause,  he  answered  :  "  Because  Love  is  not 
loved."  This  fine  saying  is  not  unworthy  of  the 
author  of  the   Stabat  Mater. 

For  determining  the  genuineness  of  love  he  gives 
these  searching  tefts.  ^'  I  cannot  know  pofitively  that 
I  love,  yet  I  have  some  good  marks  of  it.  Among 
others,  it  is  a  fign  of  love  to  God  when  I  afk  the 
Lord  for  something  and  He  does  it  not,  and  I  love 
Him  notwithftandina  more  than  before.     If  He  does 

o 

contrary  to  that  which  I  seek  for  in  my  prayer,  and 
I  love  him  twofold  more  than  before,  it  is  a  fign  of 
right  love.  Of  love  to  my  neighbor  I  have  this  fign  : 
namely,  that  when  he  injures  me  I  love  him  not  less 
than  before.  Did  I  love  him  less,  it  would  prove 
that  I  had  loved  not  him  previoufly  but  myself."  In 
this  acute  appreciation  of  the  figns  and  symptoms  of 
true  love,  he  gives  evidence  certainly  of  no  want  of 
fkill  in  spiritual  diagnosis  ;  and  were  he  equally  sound 
and  discriminating  in  all  parts  of  Chriflian  doctrine 
and   experience   as    in   this,  it   might  have  been  quite 


14  PROEM. 

safe  CO  truft  him  with  the  cure  of  souls.  It  may  be 
that  his  tefts  are  too  severe  and  superhuman,  and  so 
far  erroneous. 

On  the  subjugation  of  the  senses  he  allegorizes 
in  this  wise  :  "  A  very  beautiful  virgin  had  five  broth- 
ers, and  all  were  very  poor.  And  the  virgin  had  a 
precious  jewel  of  great  worth.  One  brother  was  a 
guitar-player,  the  second  a  painter,  the  third  a  cook, 
the  fourth  a  spice  dealer,  the  fifth  a  pimp.  Each 
was  willing  to  use  blandifhments  to  get  the  ftone. 
The  firft  was  willing  to  play,  and  so  on.  But  flie 
said:  What  (hall  1  do  when  the  mufic  has  ceased? 
In  fhort,  (he  remained  firm,  and  gave  the  jewel  to 
none.  At  length  a  great  king  came,  who  was  willing 
to  raise  her  to  be  his  bride,  and  give  her  eternal  life 
if  fhe  would  present  him  with  the  flone.  Where- 
upon file  says  :  How  can  I,  O  my  sovereign,  to  such 
grace  refuse  the  ftone  ;  and  so  (he  gave  it  him."  it 
is  plain  that  by  the  brothers  are  meant  the  Five 
Senses  ;  by  the  virgin,  the  Soul  ;  and  by  the  precious 
jewel,  the  Will. 

\'*  ich  his  severe  principles  and  severer  ascetic  life, 
Jacopone    could    not   fail    to    earneftly  denounce  the 


PROEM.  15 

roiruptioiis  of  his  time  in  general,  and  especially  the 
licentious  manners,  wickedness,  and  debaucheries 
of  the  priefthood,  and  the  deeply  sunken  condition 
of  the  Church.  Boniface  III.,  who,  prior  to  his 
elevation  to  the  papal  chair,  had  lived  in  friendly  re- 
lations with  Jacopone,  having  been  deeply  offended 
by  some  fharp  censures  directed  againft  him,  threw 
him  into  prison,  —  at  the  same  time  suspended  over 
him  the  excommunication.  Boniface  one  day  pall- 
ing the  cell  where  Jacopone  was,  afked  scornful- 
ly, "When  will  you  come  out?"  He  answered, 
"  When  you  come  in."  Boniface's  own  imprison- 
ment and  unhappy  end  in  1303  set  him  at  liberty. 

It  is  related  likewise  how  he  baffled  Satanic  craft 
by  superior  craftiness  of  his  own  ;  but  the  details  of 
these  temptations  are  so  childifh  and  ridiculous  that 
it  Vv^ould  not  be  profitable  to  quote.  Doubtless  it  is 
more  fitting  to  weep  than  to  laugh  over  the  frenzies 
and  follies  of  such  a  man, — 

"  To  see  that  noble  and  moft  sovereign  reason 
Like  sweet  bells  jangled  out  of  tune  and  harfh." 

Hi*;  whole  hiflory  gives  a  melancholy  but  inffruc- 
tive    iiiiight   into  the  prevalent  fanaticism   and  dark 


l6  PROEM. 

ness  of  the  period.  His  death  took  place  at  an 
advanced  age  in  1306.  "  He  died,"  says  Wadding, 
"like  the  swan,  Tinging,  —  having  composed  several 
Hymns  juft  before  his  death." 

The  number  of  Tranfiations  made  of  the  Stabat 
Mater  is  scarcely  exceeded  by  that  of  the  Dies  Irae. 
Lisco,  in  his  work  devoted  to  this  Prosa,  gives  or 
makes  mention  of  eighty-three  in  all,  complete  and 
incomplete.  With  the  exception  of  four  done  in 
Dutch,  these  are  all  German.  A  fimilar  colledion 
of  Englifh  verfions,  although  comparatively  few  in 
number,  would  not  be  without  intereft.  In  attempting 
to  add  another  to  those  already  exifting,  the  present 
Tranflator  has  been  moved  by  a  defire  to  produce 
one  more  literal,  if  poflible,  than  any  he  has  seen. 
He  is  not,  he  confefles,  friendly  to  free  tranfiations. 
Free,  he  has  often  observed,  is  another  name  for 
false.  A  counterfeit  is  put  in  the  place  of  the 
genuine  ;  so  that  inftead  of  a  Stabat  we  get  only 
some  worthless  subftitute.  He  honors  that  pains- 
taking religious  scrupulofity  which  respeils  the  sa- 
credness  of  words  as  well  as  thoughts  ;  and  fhuns 
all  sacrilegious  license  and  profane  handling,  —  carry- 


PROEM.  17 

ing  this  reverence  for  the  venerated  text  so  far  as 
to  be  unwilling,  if  it  can  poffibly  be  helped,  to  vary 
one  jot  or  tittle,  either  in  the  vv^ay  of  subfticution  or 
alteration. 

He  has  no  patience  vi^ith  that  preposterous  conceit, 
sufficiently  common,  which  imagines  itself  competent 
to  improve  on  great  originals  —  whether  fur  that  mat- 
ter these  be  in  a  foreign  tongue  or  the  vernacular, 
and  so  applies  to  all  tamperings  with  Englifh  hymns 
as  well.  It  is  much,  he  confiders,  as  if  some  absurd 
novice  of  the  brufli  fhould  undertake  with  a  pre- 
sumptuous hand  to  retouch  a  Raphael  ;  or  an  irrev- 
erent ftone-cutter,  by  the  clumsy  use  of  his  chisel,  to 
improve  a  Venus  de  Medicis,  or  an  Apollo  Belvedere  ; 
or  some  ignorant  devotee  to  make  some  fine  ftatue 
of  the  Virgin  finer  by  puerile  adornments  of  dress, 
trinkets,  and  glass  beads.  If  the  use  of  means 
adapted  to  degrade  a  mafterpiece  to  the  level  of  an 
image  be  accounted  a  fin  and  an  outrage,  it  is  diffi- 
cult to  see  why  the  impertinences  of  the  cheap  em- 
bellifhments  of  every  would-be  tranflator  of  famous 
originals,  who  aspires  to  be  fine  rather  than  faithful, 
(hould  not  be  regarded  as  equally  criminal.  It  may 
2 


l8  PROEM. 

be,  as  Dryden  says,  "  almojl  impoflible  to  tranflate 
verbally  and  well ;  "  but  as  the  portrait  of  a  friend  is 
worthless,  however  beautiful,  unless  it  be  a  likeness, 
so  we  hold  a  verfion  muft  fail  of  its  purpose  and  be 
wanting  in  value,  juft  so  far  as  it  is  lacking  in  the 
eflential  point  of  being  a  faithful  representation,  both 
as  to  form  and  spirit,  of  that  to  which  it  relates. 
What  is  here  said,  is  meant,  of  course,  to  apply  only 
to  what  is  deliberately  put  forth  as  a  veritable  trans- 
lation ;  and  not  to  a  produ6lion  which  avowedly  uses 
the  text  merely  as  a  theme,  profefling  and  claiming 
to  do  no  more.  In  this  case  one  may  deviate  as  he 
pleases.      It  is  exclufively  his  own  bufiness. 

With  these  views  of  the  duties  of  a  tranflator,  the 
writer  has  aimed,  however  much  he  may  have  fallen 
(hort,  to  make  his  rendering  a  word  for  word  reflec- 
tion of  the  original,  so  far  at  leaft  as  the  rigorous 
requirements  of  rhyme  and  rhythm  would  allow. 
For  the  sake,  too,  of  a  closer  rhythmic  conformity, 
he  has  sought  even  to  preserve  the  mufical  quad- 
ruplications  of  the  female  rhymes  found  in  the  second 
and  fixth  verses.  The  text  adopted  is  that  of  the 
Roman  MifTal,  except  in  one  or  two  inftances  where 
another  rcadini;  has  been  preferred. 


PROEM.  19 

To  make  the  resemblance  between  the  two  Hymns 
ftill  more  complete,  the  Stabat  Mater,  like  the  Dies 
Irae,  has  been  moft  fortunate  in  its  mufical  alliances  ; 
having  been  made  the  theme  of  some  of  the  moft 
celebrated  compofitions  of  the  moft  eminent  com- 
posers. It  was  set  to  mufic  in  the  fixteenth  century 
by  the  famous  papal  chapel  mafter,  Paleftrina  ;  and 
his  compofition  is  ftill  annually  performed  in  the 
Siftine  Chapel  during  Holy  Week.  It  is  sung  like- 
wise in  connedlion  with  the  feftival  of  the  Seven 
Sorrovv's  of  the  Virgin,  The  compofition  of  Pergolefi, 
the  laft  and  moft  celebrated  of  his  works,  made  juft 
before  his  death  and  left  unfinifhed,  has  never,  down 
to  the  present  day,  been  surpaffed,  if  equalled,  in 
the  eftimation  of  critics.  It  is  set  for  two  voices, 
with   accompaniments. 

Tieck,  in  his  Phantasus,  Vol.  2d,  p.  438,  (edition 
of  18 12,)  thus  speaks  of  the  compofition  of  Pergolefi 
and  the  Hymn  itself:  "  The  loveliness  of  sorrow  in 
the  depth  of  pain,  the  smiling  in  tears,  the  childlike- 
ness,  which  touches  on  the  higheft  heaven,  had  to 
me  never  before  risen  so  bright  in  the  soul.  I  had 
to  »'""n    Away  to   conceal   my  tears,  especially  at  the 


20  PROEM. 

place  :  '  Videt  suum  dulcem  natum/  How  fignificant, 
that  the  Amen,  after  all  is  concluded,  ftiil  sounds 
and  plays  in  itself,  and  in  tender  emotion  can  find 
no  end,  as  if  it  were  afraid  to  dry  up  the  tears,  and 
would  ftill  fill  itself  with  sobbings.  The  poetry  itself 
is  tt)uching  and  profoundly  penetrating  ;  surely  the 
poet  sang  those  rhymes  :  *■  Qus  moerebat,  et  dolebat 
cum  videbat,'  with  a  moved  mind.''  It  is  a  tradition, 
that  the  great  impreflion  which  the  Stabat  Mater  of 
the  young  artift  (Pergolefi)  made  on  its  firft  perform- 
ance, inflamed  another  mufician  with  such  furious 
envy,  that  he  ftruck  down  the  young  man  as  he  was 
coming  out  of  the  church.  This  tradition  has  long 
ago  been  disproved,  but  as  Pergolefi  died  early,  it 
may,  as  one  remarks,  be  permitted  to  the  poet  to 
refer  to  this  ftory,  and  allow  him  to  fall  as  a  vi6fim 
of  his  art  and  inspiration.  He  was  born  1704— ir 
at  Jefi,  and  died  1 737  at  Torre  del  Greco,  at  the 
foot  of  Mount  Vesuvius,  where  he  had  retired  on 
account  of  his  weakened  health.  The  recent  com- 
position of  Roflini  is  popular  and  pleafing,  but  more 
operatic  than  ecclefiaflical,  and  so  is  better  suited 
to  the  concert-room  than  the  church. 


PROEM.  21 

The  names  of  other  diftinguished  composers  might 
be  cited,  such  as  Aftorga,  Haydn,  Bellini,  and  Neu- 
komm.  Aftorga's  principal  work  was  his  Stabat 
Mater,  the  MS.  of  which  is  ftill  preserved  at  Oxford, 
he  having  lived  a  year  or  two  in  England.  He  was 
a  native  of  Sicily,  and  died  in  1755.  Haydn's  was 
published  in  the  year  I  781. 

We  give  below  a   condensed  view  of  the  various 

readings   taken    from   Lisco ;    and    as    the    Hymn   is 

usually  divided   into   three-line    Strophes,   making   in 

all  twenty,  the  references  will  be  to  these  :  — 

Stiopiif  I,  lint   3.     Duin — Qua. 

2,      "     2.     Contiiftatam — Contriftantem. 

4,  "     2.      Et  tremebat  —  Pia  mater  —  Dum  videbat 

et  tremebat. 

5,  "     2.     Chrifti  matrem  fi  —  Matrem  Chrifti  cum. 

5,  "      3.     In  tanto  —  tanto  in. 

6,  "      I.     Quis  non  poffit  —  Quis  non  poteft — Quis 

poffit  non. 
8,     "      I.     Videns — Vidit. 
8,     "     2.     Morientem  —  Moriendo. 

Dum  emifit  —  amifit. 

Pia  mater  —  Eja  mater. 

Ut  fibi  —  Et  fibi  ;  ut  tibi ;  ut  ipfi ;  fibi  ut. 

Valide  —  vivide. 

Jam  dignati  —  Tam  dignati. 


8,     ' 

'     3 

9.     ' 

'     I. 

10,     ' 

'     3- 

II,     "     3- 

13,       ' 

'     2, 

22 


PROEM. 


Strophe  12, 

line   3 

13. 

"      I. 

14. 

"     2. 

14. 

"     3 

15. 

"     2 

16, 

"     2 

16, 

"     3 

17. 

"     2 

17. 

"     3 

18, 

"      I 

ne   3.      Pcenas  pro  me — Pcenas  mecum. 

Fac  me  vere  tecum  —  Fac  me  tecum  pie. 
Te  libenter  —  Et  me  tibi  —  Tibi  me  con 

sociare. 
In  planctu  —  Cum  planctu. 
Mihi  jam —  Mihi  tam. 
Suse  sortem  —  Fac  consortem. 
Plagas  recolere —  Plagis  te  colere. 
Cruce  hac  —  Cruce  fac  me  hac  beari  — 

Cruce  fac. 
Ob  amorem  —  Et  cruore. 
Infiammatus  et  accensus  —  Flammis  urar 
ne  (ne  urar)  succensus. 
20,     "     3.     Gloria — Gratia. 

The    Stabat    Mater   of  Haydn    has    this    for  the 
eighteenth  Strophe  :  — 

Flammis  orci  ne  succendar 
Per  te,  virgo,  fac,  defendar, 
In  die  judicii. 

The    Carmelite    Miflal    gives    for    the  nineteenth 
Strophe  the  following  :  — 

Chrifte,  cum  fit  hinc  exire 

Da  per  matrem  me  venire 

Ad  palmam  victorias. 

The  change  made    in  some  copies   of  the    seven- 


PROEM. 


23 


teenth  Strophe,  of  the  original  "  Cruce  hac  inebriari," 
into  **  Cruce  fac  me  hac  beari,"  is  fignificant  of  some 
exception  having  been  taken  to  the  great  flrength, 
not  to  say  the  audacity,  of  the  author's  metaphor,  — 
the  dr:w]fcnness  of  love. 


SEQUENTIA    DE    SEPTEM    DOLORIBU.' 
BEATiE    VIRGINIS. 


T. 

TABAT  Mater  dolorosa 
Juxta  crucem  lachrymosa 
Qija  pendebat  Filius  ; 
Cujus  animani  gementerrij 
CoiUriftantem  et  doleiitem, 
Pertranfivit  gladius. 

11. 

O  quam  triftis  et  affli6la 
Fuit  ilia  benedicSta 

Mater  Unigeniti  ! 
Quae  moerebat  et  dolebat 
Et  tremebat,  cum  videbat 

Nati  pcenas  Inclyti. 


HYMN   OF   THE    SORROWS    OF   MARY. 


TOOD  th'  affliaed  Mother  weeping, 
Near  the  crofs  her  ftation  keeping, 

Whereon  hung  her  Son  and  Lordj 
Through  whose  spirit  sympathizing, 
Sorrowing  and  agonizing, 


Also  pafled  the  cruel  sword. 


II. 

O  how  mournful  and  diftreffdd 
Was  that  favored  and  moft  blefled 

Mother  of  the  Only  Son  ! 
Trembling,  grieving,  bosom  heaving. 
While  perceiving,  scarce  believing. 

Pains  of  that  Illuftrious  One. 


26  STAli     r    MATER. 

III. 

Quis  eft  homo,  qui  non  fleret, 
Matrem  Chrifti  fi  videret 

In  tanto  supplicio  ? 
Quis  non  poffet  contriftari 
Piam  matrem  contemplari 

Dolentem  cum  Filio  ? 

IV. 

Pro  peccatis  suae  gentis 
Vidit  Jesum  in  tormentis 

Et  flagellis  subditum  } 
Vidit  suum  dulcem  natum 
Morientem,  desolatum, 

Dum  emifit  spiritum. 

V. 

Pia  Mater,  fons  anioris  ! 
Me  sentire  vim  doloris 

Fac,  ut  tecum  lugeam. 
Fac,  ut  ardeat  cor  meum 
In  amando  Chriftum  Deum 

Ut  Sibi  complaceam. 


STABAT    MATER.  2' 

III. 

Who  the  man,  who,  called  a  brother. 
Would  not  weep,  saw  he  Chrift's  mother 

In  such  deep  diftrefs  and  wild  ? 
Who  could  not  sad  tribute  render 
Wjtnefling  that  mother  tender 

Agonizing  with  her  Child  ? 

IV. 

For  His  people's  fins  atoning 
Him  fhe  saw  in  torments  groaning. 

Given  to  the  scourger's  rod  ; 
Saw  her  darling  Offspring,  dying 
Desolate,  forsaken,  crying, 

Yield  His  spirit  up  to  God. 

V. 

Make  me  feel  thy  sorrow's  power. 
That  with  thee  I  tears  may  fhower. 

Tender  Mother,  fount  of  love  ! 
Make  my  heart  with  love  unceafing 
Burn  towards  Chrift  the  Lord,  that  pleafing 

I  may  be  to  Him  above. 


28  STABAT    MATER. 

VI. 

Sanda  Mater,  iftud  agas. 
Crucifix!  fige  plagas 

Cordi  meo  valide, 
Tui  nati  vulnerati, 
Tarn  dignati  pro  me  pati 

Poenas  mecum  divide, 

VII. 
Fac  me  tecum  vere  flere, 
Crucifixo  condolere, 

Donee  ego  vixero. 
Juxta  crucem  tecum  ftare, 
Te  libenter  sociare, 

In  plan£lu  defidero. 

VIII. 

Virgo  virginum  prseclara, 
Mihi  tam  non  fis  amara, 

Fac  me  tecum  plangere  ; 
Fac  ut  portem  Chriili  mortem, 
Paflionis  fac  consortem, 

Et  plagas  recolere. 


stAbat  mater.  ^9 

VI. 
Holy  iMother,  this  be  granted, 
That  the  Slain  One's  wounds  be  planted 

P'irmly  in  my  heart  to  bide. 
Of  Him  wounded,  all  aftounded, — 
Depths  unbounded  for  me  sounded,  — 

All  the  pangs  with  me  divide. 

VII. 
Make  me  weep  with  thee  in  union  ; 
With  the  Crucified,  communion 

In  His  grief  and  suffering  give  : 
Near  the  crofs  with  tears  unfailing 
I  would  join  thee  in  thy  wailing 

Here  as  long  as  I  fhall  live. 

vin. 

Maid  of  maidens,  all  excelling, 
Be  not  bitter,  me  repelling. 

Make  thou  mc  a  mourner  too  ; 
Make  me  bear  about  Chrift's  dying. 
Share  His  paflion,  ftiame  defying. 

All  His  wounds  in  me  renew  : 


30  STABAT    MATER. 

IX. 

Fac  me  plagis  vulnerari, 
Cruce  hac  inebriari 

Ob  amorem  Filii. 
Inflammatus  et  accensus, 
Per  te,  Virgo,  fim  defensus 

In  die  Judicii. 

X. 

Fac  me  cruce  cuftodiri, 
Morte  Chrifti  praemuniri, 

Confoveri  gratia. 
Qiiando  corpus  morietur, 
Fac  ut  animae  donetur 

Paradifi  gloria. 


|E5I> 


STABAT    MATER. 


31 


IX. 

Wound  for  wound  be  there  created  j 
With  the  Crofs  intoxicated 

For  thy  Son's  dear  sake,  I  pray- 
May  I,  fired  with  pure  afFe6tion, 
Virgin,  have  through  thee  protection 

In  the  solemn  Judgment  Day, 


Let  me  by  the  Crofs  be  warded. 
By  the  death  of  Chrift  be  guarded, 

Nourifhed  by  divine  supplies. 
When  the  body  death  hath  riven. 
Grant  that  to  the  soul  be  given 

Glories  bright  of  Paradise. 


REMARKS. 


(O  admiration  of  the  lyric  excellence  of 
the  Stabat  Mater  fhould  be  allowed  to 
blind  the  reader  to  those  obje6lionable 
features  which  muft  always  suffice,  as 
they  have  hitherto  done,  to  exclude  it  from  every 
hymnarium  of  Proteftant  Chriflendom.  For  not 
only  is  Mary  made  the  obje6l  of  religious  worfhip, 
but  the  incommunicable  attributes  of  the  Deity  are 
freely  ascribed  to  her.  Her  agency  is  invoked  as  if 
fhe  were  the  third  person  of  the  Trinity,  or  had 
powers   coordinate  and   equal. 

Plainly  it  is  the  province  of  the  Holy  Ghoft,  and 
not  of  any  creature,  to  ''  work  in  us  to  will  and  to 
do  ;  "  to  efFe6l  spiritual  changes  ;  to  "  take  of  the 
things  of  Chrill  and  fhow  them  unto  us,"  —  and  yet 
these  are  the  very  things  which  fhe  herself  is  afked 
to  accomplifh  for  the  suppliant.     "  Fac,"  alone,  aiide 


REMARKS.  33 

from  potential  equivalents,  is  used  at  leaft  nine  times, 
—  a  form  of  expreffion  maniteftly  inappropriate  un- 
lefs  addrelTed  to  one  capable  of  a6ts  causal  and  orig- 
inal and  therefore  divine.  Not  content,  it  seems, 
with  making  her  a  fountain  of  supernatural  influence, 
a  succedaneum  of  the  Holy  Ghoft,  her  efficiency 
is  extended  to  the  performance  likewise  of  the  work 
affigned  to  the  Son, — 

Per  te,  Virgo,  fiin  defensus 
In  die  Judicii,  — 

an  expreffion  of  reliance  on  her  rather  than  on  Him 
to  ward  ofF'in  that  day  the  demands  of  divine  juftice. 
Mariolatry  here  culminates.  It  could  not  well  be 
carried   farther. 

Confidering  that  the  pofition  here  given  to  the 
mother  of  Chrift  receives  not  a  particle  of  counte- 
nance anywhere  in  the  New  Teftament,  one  is  led 
to  wonder  how  those  who  accepted  its  teachings 
could  ever  have  fallen  into  so  awful  an  error.  If 
prayer  of  any  kind  addreffed  to  her  were  laudable  or 
lawful,  how  can  it  be  explained  that  all  the  sacred 
writers  are  so  intensely  reticent  upon  the  point  that 
it   is  not  poffible  to  find  written  so  much  as  a  fingle 


34  REMARKS. 

syllable  to  authorize  it,  or  a  solitary  example  to  sanc- 
tion it  ?  It  is  remarkable  that  Chrift,  while  here  on 
earth,  did  not  hefitate  to  rebuke  His  mother  on  a 
certain  occafion  when  fhe  manifefted  a  dispofition  to 
intrude  her  maternal  human  relation  into  the  sphere 
of  His  divinity,  saying  :  "  Woman,  what  have  I  to  do 
with  thee?"  At  another  time,  upon  being  told  that 
His  mother  and  His  brethren  ftood  waiting  without. 
He  said,  *'  Who  is  my  mother  ?  and  who  are  my 
brethren  ? "  and  ftretching  forth  His  hand  toward 
His  disciples,  He  said,  '*  Behold,  my  mother  and  my 
brethren  ?  For  whosoever  {hall  do  the  will  of  my 
Father  which  is  in  heaven,  the  same  is  my  brother 
and  fifter  and  mother." 

Everybody  muft  feel  that  there  is  a  sublime  propri- 
ety in  this  declarative  poftponement,  once  for  all,  of 
flefhly  relationftiips  to  the  spiritual  ;  and  that  it  would 
be  infinitely  unbecoming  in  Him,  who  is  thS  Creator 
of  all  and  the  Judge  of  all,  to  be  a  respecter  of  per- 
sons, swayed  as  men  are  swayed  by  the  fond  par- 
tialities of  blood  and  kindred.  Upon  this  principle 
it  is  easy  to  account  for  the  flight  mention  made  of 
Chrift's  mother  in   the   Evangelifts,   and   the  entire 


REMARKS.  35 

absence  of  any  allufion  to  her  in  the  reft  of  the  New 
Teftament.  Even  the  Apoftle  John,  to  whose  lov- 
ing care  fhe  was  committed,  and  who  took  her  to 
his  own  house,  neither  in  his  Epiftles  nor  in  the 
Apocalypse  names  her  so  much  as  once.  Paul,  the 
moft  voluminous  of  the  New  Teftament  writers,  is 
wholly  filent  in  regard  to  her. 

When  the  people  of  Lyftra  were  making  ready  to 
pav  divine  honors  to  Barnabas  and  Paul,  they,  hear- 
ing of  it,  "  rent  their  clothes,  and  ran  among  the 
people,  crying  out  and  saying.  Sirs,  why  do  ye  these 
things  ?  "  If  these  revolted  at  the  idea  of  being 
made  the  objecSls  of  religious  worfliip,  can  we  sup- 
pose that  supreme  form  of  it  lefs  {hocking  to  the 
soul  of  Mary,  which  is  neceflarily  implied  in  ad- 
drefl'mg  her  as  the  omniscient  and  omnipresent 
hearer  and  answerer  of  prayer  ?  Such  honor  is 
diftionor.  It  is  an  offering  of  robbery.  It  robs 
God. 


STABAT   MATEE. 

(sung   on    every   FRIDAY   DURING   LENT.) 
^O.   1 .      -4«  sung  in  the  Churches  at  Rome. 


Gregorian  Chan*, 
From  the  "  Catholic  PnaliMst.'' 


:§^i 


1.  Sta 

2.  Cu. 


bat    ma  -  ter    do  -  lo  -  ro  -  sa,        Jux  -  ta     cm    cem 
jus      a  -   ni  -  mam  ge  -  men-tem,      Con  -  tris  -  tail  ;  tern 


ES5: 


— »■■ o 


cry  -  mo  -  sa, 
do  -  len  -  tern, 


Qua    pea    de  -  bat      fi    -   li    -   ii3. 
Per  -  traa  ■  si  -  vit     gla  -  di  -    uu. 


3.  O  quam  tristis  et  afflicta 
Fuit  ilia  beuedicta 

Mater  Unigeniti ! 

4.  Quae  mcerebat  et  dolebat 
Et  tremebat  cum  videbat 

Nati  poeuas  inclyti. 

5.  Quis  est  homo,  qui  non  fleret, 
Matrem  Christi  si  videret 

In  tanto  supplicio  ? 

6.  Quis  non  posset  coutristari, 
Piam  matrem  contemplari 

Doleutem  cum  lilio. 

7.  Pro  peccatis  suae  geutis 
Vidit  Jesum  in  tormentis 

Et  flagellis  subdituni. 

8.  Vidit  suum  dulcem  natum 
Morieuterii,  desolatuui 

Duni  emisit  spirituin. 

9.  Pia  mater,  fons  amoris  ! 
Me  seutire  vim  doloris 

Fac,  ut  tecum  lugeam. 
10.  Fac,  ut  ardcat  cor  menra 
In  amando  Christum  Deum, 

Ut  Sibi  complaceam. 
Sancta  mater,  istud  agas 
Crueifixi  fige  plagas 

Cordi  meo  valiiio. 


11 


12.  Tui  nati  vulnerati 

Tam  dignati  pro  me  pati 
PcEuas  mecuni  divide. 

13.  Fac  me  tecum  pie  flare 
Crueifixo  eoudolere 

Douec  ego  vixero. 

14.  Juxta  crucem  tecum  starw 
Et  me  tibi  sociare 

In  plauctu  desidero. 

15.  Virgo  virginum  prseclara 
Mihi  tiim  non  sis  amara, 

Fac  me  tecum  phuigere. 

16.  Fac  ut  portem  Christi  mortem 
Passionis  fac  cousortem 

Et  plagas  recolere. 

17.  Fac  me  plagis  vulaerari 
Cruce  hae  inebriari 

Ob  amorem  filii. 

18.  Iiifiammatus  et  aecensus 
Per  te,  virgo,  sim  defensua 

In  die  judicii. 

19.  Fac  mc  cruce  custodiri 
Moite  Cliristi  pifesnuniri 

Coufoveri  gratia. 

20.  Quando  corpus  morietur 
Fac  ut  animae  donetur 

Paradisi  gloria. 


STABAT  MATEE— Chant  for  Pour  Voices. 

IS"©.  3.  NovzLLO.    From '•'■  Evening  Servicey 

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PAINTED    BV       RAPHAE' 


MADONNA  DI  SAN  SISTO. 


tnhni  mnht 


(SPECIOSA; 
HYMN    OF   THE   JOYS    OF   MARY 

TRAN'^ATED   BY 

ABRAHAM  COLES,  M.  D.,  Ph.  D. 

SECOND    EDITION. 


NEW   YORK 

D     APPLETON    AND    COMPANY 
1891 


STABAT    MATER 


(SPECIOSA). 

R.  PHILIP  SCHAFF  — whose  volumi- 
nous contributions  to  the  literature  and 
hiftory  of  the  Chriftian  Church  refle6t 
the  higheft  honor  upon  American  schol- 
arfhip  —  in  a  recent  number  of  ''Hours  at  Home" 
(May,  1867),  has,  thanics  to  an  eye  that  nothing 
escapes,  been  at  the  trouble  of  reproducing,  with 
learned  and  inftru6tive  comments  for  the  benefit  of 
readers  on  this  fide  of  the  Atlantic,  a  newly  discov- 
ered Stabat  Mater,  being  a  Nativity  Hymn,  writ- 
ten it  is  supposed  by  the  same  hand  as  the  Paflion 
Hymn,  so  that  hereafter,  as  he  remarks,  there  will 
be  two  Stabats  —  the  Stabat  Mater  Dolorosa^  and  the 
Stabat  Mater  Speciosa  ;  the  one  setting  forth  the 
Joys,  the  other  the  Sorrows,  of  the  Virgin  Mother 
at  the  Manger  and  the  Crofs. 


4  STABAT    MATER    (sPECIOSA). 

The  revival  of  this  long-loft  Hymn  in  our  time, 
after  five  centuries  of  forgetfulnefs,  is  due  to  A.  F. 
Ozanam,  who,  in  a  work  on  the  Franciscan  Poets 
("  Les  Poetes  Franciscains  en  Italie  au  XIII®  siecle, 
avec  un  Choix  de  petites  Fleurs  de  Saint  Francois, 
trad,  de  I'ltalien,"  Paris,  1852),  has  given  it  once 
more  to  the  world.  Hitherto  there  have  been  but 
two  tranflations  of  the  Hymn  —  one  into  German, 
by  Cardinal  Diepenbrock  ;  the  other,  into  Englifli, 
by  Neale,  made  juft  before  his  death.  This  Dr. 
Schaff"  copies  in  the  article  referred  to.  Both  Oza- 
nam and  Neale  affume  an  identity  of  authorfhip  for 
the  two  :  and  Neale  infers,  from  the  want  of  finifh 
and  the  imperfecSl  rhymes,  that  the  Mater  Speciosa 
was  composed  firft  j  but  we  entirely  agree  with  Dr. 
SchafF  in  thinking  that  internal  evidence,  alone, 
makes  it  certain  that  this  is  not  the  case.  Ingeni- 
ous and  exa6t  as  is  the  parallel,  it  is  easy  enough  to 
see  which  was  firft  and  which  was  second.  If 
twins,  the  Mater  Dolorosa  muft  have  been  the  elder. 
It  is  impoffible  that  "  Pertranfivit  jubilus  "  was  writ- 
ten before  '*  Pertranfivit  gladius." 

But  we  doubt,  we  confefs,  a  fimultaneous  birth, 


STABAT    MATER    (sPECIOSA).  5 

or  even  a  common  parentage.  In  the  absence  of 
hiftorical  proof,  we  fhould  think  it  far  more  proba- 
ble, that  the  Mater  Speciosa  was  the  work  of  some 
admiring  imitator,  after  the  other  had  become  famous  ; 
who,  not  fully  satisfied  with  his  performance,  was 
waiting  to  give  it  its  final  touches  when  he  fhould  have 
decided  between  this  and  that;  which  explains  the 
supernumerary  lines  appended  to  the  eighth  ftrophe.* 
Afluming  the  priority  of  the  Mater  Dolorosa^  about 
which  there  cannot  be  a  particle  of  doubt,  it  is  diffi- 
cult to  conceive  that  the  other  could  have  been  the 
work  of  the  same  pen.  It  is  only  the  celebrity  of 
an  original  which  invites  parody.  A  man  would 
hardly  be  a  model  to  himself.  True  merit,  if  not 
unconscious,  is  usually  modeft,  and  it  is  not  likely 
that  our  author,  at  the  time  he  wrote,  placed  any 
special  value  upon  his  produ6fion  ;  much  lefs  fore- 
saw its  after  succefs.  Why  then  fhould  he,  in  pre- 
paring a  hymn  on  the  Nativity,  prepofteroufly  seek 
to   tie    himself   down   to    the   use   ot    the   self-same 

*  "  Hunc  ardorem  fac  communem 
Ne  me  facias  immunem 
Ab  hoc  defiderio." 


'6  STABAT    MATER    (sPECIOSA;. 

words  and  order  of  words  which  he  had  happened 
to  employ  in  compofing  a  hymn  on  the  Crucifixion  ? 
After  this  had  grown  into  public  favor,  it  is  easy  to 
underftand,  how  some  one  else,  other  than  the  au- 
thor, fhould  be  prompted  to  attempt  so  curious  and 
difficult  a  tafk,  because  the  verbal  semblance  would 
aid,  by  aflbciation,  in  exciting  fimilar  emotions  of 
reverent  intereft  and  sympathifing  tendernefs.  It  is 
right  to  ftate,  however,  that  opposed  to  this  conclu- 
fion  is  the  hiftorical  teftimony  of  a  second  edition  of 
the  Italian  Poems  of  Jacopone  (Laude  di  Frate  Jac- 
opone  da  Todi),  publifhed  at  Brescia,  in  1495,  which 
contains,  in  an  appendix,  several  Latin  poems  as- 
cribed to  him  ;  among  which,  according  to  Brunet, 
are  found  both  this  Mater  Speciosa.y  and  the  Mater 
Dolorosa^  as  well  as  the  De  Contemptu  3Iundi.  There 
may  be  other  evidence  in  support  of  this  opinion,  of 
which  we  are  ignorant  ;  but  as  the  case  ftands,  we 
are  compelled  to  adhere  to  the  belief  of  a  twofold 
authorfhip  ;  and  accept  the  above  only  as  supplying 
oroof  of  the  earlinefs  of  its  origin. 

That  the  new  found  Stabat  is  not  wanting  in  those 
qualities  which   have  attracted  to  its  illuflrious  pro- 


STABAT    MATER    (sPECIOSA).  'J 

totype  the  admiring  regards  of  men  through  so 
many  generations,  teftifies  to  the  fkill  of  the  writer. 
The  fl:ru6lural  correspondence  between  the  two  is 
kept  up  throughout.  Grief  and  gladnefs  are  seen 
to  go  hand  in  hand,  finging  as  they  go,  to  the  same 
sweet  time  and  measure.  Were  it  only  poetry  and 
not  prayer  —  mere  apoftrophe  and  not  reh'gious  hom- 
age—  we  would  be  content ;  but,  alas  !  there  clings 
to  one  and  the  other  the  fatal  taint  of  idolatry  ;  and 
we  are  not  permitted  to  wink  out  of  fight  so  un- 
speakable an  ofFense  againft  the  purity  of  the  unfhared 
worfhip  of  the  infinite  Jehovah. 

Happily  we  have  other  hymns  on  the  Nativity, 
againft  which  this  objection  does  not  lie.  Milton's, 
for  example,  the  grandeft  of  them  all,  is  wholly  to 
*'  the  Infant  God,"  not  the  human  mother.  It 
divides  not  its  worfhip.  It  fings  and  celebrates  but 
the  One,  and  "  prevents  "  the  dawn  and  "  the  ftar- 
led  wizards,"  that  it  may  be  firft  with  its  exclufive 
offering  "  to  lay  it  lowly  at  His  blefled  feet."  Two 
fimple  and  sweet  lines  at  the  close  comprise  all  that 
is  said  of  the  virgin  mother  ; 

"  But  see,  the  virgin  bleft 
Hath  laid  her  Babe  to  reft." 


8  STABAT    MATER    (sPECIOSA). 

They  fland  prefixed  to  the  Cradle  Hymn  of  Mrs. 
Browning,  and  may  have  suggefted  that  divine  lul- 
laby, "  The  Virgin  Mother  to  the  Child  Jesus." 
It  is  too  long  to  give  entire,  but  a  ricochet  extraft 
may  suffice  to  exhibit  its  general  scope,  and  furnifh 
■material  for  an  interefting  and  inftrucStive  compari- 
son with  its  mediaeval  rival  : 

"  Sleep,  deep,  my  Holy  One  ! 
My  fiefh,  my  Lord  !  —  what  name  ?     I  do  not  know 
A  name  that  seemeth  not  too  high  or  low, 
Too  far  from  me  or  heaven. 
My  Jesus,  that  is  beft  !  that  word  being  given 

By  the  majeftic  angel  whose  command 
Was  softly  as  a  man's  beseeching  aid, 

When  I  and  all  the  earth  appeared  to  ftand 
In  the  great  overflow 
Of  light  celeftial  from  his  wings  and  head  — 

Sleep,  ileep,  my  Saving  One  ! 
And  art  Thou  come  for  saving,  baby-browed 

And  speechlefs  Being  —  art  Thou  come  for  saving  ? 


Art  come  for  saving,  O  my  weary  One  ? 
Perchance  this  fleep,  that  fhutteth  out  the  dreary 
Earth-sounds  and  motions,  opens  on  Thy  soul 
High  dreams  on  fire  with  God. 


STABAT    MATER    (sPECIOSA). 

Suffer  this  mother's  kils, 
Beft  thing  that  earthly  is. 

Thus  noiselefs,  thus.     Sleep,  fleep  my  dreaming  One  ! 

I  'm  'ware  of  you,  heavenly  Presences  ! 

Unsunned  i'  the  sunfhine  !     I  am  'ware.     Ye  throw 
No  fhade  againft  the  wall ! 

I  fall  not  on  my  sad  clay  face  before  ye  — 
I  look  on  His. 

Ye  are  but  fellow-worfliippers  with  me  ! 

Sleep,  fleep,  my  worfliipped  One  ! 
We  sate  among  the  ftalls  of  Bethlehem. 
The  dumb  kine  from  their  fodder  turning  them, 

Softened  their  horny  faces. 

The  fimple  fhepherds  from  their  ftar-lit  brooks. 

Brought  villonary  looks. 
As  yet  in  their  aftonied  hearing  rung 

The  ftrange  sweet  angel-tongue. 
The  magi  of  the  Eaft,  in  sandals  worn 

Knelt  reverent. 


lO  STABAT    MATER    (sPECIOSA). 

So  let  all  earthlies  and  celeftials  wait 
Upon  Thy  royal  ftate. 
Sleep,  fieep  my  kingly  One  ! 

I  am  not  proud  —  not  proud  ! 
Albeit  in  my  flefh  God  sent  His  Son, 
Albeit  over  Him  my  head  is  bowed 
As  others  bow  before  Him,  ftill  my  heart 
Bows  lower  than  their  knees.     O  centuries, 

Whose  murmurs  seem  to  reach  me  while  I  keep 

Watch  o'er  this  fleep  — 
Say  of  me  as  the  Heavenly  said,  '  Thou  art 
The  bleffedeft  of  women  ! '  —  blejj'edeji. 
Not  holieji,  not  noblejl — no  high  name 
Whose  height  misplaced  may  pierce  me  like  a  Jhame, 
When  I  fit  meek  in  heanjen.     For  me,  for  me 
God  knonvs  that  I  am  feeble  like  the  refiy 


We  fhould  know  that  a  woman  wrote  this.  It  is 
a  woman's  utterance,  and  the  truer  because  it  is  so. 
Great  is  the  myftery  of  maternity  ;  great  is  the  joy 
of  a  mother  over  her  firft-born.  But,  in  the  ex- 
perience of  the  mother  of  our  Lord,  it  was  more 
than    the    common    myftery   and    the    common  joy. 


STABAT    MATER    (sPECIOSa). 


ii 


Heaven  had  come  down  to  her.  She,  a  lowly 
maiden,  of  meek  thoughts,  living  in  retirement,  had, 
not  long  before,  been  surprised  by  an  angelic  embas- 
sa^^e,  authenticating  her  as  the  chosen  inflrument  of 
a  ftupendous  manifeftation,  even  the  revelation  of 
the  great  myftery  of  Godlinefs,  God  manifeft  in 
the  flefti,  and  that  fleOi  her  flefli  —  a  holy  link  born 
of  her  miraculous  motherhood.  She  had  felt  the 
awe  of  a  wondrous  o'erfhadowing,  and  the  thrill  of  a 
divine  quickening,  and  the  joy  of  a  growing  burden, 
and  had  sung  her  exultant  Magnificat^  and  had  been 
full  of  wonderings  and  worftiippings,  long  before  the 
crowning  beatitude  of  the  bringing  forth,  and  the 
seeing,  and  the  hearing,  and  the  laying  in  the  bosom, 
and  the  chanting  of  the  Gloria  in  Excelsis  of  the 
angels,  and  the  homage  of  the  fhepherds,  and  the 
proftrations  of  the  magi.  Was  fhe  therefore  proud  ? 
Proud  !  Was  Ihe  not  therefore  humble,  yea,  hum- 
bler than  the  humbled  ?  Who  ought  to  kneel  so 
low  as  fhe  ?  O  for  a  humility  as  deep  as  the  grace 
is  high !  No  room  here  for  the  petty  elations  of 
vanity.  To  conceive  of  her  as  fitting  queen  of 
heaven,  arrogating  higheft  titles,  and  receiving,  well- 


12  STABAT    MATER    (sPECIOSA). 

pleased,  the  kneeling  homage  of  men  and  of  angels, 
—  what  an  indecency  !  How  it  vulgarizes  and  de- 
grades her  ;  such  an  inverfion  of  noblenefs  ;  such 
an  emptying  of  her  true  honor  and  proper  glory, 
which  confift  in  a  peerlefs  meeknefs,  bowing  ever 
lower  and  lower  at  the  footftool,  and  her  heart  bow- 
ing ftill  lower  than  her  knees  !     Call  me  ^'  Bleffed," 

but  call  me 

"  no  high  name 
Whose  height  misplaced  may  pierce  me  like  a  fhame 
When  I  fit  meek  in  heaven." 

There  is  one  other  hymn  on  the  same  theme  by 
Crafhaw,  so  full  of  paftoral  sweetnefs,  that  we  can- 
not forbear  transcribing  it  here.  Crafhaw,  it  is  said, 
formed  his  flyle  on  the  moft  quaint  and  conceited 
school  of  Italian  jpoetry  —  that  of  Marino;  and 
there  is  often,  it  muft  be  admitted,  a  ftrained  ex- 
preflion  in  his  verses  ;  but  there  are  also  many  ex- 
quifite  touches  of  beauty  and  tendernefs,  and  a 
ftrength  withal  which  more  than  compensates  for 
an  occafional  harfhnefs.  Of  all  his  writings,  he  is 
beft  known,  perhaps,  by  his  verfion  of  the  Dies 
Iras.      In    1634    he    publifhed    a    volume    of    Latin 


STABAT    MATER    (sPECIOSA).  I3 

poems  under  the  title  of  Epigrammata  Sacra,  in 
which  occurs  that  celebrated  verse  on  the  miracle  at 
Cana :  — 

"  Lympha  pudica  Deum  videt  et  erubuit." 

"  The  modeft  water  saw  its  God  and  blufhed." 

It  is  a  curious  fafl:  that  both  Milton  and  Dryden 
have  each  been  credited  with  the  authorfhip  of  the 
line  as  given  In  Englifh,  varied  only  by  the  subftitu- 
tion  of  the  epithet  "  conscious  "  for  "  modeft." 

His  "  Hymn  on  the  Nativity  as  sung  by  Shep- 
herds," given  below,  was  probably  suggefted  by 
Correggio's  far-famed  pidure  in  the  Dresden  Gal- 
lery, called  "  La  Notte  "  (The  Night),  and  forms 
a  fit  companion  to  it.  Pidlure  and  poem  have  com- 
mon attributes,  so  that  it  may  properly  be  said, 
that  the  one  is  the  other,  —  that  the  poem  is  a 
pidlure,  and  the  pi6lure  a  poem.  In  both,  the  form 
of  the  Divine  Infant  is  finely  imagined  as  the  radi- 
ant centre  of  a  supernatural  illumination  dazzling  to 
all  eyes  in  the  picture  except  those  of  the  virgm 
mother,  while  figns  of  daybreak  are  seen  along  the 
eaftern  horizon,  emblem  of  "  the  dayspring  from  on 
l,igh:"_ 


14  STABAT    MATER    (sPECIOSA). 

"  Gloomy  night  embraced  the  place 
Where  the  noble  Ir.t.mt  h.y  : 
The  Babe  looked  up  and  Jhoived  its  face  — 
In  spite  of  darknefs  it  nvas  day. 
We  savv  Thee  in  Thy  balmy  neft, 
Bright  dawn  of  an  eternal  day  — 
We  saw  Thine  eyes  break  from  the  Eaft, 
And  chase  their  trembling  ihades  awav, 
^Ve  saw  Thee  and  we  bleff'd  the  fight  — 
IFe  sa~iV  Thee  by  Thine  onvn  s'lueet  light. 

She  lings  Thy  tears  afleep,  and  dips 

Her  kifles  in  Thy  weeping  eyes  ; 

She  spreads  the  red  leaves  of  Thy  lips, 

That  in  their  buds  yet  blufliing  lie  ; 

Yet  when  young  April's  hulband-fhowers 

Shall  blefs  the  fruitful  Maia's  bed, 

We  '11  bring  the  firft-bom  of  her  flowers 

To  kifs  Thy  feet, and  crown  Thy  head. 

To  Thee,  dread  Lamb  !  whose  love  muft  keep 

The  fhepherds  more  than  they  the  fheep  — 

To  Thee,  meek  Majeftj- !  soft  King  ! 

Of  fimple  graces  and  sweet  loves,  — 

Each  of  us  his  lamb  will  bring, 

Each  his  pair  of  lilver  doves." 

Does  the  nightingale  fing  more  sweetly  ? 


STABAT    MATER    (sPECIOSa).  I5 

"  Sweet  bird,  that  fhuns  the  noise  of  folly  — 
IVIoft  mufical,  moft  melancholy." 

In  this  new  attempt  to  turn  the  Mater  Speciosa 
into  Englifh,  we  have  tried,  as  in  other  tranflations, 
to  preserve,  as  far  as  poflible,  the  form  and  spirit  of 
the  original.  The  authorized  text  of  the  Mater 
Dolorosa^  being  that  of  the  Roman  Breviary,  com- 
prises ten  ftanzas  ;  while  that  of  the  Mater  Speciosa 
has  two  more,  namely,  the  fifth  and  eleventh,  whose 
answering  ftanzas  therefore  mulf  be  looked  for  in 
some  other  text. 


STABAT    MATER 

(SPECIOSA). 


TAB  AT  Mater  speciosa, 
Juxta  foenum  gaudiosa, 

Dum  jacebat  parvulus  j 
Cujus  animam  gaudentem, 
La6i:abundam  ac  ferventem, 
Pertranfivit  jubilus. 

II. 

O  quam  lasta  et  beata, 
Fuit  ilia  immaculata 

Mater  Unigeniti  ! 
Quae  gaudebat  et  ridebat 
Exultabat,  cum  videbat 

Naci  Dartum  ir.clvti. 


HYMN   OF    THE  JOYS   OF    MARY. 


FOOD  the  glad  and  beauteous  mother, 
By  the  hay,  where,  like  no  other. 
Lay  her  little  Infant  Boy  : 
Through  whose  soul  —  rejoicing,  yearn- 
ings 
And  with  love  maternal  burning  — 
Thrilling  paffed  the  lyric  joy. 


II. 

Oh  what  grace  to  her  allotted, 
Blefied  mother  and  unspotted 

Of  the  Sole  Begotten  One  ! 
Who  rejoiced  with  filvery  laughter 
As  fhe  gazed  exulting,  after 

Birth  of  her  Illuftrious  Son. 


l8  STABAT    MATER    (sPECIOSA). 

III. 

Quis  jam  eft,  qui  non  gauderet 
Chrifti  matrem  fi  videret 

In  tanto  solatio  ? 
Quis  non  poflet  collaetari 
Chrifti  matrem  contemplari 

Ludentem  cum  filio  ? 

IV. 

Pro  peccatis  suae  gentis, 
Chriftum  vidit  cum  jumentis, 

Et  algori  subditum  ; 
Vidit  suum  dulcem  natum 
Vagientem,  adoratum, 

Vili  diversorio. 

V. 

Nato  Chrifto  in  praesepe, 
Cceli  cives  canunt  laete 

Cum  immense  gaudio  ; 
Stabat  senex  cum  puella, 
Non  cum  verbo  nee  loquela, 

Stupescentes  cordibus. 


STABAT    MATER    (sPECIOSA).  IQ 

III. 

Who  is  he,  would  joy  not  greatly, 
If  he  saw  Chrift's  mother,  lately 

With  such  solace  happy  made  ? 
Who  could  view  without  emotion 
That  fond  mother's  rapt  devotion. 
Playing  with  her  smiling  Babe  ? 

IV. 

For  His  people's  fins  providing, 
Chrift  fhe  saw  with  cattle  biding. 

And  exposed  to  winter  keen  : 
Saw  her  Darling  Offspring,  crying 
As  an  infant,  worfhipped,  lying 

In  a  lodging  vile  and  mean. 

V. 

O'er  that  scene  surpaffing  fable. 
Sing  they,  Chrift  born  in  a  ftable, 

Heavenly  hofts  with  joy  immense: 
Old  men  ftood  with  maidens  gazing, 
Speechlefs  at  that  fight  amazing. 

In  aftonifhment  intense- 


20  6TABAT    MATER    (SPECIOSAJ. 

VI. 

Eja  Mater,  fons  amoris, 
Me  sentire  vim  ardoris, 

Fac  ut  tecum  sentiam 
Fac  ut  ardeat  cor  meum 
In  amatum  Chriftum  Deum, 

Ut  Sibi  complaceam. 

VII. 

Sanaa  Mater,  iftud  agas, 
Prone  introducas  plagas 

Cordi  fixas  valide. 
Tui  nati  coelo  lapfi, 
Jam  dignati  foeno  nasci 

Poenas  mecum  divide, 

VIII. 

Fac  me  vere  congaudere, 
Jesulino  cohserere, 

Donee  ego  vixero  ! 
In  me  fiftat  ardor  tui  ; 
Puerino  fac  me  frui 

Dum  sum  in  exiiio! 


STABAT    MATER    (sPECIOSA).  21 

VI. 

Make  me,  Mother,  fount  of  loving, 
Feel  like  force  of  araor  moving, 

That  I  thus  may  feel  with  thee  ! 
Let  my  heart  with  love  be  burning 
That,  in  Chrift  my  God  discerning, 

I  approved  of  Him  may  be  ! 

VII. 

Do  this.  Mother,  be  entreated. 
Firmly  fix  His  wounds,  repeated 

Each  in  my  heart  crucified  ! 
Of  thy  Son  —  the  Heavenly  Stranger, 
Deigning  birth  now  in  a  manger  — 

SuflFerings  with  me  divide  ! 

VIII. 

Make  me  truly  fhare  thy  pleasure. 
Cleave  to  Jesus  and  Him  treasure, 

While  1  live  and  all  the  while  ! 
Work  in  me  thy  love's  completenefs, 
Feaft  me  with  thy  Sweet  One's  sweetnefs 

To  the  end  of  my  exile  ! 


22  STABAT    MATER      SPECIOSA). 

IX. 

Virgo  virginum  praeclara, 
Mihi  jam  noii  fis  amara, 

Fac  me  parvum  rapere. 
Fac  ut  pulchrum  fantem  portem. 
Qui  nascendo  vicit  mortem, 

Volens  vitam  tradere. 

X. 

Fac  me  tecum  satiari, 
Nato  me  inebriari, 

Stans  inter  tripudio  !  * 
Inflammatus  et  accensus 
Obftupescit  omnis  sensus 

Tali  de  commercio  ! 

XI. 

Omnes  ftabulum  amantes 
Et  paftores  vigilantes 

PernotSlantes  sociant. 

*  Since  inter  never  rules  the  ablative,  Dr.  SchafF  proposes  to 
read  :  "  '  Stantem  in  tripudio  !  '  referring  '  Stantem  '  to  '  me.'  " 


SIABAT    MATER    (sPECIOSAJ.  23 

IX. 

Maid  all  other  maids  exceeding, 
Be  not  bitter  to  my  pleading, 

Let  me  take  thy  Little  One  ! 
Beai  the  Babe,  His  sweet  smile  wooing, 
Who  in  birth  wrought  death's  undoing, 

Giving  life  when  His  begun  ! 

X. 

Fill  me  with  thy  Child's  carefles. 
Make  me,  drunk  with  joy's  excefies. 

In  thy  leaping  transport  fnare  ! 
Fired  and  kindled,  ftruck  with  wonder. 
Let  each  sense  the  power  be  under 

Of  such  comme/ce  sweet  and  rare  ! 

XI. 

All  who  love  the  ftable,  blending 
With  the  watching  (hepherds,  spending 
All  the  nignt,  compose  one  band. 


24  STABAT    MATER     (sPECIOSA), 

Per  virtutem  nati  tui 
Ora  ut  ele6li  sui 

Ad  patriam  veniant  I 

XII. 

Fac  me  nato  cuftodiri 
Verbo  Dei  prjemuniri, 

Conservari  gratia  ; 
Quando  corpus  morietur, 
Fac  ut  animae  donetur 

Tui  nati  vifio. 


STABAT    MAT£R    (sPECIOSa).  2  5 

Fray,  through  ftrength  of  His  deserving, 
His  elecSl,  with  course  unswerving. 
May  attain  the  heavenly  land  ! 

XII. 

Let  me  by  thy  Son  be  warded, 
By  the  word  of  God  be  guarded. 

Kept  by  grace,  refused  to  none  ! 
When  my  body  death  hath  riven, 
■Grant  that  to  my  soul  be  given 

Joyful  vifion  of  thy  Son  ! 


OLD   GEMS    IN    NEW   SETTINGS. 


St     Augustine    and    his    Mother, 

(aRY    aCHEFFRR.) 


lil  Mtin 


IN    NEW    SETTINGS 

COMPRISING   THE 

CHOICEST   OF   MEDIEVAL    HYMNS 

WITH 

ORIGINAL  TRANSLATIONS 
ABRAHAM   COLES,   M.  D.,  Ph.  D. 

THIRD   EDITION. 


NEW   YORK 

D.   APPLETON   AND   COMPANY 

1891 


CONTENTS. 


PAGE 

UrBS    CcELESTIS    SyON  ;    OR,    THE    BETTER    COUNTRY  7 

Veni  Sancte  Spiritus 50 

Veni  Creator  Spiritus 58 

Alphabetic    Judgment    Hymn    (Hymnus    Alpha- 

BETicus  DE  Die  Judicii)      .....  69 
On  Contempt  of  the  World  (Carmen  Jaco- 

PONI    DE    CoNTEMPTU    MuNDI,)       ....  76 


URBS    CCELESTIS    SYON ; 

OR, 

THE    BETTER    COUNTRY. 


N  Trench's  "  Sacred  Latin  Poetry  "  is 
given  a  beautiful  Cento  of  ninety-fix 
lines,  descriptive  of  the  Heavenly  Zion, 
taken  from  the  firft  part  of  a  long  poem 
of  nearly  three  thousand  lines,  entitled  "  De  Con- 
temptu  Mundi"  vi^ritten  in  the  12th  century  by 
Bernard  de  Morlas,  Monk  of  Cluny,  so  called 
to  diftinguifli  him  from  his  famous  contemporary  St. 
Bernard,  Abbot  of  Clairvaux.  Of  this  Cento  a  new 
tranflation  is  here  attempted.  Prefixed  to  it  are  the 
eight  opening  lines  of  the  Poem,  admonitory  of  the 
nearness  of  Chrift's  second  coming  to  judge  the 
world. 

Rev.  Dr.  John  Mason    Neale,  an    accomplifhed 


8  URBS    CCELESTIS    SYON. 

scholar  of  England,  juft  deceased,  whose  tranflations 
of  various  mediaeval  hymns  have  met  u^ith  much  and 
merited  favor,  gave  a  verfion  of  the  larger  part  of  the 
above  Cento  under  the  title  of  "  The  Celeftial  Coun- 
try," following,  as  he  tells  us,  the  arrangement  of 
Trench  and  not  that  of  Bernard.  The  great  popular- 
ity which  this  attained,  as  evinced  by  the  numerous 
hymns  compiled  from  it  —  "  Jerusalem  the  Golden," 
in  particular,  having  found  a  place,  he  gratefully  ob- 
serves, in  some  twenty  hymnals  —  "led  him  to  think 
that  a  fuller  extra6l  from  the  Latin  and  a  further 
tranflation  into  Englifli  might  not  be  unaccept- 
able." 

Whether  by  this  process  there  was  not  as  much 
loft  as  gained  admits  of  some  doubt.  It  set  afide 
Trench's  labor  of  love  as  impertinent  or  useless.  The 
matter  of  the  earlier  tranflation,  with  which  many 
had  become  familiar,  could  only  be  found  by  diligent 
search,  disjecta  membra  poetee,  scattered  everywhere 
up  and  down  the  later  work.  One,  however,  might 
become  reconciled  to  this,  provided  improvement 
always  followed  ;  but  we  think  this  can  hardly  be 
claimed.      On  the  contrary,  what  is  added  too  often 


THE    BETTER   COUNTRY.  g 

appears  crude,  or  incongruous,  or  out  of  place,  or  of 
inferior  intereft.     For  example,  we  read  :  — 

"  Here,  is  the  warlike  trumpet, 
There,  life  set  free  from  fin, 
When  to  the  laft  Great  Supper 

The  faithful  fliall  come  in  ; 
When  the  heavenly  net  is  laden 
With  fifhes  many  and  great, 
(  So  glorious  in  its  fulness 
And  so  inviolate.)" 

Without  access  to  the  original,  it  would  be  im- 
poflible  to  say  which  is  responfible,  the  author  or 
the  tranflator,  for  the  flrange  groupings  contained  in 
the  following  verses  :  — 

"  Jefus,  the  Gem  of  Beauty, 

True  God  and  Man,  they  fing, 
The  ne-jer-failing  Garden, 

The  ^'■^'^r-golden  Ring, 
The  Door,  the  Pledge,  the  Hufband, 

The  Guardian  of  the  Court, 
The  Day-ftar  of  Salvation, 

The  Porter  and  the  Port." 

What  better  is  this  than  a  diftra6ling  medley  of 
names,  whose  meaning  and  fitness,  so  far  from  being 


lO  tTRBS   CCELESTIS-  6 YON. 

immediately  obvious,  it  is  hard  to  discover  even  with 
time  and  ftudy.  Certainly,  one  needs  to  pofless  a 
rare  nimbleness  of  fancy  to  qualify  him  to  overleap 
such  wide  spaces  as  intervene  between  "  the  never- 
failin'j;  Garden"  and  the  '•  ever-oolden  Ring,"  thence 
on  from  "  the  Dour,  the  Pledge,  the  Hufband,"  to 
the  diftant  and  final  refting-place,  "  the  Porter  and 
the  Port"  (whatever  these  may  be),  without  longer 
pauses  in  the  tranfition  than  the  punctuation  calls  for. 
The  framer  of  the  Cento  did  well,  therefore,  we 
think,  in  leaving  out  lines  like  these,  and  no  advan- 
tage has  resulted  from  their  reftoration. 

In  regard  to  the  extraordinary  merit  of  the  orig- 
inal poem  —  at  leaft  that  part  of  it  which  forms  the 
exordium,  wherein  an  attempt  is  made  to  set  forth 
the  purity  and  peace  of  the  heavenly  Paradise,  by 
way  of  contraft,  and  for  the  purpose  of  throwing 
into  yet  bolder  and  more  appalling  relief  the  abound- 
ing pollutions  and  miseries  of  earth  which  it  is  the 
chief  defign  of  the  poem  to  present  —  there  can  be 
but  one  opinion.  Such  is  Dr.  Neale's  appreciation 
of  its  excellence,  that  he  has  "  no  hefitation  in  say- 


THE    BETTER    COUNTRY.  II 

ing  that  he  looks  on  these  verses  of  Bernard  as  the 
moft  lovely,  in  the  same  way  that  the  Dies  Irce  is 
the  moft  sublime,  and  the  Stabat  Mater  is  the  moft 
pathetic,  of  mediaeval  poems.  They  are,  he  thinks, 
even  superior  to  that  glorious  hymn  on  the  same 
subjecft,  the  De  Glorid  et  Gaudiis  Paradift  of  St. 
Peter  Damiani.  So  Trench  looks  upon  "  the  Ode 
of  Cafimir  (the  great  Latin  poet  of  Poland)  IJrit 
me  Patrice  decor^  which  turns  upon  the  same  theme, 
—  the  heavenly  homefickness,  —  with  all  its  claflical 
beauty,  as  a  less  real  and  deep  utterance  than  the 
poor  Cluniac  monk's." 

The  great  and  immediate  popularity  of  Neale's 
tranflation,  notwithftanding  its  defefts,  is  a  further 
proof,  and  the  moft  conclufive  one,  perhaps,  of  all, 
that  it  poflefles  the  elements  of  genuine  power  — 
has  indeed  that  imperifhable  principle  of  lyric  life 
which  fits  it  to  be  the  interpreter  of  the  human  heart 
in  all  ages,  in  the  nineteenth  century  no  less  than 
the  twelfth.  It  too  doubtless  owes  much  to  its 
theme,  which  has  furnifhed  other  hymns  of  great 
sweetness  befides  those  already  named.  Two  in  par- 
ticular  are  deserving  of  special   mention,  —  one   in 


12  URBS    CCELESTIS    SYON. 

Latin,  Urbs  beata  Hirmalem^  and  one  in  Englifh, 
O  Mother  dtar^  Jerusalem.  But  the  heavenly  heart- 
ache, with  the  soul  enamored  of  its  home  in  the 
skies,  and  longing  to  depart,  never,  it  is  safe  to  say, 
found  a  sv^^eeter  or  more  touching  expreffion  than  in 
these  lines  of  Bernard.  In  each  golden  furrow^  of 
verse  are  scattered  in  rich  profufion  the  ripe  verita- 
ble seeds  of  those  immortal  flow^ers  that  bloom  in 
Paradise,  whence  — 

"  Gentle  gales, 
Fanning  their  odoriferous  wings,  dispense 
Native  perfumes,  and  whisper  whence  they  ftole 
Those  balmy  spoils.     As  when  to  those  who  sail 
Beyond  the  Cape  of  Hope,  and  now  are  paft 
Mozambic,  off  at  sea  north-eaft  winds  blow 
Sabean  odors  from  the  spicy  fliore 
Of  Araby  the  bleft." 

We  are  perpetually  reminded,  of  course,  that  the 
fmger  is  ftill  in  the  body,  in  which  "  he  groans,  be- 
ing burdened"  —  "without  are  fightings  and  within 
are  fears"  —  is  a  mourning  exile,  waiting  deliver- 
ance, fick  from  deferred  hope,  not  yet  permitted  to 
enter  the  Land  of  Promise,  but  nevertheless  in  lieu 
thereof  lifted   to  the  Mount  of  Vifion,  and   favored 


THE    BETTER    COUNTRY.  I^ 

with  ecftatic  glimpses  that  "  bring  all  heaven  before 
his  eyes."  No  wonder,  therefore,  his  ftrain  is  a  min- 
gled one,  by  turns  exultant  and  sad  ;  its  rejoicings 
full  of  interjected  fighs  —  suspirations  and  aspirations 
in  the  same  breath.  The  holy  inhabitants  seem 
almoft  *'  too  happy  in  their  happiness  ;  "  it  makes  the 
contraft  with  the  present  ftate  too  great,  too  painful ; 
it  even  begets  doubt,  because  it  seems  too  much  to 
expe<5t  ;  hope  is  afraid  to  soar  so  high.  The  mind 
is  described  as  finking  down  baffled  and  overwhelmed 
under  the  prefTure  of  that  "  far  more  exceeding  and 
eternal  weight  of  glory,"  blinded  and  overpowered 
by  the  intolerable  splendors  of  the  New  Jerusalem  ; 
and  we  are  reminded  of  that  fine  outburft  of  Pindaric 
rapture  in  which  "  the  Bard  "  of  Gray,  in  like  man- 
ner dazzled  and  amazed  by  the  unexpefted  fight  of 
England's  diftant  renown  and  greatness,  exclaims  :  — 

"  But  oh,  what  solemn  scenes  on  Snowdon's  height 
Descending  flow  their  glittering  flcirts  unroll? 
Vifions  of  glory,  spare  my  aching  fight, 
Ye  unborn  ages,  crowd  not  on  my  soul." 

Of  the  hiftory  of  the  original  poem,  this   much  is 
known.      It    was    written    about   the  year   1 145   by 


14  URBS    CCELESTIS    SYON. 

Bernard,  a  Cluniac  monk,  as  already  ftated,  and  ad- 
drefled  to  Peter,  his  own  abbot.  Judging  from  his 
writings,  he  muft  have  pofTefled  a  spirit  almoft  as 
dauntless  as  Luther's.  Apparently  actuated  by  a 
righteous  zeal  to  correct  some  of  the  (hocking  abuses 
which  everywhere  prevailed  to  the  disgrace  of  the 
Chriftian  name,  he  in  this  poem  with  terrible  sever- 
ity and  with  matchless  power  of  sarcasm  exposes 
and  afTails  them,  —  plainly  denounces  the  fhameful 
greed  and  venality  of  the  Roman  court,  corrupt  from 
the  Pope  down,  where  fimony  was  openly  practiced, 
and  nothing  could  be  got  without  money,  but  any 
thing  with.      Here  is  a  specimen  of  his  manner  :  — 

"  Si  tua  nuncla  prsevenit  uncia,  surge,  sequaris  ; 
Expete  liinina,  nulla  gravairina  jam  verearis: 
Si  datur  uncla,  flat  prope  gratia  Pontificalis ; 
Sin  procul  h^c  valet,  haec  tibi  lex  manet  eft  schola  talis." 

Money   is   needed,    if   that   has   preceded,   rise,   follow,  and 

enter; 
Bars  of  the  gateway  removed  fhall  be  ftraightway,  now  fear 

no  preventer ; 
Give  but  the  penny,  then  nigh  thee  is  any  Pontifical  favor  ; 
Far  off  or  faileth  this  thing  that  availeth,  thy  case  is  much 

graver. 


THE    BETTER    COUNTRY. 


15 


Such  being  its  charadler,  it  is  not  surprifing,  per- 
haps, that  It  has  been  a  greater  favorite  with  Proteft- 
ants  than  with  Catholics,  and  that  during  the  time  of 
and  fince  the  Reformation  editions  have  multiplied. 
It  was  unburied  and  firft  printed  at  Paris  in  1483. 
Flacius,  in  a  rare  work  publifhed  at  Bale  in  1557, 
{f^aria  do^orum^  piorumque  vivorum  de  corrupto  Ec- 
cleftce  Jlatu  Poemata^)  pp.  247—349,  gives  it  with  the 
title  :  Bernhardus  Cluniacus  de  Conte?nptu  Mundi. 
Ad  Petrum  Abbatum  suum.  It  was  reprinted  in 
1597,  and  again  in  1610,  and  more  recently  ftill  in 
Wachler's  "  Annals  "  in  1820.  Daniel  in  his  "  The- 
saurus Hymnologicus  "  gives  only  the  firft  eight  lines 
under  the  heading  De  Novijfimis.  These  opening 
lines  are  repeated  here  to  illuftrate  the  ftru£ture  of 
the  verse,  which  of  itself  is  one  of  the  curiofities  of 
literature.  It  is  a  bold  attempt  to  combine  ancient 
prosody  with  modern  rhyme.  Each  hexameter  line 
is  made  to  confift  of  five  dadiyls  and  a  final  trochee, 
the  second  and  fourth  dactylic  feet  rhyming  together, 
and  the  trochaic  ending  rhyming  with  the  corre- 
sponding foot  of  the  following  line  ;  or,  as  it  may  be 
otherwise   exprefled,    it  is  an    example   of  "  leonine 


10  URBS    COELESTIS    SYON. 

and  tailed  rhyme,  with  lines  in  three  parts,  between 
which  a  c^sura  is  not  admiffible."  Below  we  have 
sought  to  represent  to  the  eye  these  peculiarities  of 
ftrudlure  by  marks  ;  and  furthermore,  have  ventured 
a  continuation  of  the  attempt  juft  made,  to  imitate 
the  metre  in  an  Englifh  tranflation  rendered  as  literal 
as  poffible.  While  one  would  not  care  to  prosecute 
it  through  a  long  poem,  we  are  persuaded  the  thing 
could  be  done,  and  in  a  manner  to  make  the  verse 
tolerably  readable  and  efFe6live.  The  perpendicular 
lines  of  divifion  indicate  the  three  parts — the  firft 
two  parts  containing  two  da6tyls  each,  the  second 
and  fourth  forming  a  rhyme  ;  and  the  third  part  con- 
taining one  dactyl  and  one  trochee,  the  final  trochee 
forming  a  double  rhyme  with  that  of  the  next  line. 
De  Novissimis. 

'  Hora  novvssima,  \\  tempora  pesji'/na||  sunt ;  vigi/mwj/ 
Ecce  !    mina(r//rr  II  imminet  Avbiter\\\\\e  supremus ! 
Imminet,  imw/n^/ ||iit  mala  term}net\\3equz  coronet, 
Re£ta  remunfrei  jjanxia  Wberel,  \\  :sthera  donet, 
Auferat  aspera  ||  duraque  ^ondera  ||  mentis  onujla, 
Sobria  vawniat  ||  improba  puwifl/||  utraque_/?(/?^, 
lUe  piis/J/«wj,  II  ille  gravisyf/KWJ,  ||  ecce  !  \tnit  Rex  I 
Surgat  homo  reus  i  ||  Inftat  Homo  Deiu  ||  a  Patre  Judex.'"'* 


THE    BETTER    COUNTRY. 


Of  the  Last  Times. 


17 


Laft   hours    now   tolling   are,  ||  worft   times   unrolling    are ;  || 

watch  !  there  is  danger. 
L6  !  in  sublimity,  ||  threatening  proximity,  ||  hdver'th  th'  Avdn- 

ger! 
Hdvereth,  hdvereth,  ||  evil  uncovereth,  ||  equity  crdwneth  ; 
Rfght    He   rewdrdeth  then,  II  cdmfort   afFdrdeth  then,  ||  hdirs  of 

heaven  dwneth  ; 
Frdm  the  mind,  dnerous  ||  burdens  and  pdnderous  ||  bedreth  He 

lightly  ; 
Rfghteous   protdfleth    He,  ||  wicked  rejd6teth    He  ||  bdth  alike 

rightly ; 
Kfng  in  His  clemency  ||  awful  supremacy  ||  cdmeth  to  gather  — 
Mdn  disentdmbing,  the||  Gdd-Man  him  dooming,  the  ||  Judge 

from  the  Father. 

Surely  "  there  is  a  pleasure  in  poetic  pains  that 
poets  only  know,"  otherwise  it  is  impoffible  to  con- 
ceive that  human  patience  could  have  held  out  in 
the  building  up  of  three  thousand  lines  in  so  difficult 
a  metre.  Like  the  execution  of  those  piilures  in 
mosaic,  seen  in  St.  Peter's  at  Rome,  which  took 
from  twelve  to  twenty  years  to  complete,  it  so  far 
transcends  all  modern  capabilities,  that  one  is  tempted 
to  class  Patience,  in  its  higher  manifeftations  at  leaft, 
3 


l8  URBS    CCELESTIS     SYON. 

among  "  the  Loft  Arts."  The  author  himself  seems 
to  have  been  filled  with  wonder  at  his  own  perform- 
ance ;  and  pioufly  acknowledges,  that  *'  if  he  had 
not  received  directly  from  on  high  the  gift  of  intelli- 
gence, he  had  not  dared  to  attempt  an  enterprise 
so  little  adapted  to  the  powers  of  the  human  mind." 
What  was  difficult  for  the  author  would  be  tenfold 
more  difficult  for  the  tranflator,  because  there  hang 
upon  him  numerous  clogs  from  which  the  other  is 
tree.  Dr.  Neale  says  :  —  "I  have  deviated  from 
my  ordinary  rule  of  adopting  the  measure  of  the  orig- 
inal, because  our  language,  if  it  could  be  tortured  to 
any  diftant  resemblance  of  its  rhythm,  would  utterly 
fail  to  give  any  idea  of  the  majeftic  sweetness  of  the 
Latin."  Whether  it  was  neceflary  or  wise  to  go  to 
the  other  extreme — of  ballad  plainness  and  fimplicity 
—  some  may  doubt. 

The  artful  chara£ler  of  the  verse,  which  confti- 
tuted  one  of  its  chief  diftin6lions,  and  upon  which 
the  author  had  beftowed  so  much  labor,  was  thereby 
neceflarily  loft,  as  well  as  the  richness  and  melody  of 
its  oft-recurring  rhymes.  In  the  tranflation  here 
given,  the  writer  has    sought  to  preserve  *'  the  leo- 


THE    BETTER    COUNTRY.  I9 

nine  and  tailed  rhymes,  with  the  lines  in  three  parts," 
only  lengthening  the  third  member  so  as  to  make  of  it 
another  line,  and  ufing  anapefts  inftead  of  da6lyls, 
as  being  a  kind  of  verse  better  suited  to  the  genius 
of  Englifh  prosody, —  the  dacElylic  form  being  seldom 
used,  because  less  flowing  and  pleafing  to  the  ear. 
Had  it  been  thought  beft  that  the  dactylic  hexameter 
form  fhould  be  retained,  he  is  hardly  prepared  to  go 
the  length  of  Dr.  Neale  and  deny  its  poflibility. 

How  far  the  present  tranflator  has  succeeded  it  is 
of  course  for  others  to  judge.  He  admits  that  if  it 
were  as  easy  to  be  faultless  as  it  is  to  find  fault,  there 
would  be  no  excuse  for  imperfection.  He  claims 
nothing  for  his  verfion.  It  is  sent  forth  as  a  timid 
and  humble  candidate  for  public  favor,  but  at  the 
same  time  not  as  a  mendicant,  afking  alms  and  beg- 
ging leave  to  be.  If  worthless,  let  it  die  —  in  other 
words,  let  nobody  read  it.  So  of  his  other  verfions. 
The  name,  "  The  Better  Country,"  w^as  chosen 
to  diflinguifh  it  from  others  upon  the  same  theme. 
That  it  will  supersede  "  The  Celeflial  Country  " 
is  neither  expected  nor  defired. 


URBS    CCELESTIS    SYON. 


ORA  noviffima,  tempora  peffima 

sunt  ;   vigilemus  ! 
Ecce  !    minaciter  imminet   Arbiter 

ille  supremus  ! 
Imminet,  imminet  ut  mala  terminet 

aequa  coronet, 
Retta  remuneret,   anxia  liberet, 

aethera  donet ; 
Auferat  aspera  duraque  pondera 

mentis    onuftae 
Sobria  muniat,  improba  puniat 

utraque  jufte. 


THE    BETTER   COUNTRY. 


HE  laft  of  the  hours,  iniquity  towers, 
The  times  are    the  worft,  let    us  vigils 

be  keeping! 
Left  the  Judge  who   is  near,  and    soon 
to  appear. 
Shall  us  at  His  coming  find  flumbering  and  fleep- 
ing. 
He  is  nigh,  He  is  nigh  !    He  descends  from  the  (ky 

For  the  ending  of  evil,  the  right's  coronation, 
The  juft  to  reward,  relief  to  afford. 

And  the  heavens  beftow  for  the  saints'  habitation  : 
To  lift  and  unbind  grievous  weights  from  the  mind. 

To  give  every  man  what  is  juft  and  is  equal, 
To  make  the  good  glad,  and  punifti   the  bad. 
To  the  praise  of  His  juftice  and  grace  in  the  sequel. 


2a  URBS    CCELESTIS    SYON. 


Ille  piiffimus,  ille  graviflimus 

ecce  !   venit  Rex! 
Surgat  homo  reus  !      Inftat  Homo  Deus 

a  Patre  Judex. 


Hie  breve  vivitur,  hie  breve  plangitur 

hie  breve  fletur ; 
Non  breve  vivere,  non   breve   plangere 

retribuetur ; 
O  retributio!  flat  brevis  a6lio 

vita  perennis  j 
O  retributio  !   coeliea  manfio 

flat  lue  plenis  ; 
Quid  datur  et  quibus  ?   asther  egentibus 

et  eruce  dignis, 
Sidera  vermibus,  optima  sontibus, 

aflra  malignis. 
Sunt  modo  praelia,  poflmodo  praemia  ; 

qualia  ?   plena. 


THE    BETTER    COUNTRY.  qo 

Moft  clement  and  dear,  moft  juft  and  severe, 
Lo  !   Cometh  the  King  in  terrible  splendor, 

Man  springs  from  the  sod,  and  the  Man  who  is  God, 
The   Judge  from  the  Father,  ftands  sentence  to 
render. 

The  life  here  below  so  brief  is  brief  woe, 

A  brief  mortal  space  for  weeping  afforded;  — 
Not  briefly  to  figh,  then  lie  down  and   die. 

Is  the  life  that  's  to  be  hereafter  awarded. 
O   moft  bleffed  award !  the  gift  of  the  Lord, 

A  life  whose  long  years  cannot  be  computed  j 
O   ftrange  award  given  !   a  manfion  in   heaven 

Afligned  to  the  guilty,  the  sometime  polluted. 
What 's  given,   and    to  whom  ?     In  the   firmament, 
room 
To    the    needy  and    those    by  the    cross    worthy 
rendered  — 
Yea,    on    Mercy's    sweet    terms,   orbs    celeftial   to 
worms, 
To  felons  the  beft,  to  the  hateful  ftars,  tendered. 
Now  are  battles  moft  hard  ;  after  these  the  reward. 
Reward  of  what   sort  ?     Reward    without    meas- 
ure ;  — 


24  URBS    CCELESTIS    SYON. 

Plena  refeilio,  nullaque  paflio, 

nullaque  poena  ; 
Spe  modo  vivitur,  et  Sion  angitur 

a  Babylone  ; 
Nunc   tribulatio,  tunc  recreatio, 

sceptra,  coronac  ; 
Tunc  nova  gloria  pedlora  sobria 

clarificabit, 
Solvet  enigmata,  veraque  sabbata 

continuabit. 
Liber  et  hoftibus,  et  dominantibus 

ibit  Hebrasus  j 
Liber  habebitur  et  celebrabitur 

hinc  jubilaeus. 
Patria  luminis,  inscia  turbinis 

inscia  litis, 
Give  replebitur,  amplificabitur 

Israelitis ; 


THE    BETTER    COUNTRY.  25 

Full  refrefhment,  repose,  full  exemption  from  woes, 
No  suffering,   no  pain,  only  unalloyed  pleasure. 
Now  live  we  in  hope,  and  Zion  muft  cope 

With   Babylon  proud  and  the  powers  infernal ; 
Now  afflidion  makes  sad,  then  delight  fhall  make 
glad, 
And  there  fhall  be  crowns  and  sceptres  supernal. 
Then  new  glory  divine  on  the  righteous  fhall  fhine. 
And  chase  from   their    breafls    the  darkness  that 
paineth, 
Chase    doubt    and    chase    fear,  and    enigmas    make 
clear — 
The   light    of    true    sabbaths,  "the  reft  that  re- 
maineth." 
All  free  from  the  foe  and   his  mafler  fhall  go 
The  Hebrew,  whose  feet  heavy  chains  now  en- 
viron ;  — 
He  henceforth  held  free  fhall  keep  jubilee. 

No  more  to  be  bound   in  affliction  and  iron. 
A  Country  of  light,  unacquainted  with  night, 
Where  of  tempeft  and  flrife  nothing  breaks  the 
deep  flumber. 
With  inhabitants  free  it  ceplenifhed  fhall  be — 
Enlarged  with  true  Israelites  countless  in  number. 
4 


26  URBS    CCELESTIS    SYON. 

Patria  splendida,  terraque  florida, 

libera   spinis, 
Danda  fidelibus  eft  ibi  civibus 

hie  peregrinis. 
Tunc  erit  omnibus  inspicientibus 

ora  Tonantis 
Summa  potentia,  plena  scientia, 

pax  pia   Sanctis  ; 
Pax  fine  crimine,  pax  fine  turbine, 

pax   fine   rixa, 
Meta  laboribus,  atque  tumultibus 

anchora  fixa. 
Pars   mea  Rex  meus,  in  proprio   Deus 

ipse  decore, 
Visus  amabitur,  atque  videbitur 

Au6tur  in  ore. 
Tunc  Jacob  Israel,  et  Lia  tunc  Rachel 

efficictur, 
Tunc  Syon  atria  pulchraque  patria 

perficietur 


THE    BETTER    COUNTRY.  1'] 

Country  splendid  and  grand,  and  a  flowery  land 

That  's  free  from    all  thorns    and    free    from    all 
dangers, 
Is  there  to  be  given  to  the  free  born  of  heaven  — 

The    faithful,    w^ho   here   are    now    pilgrims    and 
{Irangers. 
Shall  then  be  unrolled,  to  all  that  behold 

The  face  of  the  Thunderer,  and  to  such  solely. 
The  utmofl  extreme  of  power  supreme, 

Full  knowledge,  the  unutterable  peace  of  the  holy  : 
A   peace  by   the   tongue  of  flander   unftung  ;      [cor, 

A  peace  without  ftorm,  without  wrangling  or  ran- 
To  labors  a  goal,  and  to  billows  that  roll 

And  tumults    a  fixed  immovable  anchor. 
My  King  is  my  part,  God   Himself  in   my   heart, 

In  His  own  proper  beauty  auguft  and  endearing, 
I  fhall  see  and  enfhrine  and  challenge  as   mine, — 

My  Author  and  Saviour,  —  before    Him    appear- 
ing. 
Then  the  Israel  of  grace  fhall  Jacob  displace, 

And  Leah  be  Rachel  in  form  and  afFeilion  ; 
Then  Zion  fhall  ftand,  a  beautiful  land. 

In  all  the  completeness  of  God-like  perfedlion. 


aS  URhS    CCELESTIS    SYON. 

O  bona  Patria,  lumina  sobria 

te  speculantur, 
Ad  tua  nomina  lumina  sobria 

collacrymantur ; 
Eft  tua   mentio  pectoris   un£lio, 

cura  doloris, 
Concipientibus  aethera  mentibus 

ignis  amoris. 
Tu  locus  unicus,  illeque  coelicus 

es  paradisus, 
Non  ibi  lacryma,  sed  placidiflima 

gaudia,  risus. 
Eft  ibi  confita  laurus,  et  infita 

cedrus  hysopo  j 
Sunt  radiantia  jaspide  moenia 

clara  pyropo  : 
Hinc  tibi  sardius,  inde  topazius, 

hinc  amethyftus  ; 
Eft  tua  fabrica  concio  coelica 

gemmaque  Chriftus. 


FAITH     AND     HOPE. 

(ARY    3CHEFFER.) 


THE    BETTER    COUNTRY. 


29 


O  Country  moft  dear,  our  longing  eyes  here. 

As  they  view  thee  afar,  with  defire  are  aching ; 
At  the  sound  of  thy  name  our  hearts  are  aflame. 

And    our    eyes    are    aweary  'twixt  weeping    and 
waking. 
Thy  mention  brings  reft,  is  balm  to  the  breaft, 

Is  the  cure  of  our  grief,  and  takes  away  sadness  ; 
The  thinking  of  thee  and  the  bliss  that  fhall  be. 

Is  a  fire  of  love  and  a  fountain  of  gladness. 
The  only  place  thou  that  draws  our  hearts  now, — 

Thou  Paradise  art,  thou  our  blissful  Hereafter  ; 
No  tears  are  found  there,  no  sorrow,  no  care, 

But  sereneft  rejoicings  and  innocent  laughter. 
There  planted  are  seen,  eternally  green. 

The  laurel  and  cedar,  with  the  hyflbp  low  grow- 
ing ; 
There  are  walls  with  the  rays  of  the  jasper  ablaze, 

With    the    carbuncle    bright,  incandescent     and 
glowing : 
The  sardius  fhines  there,  here  the  topaz  moft  rare. 

Here  the  beams   of  the   amethyft  with    the    reft 
mingle  ; 
To  thy  fabric  belong  the  heavenly  throng. 

The  corner-ftone  Chrift,  gem  precious  and  fingle. 


•^O  UR3S    CCELESTIS    SYON. 

Tu  fine  littore,  tu  fine  tempore, 

fons   modo  rivus, 
Dulce  bonis  sapis,  eftque  tibi  lapis 

undique   vivus. 
Eft  tibi  laurea,  dos  datur  aurea, 

sponsa  decora, 
Primaque   Principis  oscula  suscipis, 

inspicis  ora  : 
Candida  lilia,   viva   monilia 

sunt   tibi,  sponsa, 
Agnus  adeft  tibi,  Sponsus  adeft  tibi, 

lux   speciosa  ; 
Tota  negocia,  cantica  dulcia 

dulce   tonare. 
Tarn   mala  debita,  quam  bona  praebita 

conjubilare. 
Urbs  Syon  aurea,  patria    la6lea, 

cive  decora, 
Omne  cor  obruis,  omnibus  obftruis 

et  cor  et  ora. 


THE    BETTER    COUNTRY. 


3^ 


Without  fhore,  without   time,  everlafting,  sublime, 

Thou,  fountain  and  ftream  late  hitherward  flowing, 
To  the  good  tafteft  sweet,  living  rock  at  their  feet 

That  all  through  the  wilderness   gladdened    their 

going.  [never  brown  ; 

Thine  's    the    laurel's    green    crown    with    its    leaf 

Rich  dower  all  golden,  fair  spouse,  is  thee  given  ; 
Thine  's  the  exquifite  bliss  of  the  Prince's  firft  kiss. 

And  the  fight  of  His  face  like  a  vifion  of  heaven. 
Fair  lilies  and  white,  living  gems  flafhing  bright, 

Compose,  happy  spouse,  thy  bridal  adorning  ; 
Sits  the  Lamb  by  thy  fide,  and  beams  on  His  bride. 

Like  the  sun  when  he  breaks  through  the  gates 
of  the  morning  ; 
Thy  whole  sweet  employ,  in  triumph  and  joy. 

Sweet  anthems  of  praise  to  warble  forever  ; 
Evils  merited  tell,  bleflings  granted  as  well. 

With  fhoutings  to  grace  that  terminate  never. 
City  golden  and  bleft,  from  thy  fields'  teeming   breaft 

Flow  rivers  ot  milk, —  fair  people,  fair  dwellings; 
Thou    the    whole    heart     doft    whelm,    such    the 
charms  of  thy  realm. 

Choked    is    the    voice  with    the    heart's    mighty 
swellines. 


32  URBS    CCELESTIS    SYON. 

Nescio,  nescio,  quae  jubilatio, 

lux  tibi  qualis, 
Quam  socialia  gaudia,  gloria 

quam   specialis : 
Laude  ftudens  ea  tollere,   mens  mea 

viila  fatiscit ; 
O  bona  gloria,  vincor  ;  in  omnia 

laus   tua   vicit. 
Sunt  Syon  atria  conjubilantia, 

martyre  plena, 
Give  micantia,   Principe  ftantia, 

luce  serena  : 
Eft  ibi  pascua,  mitibus  afflua, 

prasftita  san6tis, 
Regis    ibi   thronus,  agminis  et  sonus 

eft  epulantis. 
Gens  duce  splendida,  concio  Candida 

veftibus   albis 
Sunt  fine  fletibus  in  Syon  aedibus 

aedibus  almis  j 


THE    BETTER    COUNTRY.  33 

Confined  here  below,  I  pretend  not  to  know 

What  forms  this  rejoicing,  the  kind  of  light  given, 
Nor  how  lofty  the  heights  of  those  social  delights, 

Nor  how  special  the  glory  that  conftitutes  heaven. 
These  ftriving  to  raise  in  an  effort  of  praise, 

My  mind  overmaftered,  lo !    fainteth  and  faileth ; 
O  glory  unknown,  I  am  conquered  I  own. 

Thy   superior  praise  in  all  things  prevaileth. 
There  are  ftioutings  and  calls  in  thy  echoing  halls 

With  the  martyr  hoft  full,  a  glorious  mufter, 
With  the  citizen,  bright,  with  the  Prince  aye  in  fight, 

Serene  evermore  with   a  soft,  sacred  lufl:re. 
There  sweet  paftures  around  for  the  gentle  abound, 

For  the  saints  a  dear  flock  by  the  water-brooks 
grazing ; 
There's  the  throne  of  the  King,    there  the  palace- 
walls  ring 

With  the  sound  of  a  multitude  feafUng  and  praifing. 
Nation  glorious  and  grand,  through  the  conquering 
hand 

Of  the  Leader,  a  hoft  in  white  veftments  fhining. 
Through  the  long  rolling   years  they  remain  with- 
out tears ;  ['"g* 

In  the  dwellings  of  Zion  there  is  reft  from  repin- 
5 


34 


URBS    CCELESTIS    SYON. 

Sunt  fine  crimine,  sunt  fine  turbine, 

sunt  fine  lite, 
In   Syon  aedibus  editioribus 

Israelitae. 
Urbs   Syon  inclyta,  gloria  debita 

glorificandis, 
Tu  bona  vifibus  interioribus 

intima   pandis  : 
Intima  lumina,  mentis  acumina 

te   speculantur, 
Peitora  flammea  spe  modo,   poftea 

sorte  iucrantur. 
Urbs  Syon  unica,  manfio  myftica, 

condita  coelo. 
Nunc  tibi  gaudeo,  nunc  mihi  lugeo, 

triftor,  anhelo  : 
Te  quia  corpore  non   queo,  peilore 

saepe  penetro. 


(^.■'ML'KLl    ■    ) 


THE    BETTER    COUNTRY. 


35 


Without  crime,  without  ftorm,  to  mar  and  deform, 

Without    weapons    of   ftrife,    without    matter    of 
quarrel, 
The  Israelites  bleft  in  their  lofty  homes  reft, — 

The  olive  of   peace  intertwined  with  the  laurel 
O   illuftrious  name,  Zion,    higheft  in  fame. 

Whose  glory  is  that  to  the  glorified  owing. 
Thou    doft    knowledge   dispense    to  the    innermoft 
sense. 

Thy  innermoft  good  thus  secretly  fhowing. 
My  innermoft  eyes,  thus  piercing  the  fkies, 

From  the  mind's  higheft  peaks  delighted   behold 
thee  ; 
Now  my  breaft,  all  on  fire  with  hope  and  defire, 

Transported  expedls  sometime  to  enfold  thee. 
Thou  Zion  art  one,  befide  thee  is  none,  — 

Upreared  in  the  fkies  a  myftical  dwelling, — 
Now  in  thee  I  am  glad,   now  in  me  I  am  sad, 

I  sob  and  I  figh  with  breaft  heaving  and  swelling. 
Since  the  body's  dull  clod  keeps  me  back  from  my 
God, 

Thee  to  pierce  I  oft  try  with  spiritual  pinion, 


36 


URBS    CCELESTIS    SYON. 

Sed  caro  terrea,  terraque  carnea, 

mox  cado  letro. 
Nemo  retexere,  nemoque  promere 

suftinet   ore 
Quo  tua  moeniaj  quo  capitalia 

plena  decore  ; 
Opprimit  omne  cor  ille  tuus  decor, 

O   Syon,  O  pax, 
Urbs  fine  tempore,  nulla  poteft  fore 

laus  tibi   mendax  ; 
O  fine  luxibus,  O  f>ne  lu6libus, 

O   fine  lite. 
Splendida  curia,  florida  patria, 

patria  vitae  ! 
Urbs  Syon  inclyta,  turris  et  edita 

littore  tuto, 
Te  peto,  te  colo,  te  flagro,  te  volo, 

canto,  saluto  ; 


THE    BETTER    COUNTRY.  37 

But    earthy  flefh,    fleftiy  earth,  makes    th'  attempt 
little  worth, 
Ajid  I  quickly  fall  back  to  the  senses'  dominion. 
No   mortal  may  dare  with  his  mouth  to  declare  — 
The  tafk  were  presumptuous   and   desperate  the 
duty  — 
Where  thy  walls,  how  they  rise,  in  what  part  of  the 
fkies 
Thy  capitals  fhine  complete  in  their  beauty. 
Thy  charms,  they  weigh  down  the  heart  wholly  and 
drown, 
O  Zion  !   O  Peace  beyond  all  conceiving  ! 
City  bleft,  without  time,  dear,  tranquil,  sublime. 

No  poffible  praise  can  e'er  be  deceiving. 
No  delights  vain  and  lewd,  and  no  sorrows  intrude, 
No  ftrife  with  its  wafting,  its  burning  and  blafting  ; 
Home  happy  and  high,  flowery  land  of  the  fky. 
Land  native  to  bliss  and  the  life  everlafting. 
City,  seen  from  afar,  where  the  glorified  are. 

On   a   safe  and    high    fhore,   lo  !   thy   towers   are 
soaring  ; 
Thee  I  sue,  I  admire,  thee  I  love,  I  defire, 
Sing  hymns  unto  thee,  and    salute  thee  adoring. 


jg  URBS    CCELESTIS    SYON. 

Nec  meritis  peto,  nam   meritis   ineto 

morte   perire, 
Nec  reticens  tego,  quod   meritis  ego 

filius  irae  ; 
Vita  quidem  mea,  vita  nimis  rea, 

mortua  vita^ 
Quippe  reatibus  exitialibus 

obruta,  trita. 
Spe  tamen  ambulo,  praemia  poftulo 

speque  fideque. 
Ilia  perennia  poftulo  praemia 

nodte   dieque> 
Me  Pater  optimus  atque  piiflimus 

ille  creavit  ;, 
In  lue  pertulit,  et  lue  suftulit, 

a  lue  lavit. 
Gratia  coelica  suftinet  unica 

totius  orbis. 


THE    BETTER    COUNTRY.  39 

Not  on  merit,  but  grace,  I  reft  solely  my   case. 

For,  measured  by  merit,  condemned  my  condition  ; 
Not  dumb  and  perverse  do  I  cover  the  worse  — 

1  own   I  'm  a  child  of  wrath  and  perdition. 
My  life  's  a  life  spilt,  void  of  good,  full  of  guilt, 

A  life  like  to  death,  without  vital  expreflions, 
Its     innocence    quenched,     from     its     proper     life 
wrenched, 

Deftroyed  by  reason  of  deadly  transgreffions. 
Notwithftanding  in  hope  I  walk  softly  and  grope. 

In  hope  and  in  faith  heavenly  guerdons  beseeching  ; 
I  trembling  and  weak,  eternal  joys  seek. 

By  night  and  by  day  imploring  hands  reaching. 
Our  Father  above,  whose  nature  is  love. 

The    beft    and   the    deareft,    He    made    and    He 
saved  me ; 
With  my  vileness  He  bore,  from  my  vileness  He 
tore. 

From    my    fm    and    uncleanness    He    graciously 
laved  me. 
Grace  celeftial  alone,  direct  from  the  throne, 

Is  the  sovereign  provifion  of  God's  own  appointing, 


40  URBS    CCELESTIS    SYON. 

Parcere  sordibus,  interioribus 

unftio  morbis  ; 
Diluit  omnia  coelica  gratia. 

fons  David  undans 
Omnia  diluit,  omnibus  affluit 

omnia  mundans  ; 
O  pia  gratia,    celsa  palatia 

cernere  praefta, 
Ut  videam  bona,  feftaque  consona 

coelica  fefta. 
O  mea,   spes  mea,  tu  Syon  aurea, 

clarior  auro, 
Agmine  splendida,  ftans  duce,  florida 

perpete  lauro, 
O  bona  patria,  num  tua  gaudia 

teque  videbo  ? 
O  bona  patria,  num  tua  prasmia 

plena  tenebo? 
Die  mihi,  flagito,  verbaque  reddito 

dicque,  Videbis. 


THE    BETTER    COUNTRY.  41 

The  sordid  of  soul  to  save  and  make  whole, 

For  inward  diseases  the  potent  anointing. 
Grace  wafhes  away  all  pollution  for  aye, — 

The  Fountain  of  David,  as  free  as  redundant, 
Makes  pure   all  within,  makes  clean   from  all  fin, 

To  all  alike  flows  in  measure  abundant. 
O  excellent  grace  !  to  an  excellent  place 

Me  raise  to  discern  ftately  palaces  gleaming. 
At  a  diftance,  at  leaft,  see  the  heavenly  feaft 

With  holieft  mirth  and  melody  teeming. 
Thou  Zion  !  O  mine,  my  hope  all  divine  ! 

Like    gold,  but    far    nobler,  t'  our    dazzled    eyes 
looming, 
Moft  brilliant  thy  hoft,  but  their  Leader  's  thy  boaft, 

Brave  region  with  laurel  perpetually  blooming. 
O  Country  moft  sweet,  fhall  my  eyes  ever  greet 

Thy    turrets    and    towers,  and    know  thy  enjoy- 
ments ? 
O  Country  moft  bleft,  e'er  in  thee  fhall  I  reft, 

Pofless  thy  rewards  and  ftiare  thy  employments  ? 
Tell  me,  I  pray,  render  answer,  and  say: 

«  Thou  ftialt  hereafter  moft  surely  behold  me  — 


42  URBS    CCELESTIS    SYON. 

Spem   solidam  gero  ;  remne  tenens  ero  ? 

die,  Retinebis. 
O  sacer,  O  pius,  O  ter  et  amplius 

ille  beatus, 
Cui  sua  pars  Deus  :   O   miser,  O  reus 

hac  viduatus. 
Bernardus  Cluniacensi«. 


THE    BETTER    COUNTRY. 


43 


I  hope  entertain,  the  thing  hoped   shall  I  gain  ? 
O  say  :    Thou  forever  fhalt  have,  and  fhalt  hold 
me. 
Advanced  to  that  sphere,  O  holy,  moft  dear, 
O   bleffe'd,  thrice  blefled  and  blefled  forever. 
Who   with    cleaving  of  heart,   chose  God    for    his 
part  : 
O    wretched,   undone,    who    from    this    did    him 
sever. 

Bernard  of  Cluny.     (XII.  Century.) 


VENI    SANCTE   SPIRITUS. 


LL  lovers  of  sacred  song  agree  in  affign- 
ing  to  this  Hymn  a  very  high  place. 
Clichtoveus  thinks  it  is  not  poffible  to 
praise  it  enough,  and  finds  it  easy  to 
believe  that  the  author  in  writing  it  was  divinely 
inspired.  Trench  characterizes  it  "  as  the  lovelieft 
of  all  the  Hymns  in  the  whole  circle  of  Latin  Sacred 
Poetry."  Nor  is  it  difficult  to  discover  the  grounds 
of  so  favorable  an  eftimate. 

Rarely  has  the  spirit  of  prayer  been  more  happily 
embodied,  or  "  winged  for  speedier  flight."  It  is 
the  soul  on  its  knees,  devoutly  receptive,  every  door 
thrown  open,  eager,  expe6lant,  looking  and  longing 
for  the  immediate  coming  of  the  Celeftial  Vifitant, 
going  forth  to  meet  Him,  to  kiss  His  feet,  to  haften 
His  approach,  to  teftify  a  holy  and  grateful  welcome, 
not  unmindful,  but  yet  not  deterred  by  the  unspeak- 


VENI    SANCTE    SPIRITUS.  45 

able  greatness  of  the  solicited  condescenfion,  in  afk- 
ing  One  "  whom  the  heaven  of  heavens  cannot  con- 
tain," to  ftoop  to  the  need  and  poverty  of  its  low 
eftate,  afiured  by  the  sure  word  of  promise,  and  en- 
couraged by  paft  experiences  of  His  faithfulness, 
that  "  whosoever  afketh  receiveth."  Truly,  it  were 
hard  to  find  a  serener,  sweeter,  truer,  truftfuller, 
terser  utterance,  where  words  so  few  exprefled  so 
much,  making  the  air  mufical,  charming  the  ear  with 
their  soft,  plaintive  cadences,  and  penetrating  the 
heart  with  the  infinuating  grace  of  their  prevalent 
pleading. 

The  merits  of  its  metrical  ftrufture  are  in  keeping 
with  its  other  excellences.  It  has  the  triplet  char- 
acter of  Sequences  in  general,  confifting  of  five 
ftrophes  of  fix  lines  of  seven  syllables,  or  ten  half 
ftrophes,  the  firft  and  second  lines  of  which  rhyme 
together,  the  third  rhyming  with  the  corresponding 
third  line  of  the  following  half  flrophe.  The  trans- 
lation here  given  is  made  to  conform  to  the  original 
in  these  as  well  as  in  other  respefts. 

A  royal  authorfhip  is  claimed  for  the  Hymn.  It 
is  believed  to  have  been  written  by  Robert  II.  of 


4-6  VENI    SANCTE    SPIRITUS. 

France,  who  at  the  age  of  twenty-four,  in  the  year 
996,  succeeded  to  his  father,  Hugh  Capet,  and 
reigned  thirty-three  years.  He  is  described  as  — 
Omnigena  virtutis  alumnus.^  — 

"  Pieux,  jufte,  savant,  charitable,  fiddle, 
De  toutes  les  vertus,  quel  plus  parfait  module  ?  " 

By  the  sentence  of  Pope  Gregory  V.,  his  firft  mar- 
riage, which  had  been  to  Bertha,  his  coufin,  was 
diflblved.  He  was  afterwards  married  to  Conftance, 
surnamed  Blanche,  daughter  of  Wilh'am  Count  d' Aries 
&  de  Provence,  a  beautiful  princess,  but  proud,  capri- 
cious, and  unbearable,  who  condu6led  herself  in  so 
ftrange  and  violent  a  manner  that  but  for  the  moder- 
ation and  wisdom  of  her  hufband  the  kingdom  would 
have  been  overturned.  Befides  being  one  of  the 
mildeft  of  sovereigns  and  the  meekeft  of  men,  he  is 
spoken  of  as  one  of  the  moft  learned  of  his  time, 
particularly  in  mathematics.  So  charitable  was  he 
that  he  had  always  a  thousand  poor  under  his  care, 
whom  he  fed.  He  was  addi£led  to  both  poetry  and 
mufic,  and  so  (killed  in  both  of  these  arts  that  some 
of  his  compofitions  are  ftill  extant  and  in  use.     The 


VENI    SANCTE    SPIRITUS.  47 

following  example  of  magnanimity,  more  than  royal, 
is  given.  A  dangerous  conspiracy  againft  his  king- 
dom and  life  having  been  discovered  and  the  authors 
arrefted,  as  the  other  nobles  were  aflembled  to  con- 
demn them  to  death,  he  caused  them  to  be  enter 
tained  in  a  splendid  manner,  and  the  next  day 
admitted  them  to  the  Holy  Communion  ;  after  which 
he  set  them  at  liberty,  saying,  that  he  could  not  put 
to  death  those  whom  Jesus  Chrift  had  juft  received 
at  His  table.  If  these  few  glimpses  of  his  life  re- 
veal to  us  the  nature  of  some  of  his  sorrows,  the 
hymn  here  given,  admitting  that  he  was  the  author, 
Ihows  no  less  clearly,  as  Trench  remarks,  the  nature 
of  his  consolations. 

The  Lutheran  Form  of  Ordination  prescribes  that 
the  "  Veni  San6te  Spiritus  "  be  sung  at  the  begin- 
ning of  that  service.  In  the  Romiih  Church  it  is 
sung  on  Whitsunday  and  every  day  throughout  the 
week  till  the  Sabbath  following.  From  the  general 
flaughter  of  the  Sequences  made  in  the  fixteenth 
century,  this  and  three  others  were  the  only  ones 
that  escaped.* 

*  Ses  Diss  Ir^,  p.  61. 


VENI   SANCTE    SPIRITUS. 


ENI,  San6le   Spiritus, 
Et  emitte  coelitus, 

Lucis  tuae  radium. 
Veni,  pater  jvtuperum, 
Veni,  dator  munerum, 
Veni,  lumen  cordiuT*. 


II. 

Consolator  optime, 
Dulcis  hospes  animae, 

Dulce  refrigerium. 
In  labore  requies, 
In  aeftu  temperies. 

In  fletii  solatium. 


VENI    SANCTE    SPIRITUS. 


OME,  O  Holy  Spirit,  come, 
And  from  Thy  celeftial  heme 
Of  Thy  light  a  ray  impart  ! 
Come  Thou,  Father  of  the  poor! 
Come  Thou,  Giver  of  heaven's  ftore  ! 
Come  Thou,  Light  of  every  heart  ! 


II. 
Promised  Comforter  and  beft, 
Of  the  soul  the  deareft  Gueft, 

Sweet  Refrefhment  here  below. 
Reft,  in  labor,  to  the  feet, 
Coolness  in  the  scorching  heat, 
Solace  in  the  time  of  woe. 
7 


50  VENI    SANCTE    SPIRITUS. 

III. 

O  lux  beatiflima  ! 
Reple  cordis  intima 

Tuorum  fidelium. 
Sine  tuo  numine, 
Nihil  eft  in  homine, 

Nihil  eft  innoxium. 

IV. 

Lava  quod  eft  sordidum, 
Riga  quod   eft  aridum, 

Sana  quod  eft  saucium  ! 
Fledge   quod   eft  rigidum, 
Fove  quod  eft  frigidum, 

Rege  quod  eft  devium  ! 

V. 
Da  tuis  fidelibus, 
In  te  confidentibus, 

San6luni  septenarium  :  * 
Da   virtutis   meritum, 
Da   salutis   exitium. 
Da  perenne  gaudium  ! 

RoBERTus  Rex  Francis, 
»  The  seven  gifts  of  the  Spirit. 


VENI    SANCTE    SPIRIFUS.  5 1 

III. 

O   moft  blefled  Light !   the    heart's 
Innermoft,  moft   hidden  parts 

Of  Thy  faithful  people,  fill  ! 
Not   without  Thy  favor  can 
Any  thing  be  good  in  man, 

Any  thing  that  is  not  ill. 

IT. 

What  is  sordid   make  Thou  clean, 
What  is  dry  make  moift  and  green, 

What  is  wounded    heal  for  aye. 
Bend  what 's  rigid  to  Thy  will, 
Warm  Thou  whatsoe'er  is  chill. 

Guide  what  's  devious  and  aftray. 

V. 

To  Thy  faithful  given  be  — 
Those  confiding  flill  in   Thee  — 

Gracioufly  the  holy  seven  : 
Give  Thou  virtue's  recompense, 
Give  a  safe  departure  hence, 
Give  th'  eternal  joy  of  heaven. 

Robert  II.  of  Franxe. 
(Beginning  of  XL  Century.) 


VENI    CREATOR   SPIRITUS. 


HIS  well-known  Hymn,  older  than  the 
"  Veni  San6le  Spiritus,"  is  of  the  same 
pure  type,  both  being  happily  chara6ler- 
ized  by  a  moft  unromifh  catholicity  that 
makes  them  sweetly  acceptable  to  all  Chriftian  hearts. 
Here,  at  leaft,  there  is  no  profane  admixture  of  bor- 
rowed or  imitated  paganism  —  no  Handing  in  the  old 
Roman  Pantheon,  with  a  retention  of  not  a  little  of 
the  form  and  spirit  of  the  old  worfhip,  paying  vows 
to  manifold  apotheofized  Chriftian  saints,  as  once  to 
deceased  pagan  heroes  or  mythological  divinities  — 
but  a  solemn  address  and  devout  prayer  to  that 
"Creator  Spirit,"  who,  in  the  sublime  language  of 
Milton, — 

"  from  the  firft 
Was  present,  and  with  mighty  wings  outspread 


VENI    CREATOR    SPIRITUS.  53 

Dove-like  sat  brooding  on  the  vaft  abyss 
And  made  it  pregnant  "  — 

**  the  third  subfiftence  of  the  divine  infinitude,  illu- 
minating Spirit,  the  joy  and  solace  of  created  things  ;  " 
*'  who  can  enrich  with  all  utterance  and  knowledge, 
and  sends  out  His  Seraphim  with  the  hallowed  fire 
of  His  altar,  to  touch  and  purify  the  lips  of  whom 
He  pleases  ;  "  the  third  person  of  "  the  One  tri- 
personal  Godhead  "  — 

"  that  doth  prefer, 
Before  all  temples,  th'  upright  heart  and  pure,"  — 

not  invoked  as  a  Muse  to  inspire  the  poet's  song  and 
bear  him  upward  on  the  wings  of  a  swift  rapture  to 
**  the  higheft  heaven  of  invention,"  —  but  as  the 
indispensable  Begetter  of  a  new  spiritual  life  in  the 
loft  soul  of  man  ;  the  Finger  of  the  mighty  power 
of  God  whose  saving  and  converting  touch,  reaching 
to  the  deepeft  springs  of  human  thought,  feeling,  and 
condu6l,  uplifts  to  the  serene  altitude  of  "heavenly 
places  in  Chrift  Jesus ;  "  the  myftery  of  an  ineffable 
Cause,  working  effedlually  "  to  will  and  to  do  "  in 
perfect  harmony  with  the  utmoft  moral  freedom  of 


54 


VENI    CREATOR    SPIRITUS. 


acSlion  and  volition  ;  the  supreme  Gift,  and  the  infi- 
nite Giver  of  gifts  ;  the  refident  Paraclete,  domefti- 
cated  in  human  consciousness  ;  the  Light  of  a  fteady 
illumination,  and  the  Fire  of  a  continual  joy  ;  the 
incredible  sweetness  of  whose  comforting  and  com- 
pensatory presence  and  perpetual  indwelling,  accord- 
ing to  the  marvelous  saying  of  the  Divine  Lord 
Himself,  making  it  expedient  that  He  fhould  go  away 
in  order  that  there  might  follow  this  subftituted  and 
surpafling  blefledness  to  His  bereaved  and  orphaned 
disciples  when  deprived  of  His  own  fight  and  soci- 
ety ; —  the  Promise  of  the  Father,  Proceeding  Spirit, 
manifefted  in  a  miraculous  outpouring  of  baptismal 
fullness  on  the  day  of  Pentecoft,  as  a  crowning  proof 
to  all,  that  He  whom  the  Jews  had  crucified  had 
indeed  paffed  into  the  higheft  heaven  and  been  to 
**  the  right  hand  of  God  exalted,"  thence  to  dispense 
this  immeasurable  grace  to  the  children  of  men,  that 
they  in  turn  might  celebrate  in  glad  doxologies  the 
triune  Jehovah,  Father,  Son,  and  Holy  Ghoft,  through- 
out all  ages.  Amen  ! 

Although   it  is   not  certainly  known  that  Charle- 
magne  is   the  author,   he   is  commonly  so   reputed. 


VENI    CREATOR    SPIRITUS.  55 

Others  think  the  probabilities  are  in  favor  of  Gregory 
the  Great.  They  say,  the  claflic  metre  with  the  in- 
termingling rhymes,  and  the  flyle  generally,  are  Greg- 
ory's. So,  too,  the  claflic  scanfion  of  the  fifth  line 
making  the  penult  of  "  ParaclTtus"  long,  betrays,  it  is 
argued,  the  Grecian  which  Gregory  was,  and  Char- 
lemagne was  not.  On  the  other  hand,  it  is  afTerced 
that  Charlemagne  was  qaite  equal  to  the  tafk.  "  His 
eloquence,"  says  his  Secretary,  "  was  abundant.  He 
was  able  to  express  with  facility  all  he  wifbed  ;  and 
not  content  with  his  mother  tongue,  he  beflowed 
great  pains  upon  foreign  languages.  He  had  taken 
so  well  to  the  Latin,  that  he  was  able  to  speak  pub- 
licly in  that  language  almofl:  as  eafily  as  in  his  own. 
He  underftood  Greek  and  ftudied  Hebrew."  He 
wrote  other  verses,  which  are  ftill  extant  :  —  an  epi- 
taph on  Adrian  I.,  the  Song  of  Roland,  an  ode  to 
the  scholar  Warnefride,  and  an  epigram  in  hexameter 
verse.  There  exifts  a  letter  addrefTed  by  him  to  his 
bifhops,  entitled  De  gratid  septiformis  Spiritus^  fhow- 
ing  that  he  took  a  special  intereft  in  the  subje61:  of 
the  Hymn.  Moieover,  the  twofold  proceflion  of 
the   Holy  Ghoft,  affirmed  in   the  fixth  ftrophe,  and 


56  VENI    CREATOR    SPIRITUS. 

with  an  emphafis  implying  that  it  was  confidered  an 
important  article  of  belief,  was  firft  confirmed  as  the 
do6trine  of  the  Weftern  Church  by  a  Synod  aflem- 
bled  under  imperial  auspices  at  Aix-la-Chapelle  in 
the  year  809  ;  and  this  circumftance  ftrengthens,  it 
is  thought,  the  probability  that  he  was  the  author. 
Charlemagne,  "  claimed  by  the  Church  as  a  saint, 
by  the  French  as  their  greateft  king,  by  the  Germans 
as  their  countryman,  by  the  Italians  as  their  emperor," 
died  at  Aix-la-Chapelle,  we  are  told,  with  his  crown 
upon  his  head,  and  his  copy  of  the  Gospels  upon  his 
knees. 

Befides  being  used  as  a  Pentecoftal  Hymn,  it  has 
been  the  cuftom  to  employ  it  on  great  occafions  like 
the  coronation  of  kings,  the  celebration  of  synods, 
and,  in  the  Romifh  Church,  the  creation  of  popes, 
&c.  It  is  the  only  Breviary  Hymn  retained  by  the 
Episcopal  Church,  where  a  place  is  afligned  it  in  the 
offices  for  the  ordination  of  priefls  and  the  consecra- 
tion of  biftiops.  The  Prayer  Book  contains  two 
verfions.  Dryden's  admirable  paraphrase  is  well 
known.  The  rendering  here  given  is  much  more 
close.      In    German   there   are   several   tranflations. 


VENI    CREATOR    bPlRITUS.  cy 

One    by   Luther    begins  :     Kum     Schepher    heiliger 
Geiji. 

The  Latin  text  varies  in  different  editions.  Some 
interpolate  between  the  5th  and  6th  verses  the  fol- 
lowing additional  one  : 

Da  gaudiorum  prsemia, 
Da  gratiarum  munera, 
Diffolve  litis  vincula, 
Adftringe  pacis  foedera. 

The  final  verse  is  sometimes  given  thus : 

Sit  laus  Patri  cum  Filio, 
Sanfto  fimul  Paracllto, 
Nobisque  mittat  Filius, 
Charisma  San6ti  Spiritus. 

That  the  final  verse  was  added  afterwards  may  be 
deduced  from  the  fa6t  that  the  quantity  of  ''  Para- 
clito  "  in  this  differs  from  that  of  "  Paraclltus  "  in 
the  second  verse  of  the  hymn — the  penult  in  the 
one  case  being  fhort  and  in  the  other  long.  The 
Hymn  moreover  in  its  present  form  has,  so  to  speak, 
a  double  doxology  or  celebration  of  the  Trinity, 
which  increases  the  probability  that  it  ended  origin- 
ally with  the  fixth  verse. 


VENI    CREATOR   SPIRITUS. 


ENI,  Creator  Spiritus, 
Mentes  tuorum  vifita, 
Imple  superna  gratia, 
Quae  tu  creafti  pectora. 


II. 


Qui  Paraclitus  diceris 
Donum  Dei  altiflimi, 
Fons  vivus,  ignis,  charitas, 
Et  spiritalis  un£i:io. 


HI. 


Tu  septiformis   munere,* 
Dextrae   Dei  tu   digicus,^ 
Tu  rite  promiirum   Patris, 
Serrnone   ditaiis   (juttura. 


VENI    CREATOR    SPIRITUS. 


REATOR  Spirit,  Gueft  Divine, 
Come,  vifit  and  inhabit  Thine, 
Enter  the  mind's  Moft  Holy   Place, 
And  breafts  Thou  madeft  fill  with  grace. 


II. 


Thou  who  art  called  the   Paraclete, 
Of  God  Moft   High  the   Gift  complete. 
The  Living  Fount,  the  Fire,  the  Love, 
And    Holy  Undion  from  above. 


III. 


Sevenfold  the  gifts  at  Thy   command, 
Finger  of  God's  supreme  right  hand. 
The   Promise  of  the  Father,   who 
Doft   throats  enrich   with  utt'rance  new. 


60  VENI    CREATOR    SPIRITUS. 

TV. 

Accende  lumen   senfibus, 
Infunde  amorem  cordibus, 
Infirma  noftri  corporis, 
Virtute  firmans  perpeti. 

V. 

Hoftem  repellas  longius, 
Pacemque  dones  protinus  : 
DucSlore  fie  te  praevio 
Vitemus  omne  noxium. 

VI. 

Per  te  sciamus  da  Patrem 
Noscamus  atque  Filium, 
Teque  utriusque  Spiritum 
Credamus  omni  tempore. 

VII. 

Deo  Patri  fit  gloria, 
Et  Filio,  qui  a  mortuis 
Surrexit,  ac  Paraclito, 
In  saeculorum  saecula. 

Carolus  Magnus. 


VENI    CREATOR    SPIRITUS.  bl 

IV. 

Kindle  the   senses,  light  impart, 
Infuse  Thy   love  in   every  heart, 
Weaken  our  body's  bent  to  wrong. 
In  lafting  virtue  making  ftrong. 

V. 

Drive   farther'  off  the  hellifh   foe, 
And  conftant  peace  henceforth   beftowr. 
May  we  —  Thou,  Leader  in  the  way  — 
All  evil  fliun,  nor  go  aftray. 

VI. 

Grant  we  may  know  in  verity 
The  Father  and  the  Son  through  Thee  j 
And  in  all  time  may  Thee  believe 
Spirit  of  Both,  and  so  receive. 

VII. 

Be  God  the  Father   glorified. 
And  God  the  Son  who  for  us  died 
And  rose,  and  God  the  Paraclete, 
Ages  on  ages  infinite. 

Charlemagne.     (Beginning  of  IX.  Century.) 


62  VENl    CREATOR    SPIRITUS. 

1  The  seven  gifts  of  the  Holy  Spirit  (Isaiah  xi.  2,  3)  are: 
I.  Wisdom  (sapient la)  ;  2.  Underftanding  (intelle^us)  ; 
3.  Counsel  (con/ilium)  ;  4.  Fortitude  (^fortitudo)  ;  5.  Knowl- 
edge (^scientia)  ;  6.  Piety  (pi etas)  ;  7.  Fear  of  the  Lord 
(titnor).    Whence  the  verse  :  — 

Sap.  Intel,  con.  for.  set.  pi.  ti.  collige  dona. 

2  The  title  here  given  to  the  Holy  Ghoft — Digitus  Dei  — 
borrowed  from  Luke  xi.  20,  and  answering  to  the  Spiritus  Dei 
of  Matthew  xii.  28,  is  adapted,  so  it  is  thought,  to  suggeft 
other  ideas  befides  the  fingle  one  of  power.  As  the  fingers  are 
various  but  have  a  common  origin  in  the  hand,  so  there  are 
diverfities  of  gifts  and  operations,  but  the  same  Spirit.  Not- 
withftanding  divilions,  there  is  a  root  of  unity.  Jerome  finds 
in  it  moreover  a  hint  of  the  homooufian  union  of  the  Spirit 
with  the  Father  and  the  Son.  "  If,  therefore,"  he  argues,  "  the 
Son  is  the  hand  and  arm  of  God,  and  the  Holy  Ghoft  His  fin- 
ger, there  is  one  subftance  of  the  Father,  Son,  and  Holy 
Ghoft."  It  is  ftated  in  Exodus  that  "  the  Lord  delivered  unto 
Moses  two  tables  of  ftone  written  with  the  finger  of  God ;  " 
and  Paul  speaks  of  the  Corinthian  converts  as  "  epiftles  of 
Chrift,  written  not  with  ink,  but  the  Spirit  of  the  living  God  ; 
not  in  tables  of  ftone,  but  in  the  flefhly  tables  of  the  heart,"  — 
thus  furnilhing  another  illuftration  of  scriptural  usage  in  as- 
cribing the  same  funftion  and  work  to  the  finger  of  God  and 
the  Spirit  of  God. 


ALPHABETIC    JUDGMENT-HYMN. 

(HYMNUS    ALPHABETICUS    DE    DIE   JUDICII.) 

HE  venerable  Bede,  an  Englifh  monk, 
who  lived  in  the  seventh  century,  makes 
mention  of  this  Alphabetical  Hymn,  so 
that  it  muft  have  been  written  before 
his  time.  The  author  is  unknown.  Daniel  re- 
marks :  '*  It  is  interefting  to  compare  this  piece  on 
the  Laft  Judgment  with  that  moft  celebrated  one, 
Dies  ins^  dies  illa^  by  which  in  majefty  and  terror, 
not  in  holy  fimplicity  and  truthfulness,  it  is  surpafTed." 
Neale,  likewise,  speaking  of  this  Hymn,  says  :  "  It 
manifeftly  contains  the  germ  of  the  Dies  Ira^  to 
which,  however  inferior  in  lyric  fervor  and  efFedl,  it 
scarcely  yields  in  devotion  and  fimple  realization  of 
the  subjedl." 


HYMNUS    DE    DIE    JUDICII. 


PPAREBIT      repentina      Dies     Magna 
Domini 
Fur  obscura  velut  no6le  improvisos  oc- 
cupans, 
B  revis  totus  turn  parebit  prisci  luxus  saeculi, 

Totum  fimul  cum  clarebit  prseteriffe  sasculum. 
C  langor  tubae  per  quaternas  terrae  plagas  concinens, 

Vivos  una   mortuosque   Chrifto  ciet  obviam. 
D  e  coelefti  Judex  arce,  majeftate  fulgidus 

Claris   angelorum   choris  comitatus   aderit  : 
E  rubescet  orbis  lunae,   sol   et  obscurabitur, 

Stella  cadent  pallescentes,  mundi  tremet  ambitus  ; 
P  lamma,  ignis  anteibit  jufti   vultum  Judicis, 

Ccelos,  terras  et  profundi  fluftus  ponti  devorans. 
G  loriosus  in  sublimi   Rex  sedebit  solio, 

Angelorum  tremehun^a  circumftabaiU   agmina, 


JUDGMENT-HYMN. 


S  a  thief  in  the  night,  when  none  walceth 
to  ward, 
yl      Shall  be  the  surprise  of  that  Day  of  the 
^■^  Lord ; 

B  rief  fhall   then  seem  all  its  pomp  and  display 
When  the  world  fhall  have  paffed  and  its  fafhion 
away. 
C  langor  of  trumpet-call,  everywhere  spread, 

Shall  gather  to  Chrift  all  the  quick  and  the  dead. 
D  azzling  from  heaven  the   Judge  fhall  descend, — 

Bright  choirs  of  angels   His  coming  attend  : 
E  'en  as  blood  (hall  the  moon  be,  the  sun  it  fhall 
fade, 
Stars  paling  fhall  fall,  and  the  world  be  afraid ; 
'P  ore  the  face  of  the  Judge,  lo  !   a  fire  fhall  sweep 
Devouring  the  heavens,  the  land  and   the  deep. 
Glorious  the  King  fhall  be  seated  on  high. 

While  trembling  around  ftand  the  hofts   of  the 
fky. 


66  HYMNUS    DE    DIE    JUDICII. 

H  ujus  omnes  ad  elecSti  colligeniur  dexteram, 

Pravi  pavent  a  finiftris  hoedi  velut  foetidi : 
I  te,  dicit  Rex  ad  dextros,  regnum  coeli  sumite, 

Pater  vobis  quod  paravit  ante  omne  saeculum, 
C  aritate  qui  fraterna  me  juviftis  pauperem, 

Caritatis  nunc  mercedem  reportate  divites. 
L  seti  dicent :  quando,  Chrifte,  pauperem  te  vidimus, 

Te,  Rex  magne,  vel  egentem  miserati  juvimus  : 
M  agnus  illis  dicet  Judex  :   cum  juviftis  pauperes, 

Panem,     domum,    veftem     dantes,    me    juviftis 
humiles. 
N  ec  tardabit    et  finiftris  loqui  juftus  Arbiter : 

In  Gehennae  maledi6ti  flammas  hinc  discedite  ; 
O  bsecrantem  me  audire  despexiftis   mendicum, 

Nudo  veftem  non  dediftis,  neglexiftis  languidum. 
P  eccatores  dicent :  Chrifte,  quando  te  vel  pauperem, 

Te,    Rex     magne,    vel    infirmum    contemnentes 
sprevimus. 
Q  uibus  contra  Judex  altus  :   mendicanti  quamdiu 

Opem  ferre  despexiftis,  me  spreviftis  improbi. 


JUDGMENT-HYMN.  67 

H  is  elecSt  on  the  right  fhall  be  gathered,  the  while 

On  His  left  fhall  be  placed  the  wicked  and  vile ; 

"  I  nherit   the    kingdom  "  —  Ihall   the  King  say  to 

those  —  [was  ; 

"  The  Father  prepared  for   you  ere  the  world 

"Kindly,  Me  poor,  ye  did  succor  in  love, 

"  Love's  guerdon   receive   now,  ye  rich,    from 
above." 
"  L  ord,"  they  fhall  say,  ''  when  did  we  e'er  see 
*'  Thee    poor,    and    in    want    gave    succor    to 
Thee  ?  " 
"Me"  —  fhall  He  say  —  "  ye  did  succor,  't  was  I 
'*  When  ye  cared  for  the  poor,  fhared  the  timely 
supply." 
N  ext,  over  the  left,  in  loud  thunders  fhall  burfl : 
**  To  the  flames  of  Gehenna  depart  ye  accurfl  : 
"On  Me  needy  ye  looked  and  turned  a  deaf  ear, 
*'  When    naked    Me    clothed    not,   when    fick 
came  not  near." 
*'  P  ray  tell  us,  Great  King,  when,  poor  or  forlorn, 
"  Did  we  ever  contemn    Thee   or    treat    Thee 
with  scorn  ?  " 
Q  ueflioned,  the  Judge  fhall  then  answer :  "Know  ye 
*'  What  time  ye  the  needy  despised  ye  did  Me." 


68  HYMNUS    DE    DIE    JUDICII. 

Retro  ruent  turn  injufti  ignes  in  perpetuos, 

Vermis  quorum  non  morietlir,  flamma  nee  reftin- 
guitur, 
S  atan  atro  cum   miniftris  quo  tenetur  carcere, 

Fletus  ubi  mugitusque,  ftrident  omnes  dentibus, 
T  unc  fideles  ad  coeleftem   suftollentur  patriam, 

Choros  inter  angelorum  regni  petent  gaudia, 
U  rbis  summae   Hirusalem  introibunt  gloriam 

Vera  lucis  atque  pacis   in  qua  fulget  vifio. 
X  PM  regem  jam  paterna  claritate  splendidum 

Ubi  celsa  beatorum  contemplantur  agmina  — 
Y  dri  fraudes  ergo  cave,  infirmantes  subleva, 

Aurum  temne,  fuge  luxus  fi  vis  aftra  petere, 
Z  ona  clara  caftitatis  lumbos  nunc  prascingere, 

In  occursum  Magni  Regis  fer  ardentes  lampades. 


JUDGMENT-HYMN.  69 

R  ufh  fhall  the  wicked  then,  plunged  in  the  fire 
Where    the  worm  Ihall    not    die  nor  the  flame 
fliall  expire. 
S  atan  in  chains  fhall  there  hold  them  beneath, 
Where  are  weeping  and  wailing  and  gnaftiing  of 
teeth. 
T  hen  the  faithful,  upborne  to  the  heavenly  land, 
Shall  partake  of  the  joys  at  Jehovah's  right  hand  ; 
'U  fhered  fhall  be  in  that  Salem  above 

Where  fhines  the  true  vifion  of  light,  peace,  and 
love  ; 
'X  alted  as  King,  in  divinity  drefl. 

There  Chrift  fhall  be  viewed  by  the  hofts  of  the 
blefl. 
Y  ou  the  Serpent's  wiles  fhun,  you  the  weak  ones 
suftain, 
Scorn  gold,  flee  excess,  would  you   the  flars  gain. 
Z  one  of  chaflity  bright  be  your  girdle,  forth  bring 
Your  lamps  trimmed  and    burning  to   meet    the 
Great  King. 

Unknown  Author. 
(Vn.  Century,  or  earlier.) 


ON   CONTEMPT   OF   THE  WORLD. 


(CARMEN  JACOPONI  DE  CONTEMPTU  MUNDI.) 

HIS  Hymn  was  firft  printed  in  Paris, 
1496.  It  has  been  ascribed  to  various 
persons,  among  the  reft  to  St.  Bernard  ; 
also  to  Walter  Mapes,  Archdeacon  of 
Oxford,  England,  who  lived  in  the  twelfth  or  thir- 
teenth century.  But  Wadding,  in  his  "  Annals  of 
the  Minorites,"  points  to  Jacopone  as  the  true  au- 
thor of  this  as  well  as  of  the  Stabat  Mater;  and 
this  now  would  seem  to  be  the  received  opinion. 
Du  Meril  collates  the  third  and  fourth  verses  with 
the  following  lines  taken  from  another  part  of  the 
same  poem  as  "The  Better  Country,"  —  Bernard's 
"  De  Contemptu  Mundi."  The  reader  will  readily 
recognize  the  rhyming  hexameter  with  which  he  w-as 
made  familiar  in  the  former  extra6l : 


ON    CONTEMPT    OF    THE    WORLD.  7I 

*'  Eft  ubi  gloria  nunc,  Babylonia  ?  sunt  ubi  durus 
Nabuchodonozor  et  Darii  vigor,  illeque  Cyrus  ? 
Nunc  ubi  curia  pompaque  lulia  ?    Caesar  obifti ; 
Te  truculentior,  orbe  potentior  ipse  fuifti. 
Nunc  ubi  Marius  atque  Fabricius  inscius  auri  ? 
Mors  ubi  nobilis  et  memorabilis  aftio  Pori  ? 
Diva  philippica,  vox  ubi  coelica  nunc  Ciceronis  ? 
Pax  ubi  civibus  atque  rebellibus  ira  Catonis  ? 
Nunc  ubi  Regulus,  aut  ubi  Romulus,  aut  ubi  Remus? 
Stat  rosa  priftina  nomine,  nomina  nuda  tenemus." 

Here  is  more  in  the  same  vein,  occurring  in  a 
hymn  "  On  Death,"  of  an  uncertain  date  and  by  an 
unknown  author : 

"  Ubi  Plato,  ubi  Porphyrius  ; 
Ubi  TuUIus  aut  Virgilius  ; 
Ubi  Thales,  ubi  Empedocles, 
Aut  egregius  Ariftoteles  ; 
Alexander  ubi  rex  maximus  ; 
Ubi  Heftor  Troias  fortiffimus  ; 
Ubi  David  rex  doftilTimus, 
Ubi  Salomon  prudentiffimus ; 
Ubi  Helena  Parisque  roseus  ; 
Ceciderunt  in  profundum  ut  lapides : 
Quis  scit,  an  detur  eis  requies." 


DE   CONTEMPTU   MUNDL 


I. 


UR  mundus  militat  sub  vana  gloria, 
Cujus  prosperitas  eft  tranfitoria? 
Tarn  cito  labitur  ejus  potentia, 
Quam  vasa  figuli,  quae  sunt  fragilia. 


II. 


Plus  crede  Uteris  scriptis  in  glacle, 
Quam  mundi  fragilis   vanae  fallaciae  ! 
Fallax  in  prasmiis  virtutis  specie, 
Quae  nunquam  habuit  tempus  fiduciae. 


III. 


Die,  ubi  Salomon,  dim  tarn  nobilis, 
Vel  ubi   Sampson  eft,  dux  invincibilis  ? 


ON   CONTEMPT   OF   THE   WORLD. 


I. 

;HY  toileth  the  world  in  the  service  of 

glory? 

Whose  triumphs  are  brief,  though  the 
proudeft  in   ftory  ? 
Its  power  is,  though  high  as  the  heart  ever  flattered, 
Like  the  vase  of  the  potter,  that  quickly  is  ihattered. 


II. 


Truft  a  pledge  writ  in  ice  when  winter  is  leaving  — 
Than    the    world's     fair    falsehoods    less    vain    and 


leceivins:  ! 


Moft  false  in  its  promise  of  virtue's  rewarding. 
The  time  of  redemption  it  never  regarding. 


III. 


O  say,  where  is  Solomon,  aforetime  so  glorious? 
Or  where  now  is  Sampson,  a  leader  vidlorious  ? 


74  DE    CONTEMPTU    MUNDI. 

Vel   pulcher  Absalom,  vultu  mirabilis, 
Vel  dulcis  Jonathas,  multum  amabilis  ? 


IV. 

Quo  Caesar  abiit,  celsus  imperio  ? 

Vel  Xerxes  splendidus,  totus  in  prandio  ? 

Die  ubi  Tuilius,  clarus  eloquio  ? 

Vel  Ariftoteles,   summus  ingeivio  ? 

V. 

Tot  clari  proceres,  tot  rerum  spatia, 
Tot  ora  praesulum,  tot  regna  fortia, 
Tot  mundi  principes,  tanta  potentia, 
In  i6lu  oculi   clauduntur  omnia. 

VI. 

Quam  breve  feftum  eft  haec  mundi  gloria  ! 
Ut  umbra  hominis,   lie  ejus  gaudia, 
Qua£  semper  subtrahunt  asterna  praemia, 
Et  ducunt  hominem  ad  dura  devia. 


ON    CONTEMPT    OF    THE    WORLD.  75 

Or  beautiful  Absalom,  of  wondrous  appearing  ? 
Or  Jonathan  sweet,  exceeding  endearing  ? 


IV. 

Where  's  Caesar  gone  now,  in  command  high  and 

able  ? 
Or  Xerxes  the  splendid,  complete  in  his  table  ? 
Or  Tully,  with  powers  of  eloquence  ample  ? 
Or  Aristotle,  of  genius  the  higheft  example  ? 

V. 

So  many  great  nobles,  things,  adminiflrations, 

So  many  high  chieftains,  so  many  brave  nations, 

So  many  proud  princes,  and  power  so  splendid. 

In  a  moment,  a  twinkling,  all  utterly  ended. 

VI. 

Earth's   glory  how  vain,  a  brief  banquet  its    meas- 
ure ! 
As  is  a  man's  fhadow  even  so  is  its  pleasure, 
Which  forever  of  endless  rewards  makes  dedu6lion. 
And  leads  in  the  hard  devious  paths  of  deflru6lion. 


76  DE    CONTEMPTU    MUNDI. 

VII. 

O  esca  vermium,  O   mafia  pulveris, 
O  ros,  O   vanitas,    cur    fic  extolleris  ? 
Ignoras  penitus,   utrum  eras  vixeris  j 
Benefac  omnibus,  quamdiu  poteris  ! 

VIII. 

Haec   mundi  gloria,  qu£e  magni  penditur, 
Sacris  in  literis  flos  foeni  dicitur ; 
O   leve   folium,  quod  vento  rapitur  ! 
Sic  vita  hominis  hac  via  tollitur. 

IX. 

Nil  tuum  dixeris,  quod  potes  perdere  ! 
Quod  mundus  tribuit,  intendit  rapere. 
Superna  cogita  !  cor  fit  in  sethere  ! 
Felix,  qui  potuit  mundum  contemnere  ! 

Jacobus  de  Benedictis. 


ON    CONTEMPT   OF    THE    WORLD.  ']'] 

VII. 

O  food  for  the  worms,  O  mass  of  duft  drifted, 
O  dew,  O  vanity,  why  so  uplifted  ? 
Thou   know'ft   not  at   all,  if  thou  'It    live   till    to- 
morrow ; 
Do  good  while  thou  canft  to  the  children  of  sorrow ! 

VIII. 

This  glory  of  earth,  which  is  much  eflimated. 
As  the  flower  of  grass  is  in  Holy  Writ  rated  : 
O  leaf  light   and   frail,  by  the   wind   snatched  and 

harried ! 
Ev'n  so  human  life  is  away  from  earth  carried. 

IX. 

Call  nought  then  thine  own  which  is  lofl  ere  one 

knoweth  ! 
Earth  meaneth  to  take  the  good  it  beflov/eth : 
On  supernal  joys  think  !   let  thy  heart  be  in  heaven  ! 
Contemn  thou  the  world,  and  beware  of  its  leaven ! 

Jacopone.    (XIII.  Century.) 


WORKS 


ABRAHAM    COLES, 


REVIEWED   BY 


EMINENT    CRITICS. 


WORKS  OF  ABRAHAM  COLES,  M.D.  LLD. 


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With  portrait  and  biographical  sketch  of  the  author, 
and  illustrated  with  ten  full-page  illustrations,  viz.: 
"  Ambrose  Pare,  the  Father  of  French  Surgery  ;  "  "  Ed- 
ward Jenner,  the  Discoverer  of  Vaccination;  "  "Andreas 
Vesalius,  author  of  the  immortal  work,  '  De  Corporis 
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to  Charles  I,  His  Theory  of  the  Circulation  of  the 
Blood;"  Rembrandt's  famous  "Lesson  in  Anatomy — 
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from  a  photograph  of  the  original  statue;  the  "Venus 
de  Medici,  which  from  its  exquisite  proportions  and 
perfection  of  contour  has  become  the  most  celebrated 
standard  of  female  form  extant;"  "  Theodor  Billroth 
and  his  Clinical  Assistants,  Vienna;  "  etc.     $2.50. 

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For  sale  by  ail  booksellers;  or  sent,  at  our  expense,  to 
any  address,  on  receipt  of  price  mentioned. 

D.  APPLETON  &  CO.,  Publishers, 

Bond  street,  New  York, 


CRITICS   AND   CRITICISMS. 

Richard  Grant  White  (1821-1885),  in  "The  Albion": 

"  We  commend  the  volume,  *  Dies  Irae,  in  Thirteen  Original  Ver- 
sions,' as  one  of  great  interest;  and  an  admirable  tribute  from 
American  scholarship  and  poetic  taste  to  the  supreme  nobility  of  the 
original  poem.  Dr.  Coles  has  shown  a  fine  appreciation  of  the 
spirit  and  rhythmic  movement  of  the  Hymn,  as  vyell  as  unusual 
command  of  language  and  rhyme;  and  we  much  doubt  whether  any 
translation  of  the  '  Dies  Irae,'  better  than  the  first  of  the  thirteen,  will 
ever  be  produced  in  English,  except  perhaps  by  himself.  .  .  .  As  to 
the  translation  of  the  Hymn,  it  is  perhaps  the  most  difficult  task 
that  could  be  undertaken.  To  render  '  Faust '  or  the  '  Songs  of 
Egmont'  into  fitting  English  numbers,  would  be  easy  in  com- 
parison." 

The  Rev.  Samuel  Irenaeus  Prime,  D.  0.(1812-1885),  ^^ 
the  "New  York  Observer": 

"The  book  is  a  gem  both  typographically  and  intrinsically;  beau- 
tifully printed  at  the  '  Riverside  Press,'  in  the  loveliest  antique  type, 
on  tinted  paper,  with  liberal  margins,  embellished  with  exquisite 
photographs  of  the  great  masterpieces  of  Christian  Art,  and  withal 
elegantly  and  solidly  bound  in  Matthew's  best  style,  a  gentleman- 
like book,  suggestive  of  Christmas  and  the  centre-table;  and  its 
contents  worthy  of  their  dainty  envelope,  amply  entitling  it  as  well 
to  a  place  on  the  shelves  of  the  scholar The  first  two  of  the 


thirteen  versions  of  the  'Dies  Irse '  appeared  in  the  'Newark  Daily 
Advertiser'  as  long  ago  as  1847.  The}"^  were  extensively  copied  by 
the  press,  and  warmly  commended — particularly  by  the  Rev.  Drs. 
James  W.  Alexander  and  W.  R.  Williams,  scholars  whose  critical 
acumen  and  literary  ability  are  universally  recognized — as  being 
the  best  of  the  English  versions  in  double  rhyme;  and  examples  of 
singular  success  in  a  difficult  undertaking,  in  which  many,  and  of 
eminent  name,  had  been  competitors.  The  eleven  other  versions 
are  worthy  companions  of  those  which  have  received  such  eminent 
endorsement.  Indeed,  we  are  not  sure  but  that  the  last,  which  is 
in  the  same  measure  as  Crashaw's,  but  in  our  judgment  far  superior, 
will  please  the  general  taste  most  of  all." 

William    Cullen    Bryant  (1794-1878),  in    the  New  York 
''Evening    Post": 

"  There  are  fev/  versions  of  the  Hymn  which  will  bear  to  be 
compared  with  these;  we  are  surprised  that  they  are  all  so  well 
done." 

James    Russell    Lowell    (1819-1891),  in  "The   Atlantic 

Monthl}^": 

"  Dr.  Coles  has  made,  we  think,  the  most  successful  attempt  at 

an  English  translation  of  the  Hymn  that  we  have  ever  seen 

He  has  done  so  well  that  we  hope  he  will  try  his  hand  on  some  of 
the  other  Latin  Hymns.  By  rendering  them  in  their  own  metres, 
and  with  so  large  a  transfusion  of  their  spirit  as  characterizes  his 
present  attempt,  he  will  be  doing  a  real  service  to  the  lovers  of 
that  kind  of  religious  poetry  in  which  neither  the  religion  nor 
the  poetry  is  left  out.  He  has  shown  that  he  knows  the  worth 
of  faithfulness." 


*' Christian  (Quarterly)  Review:" 

"Of  Dr.  Coles'  remarkable  success  as  respects  these  particulars 
(namely,  faithfulness  and  variety),  no  one  competent  to  judge  can 
doubt.  .  .  .  For  all  that  enters  into  a  good  translation,  fidelity  to 
the  sense  of  the  original,  uniform  conformity  to  its  tenses,  preser- 
vation of  its  metrical  form  without  awkwardly  inverting,  inele- 
gantly abbreviating,  or  violently  straining  the  sense  of  the  words, 
and  the  reproduction  of  its  vital  spirit— for  all  these  qualities  Dr. 
Coles'  first  translation  stands,  we  believe,  not  only  unsurpassed, 
but  unequalled  in  the  English  language." 

''The  Boston  Transcript"  says: 

"The  '  Dies  Irje'  is  by  far  the  most  interesting  hymn  to  Protestants 
and  poets,  of  all  that  our  fathers  used  to  sing  or  hear  in  a  strange 
tongue  '  not  understanded  of  the  people;'  and  so  thoroughly  has  the 
translator  (Dr.  Coles)  entered  the  circle  of  the  old  song's  heat  and 
strength  that  he  has  been  carried  through  it  again  and  again,  and 
here  are  more  than  a  dozen  versions  of  the  same  Latin  words,  and 
an  historical  criticism  in  a  strong,  earnest  and  poetical  style  akin 
to  that  of  the  hymn  itself." 

Lady  Jane  Franklin,  wife  of  Sir  John  Franklin,  when 

in   this   country,   met   Dr.   Coles  at  the   residence   of  a 

mutual   friend;    similarity   of  tastes,    and    the   interest 

taken    by   Dr.    Coles  in   the   search    for   her   husband, 

ripened  the  acquaintanceship  into   that  of  friendship. 

From  her  letter  written  from   New  York,  October  22d, 

i860,  we  quote  the  following  : 

"Dr.  Abraham  Coles: 

"Dear  Sir— I  cannot  deny  myself  the  pleasure  of  thanking  you 


once  more  for  your  most  beautiful  little  book,  'The  Dies  Irse,  in 
Thirteen  Original  Versions,'  which  I  value  not  only  for  its  intrinsic 
merit,  but  as  an  expression  of  your  very  kind  feelings  towards  me> 
Believe  me,  gratefully  and  truly  yours." 

William  C.  Prime,  in  the  "Journal  of  Commerce": 

"Dr.  A.  Coles  has  long  been  known  to  the  literary  world  as 
specially  successful  in  the  translation  of  Latin  Hymns.  His  render- 
ings of  the  '  Dies  Irae '  are  familiar  to  many  readers.  He  has  now 
also  prepared  a  book  entitled  'Old  Gems  in  New  Settings,'  an  exquisite 
volume,  in  which  we  find  the  '  De  Contemptu  Mundi,' the  '  Veni 
Sancte  Spiritus,  and  other  fine  old  favorites  skillfully  and  grace- 
fully translated.  The  grand  hymn  or  poem  of  Bernard  de  Clugny, 
of  which  the  extracts  in  this  book  are  styled  '  Urbs  Coelestis  Syon,' 
is  rendered  in  a  style  very  nearly  resembling  the  original,  and 
f  gives  the  reader,  who  does  not  understand  Latin,  an  excellent  idea 
of  the  peculiar  characteristics  of  the  hymn  of  Bernard.  Besides 
these,  we  have  the  '  Stabat  Mater,'  with  a  complete  history  of  the 
noble  hymn,  and  a  very  fine  translation.  The  lovers  of  old  hymns 
owe  a  special  debt  of  gratitude  to  Dr.  Coles  for  the  good  taste  and 
the  thorough  appreciation  and  ability  which  he  brings  to  the  work 
of  placing  these  glorious  old  songs  within  reach  of  the  modern 
world.  We  could  wish  them  to  become  favorites  in  every  family, 
and  they  will  so  become  in  spite  of  their  Latin  origin." 

The  Rev.  Philip    Schaff,    D.  D.,  LL.  D.,  in  "Hours  at 

Home": 

"There  are  about  eighty  German  translations  of  the  '  Stabat 
Mater'  and  several  English  translations.  But  very  few  of  the  latter 
strictly  preserve  the  original  metre.  The  English  double  rhyme 
rarely  expresses  the  melody  and  pathos  of  the  Latin.     Dr.  Abraham 


Coles,  the  well-known  author  of  fourteen  translations  of  '  Dies  Irae,' 
has  probably  best  succeeded  in  a  faithful  rendering  of  the  '  Mater 
Dolorosa.'  *  *  *  The  admirable  English  version  of  the  '  Mater 
Dolorosa,'  which  carefully  preserves  the  measure  of  the  original, 
is  from  Dr.  Coles,  who  kindly  granted  us  permission  to  use  it." 

''The  Republican,"  Springfield,  Mass.: 

"Dr.  Abraham  Coles  won  fame,  and  sure  fame,  by  the  most 
poetic  and  truthful  translations  ever  given  of  that  great  mediaeval 
hymn,  the  '  Dies  Irae.'" 

George  Ripley  (1802-1880),  in  the  "New  York  Tribune": 

"  United  with  a  rare  command  of  language  and  facility  of  versi- 
fication, this  is  the  secret  of  the  eminent  success  with  which  the 
translator  has  reproduced  the  solemn  litany  of  the  Middle  Ages  in 
such  a  variety  of  forms.  If  not  all  of  equal  excellence,  it  is  hard  to 
decide  as  to  their  respective  merits,  so  admirably  do  they  embody 
the  tone  and  sentiment  of  the  original  in  vigorous  and  impressive 
verse.  The  essays  which  precede  and  follow  the  Hymn,  exhibit  the 
learning  and  the  taste  of  the  translator  in  a  most  favorable  light, 
and  show  that  an  antiquary  and  a  poet  have  not  been  lost  in  the 
study  of  science  and  the  practice  of  a  laborious  profession.  In 
addition  to  the  thirteen  versions  of  '  Dies  Irae,'  the  volume  contains 
translations  of  the  '  Stabat  Mater,'  '  Urbs  Coslestis  Syon,'  '  Veni 
Creator  Spiritus,'  and  other  choice  mediaeval  hymns  which  have 
been  executed  with  equal  unction  and  felicity. 

"  We  have  also  a  poem  by  the  same  author,  entitled  'The  Micro- 
cosm,'read  before  the  Medical  Society  of  New  Jersey  at  its  centenary 
anniversary.  It  is  an  ingenious  attempt  to  present  the  principles 
of  the  animal  economy  in  a  philosophical  poem,  somewhat  after 
the   manner   of  Lucretius,   and  combining  scientific  analysis  with 


religious  sentiment.  In  ordinary  hands,  we  should  not  regard  this 
as  a  happy,  nor  a  safe  experiment,  but  the  dexterity  with  which  it 
has  been  managed  by  Dr.  Coles,  illustrates  his  versatile  talent  as 
well  as  the  originality  of  his  conceptions. 

The  Rev.  James  McCosh,  D.   D.,   LL.   D.,  President 

of  the  College  of  New  Jersey,  in  a  letter  to  Dr.  Coles  : 

"  Princeton,  N.  J. 
"I  have  read  with  the  liveliest  delight  your  translations  of  the 
'  Latin  Hymns.'  I  wonder  how  you  could  have  drawn  out  thirteen 
of  the  '  Dies  Irse,'  all  in  the  spirit  and  manner  of  the  original,  and 
yet  so  different.  I  thought  each  the  best  as  I  read  it.  *  *  *  * 
I  have  read  enough  of  '  The  Microcosm '  to  see  that  it  is  thoroughly 
scientific." 

Richard  Stockton  Field,  LL.  D.,  (1803-1870),  in  1838 
Attorney  General  of  New  Jersey;  in  1862  United  States 
Senator;  in  1863  appointed  by  President  Lincoln  United 
States  District  Judge  for  the  District  of  New  Jersey;  at 
the  time  of  his  death  President  of  the  New  Jersey  His- 
torical Society: 

"  Princeton,  N.  J. 
"Dr.  Abraham  Coles: 

"My  Dear  Sir — With  the  original  'Dies  Irse'  and  'Stabat 
Mater'  I  have  long  been  familiar.  They  have  always  had  a  pecul- 
iar charm,  I  may  say  fascination,  about  them,  and  I  have  loved  to 
repeat  them.  And  now  I  have  no  hesitation  in  saying  that  the}' 
never  have  been,  and  I  doubt  if  they  ever  will  be,  as  v/ell  translated 
into  English  verse  as  they  are  in  your  volume. 

"  Knowing   the  difficulty  of  the  task,   seeing  how  others  have 


failed.  I  am  indeed  astonished  at  your  success.  With  the  strictest 
fidelity,  your  translations  have  all  the  tenderness,  pathos  and 
rhythm  of  the  beautiful  and  touching  originals.  I  speak  more 
particularly  of  the  first  of  the  '  Dies  Irae '  and  of  the  '  Stabat  Mater.' 
The  two  first  stanzas  of  the  latter  are  perfect. 

"Your  'Microcosm,'  too,  is  a  noble  poem.  It  has  many  strik- 
ingly beautiful  passages.  It  evinces  science  and  culture,  and  poet- 
ical talent  of  high  order.  You  display  great  command  of  language, 
and  great  facility  of  versification.  Your  prose  also  is  easy  and 
graceful.  I  am  glad  of  the  opportunity  afforded  me  of  rendering 
this  feeble  tribute  to  their  merits.     Very  truly  yours." 

The  "  Newark  Daily  Advertiser  :" 

"Dr.  Coles  has  supplied  a  v/ant  and  done  a  graceful  v.'ork  in 
"The  Microcosm."  What  the  flower  or  babbling  stream  is  to  Words- 
worth, that  is  the  stranger,  more  complex,  and  more  beautiful  human 
frame  to  our  author.  In  its  organs,  its  powers,  its  aspirations,  and 
its  passions,  he  finds  ample  theme  for  song.  .  .  Everywhere  the 
rhythm  is  flowing  and  easy,  and  no  scholarly  man  can  peruse  the 
work  without  a  glance  of  wonder  at  the  varied  erudition,  classical, 
poetical,  and  learned,  that  crowds  its  pages,  and  over-flows  in  foot- 
notes. And  through  the  whole  is  a  devout  religious  tone  and  a 
purity  of  purpose  worthy  of  all  praise." 

Edmund  C.  Stedman: 

"  Dr.  Coles'  researches,  made  so  lovingly  and  conscientiously  in 
his  special  field  of  poetical  scholarship,  have  given  him  a  distinct 
and  most  enviable  position  among  American  authors.  We  of  the 
younger  sort  learn  a  lesson  of  reverent  humility  from  the  pure 
enthusiasm  with  which  he  approaches  and  handles  his  noble  themes. 
The  '  tone '  of  all  his  works  is  perfect.  He  is  so  thoroughly  in  sym- 
pathy  with   his    subjects  that  the  lay  reader  instantly  shares  his 


feeling;  and  there  is  a  kind  of  'white  light'  pervading  the  whole — 
prose  and  verse — which  at  any  time  tranquilizes  and  purifies  the 
mind." 

The  Rev.  Robert  Turnbull,  D.  D.: 

"I  have  finished  the  reading  of  '  The  Microcosm,'  which  has 
afforded  me  unmingled  delight.  It  is  really  a  remarkable  poem, 
and  has  passages  of  great  beauty  and  power.  It  cannot  fail  to 
secure  the  admiration  of  all  capable  of  appreciating  it,  Its  ease, 
its  exquisite  finish,  its  vivid  yet  delicate  and  powerful  imagery,  and 
above  all  its  sublime  religious  interest,  entitle  it  to  a  very  high  place 
in  our  literature." 

John  G.  Whittier: 

"  Dr.  Abraham  Coles  is  a  born  hymn  writer.  No  man  living  or 
dead  has  so  rendered  the  text  and  the  spirit  of  the  old  and  wonder- 
ful Latin  Hymns.  *  *  *  j^jg  '^n  the  Days'  and  his  '  Ever  "With 
Thee '  are  immortal  songs.  It  is  better  to  have  written  them  than 
the  stateliest  of  epics.  *  *  *  fhe  idea  of  'The  Microcosm'  is 
novel  and  daring,  but  it  is  worked  out  with  great  skill  and  deli- 
cacy. *  *  *  '  The  Evangel' is  a  work  of  piety  and  beauty.  The 
Proem  opens  with  strong,  vigorous  yet  melodious  verse.  I  see  no 
reason  why  the  Divine  Story  may  not  be  fitly  told  in  poetry." 

Rev.  S.  I.  Prime,  D.  D.,  in  "The  New  York  Observer": 

"  'The  Evangel  in  Verse,'  is  the  ripest  fruit  of  the  scholarship, 
taste  and  poetic  talent  of  one  of  our  accomplished  students  of  Eng- 
lish verse,  whose  translations  of  '  Dies  Irae'  and  other  poems  have 
made  the  name  of  Dr.  Coles  familiar  in  the  literature  of  our  day. 
In  the  work  before  us  he  has  attempted  something  higher  and 
better  than  any  former  essay  of  his  skillful  pen.     He  has  rendered 


the  Gospel  story  of  our  Lord  and  Saviour  into  verse,  with  eopious 
notes,  giving  the  largest  amount  of  knowledge  from  critical 
authorities  to  justify  and  explain  the  readings  and  to  illuminate  the 
sacred  narrative.  .  .  .  He  excludes  everything  fictitious,  and  clings 
to  the  orthodox  view  of  the  character  and  mission  of  the  God-man. 
The  illustrations  are  a  complete  pictorial  anthology.  Thus  the 
poet,  critic,  commentator  and  artist  has  made  a  volume  that  will 
take  its  place  among  the  rare  productions  of  the  age,  as  an  illustra- 
tion of  the  genius,  taste,  and  fertile  scholarship  of  the  author." 

George  Ripley,  in  the  "New  York  Tribune"  : 

"  The  purpose  of  this  volume,  'The  Evangel,'  would  be  usually 
regarded  as  beyond  the  scope  of  poetic  composition.  It  aims  to  re- 
produce the  scenes  of  the  Gospel  History  in  verse,  with  a  strict  ad- 
herence to  the  sacred  narrative  and  no  greater  degree  of  imaginative 
coloring  than  would  serve  to  present  the  facts  in  the  most  brilliant 
and  impressive  light.  But  the  subject  is  one  with  which  the  author 
cherishes  so  profound  a  sympathy,  as  in  some  sense  to  justify  the 
boldness  of  the  attempt.  The  Oriental  cast  of  his  mind  allures  him 
to  the  haunts  of  sacred  song,  and  produces  a  vital  communion  with 
the  spirit  of  Hebrew  poetry.  Had  he  lived  in  the  days  of  Isaiah  or 
Jeremiah,  he  might  have  been  one  of  the  bards  who  sought  inspira- 
tion 'at  Siloa's  brook  that  flowed  fast  by  the  oracle  of  God.'  The 
present  work  is  not  the  first  fruits  of  his  religious  Muse,  but  he  is 
already  known  to  the  lovers  of  mediaeval  literature  by  his  admir- 
able translations  of  the  '  Dies  Irse.'  .  .  .  The  volume  is  brought  out 
in  a  style  of  unusual  elegance,  as  it  respects  the  essential  requisites 
of  paper,  print  and  binding,  while  the  copious  illustrations  will  at- 
tract notice  by  their  selection  of  the  most  celebrated  works  of  the 
best  masters." 


The  Rev.  James  McCosh,  D.  D.,  LL.  D.,  upon  the 
publication  of  "  The  Evangel  :  " 

"College  of  New  Jersey, 

"Princeton,  N.  J. 
"  You  are  giving  to  the  world  further  proof  that  we  did  ourselves 
honor  in  conferring  upon  you  some  years  ago  the  honorary  degree 
of  LL.  D.     *   •  "     *     *     I  spent  several  hours  last  Sabbath  in  read- 
ing your  poem,  and  relished  it  very  much." 

Daniel  Haines  (1801-1877),  i^  1S43  elected  Governor 

of    New  Jersey,  and   re-elected   in   1847;  Judge  of   the 

Supreme  Court;  one  of  the  committee  on  the  reunion 

of  the  two  branches  of  the  Presbyterian  Church  : 

"  Hamburg,  N.  J, 
"My  Dear  Sir — I  can  scarcely  find  fitting  words  in  which  to 
express  my  sincere  thanks  for  your  kind  remembrance  of  me  in  the 
presentation  of  the  beautiful  copy  of  your  recent  work,  '  The 
Evangel  in  Verse.'  From  the  introduction,  the  proem  and  a  few 
chapters,  I  judge  it  to  be  a  work  of  rare  excellence.  The  metrical 
composition  is  pleasant  to  the  ear  and  eye,  and  is  remarkable  for  its 
literal  meaning.  To  me  the  greater  charm  is  its  clear  and  forcible 
expressions  of  evangelical  truth  and  sound  Christian  doctrine. 

"  It  is  the  most  succinct  and  complete  refutation  of  the  doctrine 
of  Darwin  and  Huxley  that  I  have  seen. 

"The  Christian  most  owes  you  a  debt  of  gratitude  for  your 
labor  and  research,  and  heartfelt  thanks  to  God  for  giving  you  the 
ability  to  produce  a  book  so  full  of  instruction,  and  affording  so 
much  gratification  to  the  cultivated  mind." 

The  Rev.  George  Dana  Boardman,  D.  D.: 

"  '  The  Evangel  in  Verse '  is  a  feast  to  the  eve  and  ear  and  heart. 


The  careful  exegesis,  the  conscientious  loyalty  to  the  statements  of 
the  Holy  Story,  the  sympathetic  reproduction  of  a  remote  and 
Oriental  past,  the  sacred  insight  into  the  meaning  of  the  Peerless 
Career,  the  homageful  yet  manly,  unsuperstitious  reverence,  the 
rhythm  as  melodious  as  stately,  the  frequent  notes,  opulent  in  learn- 
ing and  doctrine  and  devotion,  the  illustrations  deftly  culled  from 
whatever  is  choice  in  ancient  and  modern  art,  these  are  some  of 
the  many  excellencies  which  give  to  'The  Evangel  in  Verse'  an  im- 
mortal beauty  and  worth,  adding  it  as  another  coronet  for  Him  on 
whose  brow  are  many  diadems." 

The  Rev.  Charles  Hodge,  D.  D.,  LL.  D.  (1797-1878): 

"  I  admire  the  skill  which  'The  Evangel'  displays  in  investing 
with  rainbow  hues  the  simple  narrations  of  the  Gospels.  All,  how- 
ever, who  have  read  Dr.  Coles'  versions  of  the  "  Dies  Irse  '  and  other 
Latin  Hymns  must  be  prepared  to  receive  any  new  productions 
from  his  pen  with  high  expectations.  In  these  days  when  even  the 
clerical  office  seems  in  many  cases  insufficient  to  protect  from  the 
present  fashionable  form  of  scepticism,  it  is  a  great  satisfaction  to 
see  a  man  of  science  and  a  scholar  adhering  so  faithfully  to  the 
simple  Gospel." 

The  Hon.  Frederick  Theodore  Frelinghuysen  : 

"  United  States  Senate  Chamber, 

"Washington,  D.  C. 
"  My  Dear  Doctor — Many  thanks  to  you  for  having  written 
'The  Evangel.'  It  is  admirably  conceived  and  executed.  While 
the  poem  impresses  the  truth,  it  will  lure  many  who  would  have 
remained  uninformed  to  the  valuable  instruction  contained  in  the 
Notes.  The  notes  on  Darwin,  The  Logos,  Herod,  and  the  miracle 
at  Ajalon,   are  excellent.     The  poem  brings  out  many  scriptural 


truths,  which  are  not  on  the  surface.  Let  me  say,  it  is  a  great  thing 
to  have  written  the  book — to  have  your  labor  associated  with  sal- 
vation." 

The  Rev.  Robert  Lowell,  D.D.,  in  the  "Church  Monthly": 

"  Dr  Coles  is  plainly  a  man  of  a  very  religious  heart  and  a  deeply 
reverential  mind.  .  .  .  Moreover  he  has  so  much  learning  in  his 
favorite  subject,  and  so  much  critical  instinct  and  experience,  that 
those  who  can  relish  honest  thinking,  and  tender  and  most  skillful 
and  true  deductions,  accept  his  teaching  and  suggestion  with  a  ready 
— sometimes  surprised — sympathy  and  confidence.  Add  to  all  this, 
that  he  has  the  sure  taste  of  a  poet,  and  the  warm  and  loving  earn- 
estness of  a  true  believer  in  the  redeeming  Son  of  God,  and  the 
catholic  spirit  of  one  who  knows  with  mind  and  heart  that  Christian- 
ity at  its  beginning  was  Christianity,  and  we  have  the  man  who  can 
write  such  books  as  earnest  Christian  people  will  welcome  and  be 
thankful  for.  .  .  .  In  this  new  book  he  proposes  'that  'The  Evangel' 
shall  be  a  poetic  version,  and  verse  by  verse  paraphrase,  so  far  as  it 
goes,  of  the  Four  Gospels,  anciently  and  properly  regarded  as  one.' 
He  makes  an  exquisite  plea,  in  his  preface,  for  giving  leave  to  the 
glad  words  to  rejoice  at  the  Lord's  coming  in  the  Flesh,  for  which  all 

other  beings  and  things  show  their  happiness In  the  notes 

the  reader  will  find  (if  he  have  skill  for  such  things)  a  treasure-house, 
in  which  everything  is  worthy  of  its  place.  Where  he  has  offered 
new  interpretations,  or  set  forth  at  large  interpretations  not  gener- 
ally received  or  familiar,  he  modestly  asks  only  to  have  place  given 
him,  and  gives  every  one  free  leave  to  differ.  Everywhere  there  is 
the  largest  and  most  true-hearted  charity.  .  .  .  The  reader  cannot 
open  anywhere  without  finding  in  these  notes,  if  he  be  not  wiser  or 
more  learned  than  ourselves,  a  great  deal  that  he  never  saw,  or 
never  saw  so  well  set  forth  before." 


Stephen  Alexander,  LL.  D.,  Professor  of  Mechanics 
and  Astronomy  in  the  College  of  New  Jersey: 

"  Princeton,  N.  J. 
"Abraham  Coles,  M.  D.,  LL.  D.: 

"My  Dear  Sir-1  have  delayed  the  acknowledgement  of  the 
receipt  of  your  beautiful  '  Evangel'  until  I  could  make  some  return 
after  the  same  fashion.  Please  accept  my  sincere  thanks,  as  well 
as  my  congratulations  on  your  great  success.  I  am  always  inter- 
ested  in  your  books,  and  always  learn  something  from  them. 

"With  this  I  send  a  copy  of  my  '  Statement  and  Exposition  of 
Certain  Harmonies  of  the  Solar  System.'  which  I  hope  may  reach 
you  safely.  Please  accept  the  same,  with  my  respects  and  regards. 
I  think  the  Notes  at  the  end  and  the  supplement  may  especially 
interest  you." 

Dr.  Oliver  Wendell  Holmes  : 

'.  There  is  a  kind  of  straightforward  simplicity  about  the  poetical 
paraphrases  which  remindsone  of  the  homelier  but  still  always  inter- 
esting verses  which  John  Bunyon  sprinkles  like  drops  of  heavenly 
dew  along  the  pages  of  the  Pilgrim's   Progress.     The  illustrations 
add  much  to  the  work,  in  the  way  of  ornament,  and  aid  to  the  imag- 
ination.    One  among  them  is  of  terrible  power,  as  it  seems  to  me, 
such  as  it  would  be  hard  to  show  the  equal  of  in  the  work  of  any 
modern  artist.     I  mean   Holman  Hunt's  '  Scapegoat.'     There  is  a 
whole  Theology  in  that  picture.     It  haunts  me  with  its  fearful  sug- 
gestiveness  like  a  nightmare.     I  find  '  The  Evangel '  an  impressive 
and  charming  book.     Itdoes  notprovoke  criticism-it  is  too  devout, 
too  sincere,  too  thoroughly  conscientious  in  its  elaboration  to  allow 
of  fault-finding  or  fault-hunting." 


William  Cullen  Bryant  : 
"  I  have 


read  'The  Evangel'  with  pleasure  and  satisfaction.    The 


versification  of  the  Lord's  Prayer  is  both  an  expansion  of  the  sense 
and  a  commentary.  The  thought  has  often  occurred  to  me  what  a 
world  of  meaning  is  there  wrapped  up,  and  that  meaning  is  admira- 
bly brought  out." 

Henry  Woodhull  Green,  LL.  D.,  (1802-1876),  Chief 
Justice  of  the  Supreme  Court  of  New  Jersey  from  1846 
till  i860,  when  he  became  Chancellor  : 

"Trenton,  N.  J. 
"Abraham  Coles,  LL.  D,,  Newark,  N.  J.: 

"  My  Dear  Sir — I  have  read  as  much  of  '  The  Evangel '  during 

the  month  since   I  received  it  as  my  leisure  and  the  state  of  my 

health  have  permitted.     Of  its  literary  merits,  I  do  not  feel  myself 

qualified  to  judge,  but  its  perusal  has  given  me  great  pleasure.     I 

have  been  particularly  impressed  with  the  fidelity  with  which  you 

have  adhered  to  the  sacred  narrative,  unmarred  by  the  decorations 

of  heathen  mythology  or  papal  fable.     I  regard  that  as  no  ordinary 

merit.     I  can  well  understand  the  strong  temptation  under  which  a 

man  of  high  classic  culture  must,  in  a  work  of  this  kind,  constantly 

labor,  to  turn  from   the  stern  simplicity  of  the  sacred  narrative  to 

seek  embellishment  amid   the  flowers  of  classic  fiction.     To  have 

resisted  successfully  such  temptation,  I  regard  as  a  very  high  merit; 

and  I  congratulate  you  on  the  production  of  a  work,  which,  I  cannot 

doubt,  will  redound  to  your  own  honor  and  the  honor  of  OUR  State. 

With  high  regard,  I  am,  very  respectfully  yours." 

Charles  H.  Spurgeon,  writing  from  Westwood,  Beulah 
Hill,  Upper  Norwood,  speaks  of  "The  Evangel"  as  "a 
grand  volume,"  and  concludes  his  affectionate  letter 
with  the  words  : 

"Peace  be  to  you,  and  every  blessing.     May  Scotch  Plains  be  a 


spot  wherein  Jesus  dwells  with  a  happy  household.      Yours    very 
heartily." 

The  Hon.  William  Earl  Dodge,  (1805-1883),  merchant 
and  philanthropist,  in  a  letter,  written  from  his  resi- 
dence in  New  York  City,  to  Dr.  Coles  : 

"Mrs.  Dodge  and  myself  have  very  much  enjoyed  'The  Evan- 
gel,' having  carefully  read  it.  Such  perfect  conformity  to  the  text 
and  spirit  of  the  sacred  narrative,  so  beautifully  transferred  to 
verse,  we  have  seldom  found." 

Thomas  Gordon  Hake,  M.  D.,  author  of  "Madeline, 
and  Other  Poems  and  Parables": 

"  12  Portland  place, 
"West  Kensington,  W.,  London. 
"I   have  read   'The  Evangel,'  and   'The  Light  of  the  World,' 
with  deep  interest,  and  with  assurance  that  the  learning  and  intelli- 
gence displayed  in  executing   so  difficult  a  work    will    secure   it  a 
lasting  place  in  our  joint  national  literature." 

The  "New  York  Observer": 

"  The  skill  of  Dr.  Coles  as  an  artistic  poet,  his  reverent,  religious 
spirit,  and  the  exalted  flight  of  his  muse  in  the  regions  of  holy  medi- 
tation are  familiar  to  our  readers.  It  is,  therefore,  superfluous  for 
us  to  do  more  than  announce  a  new  and  elegant  volume  from  his 
pen — '  The  Microcosm  and  Other  Poems.'  It  is  rich  in  its  contents. 
'The  Microcosm'  is  an  essay  in  verse  on  the  science  of  the  human 
Body;  it  is  literally  the  science  of  physiology  condensed  into  1,400 
lines.  The  many  occasional  poems  that  follow  are  the  efflorescence 
of  a  mind  sensitive  to  the  beautiful  and  rejoicing  in  the  true;  find- 


ing  God  in  everything,  and  delighting  to  trace  the  revelation  of  His 
love  in  all  the  works  of  His  hand.  Such  a  volume  is  not  to  be 
looked  at  for  a  moment  and  then  laid  aside.  Like  the  great  epics, 
it  is  a  book  for  all  time,  and  will  lose  none  of  its  interest  and  value 
by  the  lapse  of  years.  The  publishers  have  given  it  a  splendid  dress, 
and  the  illustrations  add  greatly  to  the  attractions  of  this  trulv  ele- 
gant book." 

The  "  New  York  Times  ": 

"  The  flavor  of  the  book,  'The  Microcosm  and  Other  Poems,'  is 
most  quaint,  suggesting,  on  the  religious  side,  George  Herbert,  and 
on  the  naturalistic  side,  the  elder  Darwin,  who,  in  'The  Botanic 
Garden,' laid  the  seed  of  the  revolution  in  science,  accomplished  by 
the  patient  genius  of  his  grandson.  Some  of  the  hymns  for  children 
are  beautiful  in  their  simplicity  and  truth." 

"The  Critic": 

"  The  long  poem,  '  The  Microcosm,'  which  gives  its  name  to  the 
present  collection,  has  many  beautiful  and  stately  passages.  Among 
the  shorter  pieces  following  it,  is  to  be  found  some  of  the  best  devo- 
tional and  patriotic  poetry  that  has  been  written  in  this  country." 

John  Y.  Foster,  author  and   editor,  in  "Frank   Les- 
lie's  Illustrated   Newspaper": 

"  In  this  exquisite  and  brilliantly  illustrated  volume,  the  scholarly 
author  has  gathered  up  various  children  of  his  pen  and  grouped 
them  in  family  unity.  '  The  Microcosm,'  which  forms  one-fifth  of  the 
volume  of  350  pages,  is  an  attempt  to  present,  in  poetical  form,  a 
compendium  of  the  science  of  the  human  body.  Tn  originality  of 
conception  and  felicity  of  expression,  it  has  not  been  approached  by 
any  work  of  our  best  modern  poets.  The  other  poems  are  all 
marked  by  the  highest  poetic  taste,  having  passages  of  great  beauty 
and  power." 


Hon.  Justin  McCarthy  : 

"  20  Cheyne  Garden,  Chelsea,  London,  England. 
"Dear  Dr.  Coles — I  am  surprised  to  see,  in  looking  through 
your  volume,  'The  Microcosm  and  Other  Poems,'  that  you  have  been 
able  to  add  three  more  versions  to  those  you  have  already  made  of 
that  wonderful  Latin  hymn,  perhaps  the  greatest  of  all,  'Dies  Irje.' 
Certainly  it  is  one  of  the  most  difficult  to  translate.  I  like  your  last 
version  especially." 

The  "Examiner  and  Chronicle": 

"The  title-poem  in  this  exquisitely  printed  and  charmingly  illus- 
trated volume,  '  The  Microcosm  and  Other  Poems,'  has  been  for  some 
time  before  the  public,  and  has  received  generous  commendation 
for  the  tact  and  skill  evinced  in  handling  a  very  unpromising  theme. 
A  poetic  description,  minute  and  thorough  going  of  the  human  body 
was  a  serious  undertaking;  but  Dr.  Coles  delights  in  what  is  diffi- 
cult and  hazardous.  He  had  already  associated  his  name  forever 
with  the  mediaeval  Latin  hymn,  '  Dies  Irse,'  by  publishing  no  less  than 
thirteen  distinct  versions  of  it.  In  the  volume  before  us  he  gives 
us  three  more  versions.  The  other  poems  will  not  detract  from  the 
author's  previous  reputation." 

Hon.  Horace  N.  Congar,  lawyer,  editor,  United  States 
Consul  at  Hong  Kong,  China,  under  President  Lincoln; 
and  Consul  at  Prague,  Bohemia,  under  President  Grant: 

"  United  States  Consulate, 

"  Prague,   Bohemia. 
"There  is  one  thing,  my  dear  Doctor,  about  your  publications 
which  no  one  can  deny.     You  print  your  own  poetical  thoughts  and 
■conceptions.     They  are  not  copies  of  some  other  writer,  but  stand 


out  clear  and  distinct  with  j'our  own  diction  and  strength;  written 
for  the  scholarly  and  intelligent,  they  preserve  true  simplicity  with 
the  real  grandeur  of  their  conception," 

The  Rev.  William  Hague,  D.  D.  (1808-1887),  in  "Life 
Notes;  or  Fifty  Years'  Outlook": 

"The  (Newark)  'Advertiser'  yet  lives  and  thrives,  winning  to 
its  service  the  contributions  of  scholarly  writers,  among  whom  we 
have  noticed,  occasionally,  the  veteran  physician  and  poet,  Dr. 
Abraham  Coles,  author  of  'The  Evangel'  with  its  immense  wealth 
of  critical  scholasticism;  and  the  tasteful  and  rhythmic  translator  of 
Latin  poetry  that  enriches  our  libraries,  for  instance,  in  the  artistic- 
ally wrought  edition  of  the  '  Dies  Irae.'" 

The  "Newark  Daily  Advertiser": 

"  '  The  Microcosm'  is  the  only  book  of  the  kind  in  the  language, 
and  is  well  deserving  of  a  place  in  every  library,  and  might,  we 
think,  moreover,  be  introduced  with  advantage  into  all  sc/ioo/s  v/here 
physiology  is  taught  as  an  adjunct,  if  nothing  else,  to  stimulate  inter- 
est, and  relieve  the  dryness  of  ordinary  text  books.  In  lines  of 
flowing  and  easy  verse,  the  author  sets  forth  with  a  completeness 
certainly  remarkable,  and  with  great  power  and  beauty  the  incom- 
parable marvels  of  structure  and  function  of  the  human  body. 

"  This  poetic  mastery,  making  ductile  the  most  unpromising  ma- 
terials, has  had  its  latest  and  supreme  exemplification  in  the  com- 
pletion of  the  unique  work,  'The  Life  and  Teachings  of  Our  Lord, 
in  Verse.'  'The  Evangel,'  forming  the  first  part,  appeared  in  1874, 
'The  Light  of  the  World,'  forming  the  second  part  and  completing 
the  work,  is  now,  1884,  first  published.     *     *     * 

"  By  common  consent  the  story  of  the  life  of  Jesus,  as  told  by 
the  four  evangelists,   is  the  unmatched  masterpiece   of  literature. 


Its  literary  interest  is  hardly  inferior  to  its  religious.  It  is  pre-emi 
nently  classic.  The  most  fervid  encomiums  have  come  from  infidels 
and  the  great  literary  artists  of  the  world.  To  taboo  it,  therefore, 
as  something  outside  of  literature,  betrays  ignorance  and  imbecility. 
Mr.  Edwin  Arnold  has  duly  celebrated  in  his  poem,  'The  Light  of 
Asia,'  the  Buddhist  hero,  Prince  Siddartha,  and  has  had,  it  would 
seem,  readers  among  all  classes.  The  life  and  teachings  of  Him 
who  is  'The  Light  of  the  World,'  and  whose  fame  fills  the  ages, 
are  surely  not  less  worthy  of  regard  and  study  by  the  cultiva- 
tors of  literature.  The  author  has  striven,  it  would  seem,  to  make 
his  book  a  veritable  cyclopjedia  of  religious  knowledge,  so  compre- 
hensive is  its  scope.  It  ranges  through  the  Old  Testament  and  the 
New.  An  episode  in  the  first  part,  outlines  nearly  the  whole  his- 
tory of  the  Jewish  people.  The  poetical  proem  and  the  note  ap- 
pended thereto  are  in  efifective  antagonism  to  Darwinism  and  cur- 
rent evolution  theories.  An  elaborate  note  on  '  The  Logos  '  gives 
an  historical  summary  of  the  prevailing  creeds  and  christologies 
from  the  earliest  times. 

"  It  is  not  too  much  to  say  that  it  is  a  book  deserving  of  a  place 
beside  the  New  Testament  in  every  household,  and  cannot  fail  to 
be  found  a  valuable  help  to  every  reader  and  student  of  the  sacred 
Scriptures." 

The  Rev.  George  Dana  Boardman,  D.  D.: 

"Philadelphia,  Pa. 
"My  Dear  Doctor  Coles— Most  happy  do  I  count  myself  in 
possessing  'The  Light  of  the  World.'  It  has  all  those  same  fine 
characteristics  which  so  richly  mark  'The  Evangel.'  It  must  be  a 
source  of  supreme  delight  to  the  accomplished  author  that  he  has 
been  permitted  to  complete  a  work  so  lofty  in  design,  and  so  admir- 
able in  execution." 


Rev.  Alfred  Spencer  Patton,  D.  D.  (1825-1888),  author^ 
editor  of  "The  Baptist  Weekly,"  etc.: 

"Our  good  and  gifted  friend,  Dr.  Abraham  Coles,  has  every 
reason  to  be  gratified  with  the  highly  complimentary  notices  by 
the  press,  of  his  last  work,  'The  Light  of  the  World,'  it  being  the 
second  volume  or  completion  of  his  life  of  Jesus,  as  told  by  the 
evangelists." 

The  Hon.  Joseph  P.  Bradley,  LL.  D.,  one  of  the 
Justices  of  the  Supreme  Court  of  the  United  States  : 

"Washington,  D.  C,  Dec.  14,  1884. 
"Dear  Doctor — I  have  read  nearly  all  of  your  beautiful  book, 
'The  Life  and  Teachings  of  Our  Lord,  in  Verse,'  and  like  it  better 
the  longer  I  read  it.  You  had  two  rocks  to  avoid:  on  one  side  pro- 
saic tameness,  which  might  be  incurred  by  too  rigid  an  adherence  to 
the  text;  on  the  other  rashness  in  attempting  (even  poetical)  changes 
of  consecrated  forms  of  expression — changes  which  no  English  or 
American  ear  would  endure.  I  appreciate  the  difficulty  of  the  task,, 
and  think  you  have  performed  it  wonderfully  well." 

John  G.  Whittier : 

"Amesbury,  Mass.,  January,  1885. 
"  'The  Light  of  the  World'  I  have  read  with  interest.  Thy 
poetical  version  of  the  wonderful  narrative  seems  to  be  conscien- 
tiously faithful  to  the  original,  while  at  the  same  time  it  success- 
fully interprets  some  passages  which  are  not  clear  to  the  ordinary 
reader.  It  will  be  a  helpful  book  to  many,  who  will  realize,  for  the 
first  time,  the  true  meaning  and  significance  of  the  Lord's  words. 
I  am,  with  high  respect  and  esteem,  thy  friend." 


The  Right  Honorable  John  Bright,  M.  P.,  iingland  : 

"  132  Picadilly,  London,  April  30,  1885. 
"  Dear  Dr.  Coles — When  I  began  to  read  your  volume  on  'The 
Life  and  Teachings  of  Christ  in  Verse,'  I  thought  you  had  attempted 
to  gild  the  refined  gold,  and  would  fail — as  I  proceeded  in  my  read- 
ing that  idea  gradually  disappeared,  and  I  discovered  that  you  had 
brought  the  refined  gold  together  in  a  manner  convenient  and  useful 
and  deeply  interesting.  I  have  read  the  volume  with  all  its  notes, 
many  of  which  seem  to  me  of  great  value.  I  could  envy  you  the 
learning  and  the  industry  that  have  enabled  you  to  produce  this 
remarkable  work.  I  hope  it  may  have  many  readers  in  all  countries 
where  our  language  is  spoken." 


The  Rev.  Henry  Griggs  Weston,  D.  D.,  author  and 
editor.  President  of  the  Crozer  Theological  Seminary, 
Chester,  Pennsylvania: 

"  Your  work,  'The  Life  and  Teachings  of  Our  Lord,' is  one  of 
the  gratifying  fruits  of  the  study  which  the  Gospels  have  received 
since  I  first  began  to  inquire  for  helps  to  their  understanding." 

Tile  Rev.  Horatius  Bonar,  D.  D.: 

"  10  Palmerston  Road,  Grange,  Edinburgh. 
H:  *  *  *  "  I  am  struck  with  your  command  of  language,  and 
your  skill  in  clothing  the  simplicities  of  history  with  the  elegance  of 
poetry.  It  ('  The  Life  and  Teachings  of  Our  Lord  in  Verse')  is  no 
ordinary  volume,  and  your  notes  are  of  a  very  high  order  indeed — 
admirably  written,  and  full  of  philosophical  thought  and  Scriptural 
research." 


The  Rev.  Alexander  McLaren,  D.  D.: 

"  Manchester,  Eng.,  Nov.  3,  1885. 
"Dear  Sir — I  congratulate  you  on  having  accomplished  vrith  such 
success  a  most  difficult  undertaking;  and  on  having  been  able  to 
present  the  inexhaustible  life  in  a  form  so  new  and  original.  I  do 
not  know  whether  I  have  been  most  struck  by  the  careful  and  fine 
exegetical  study,  or  the  graceful  versification  of  your  work.  I  trust 
it  ('The  Life  and  Teachings  of  Our  Lord  in  Verse')  may  be  use- 
ful, not  only  in  attracting  the  people,  which  George  Herbert  thought 
could  be  caught  with  a  song,  when  they  would  run  from  a  ser- 
mon, but  may  also  help  lovers  of  the  sermon  to  see  its  subject  in  a 
new  garb." 

Adele  M.  Fielde,  missionary  at  Swatow,  China  : 

"  Those  whose  judgment  is  of  value  have  given  Dr.  Coles'  trans- 
lations of  the  Latin  hymns  such  high  praise,  that  words  of  commend- 
ation from  me  would  appear  presumptuous.  I  am  glad,  for  the 
world's  sake,  that  the  wonderful  Latin  hymns  were  written,  and  that 
Dr.  Coles  has  so  translated  them,  and  I  am  glad  for  my  own  sake 
that  I  have  them  to  read.  *  *  *  *  j  think  Dr.  Coles  has  done 
an  excellent  thing  for  us  in  his  '  Life  and  Teachings  of  Our  Lord.'  " 

Elizabeth  Clementine  Kinney,  author  and  poet,  wife 
of  Hon.  William  Burnet  Kinney;  and,  by  her  first 
husband,  Edmund  B.  Stedman,  the  mother  of  Edmund 
Clarence  Stedman,  the  distinguished  poet  and  critic  : 

"Dr.  Coles  long  ago  established  a  high  reputation  in  both  worlds, 
by  his  matchless  translations  of  that  famous  old  judgment  hymn, 
the  'Dies  Irse,'  and  of  mediaeval  hym.ns,  published  under  the  title  of 
'  Old  Gems   in   New   Settings  ; '    also  by  his  unique    original  poem. 


■'  The  Microcosm,'  which  has  glorified  by  immortal  verse  this    mortal 
body,  so  fearfully  and  wonderfully  made  that  every  part  harmonizes 
with  the  poet's  song.      In   'The   Evangel'  and  'The   Light  of  the 
World,'  already   noticed   by    'The  Observer,'  while    conscientiously 
adhering  to  the  sacred  text,  Dr.  Coles'  frequent  elaborate  notes  give 
freedom   to  some   original   suggestions  growing  out  of  the  author's 
fifty  years'  devout  study  of  the   Bible.     It  will  be  well  to  heed  any 
proposition  brought  forward  by  one  who  has  been  so  long  a  reverent 
student  as  to  have  become  a  profound  thinker,  and  thus  an  able 
teacher  of  the  divine  word.       Every  thought  or  idea  advanced  by 
Dr.  Coles  will,  doubtless,  on  thorough,  unprejudiced  investigation, 
be  found  supported   by   a  reasonable  interpretation  of  Scripture. 
Between  the  acts  of  this  sacred  drama  there  are  also  some  hymnal 
excursions,  which  show  the  height  and  depth,  the  color  and  light, 
the  melody  and  ecstasy,  of  the  true  Christian  poet.     Through  his 
many  works,  one  noble  aim.  is  ever  apparent,  viz.:  to  'crown  Him 
Lord  of  all '  who  is  '  the  author  and  finisher  of  our  faith '  and  '  the 
giver  of  every  good  and  perfect  gift.'     Noticeable,  too,  through  all, 
is  progression,   in  respect  of  enlargement  by  study  and  thought  ; 
of  advancement  with  advancing  years,  keeping  pace  with  the  age 
in    increasing   light    so   far   as   it   develops    heavenly    truth,    and 
original  conception  through  truth." 

"The  Book  Buyer,"  Charles  Scribner's  Sons,  New 
York: 

"  'The  Hebrew  Psalms  in  English  Verse.'  By  Abraham  Coles. 
M.  D..  LL.D.  Dr.  Coles  has  won  praise  from  some  of  the  most 
eminent  of  critics  for  his  translations  into  English  of  the  '  Dies 
Irae,'  the  characteristics  of  the  work  being  faithfulness  to  the  spirit 
of  the  original,  combined  with  a  command  of  rich  and  rythmic  Eng- 
lish. His  tastes  have  led  him  to  translate  the  great  Hebrew  classic 
into  English  verse,  a  task  of  unusual  difficulty  which  many  have 


undertaken,  but  ia  which  few  have  attained  even  partial  success. 
Dr.  Coles's  work  will  attract  wide  attention  by  reason  of  its  lofty  reli- 
gious spirit,  its  admirable  reflection  of  the  incomparably  fine  flavor 
of  the  original,  its  dignified,  stately  diction  and  the  scholarly  care 
bestowed  upon  every  line.  The  book,  moreover,  has  an  additional 
value  in  the  prefatory  matter  which  includes  an  essay  on  the  char- 
acter of  the  Psalms,  a  detailed  account  of  the  French,  English  and 
Scotch  metrical  versions  of  the  Psalms  and  a  chapter  of  interesting 
notes,  critical,  historical  and  biographical.  An  admirable  steel 
portrait  of  Dr.  Coles  serves  as  a  frontispiece  to  the  book." 

Rev.  Theodore  L.  Cuyler,  D.  D.,  LL.  D.: 

"  Dear  Dr.  Coles — Your  volume  on  the  Psalms  is  a  noble  work, 
and  the  introduction  is  rich  and  sweet  as  a  honeycomb.  Two  Sab- 
baths ago  I  gave  out  from  my  pulpit  your  fine  hymn,  '  Lo,  I  am  with 
you  all  the  days.'  and  told  the  congregation  some  things  about  the 
author.  *  *  *  *  You  will  be  quite  at  home  up  among  heaven's 
choir  of  psalmists  and  chosen  singers." 

The  "  New  York  Tribune  ": 

"  'A  New  Rendering  of  the  Hebrew  Psalms  into  English  Verse, 
with  Notes,  Critical,  Historical  and  Biographical,  including  an 
Historical  Sketch  of  the  French,  English  and  Scotch  Metrical 
Versions,'  by  Dr.  Abraham  Coles.  Dr.  Coles'  name  on  the 
title-page  is  a  sufficient  indication  of  the  excellence  and  thorough- 
ness of  the  work  done.  Indeed,  Dr.  Coles  has  done  much  more 
than  produce  a  fresh,  vigorous  and  harmonious  version  of  the 
Psalms,  though  this  was  alone  well  worth  doing.  His  full  and  schol- 
arly notes  on  the  early  versions  of  Clement  Marot,  Sternhold  and 
Hopkins  and  others,  his  sketches  of  eminent  persons  connected  in 
various  ways  with  particular  psalms,  his  literary  and  bibliographical 


information,  together  impart  a  value  and  interest  to  this  work 
which  should  insure  an  extensive  circulation  for  it.  Very  much  of 
the  historical  and  other  matter  thus  brought  within  the  reach  of  the 
public  is  inaccessible  to  such  as  have  not  means  of  access  to  public 
libraries,  and  there  is  certainly  no  Christian  household  in  the  coun- 
try which  would  not  find  both  pleasure  and  instruction  in  Dr. 
Coles'  compendious  and  altogether  unique  volume.  It  may  be 
added  that  in  his  version  of  the  Psalms  he  has  wisely  preserved  the 
rhythmical  swing  and  the  terse  language  which  distinguish  the  early 
renderings,  and  that  therefore  those  who  have  been  reared  on  the 
old  versions  need  not  fear  finding  their  favorites  changed  '  out  of 
knowledge.' " 

The  Rev.  Frederic  W.  Farrar,  D.  D.,  F.  R.  S.,  Chap- 
lain in  Ordinary  to  the  Queen,  author  of  the  "  Life  of 
Christ,"  etc.,  in  a  letter  to  Dr.  Coles  : 

"  17,  Dean's  Yard,  Westminster,  S.  W. 
"The  task  of   versifying  the   Psalms  was   too  much  even  for 
Milton,  but  you  have  attempted  it  with   seriousness  and   with  as 
much  success  as  seems  to  be  possible.     I  was  much  interested  in 
your  introduction." 

The  Rev.  A.  H.  Tuttle,  D.  D.,  pastor  of  the  First 
Methodist  Episcopal  Church,  Wilkesbarre,  Pa.: 

"  'The  Life  and  Teachings  of  Our  Lord,  in  verse,' has  greatly 
aided  me  in  my  efforts  to  interpret  heavenly  things.  I  am  glad  you 
have  lived  to  complete  your  versification  of  the  Psalms.  I  am  now 
making  a  protracted  and  careful  study  of  the  old  Hebrew  Hymn 
Book,  and  your  work  will  be  of  untold  help  to  me.  I  have  already 
read  my  favorite  psalms  as  you  sing  them.  They  are  rich  beyond 
expression." 


The  Rev.  Charles  S.  Robinson,  D.  D.: 

"I  have  read  many  of  your  really  excellent  versions  of  the 
Psalms.  It  seems  to  me  you  have  added  richly  to  our  available 
literature  in  that  direction.  I  have  been  specially  interested,  also, 
in  the  prefaced  notes.  Some  of  the  information  is  quite  new  to  me, 
and  the  comments  are  all  good  and  helpful." 

Hon.  George  Hay  Stuart,  the  eminent  philanthropist 
in  January,  1888,  wrote  from  Philadelphia  : 

"'The  New  Rendering  of  the  Hebrew  Psalms  into  English 
Verse,'  I  prize  very  much.  It  is  exceedingly  good  and  very  suggest 
ive.  The  subject  matter  is  of  peculiar  interest  tome.  I  have  been 
brought  up,  as  perhaps  you  know,  in  old  Rouse's  version  of  the 
Psalms,  but  never  held  the  view,  that  many  do,  that  nothing  else  can 
be  sung  in  the  praise  of  God.  Our  own  congregation,  up  to  recently, 
used  nothing  but  that  version.  Now  we  have  so  far  advanced  that 
we  sing,  also,  hymns  and  spiritual  songs.  *  *  *  *  Xhe  United 
Presbyterian  Assembly  has  recently  adopted  a  new  version  of  the 
Psalms,  but  I  think  their  leading  men  ought  to  see  this  version." 

The  Rev.  D.  R.  Frazer,  D.  D.,  pastor  of  the  First 
Presbyterian  Church,  of  Newark,  N.  J.: 

"  My  Dear  Dr.  Coles — I  do  not  know  that  I  can  give  any  better 
expression  of  my  appreciation  of  your  last  work  than  to  say  that  my 
wife  and  I  sat  up  until  after  midnight,  reading  psalm  after  psalm 
with  very  great  delight.  The  versification  is  beautiful,  and  its  beauty 
intensifies  by  its  fidelity  to  the  common  version.  Hoping  the  book 
may  do  much  good,  in  making  manifest  the  beauties  of  one  of  the 
most  beautiful  portions  of  the  Word  of  God,  I  am,  with  great 
respect,  ever  sincerely  yours." 


Charles  M.  Davis,  Secretary  of  the  American  Institute 
of  Christian  Philosophy,  Superintendent  of  Public 
Schools,  Essex  county,  N.  J.,  etc.: 

"  Dear  Dr.  Coles — During  the  past  year  I  have  been  reading  the 
revised  version  of  the  Psalms,  in  connection  with  the  received. 
Your  translations  will  be  a  help  to  me,  as  I  do  not  understand 
Hebrew.  I  have  read  your  introduction  very  carefully,  and  find  it 
contains  especially  valuable  information,  as  do,  also,  your  occasional 
notes.  The  psalms  that  I  have  read  aloud  in  the  family  have  been 
greatly  enjoyed,  especially  the  107th,  136th  and  137th.  We  are 
anticipating  much  pleasure  from  the  continuance  of  this  during  the 
winter  evenings." 

The  Rev.  A.  H.  Lewis,  D.  D.,  editor  of  "The  Outlook 
and  Sabbath  Quarterly": 

"I  have  been  greatly  interested  in  the  book,  not  only  in  the 
success  which  you  have  attained  in  versifying  the  Psalms,  but  in  the 
valuable  matter  embodied  in  the  introduction.  I  have  usually  found 
it  difficult  to  interest  myself  in  any  versification  of  the  Psalms, 
especially  in  the  early  efforts  by  Watts  and  others.  On  opening 
your  volume,  I  found  myself  inclined  to  read  in  detail,  rather  than  to 
examine  cursorily.  It  is  very  difficult  to  versify  Hebrew  poetry. 
The  success  you  have  attained  in  expressing  the  delicate  shades  of 
sentiment  commands  our  congratulations,  and  may  justly  give  you 
abundant  satisfaction." 

S.  W.  Kershaw,  F.  S.  A.,  author,  librarian  of  the 
Lambeth  Palace  Library,  London,  England,  etc.: 

"Lambeth  Library,  12  June,  1888. 
•  <  *     *     *     *     jj^  jjjjg  library  there  is  a  fine  collection  of  works 
on  the  liturgies,  prayer-book,  etc.     In  your  '  New  Rendering  of  the 


Hebrew  Psalms  Into  English  Verse,'  I  am  greatly  interested  in  the 
introduction,  in  reading  about  the  psalms  of  Clement  Marot,  and  in 
the  allusion  to  the  Huguenots.  My  little  book  on  the  '  Protestants 
from  France  in  their  English  home 'was  kindly  reviewed  in  one 
of  your  papers.     *     *     *     *  " 


J.  K.  Hoyt,  editor  and  author: 

"  Bay  View,  Florida. 

"Dear  Dr.  Coles — I  have  passed  a  very  pleasant  Sunday  morn- 
ing in  looking  over  your  new  book.  I  wish  you  had  invoked  the  spirit 
of  Beethoven,  and  written  the  music  as  well  as  the  words;  for  the 
proper  use  of  a  metrical  version  of  the  Psalms  is  to  sing  them. 
Still,  the  book  is  a  wonderful  one,  and  encourages  me  to  believe  that 
age  is  not  necessarily  a  bar  to  work.  I  enjoy  the  notes  much, 
and  very  often  find  myself  turning  from  the  essay  to  the  verses 
referred  to.  You  will  leave  a  melodious  monument  behind  you,  my 
good  Doctor." 


The  Rev.  George  Dana  Boardman,  D.  D.: 

"  My  Dear  Dr.  Coles — I  greatly  admire  your  new  book  for  many 
reasons  :  first,  for  its  rich  introduction,  felicitously  describing  the 
character  of  the  Psalms,  giving  us  an  exhaustive  history  of  metrical 
versions,  presenting  critical,  historical  and  biographical  notes  of  great 
value  ;  secondly,  for  your  new  rendering  of  the  Psalms,  a  rendering 
conscientious,  mellifluous,  fresh  and  suggestive;  thirdly,  and  not  least, 
for  the  frontispiece,  representing  one  who  has  both  the  David  spirit 
and  the  David  music.     Faithfully  yours." 


The  Rev.  Lewis  R.  Dunn,  D.  D.: 

"  I  like  the  'rhythmic  flow'  of  the  words  of  your  work,  its  truths, 
its  thorough  orthodoxy,  its  blending  of  the  results  of  most  recent 
scholarship  in  lines  and  notes,  its  beautiful  illustrations  of  the  text, 
and  its  high  intellectual  and  spiritual  tone — a  classic  in  our  good 
old  English  tongue." 


Asahel  Clark  Kendrick,  D.  D.,  LL.  D.,  author,  Pro- 
fessor of  Hebrew,  Greek  and  Latin  in  the  University  of 
Rochester,  New  York  : 

"  In  your  translation  of  the  Hebrew  Psalms  into  English  verse, 
you  may  well  be  congratulated  in  having  thus  nobly  crowned 
your  series  of  poems  devoted  to  those  themes,  which  aid  the  aspir- 
ations of  the  soul  upward  toward  God  and  heaven,  and  may  well 
task  the  highest  human  efforts.  The  renderings  are  in  clear 
and  weighty  verse,  fitted  to  the  noble  simplicity  of  the  original ;  and 
the  notes  are  instructive  and  valuable." 


George  MacDonaid,  author  and  poet : 

"London,  England. 
"  My  DEAR  Doctor  Coles. — I  send  you  by  this  post  a  copy  of 
my  little  book  on  the  religious  poetry  of  England.  I  am  sure  you 
will  find  a  good  deal  to  sympathize  with  in  it.  *  *  *  I  am  sorry 
to  say  I  have  not  yet  received  your  book,  which  I  should  like  much 
to  see  after  the  taste  you  gave  me,  sheltered  and  ministered  unto 
by  you  and  yours.  Let  me  hope  I  may  once  more  be  your  guest, 
and  that  you  may  be  ours.  Believe  in  my  love  and  gratitude. 
Yours,  with  sincere  affection." 


The  Rev.  Philip  Schaff,  D.  D.,  LL.  D.,  in  "  Literature 
and  Poetry,"  Charles  Scribner's  Sons,  New  York,  1890: 

"A  physician,  Abraham  Coles,  prepared  between  1847  and  1859 
thirteen  versions  (of  the  '  Dies  Irse '),  six  of  which  are  in  the  trochaic 
measure  and  double  rhyme  of  the  original,  five  in  the  same  rhythm, 
but  in  single  rhyme,  one  in  iambic  triplets,  like  Roscommon's,  the 
last  in  quatrains,  like  Crashaw's  version.  Two  appeared  anony- 
mously in  the  Newark  '  Daily  Advertiser,'  the  first  one  in  1847, 
and  a  part  of  it  found  its  way  into  Mrs.  Stowe's  '  Uncle  Tom's 
Cabin;'  subsequently  this  version  was  set  to  music  in  Henry 
Ward  Beecher's  '  Plymouth  Collection  of  Hymns  and  Tunes.' 
The  thirteen  versions  were  first  published  together  with  an  in- 
troduction in  1859.  He  has  since  published  three  additional  ver- 
sions in  double  rhyme,  New  York,  i88r,  in  'The  Microcosm  and 
Other  Poems.'  In  August,  1889,  he  made  one  more  version  in 
single  rhyme  and  four  lines.  These  seventeen  versions  show  a 
rare  fertility  and  versatility,  and  illustrate  the  possibilities  of 
variation,  without  altering  the  sense.  Dr.  Coles,  in  the  eleventh 
stanza  of  his  first  translation  of  1847,  had  anticipated  Irons, 
Peries,  and  Dix: 

"  '  Righteous  Judge  of  retribution, 
Make  me  gift  of  absolution 
Ere  that  day  of  execution.' 

*  *  *  "Dr.  Abraham  Coles,  of  Scotch  Plains,  N.  J.,  the  suc- 
cessful translator  of  '  Dies  Irse,'  and  '  Stabat  Mater,"  has  reproduced, 
but  has  not  yet  (1889),  published,  all  the  passion  hymns  of  St. 
Bernard." 


Date  Due 


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