psalm 139 niv

Thl* itlii »natlon hu b««n
■IfinO hiiil c M c llr u nctind
66 *3 12
BARR, F .S . P .A ., Sister M. C y rtlla . 1929THE L A U D E FRANCESCA NE A N D TH E
DISCI P L IN A T I OF THIRTEENTH CENTURY
UM BRIA A N D TUSCANY: A C R IT IC A L STUDY
OF T H E CORTONA CODEX 91. (VOLUM ES I
AND II) (S tudies in Music, No. 2 1 ).
The C a th o lic University of A m e ric a , Ph.D., 1965
Music
U niversity Microfilms, Inc.. Ann A rb o r. Michigan
s t e r M.
C o p y r i g h t by
CyrI I l a Borr,
1966
F.S.P.A.
THE CATHOLIC UNIVERSITY OF AMERICA
S tu o ies
in Music No . 21
THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I
OF THIRTEENTH CENTURY UMBRIA AND TUSCANY:
A CRITICAL STUDY OF THE CORTONA CODEX 91
A DISSERTATION
S ub mi t t e d t o t h e F a c u l t y o f t h e
G r a d u a t e School o f A r t s and Sci e nce s
Of t h e C a t h o l i c U n i v e r s i t y o f Amer i ca
In P a r t i a l F u l f i l l m e n t o f t n e Requi r ement s
For t h e Degree
Doctor of Philosophy
by
S i s t e r M. C y r i I la B a r r ,
Wa s h i n g t o n ,
19 65
F.S.P.A,
D. C.
Th i s d i s s e r t a t i o n was conduct ed under t he d i r e c t i o n o f
Tkovn(x/>
and was a p pr ove d by
and
/C '-
y
os M a j o r
Professor
(jt
^
_______ os r e a d e r s
THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I
OF THIRTEENTH CENTURY UMBRIA AND TUSCANY:
A CRITICAL STUDY OF THE CORTONA CODEX 91
VOLUME
I
PREFACE
Italian
ferent
music o f
t he m i d d l e ages f o l l o w e d a somewhat d i f ­
cour se t han d i d t h a t o f
The m u s i c i a n o f
n o r t h e r n Europe and E n g l a n d .
t h e t r a n s a l p i n e and i n s u l a r
r e c o r d e d not o n l y much o f h i s musi c,
t h e o r y and p e r f or ma nce as w e l l .
the troubadour,
so much b e t t e r
have t h e i r
of
trouvere,
Italian
still
awaits
the
on i t s
t he reason why
repertoires
have f a r e d
p u r s u i t s o f modern t i me s t han
S t u d i e s and t r o n s c r i p t i o n s
have c o n t i n u e d to
the n e gl e ct of
i n t o our own c e n t u r y ,
p u b lic a tio n of
treatises
is perhaps
in p a r t i c u l a r
while conversely,
has c o n t i n u e d w e l l
Thi s
counterparts.
French monophonic music
m ultiply,
but a l s o
and M i n n e s i n g e r
in m us ic ol o gi c aI
sc hoo l s c a r e f u l l y
Italian
s e c u l a r monody
and t he E n g l i s h r e a d e r
the f i r s t
monograph or. the
subject.
Mus i co log1*sts have t ended t o d i s mi s s
w i t h a few b r i e f
ascribing
the
par agr aphs
couched i n g e n e r a l
laude spi r ?t ua I ?
t e r ms ,
usually
l aude t o the wan de r i n g bonds o f f l e g e I l a n t i
s p r a n g up t h r o u g h o u t
casional
the
reference
Italy
ar ound 1 2 6 0 .
t o t he r o l e o f
e a r l y d i s s e m i n a t i o n of
o r n o t h i n g has been w r i t t e n ab o u t
The r easons f o r
this
Ther e may be on oc­
t he F r a n c i s c a n Or d e r
the p r a c t i c e o f
this
which
laude s i n g i n g ,
i n the
but
little
f,p r e - f loge I l e n t i " ph a s e .
n e g l e c t a r e t o some e x t e n t r e l a t e d
to
t he f e e t
ably
that
the
laude spr ang from a s o c i a l
lower t hen the chanson and t he Lei c h .
trouvere,
and M i n n e s i n g e r wer e w e l l
no bl e b i r t h wer e a t
least
stratum consider­
The t r o u b a d o u r ,
educated,
i n t h e employ o f
and i f
the a r i s t o c r a c y .
What t h e y produced was an e s o t e r i c
kind of
entertain
the c o u r t .
the r e s t r i c t e d
t he c o n t r a r y ,
uti l i t y
the
circle
was whet mi ght
music combi ni ng t he
informatily
of d a i l y
attained a tr u ly
universal
immediacy of t h e
l aude,
The composer of t he
he was most
left
on
whi ch sometimes
end h i s a u d i e n c e was f a r
bent on r e a c h i n g hi s
The few m a n u s c r i p t s he
The
p r e s e n t need w i t h
i n t o an a r t
character.
On t h e c o n t r a r y ,
mendicant f r i a r
song i n t e n d e d t o
t oday be termed Gebrauchsmus ?k ,
routine
was no nobleman by b i r t h ,
courtly.
of
not o f
likely
from
an i t i n e r a n t
illiterate
b e hi n d a r e not
laude
congregation.
t he p r o d u c t o f
an
e s t a b l i s h e d s c r i p t o r i u m and cannot compare i n m a g n i f i c e n c e w i t h
t he
t r o u b a d o u r chansonn?e r s .
Onl y a r e l a t i v e l y
manuscripts co n ta in
of Cortona,
number o f
the m e l o d i e s
Of t h e s e t h e two most
L a u d e r i o 91 o f
sma l l
Italian
t o which t he
important are
t he Bi b I i o t e c a deI
these
the t h i r t e e n t h - c e n t u r y
and the MS Mag I i abechi eno I I
I 122 of
Still
I ess
t h e manner i n whi ch t he hymns were p e r f o r m e d .
w r o t e v e r y s p a r i n g l y ab o u t h i s mus i c ,
treatises
p o e t r y was sung.
Comune e de I I * accademi a E t r u s c a
t e c a Naz ?o n a l e C e n t r a I e o f F l o r e n c e .
Italian
laudario
which have come down f r om t h i s
t h e Bi b 11 ois
known o f
The m e d i a e v a l
and t h e o n l y
period ere
related
to
l e a r n e d musi c and the problems o f
t hose i l l u s t r a t e d
This
and i t s
by Guido o f A r e z z o
p a u c i t y of r ecorded
years
P e r i o d i c a l s of
just
sur ge o f
following
interest
and s t u d e n t s o f
t o t he
Iiterature
I t a l y ’ s u n i f i c a t i o n witness
national
form.
me nt i on e d m a n u s c r i p t s .
In t h i s
t han o f
Yet
st udy o f
i n the
t o t h e sudden
not
the
unt i I 1935
two above
y e a r Fernando L i u z z i
M u s i c o l o g y owes much t o b i s
rhythmic f a n c ie s
of L i u z z i ' s
labors,
transcriptions
though t oday t h e
are q u ite
r e j e c t e d os be i ng both u n r e a l i s t i c and i n a r t i s t i c ^
the
less,
while
t h e work remai ns a monument,
taking
theories,
i ss ue w i t h L i u z z i ' s
is g r e a t l y
of
Throughout
texts
and h i s c l a i m s
used is g e n e r a l l y
disagreements with
hi s
thirteen
to t h i s
the e l e g a n c e
The p r e s e n t wor k,
and o t h e r o f
text are c ite d
t he
Italian
different
writer
in
the ve rs ion of
that of L i u z z i .
t h e q u e s t i o n as t o why t he
Neverthe­
to h i s r e d a c t i o n o f
dissertation
In a p p r o a c h i n g t h e s t u d y o f
in a l l
transcriptions
indebted
which were a v a i l a b l e
the p r e s e n t
published
the m i d - t h i r t i e s .
whi ch was t h e r e s u l t o f c o l l a t i n g
not a l l
unani mousl y
i mp o r t a n c e o f t h e ba I l a t a form a r e d i s p u t e d .
of a f a c s i m i l e e d i t i o n of
his
published
t wo- vol ume work e n t i t l e d J_a Laude q _i_ pr ?mord ? de I la me l odi a
i t a I i ana .
for
lauda
t o be more w i d e l y
romance p h i l o l o g y p u b l i s h e d
in t h i s
such as
Microloqus.
information r e l a t i v e
d i d t h e r e a p pe a r a compl et e mus i c a l
his
i n hi s
p e r f o r ma n c e has caused t h e s u b j e c t
s t u d i e d by phi l o l o g i s t s
music.
si ngi ng polyphony,
the t e x t ,
sources—
the o r i g i n a l .
the
Any d e p a r t u r e s
lauda
f r om o r
i n t he accompanyi ng n o t e s .
lauda one i s f a c e d w i t h
i n t he m i d d l e ages seldom
r e c o r d e d a n y t h i n g about h i s music and i ndeed w r o t e down o n l y a
l i m i t e d amount o f
lie
in t h e f a c t
an el ement o f
t h e music
that
dai ly
for
its elf.
The answer would seem t o
pe op l e t o whom music was so e s s e n t i a l
living,
the
r e c o r d i n g o f hymns woul d have
been about as n e c e s s a r y as c o m m i t t i n g
scripT to
his
insure
interest
to
preservation.
this
formidable obstacle,
er
is o b l i g e d
statutes
of
t h e absence o f
t hr ough c h r o n i c l e s ,
l e g i s l a t i o n and d i r e c t i v e s ,
confraternities
and r e l i g i o u s
some s a i n t .
in form a tio n are discovered
sour ces
in p a i n t i n g s ,
all
papal
in popular
i n t he p r e s e n t
work have pr oved so v a l u a b l e
bulls,
sermons,
and f r om t i me
Occasionally
and not
references.
annals,
orders,
poses a
The r e s e a r c h ­
letters,
illuminations,
o f obscur e t e x t u a l
least of
to manu-
the s t u d e n t who t u r n s
though not an i n s u p e r a b l e o n e .
t o t ' me 0 v i t a o r pass i o o f
b i t s of
But f o r
repertoire
to forage
ecclesiastical
t he P o t e r N o s t e r
valuable
manuscripts
l egends,
which
to the u n r a v e l i n g
The r e s e a r c h t a k e s on somewhat
t h e c h a r a c t e r o f an a r c h e o l o g i c a l
e x p e d i t i o n and t he m a t e r i a l
amassed must
or accepted,
be s i f t e d ,
rejected,
until
h y p o t h e s i s emerges os somet hi ng homogeneous but
gether from b i t s
and s c r a ps o f
t h e whol e
cemented t o ­
i n f o r m a t i o n f r om a v a r i e t y o f
sources.
Si nce no musi co l o g i c o I
i n v e s t i g a t i o n of
be d i v o r c e d f r om t h e . c i r c u m s t o n c e s whi ch gove
st udy purposes
time.
It
t o exami ne t he
lauda
popular a r t
it
birth
in t he s e t t i n g o f
i s hoped t h a t such on i n v e s t i g a t i o n
w ill
con
this
i t s own
contribute
to o u r knowl edge o f
These e a r l y
needs o f
of h i s
into
l aude ,
t he d e l l y
t he mind o f
of
tio n of
It
be concer ned w i t h
w ill
deI
concentrate
pr i macy as
p o e t r y and musi c o f
to determine
L e u d a r i o 91
the
belonged;
k e epi ng w i t h
present f o r
t he o l d e s t
2)
point
h e a r t of
as w e l l
Le u d o r i o 91
i s based upon i t s
posi­
both the
is s u b m i t t e d 1)
as an a t t e m p t
t he gr ou p t o whi ch t h e Cor t ona
t o s e ar ch f o r e v i d e n c e w i t h i n
to o r ig in ,
the s i m p l i c i t y
laude w i l l
and i n d e e d ,
on t h e
age,
of
the
poetic
t he music more in
text;
and 4)
ti me an E n g l i s h t r a n s l a t i o n o f
o ffe r a fresh
In doi ng so i t
insight
into
the
end a u t h o r s h i p of
to provide a t r a n s c r i pti on of
the f i r s t
For t h i
known sour ce c o n t a i n i n g
s i mp l e and char mi ng hymn t e x t s .
the
p r o v i d e some i n s i g h t
laude.
t he n a t u r e o f
3)
revelation
t ue hymn t e x t s
solely
the manuscr ipt
dissertation
p o e t r y whi ch mi ght
the work;
t he s p i r i t u a l
Comune e deI I 1accadem?a E t r u s c a o f
The c h o i c e o f
The p r e s e n t
end c e r t a i n l y
townsfolk.
t h e poet m u s i c i a n who i n v e n t e d them.
the B I b I i o t e c e
Cortona.
t he m e d i o e v e l
c o n s titu te a considerable
awa r e ne ss,
r eason t he s t u d y w i l l
as t he m u s i c .
of
desi gned as t h e y were t o meet
t he common man,
religious
life
of
t h e me d i a e v a l man as he spoke t o God.
t hese
i s hoped t h a t
the te nd e r,
sometimes e a r t h y m a n i f e s t a t i o n s
to
p e r s ona l
t h e mind and
ACKNOWLEDGMENTS
I wish t o e x p r e s s my s i n c e r e
t h ank s
Thomas under whose d i r e c t i o n
this
end t o
K. Z i e g l e r ,
t he R i g h t
Allen G arrett,
Reverend A .
Ph.D.,
ti me and c r i t i c a l
grateful
Italy
r e c i p i e n t of a F u l b r i g h t
primary
1963-64.
and P r o f e s s o r
under whose a u s p i c e s
this
I was the
time
t he ma j o r
debt o f g r a t i t u d e
portion of
f o r his
t o whom I f e e l
kind
personal
for
the
use o f
Perugia,
Italy.
I am l i k e w i s e
translation,
the f a c i l i t i e s
and t o D o t t o r e
of
on
i n d e b t e d to
in
I am d e e p l y g r a t e f u l
Pencrozi,
director of
in
t o Don A l d o Br unacci
for
t he s t a t u t e s and o t h e r
p e r t i n e n t m a n u s c r i p t s of t h e Arch i v i o de I I a c a t t e d r e I e
Likewise
t he
Rober t o Abondanza
t h e Arch i v i o d < S t o t o
making p o s s i b l e a t hor ough sear ch o f
Ruf i no, A s s i s i .
the
i n t e r e s t as
S i g n o r i n o G i n e t t o d a l la Moro f o r a d v i c e and gu i da nc e
stages of
of
the d i s s e r t a t i o n was c o mp l e t e d under t he
os hi s gener ous a s s i s t a n c e .
early
their
to t h e Amer i can Commission f o r
d i r e c t i o n o f Ma e s t r o F r e d e r i c o G h i s i ,
well
Ph.D.,
S c h o l a r s h i p t o t he U n i v e r s i t y
Dur i ng
research f o r
especial
was c o mp l e t e d ,
who os r e a d e r s gave g e n e r o u s l y o f
Exchange w i t h
Florence,
dissertation
Isaac
suggestions.
I am e s p e c i a l l y
Cultural
to Professor
d ? San
I om i n d e b t e d t o D o t t o r e L u i g i
the Bi b I i o t e c a deI
Comune o f C o r t o n a ,
for
his
i n t e r e s + i n t he work end hi s
. access
t o t he r i c h m a n u s c r i p t
c o U e c t i o n of
To Reverend P a t r i c k Howard,
Wa shi ngt on,
D.C.,
generous o f f e r
I am g r a t e f u l
O.F.M.,
t he
of
compl et e
library.
Hol y Name C o l l e g e ,
f o r making a v a i l a b l e
the
*
c o l l e c t i o n of
F r a n c i s c a n sour ces owned by t he c o l l e g e .
special
not e o f
for
kind
his
t hanks
interest
p r e p a r a tio n of
the
And f i n a l l y ,
my r e l i g i o u s
of
is due t o Mr .
Italian
i n the f i n a l
t e x t and t r a n s l a t i o n .
t he C o n g r e g a t i o n o f
La Cr osse,
To my r e l i g i o u s
go my s i n c e r e s t
and e n c o u r a g e me n t .
Ph.D.,
I wish t o acknowl edge my deep g r a t i t u d e
Perpetual Adora tion,
alike
Urciolo,
and most gener ous a s s i s t a n c e
community,
o f advanced s t u d y .
Raphael
A very
t hanks
for
to
Franciscan S is te r s
Wi s c o n s i n ,
for
t he o p p o r t u n i t y
s u p e r i o r s and f e M o w s i s t e r s
their
constant
understanding
TABLE OF CONTENTS
Volume
I
PREFACE....................................... .............................................................................
ACKNOWLEDGMENTS.......................................................... .................................
Peqe
“v
.
x
L I S T OF................................T A B L E S ....................................................................
xiv
L I S T OF ILLUSTRATIONS.......................................................
........................
xv
LAUDA SINGING IN THE CONFRATERNITIES OF
MEDIAEVAL I TALY.........................................................................
1
The P e r i o d o f t h e Le u d e s ?and T e r t i a r i a s . .
The F laoe I l a n t i ......................................
The Pi sc i pi ?n a t i ...............................................................
4
8
17
THE CORTONESE CONFRATERNITIES..........................................
25
Problems o f I d e n t i t y ......................................................
The Capi t o I ? del l a C o n f r a t e r n ?t a di
Sant a Croce~*de \ 1 3 0 0 .
7“ .........................
26
35
LAUDARI0 91 OF THE BIBLIOTECA DEL COMMUNE E
DELL'ACCADEMIA ETRUSCA IN CORTONA.............................
40
Chapter
I.
II.
D e s c r i p t i o n o f t h e M o n u s c r i p t .............................
E x a m i n a t i o n o f C o n t e n t .................................................
T h e o r i e s of O r i g i n and Age o f t he
M a n u s c r i p t .........................................................................
42
46
PROBLEMS OF E D I T I N G ......................................................
74
E d i t i n g t h e M u s i c ...........................................................
E d i t i n g t h e T e x t ...............................................................
75
83
.
III.
IV.
V.
FINDING AND CONCLUSIONS......................................
The T e x t :
C o n t e n t ...........................................................
The T e x t :
Form and E x p r e s s i o n ..............................
The Mu s i c :
N o t a t i o n ......................................
.................................
The M u s i c :
Pe r f or ma nc e
R e c a p i t u l a t i o n ....................................................................
xi i
53
88
89
94
9&
97
100
xi i i
APPENDICES
Roge
APPENDIX
A ....................................................................................................
104
I n v e n t o r y o f t h e C o n f r o t e r n i t y of Sen
Domeni co, Addendum t o t h e MS P e r u g i a 95 5
APPENDIX
B
...............................................................................................
109
P h o t o g r a p h i c P l a t e s o f t h e church o f
Son Fr ances co ond t n e Cor t o na L a u d o r i o 9 1 /
P o r t 5.
APPENDIX C .................................................................................................
Various t r a n s c r i p t i o n s
C o r t o n a Manuscr i pt
of
117
loude f r om the
APPENDIX D .................................................................................................
124
P h o t o g r a p h i c p l a t e s o f t he laude t o S a i n t
M a r g a r e t o f Co r t o n a ond Bl essed Gu i do; ond
oddi t i o n a I t e x t s
APPENDIX E .......................................................................................
132
Fourteenth century F l o r e n t i n e Laudorio
I I Iuminotions
BIBLIOGRAPHY.............................................................................
M a n u s c r i p t S o u r c e s ....................................................................
P r i m a r y S o u r c e s .............................
Li t e r o t u r e ........................................................................................
D i c t i o n a r i e s .............................................................................
134
134
136
138
151
LI ST OF TABLES
Table
1.
2.
3.
Page
Musical
f or m o f
f r om MS Co r t o n a
a r e composed of
d i c members . .
t h e laude
91 which
s i x melo­
. . . . . .
49
Musical
f o r m o f t h e laude
f r om MS C o r t o n a 91 which
a r e composed o f more than
s i x m e l o d i c members . . . .
50
P o e t i c f or m o f t h e laude
o f MS C o r t o n a 9 1 .........................
xiv
52
L I S T OF ILLUSTRATIONS
page
i gure
1.
11 .
III.
IV.
V.
E n t r a n c e of t h e church o f San F r an ces co
in Cortona, w it h p a r t i a l l y v i s i b l e
' door f r a me o f the s u b t e r r a n e a n chape l
o f t h e l aude si . . . . . . . . . . . . .
.
The d e t e r i o r a t e d f i r s t f o l i o o f the MS
Cortona 9 i • • • • • • • • • • • •
. . . o
.
. .
109
# . .
110
F o l i o 4 6 v , i l l u s t r a t i n g t h e use o f g u i d e
l i n e s i n t h e m u s i c ...........................................................
111
. .
113
F o l i o 6 5 r , i l l u s t r a t i n g f a u l t y alignment
o f t e x t ond music . . .................................................
F o l i o 7 0 r , i l l u s t r e t i n q no t e s i n compo
a oe r t o . . . .
. . . . . . . . . .
. . . .
.
VI .
F o l i o 1 0 0 v , t h e most p e r f e c t example
f r om MS C or t o na 9 1 ...........................................................
VI 1 .
F o l i o 1 2 3 r , a l a t e r a d d i t i o n t o t h e monus c r i p t ........................................................................................
VI 1 1 .
F o l i o l 6 4 v , hymn t o Beot o Gui do f ound in
p o r t two o f t h e Cor t o no L a u d o r i o .........................
IX.
F o l i o l 6 5 r , f r o m t he hymn t o Bl e s s e d Guido
o f C o r t o n o ...............................................................................
X.
F o l i o 1 3 9 r , t h e openi ng o f t h e hymn t o S a i n t
M a r g a r e t o f C o r t o n o , f ound ?n p o r t two o f
t h e Cor t ono L a u d o r i o . . . . . . . . . . .
.
XI .
. .
MS 742 o f t he P i e r p o n t Morgan L i b r a r y ,
New Y o r k Ci t y . An i I Iumi not i on f r o m
a f o u r te e n th century F l o r e n t in e loud a r i o ....................................... .... ................................. ....
xv
CHAPTER I
LAUDA SINGING IN THE CONFRATERNITIES
OF MEDIAEVAL ITALY
CHAPTER I
LAUDA SINGING IN THE CONFRATERNITIES
OF MEDIAEVAL
ITALY
As t h e e a r l y mi d d l e ages w i t n e s s e d t h e o r g a n i c growth o f
t he
l i t u r g y and t h e c o m p i l a t i o n o f a r i c h
musi c so d i d t he
repertoire,
healthy
but
l a t e r m i d d l e ages ob s e r v e t he
neither s t r ic t ly
liturgical
r o o t s were sunk i n a s o i l
the f r u i t
be-speaking a
it
bore was d i s t i n g u i s h e d
long t r a d i t i o n
t he t h e o r e t i c a l
treatises
t he m o n a s t i c s c r i p t o r i u m .
t h i r t e e n t h century
Italy
crusades,
anonymous o n e .
of
l e a r n e d me d i a e v a l
music and
t h e most p o r t f r om
music o f
the many who cut and c a r r i e d
their
lives
i n st one ond p o e t r y
i n t he
remains on
Thi s may be due i n some measure t o t h a t
t h e m e d i a e v a l man towards
the an on ymi t y o f
The phenonemon o f c o l l e c t i v e
2
Much
i n many r e s p e c t s os ob s c u r e to
o r who l o s t
ond whose i m m o r t a l i t y
sp irit
a wa r e n e s s .
t he p o p u l a r r e l i g i o u s
r emai ns
Its
popular na tu r e ,
by a r e l i g i o u s
emergi ng f o r
But
the c a t h e d r a l s ,
purely secular.
o f deep s p i r i t u a l
us t oday os t he u n r e cor de d names o f
t h e st one f o r
nor
liturgical
r i s e _ o f another
of d i s t i n c t l y
has a l r e a d y been w r i t t e n o f t h e more
of
corpus o f
t endency
c o mmun i t a r i a n
life.
endeavor may be o b ser ve d on
many
levels o f
hi s e x i s t e n c e .
It
in
the f o rm a ti o n of
the g u i l d s ,
in
t he emergence o f
t h e commune.
itself
i n t he
f o r m a t i o n of
wh i c h m u l t i p l e d
been c r e a t e d
life
with
to
the
the i d e a o f
t he mend i ca nt f r i a r s
its
singing
thirteenth
ond c o n f r a t e r n i t i e s
permanent b a s i s ,
t h e y o r e known,
manifested
life
in
that
had
t h e c l o i s t e r end
t h i r t e e n t h century
Italy
was
one— but so a l s o was
it
popular
d i d not o r i g i n a t e
t h ese
hymn s i n g i n g
itinerant
the e v a n g e l i z i n g
t o the r a p i d growth o f
in t h e
it
lay c o n f r a t e r n i t i e s
century.
teaching.
friars
the custom o f
As t h e
a singing one.
p r e a c h e r s wer e q u i c k
e f f e c t i v e n e s s as an or gan o f
p e d a g o g i c a l method o f
relationship
between
The f e r v o r of
an e v a n g e l i c a l
recognize
p o I i t i c e l - s o c i a I scene
Spiritually
numerous pious
by the p o l a r i t y
Although
and on t h e
t h e economi c spher e
r a p i d l y and soon f i l i e d t h e open f i e l d
i n the w o r l d .
definitely
occurnedin
Thus
bore o c a us a l
p o p u l a r hymn
p e r i o d pr og r e s s e d
t ended t o o r g a n i z e t h e m s e l v e s on a more
t he s i n g i n g of v e r n a c u l a r hymns,
was f i r m l y
ensconced os an a b i d i n g
or
laude
2
os
tradition.
4
P i e r r e Mendonnet , "Les O r i g i n e s de l f or do de P o e n i t e n t i a , "
Compte rendu du I Ve Conqres Sc? e n t ?f ique i n t e r n a t i onoI des
Co t no I i Ques , l aci ences hi s t o r fquesT e d . Paul Sabat i e r . “ T T T i b o u r g :
i m r 1 8 3 : -------------------------- —
E a r l i e r w r i t i n g s c o n t a i n v a r i a n t s i n the s p e l l i n g o f t h e
word lauda ( l a u d e , s i n g u l a r and l o u d i . p l u r a l ) but the p r e s e n t
wor k f o l l o w s t h e g e n e r a l l y a c c e p t e d forms empl oyed by p r e s e n t day m u s i c o l o g i s t s , l a u d a . s i n g u l a r ond l a u d e . p l u r a l .
4
The
Per i o d o f t h e Laudes i end T e r t i a r i es
The p r a c t i c e
divided
itself
bo t h u t i l i t y
of
of
into
p o p u l a r hymn s i n g i n g
three general
and c l a r i t y ,
t hese e x t e n d e d from the
u n t i I the t h i r d
a t i m e when
clerical
we r e
q u a r t e r of
w ill
phases whi ch,
be f o l l o w e d h e r e .
l a t e years of
purposes o f
The e a r l i e s t
t he t w e l f t h
century
t h e t h i r t e e n t h and was undoubt edl y
Dur i ng
t h ese y e a r s
prim arily responsible f o r
The a c t i v i t i e s
of
I audes i and t e r t i a r i e s
scourging.
these r e l i g i o u s ,
i s ve r y f r a g m e n t a r y and r e l i e s
early
practice.
both groups were c h a r a c t e r i z e d by o r d e r l i n e s s
Our knowl edge o f t he o r i g i n o f
Italy
the
the d i s s e m i n a t i o n o f t he
and by t he absence o f s e l f - i n f l i c t e d
records of
for
lauda s i n g i n g was c a r r i e d on under some t ype o f
sanction.
gr oups i n
i n t he mi d d l e ages
this
of
yet
t h e sources f o r
It
l a r g e l y on the
t o prove
3
t h e i r e x i s t e n c e es e a r l y es t h e precommune I p e r i o d .
An
examination of
chroniclers,
singing
is s u f f i c i e n t
t he r e l i g i o u s
period wit nes ses to the s i m i l a r i t y
such o r g a n i z a t i o n s .
Likewise
persion of
the c o n f r a t e r n i t y
charitable
na ture of
it
of
attests
c o n f r a t e r n i t y of
purpose and s t r u c t u r e
t o t h e wide d i s ­
o v e r t h e p e n i n s u l a and to the
its apostolate.^
3
L. M u r a t o r i . Ant iqu? t a t e s I t a I i cae Medi i Aevi s i v e Pi ssei—
ta t iones.
( 2d e d . r e v . ; A r e z z o :
f y p i ffiTchaeIi 6e T f o t f i , 1 7?380) , Vo. X V I , c o l . 1 2 . [ A l l subsequent r e f e r e n c e w i l l be c i t e d
Ant i q . I t a I . D? s .1
^Gennaro M a r i a MontS, Le, C o n f r a t e r n ? t e medi eva I ? del M a l t a
I t a I ?a . ( V e n i c e :
Ed. la Nuove I t a T i a , 1 9 2 7 ) 1
p. 76ff.
5
Ther e i s e v i d e n c e
activities
century
this
of
t hese
in I t a l y ^
but n o t h i n g
Florentine
s o c i e t i e s of
s i n g i n g was
religious
was i mp l e me n t e d .
centuries
that
In the
societies
is
l ay p e o p l e ,
the n a t u r e o f
groups werq. g i v e n
and e a r l y
Muratori,
o£.
ci t . ,
col.
t h : ~teenth
their
the end o f
the
p r a y e r s and songs. ^
songs" which t h e y sang,
In 1183.
It
Be­
t he
such company
r e c o r d e d w i t h any c e r t a i n t y was the Compaqni a de i
5
tenth
popoI o b o r d o n e , who
laudes ? .^The f i r s t
Beat a Verq i ne Mar i a i n F l o r e n c e
as the
the
i n p a r t i c u l a r b e g i n to me n t i o n
t he " p r a i s e
t he name
into
t h e manner i n which
the Madonna a t
d a y ' s work and a d dr e s s e d t o h e r
cause o f
twelfth
specifically
g a t h e r e d b e f o r e the f i g u r e o f
as e a r l y
known o f
late
chronicles
incorporated
Laudes ? deI I a
was a t t a c h e d t o
41.
^J ohenni s Vi I l a n i , Hi s t o r i a uni v e r s a I ?s a cond? ta F l o r e n t i a .
Vo I . X I I I o f Rerum ?t a I ?corum s c r I p t o r e s , ("Me3 i o I on i : Typogr aph i a
S o c i e t a t i s p a l a t f n a e , 1 ? 2 9 ) , col. 3 4 5 .
l_A I I subsequent r e f e r e n c e s
t o t h i s work w i l l be c i t e d Re r . I t a I . Scr i p t . , w i t h numbers d e s i g ­
n a t i n g t he volumes i n t he s e r i e s T ]
C f . of so A n n i b a l e T e n n e r o n i ,
I n i z i i de a n t i che Poes i i t a I ?ene r e I i qi ose e mora I i con p r o s p e t t o
dei codTce che cont enqono e t i n t r o d u z i o n e a T l a Laudi S p i r i t u a l i .
TT T o r e n c e T “ n o “ < 5 T s l ^ T 7 “i ^ 5 9 ) 7 ™ f x ' : --------------------------------------------------^ The r e i s c o n f u s i o n i n t h e use o f t he t erm I a u d e s ? due t o
t h e f a c t t h a t some o f t h ese gr oups ad o p t e d the p r a c t i c e o f t h e
d i s c i p l i n e a f t e r 1260 ond changed t h e i r names t o d i s c i p I i not i .
The c o n f u s i o n i s i n c r e me n t e d by t he t endency o f modern w r i t e r s
t o use t he t er ms laudes i , d i s c i p l i n a t i , and bat t u t i i n t e r c h a n g e ­
ably.
Q
E n r i c o B a t t o z z i , Net ?z i a di un
(Arezzo:
S t a b i l i m e n t o Ti p o gr of i a T5e I
i s wo r t h y o f n o t e t h a t l a u d e s ? gr oups
d e d i c a t e d to t h e V i r g i n and c o n t a i n e d
laudari o deI secolo X I I I ,
l o t t i , 1*89(51, p. 1 4 .
It
n e a r l y a l w a y s were
h e r name i n t h e i r t i t l e ,
6
the parish of
Sant a
Repar at a end was known t o g a t h e r
together
on t he eve o f a l l f e a s t s o f t he Bl e s s e d V i r g i n t o s i ng laude i n
o
h e r h o n o r . 7 As e a r l y as 1211 Bol ogna possessed a s i m i l a r s o c i e t y
kno'*"-' as
the Compeqn ?a de I I a Verq i n e , ^
Florence witnessed
the r i s e o f
and bet ween 1223 and 1233
several
mor e.
One o f
the most
important of
t hese was t he group which e v e n t u a l l y e v o l v e d
t he Or d e r o f
Servites.^
These p e a c e f u l
ne v e r g i v e n t o
their
t he p r a c t i c e o f
songs r e t a i n
repertoire
ond we I I o r g a n i z e d companies o f
totally
to f l a g e l l a t i o n .
the
lyric
fre e of
In t h i s
tertiary
groups a f f i l i a t e d
other of
the me d i a e v a l
f r om t h e
both d r a m a t i c e f f e c t
t h e y bear a c l o s e r
with
and a l l
hymn
reference
relationship
t o the
t han t o any
societies.
to d i s t i n g u i s h
thirteenth
by a r u l e and marked by c e r t a i n e x t e r n a l
much in common.
end
devotional
t he mendi cant o r d e r s
little
laudes ? i n t he e a r l y
laudes ? were
scourging,
q u a l i t y of a purely
singing
Ther e was a p p a r e n t l y
self-in flicted
into
L i k e the s t a t u t e s of
the t e r t i a r y
century.
Each was bound
obs e r v a nc e s which had
t he
laudes ?,
the r u l e o f
t he t h i r d o r d e r made no r e f e r e n c e wh a t s o e v e r t o t h e p r a c t i c e o f
t he d i s c i p i i n e .
But u n f o r t u n a t e l y
neither
does i t
speak o f
t he
wher e as , t he l a t e r d i s c ? p i i n a t i more f r e q u e n t ly ad op t ed t h e name
o f t he s a i n t who was t he p a t r o n o f t he p a r i s h w i t h which t h e y
wer e o f f i I i a t e d .
9 1bi d .
10 l b i d . ,
p. 1 5 .
11 I b i d .
7
r o l e o f hymn s i n g i n g
tertiary
r 1t ua I i
i n t he f u n c t i o n s o f
i s known t o e x i s t .
ordered the Franciscans
groups o f a l l
of
Italy
But
with
between t h e
it
is s a f e
is c a r r i e d o u t .
of
l a u de ,
Minor,
t o assume t h a t
It
would
to
One s o l i t o r y
t he
t he
label
the strong
in t h i s ,
p ractice of
too,
lauda
t h e r ese mbl ance
that
that
a
i n t he t e r t i a r y
the s i n g i n g
Yet up t o
the p r e s e n t no m u s i c o l o g i s t
it
f o u n d e r ’ s idea of
has
l e u d a r i o as t h a t o f a t h i r d - o r d e r g r o u p .
tertiaries
letter
groups whi ch
r e l a t i o n s h i p to the o r de r than or e
sh r e d o f e v i d e n c e t o uphol d t h e
os an e x h o r t a t i o n
believes
t he c h a r a c t e r
g e n e r a l l y acknowl edged t o be d i s s e m i n a t e d by t h e F r i a r s
the c o n f r a t e r n i t i e s .
close of
that
confraternities,
i ndee d seem u n l i k e l y
a r e bound by on even c l o s e r
d i t i o n of
the p e n i t e n t
On t h e b a s i s o f
t h i r d o r d e r ond o t h e r
s h oul d not have been f ound
been a b l e
IV
g u i de d by the F r i a r s M i n o r became h a r d l y
whi ch we know p l a c e d so much emphasi s on t he
singing,
of
the r e s u l t
d i s t i n g u i s h a b l e f r om t he t e r t i a r i e s .
likeness
and no
in 1247 Pope I n n o c e n t
t o assume t he d i r e c t i o n
and S i c i l y ,
t he f r a t e r n i t i e s
t he gr ou p,
exists
"a t u t t i
in th at
embodi es,
for
i n t e n d e d by S a i n t
time.
t he f i r s t
the t h i r d o r d e r .
13
tra­
precious fragment a t
i fedele,"
t o t he p e o p l e o f h i s
lauda-singing
The
12
t i me
the
Francis
Vicinelli
in w r i t i n g ,
t he
l e t t e r closes with
August o V i c i n e l l i , Gl i s c r i t t ? di_ San F r a n c e s c o _e
f ?o r e t t ? .
(Verona;
Arno I do Mondodore, 1 9 5 5 ) , p. 1 4£."™ The v e r s i o n o f t h e
l e t t e r qu ot e d he r e i s t h a t p r e p a r e d by V i n c i n e l l i from t h e two most
famous m a n u s c r i p t s i n whi ch i t i s c o n t a i n e d , MS 338 o f A s s i s i , ond
t h a t o f t h e Convent o f O g n i s s a n t i i n F l o r e n c e .
13
T h i s was ab ou t t he y e a r 1 2 1 5 ,
8
t he
beautiful
words,
. . .
i t i s n e c e s s a r y t h a t e v er yone a d o r e hi m, ador e him
in t he s p i r i t o f t r u t h .
And l e t us s i n g t o him l aude,
and l e t us prey day and n i g h t , s a y i n g :
’ Our F a t h e r who
a r t i n h e a v e n , ’ because we must pr ay al ways and w i t h o u t
becoming t i r e d . ^
A p a r t f r om t he hymns t h e m s e l v e s ,
the o n l y s e c u r e b i t o f
i n f o r m a t i o n whi ch can be produced t o prove t he
the
t h i r d order
is contained
lauda s i n g i n g of
i n t h e s e words o f F r a n c i s ,
"and
let
us s i n g t o him l a u d e . "
The F laqe I I a n t i
Although the
ment o f t e r t i a r y
thirteenth
orders a t t a c h e d
ond the m u l t i p l i c a t i o n o f
that
The t e r t i a r i e s
compani es,
groups passed,
changed.
lantI
t he
only
1260.
It
was
i n s t i g a t i o n o f one man,
nearly a l l
of northern
Italy.
ness o f mid t h i r t e e n t h - c e n t u r y
1 4 l b i d »,
p.
149.
stable
charac­
t h r o ugh which many
t o emerge w i t h a c h a r o c t e r e n t i r e l y
t he c o n f r a t e r n i t y
movement o f
t h i r d quarter of
hod a c h i e v e d a s u f f i c i e n t l y
The phenomenon which br ought about
the na tur e of
the
by e v e n t s o f a s e r i o u s l y d i s r u p t i v e
t o s a f e g u a r d them f r o m t he met amorphosi s
l aude si
at
t o t he o r d e r s o f me nd i c a nt f r i a r s ,
I aude si
c e n t u r y was c h a r a c t e r i z e d
nature.
ter
c e n t u r y was marked by the e s t a b l i s h ­
t he r e v o l u t i o n
i s t h a t commonly c a l l e d
initiated
in Perugia,
Italy
it
t h e f laqe I-
pr esumabl y
but soon s p r e a d r a p i d l y
Without considering
in
throughout
the r e s t l e s s ­
is d i f f i c u l t
to conceive
9
how one h e r m i t ’ s c r y o f
such ext r emes o f
c o u l d say t h a t
Yet
pen i t e n z a c o u l d
self-inflicted
scourging
i n t hose days " I t a l i a n
the p i c t u r e
becomes more c r e d i b l e
c r e a t e d by Wol denses,
Cathari,
commonly known t o t he p e o p l e .
c r e a t e d by the J o a c h i t e s
incite
the popul ace t o
that
t he c h r o n i c l e r
bl ood f l o w e d
like water."
if
t he c l i m a t e
we r e c a l l
and v a r i o u s
itinerant
15
evangelizers
A s t a t e o f e x p e c t a n c y had been
disseminating
the dreams o f
their
spiri-
tua I f o r e f a t h e r .
Although
properly
t he f i g u r e o f
bel ongs
Joachim o f F l o r a
in t w e l f t h
century C a la b r ia ,
r eached f a r beyond hi s own ti me and n a t i v e
St.
Victor,
Rabanus Mourus,
him a p r o p h e t i c s p i r i t . ^ L i k e w i s e
include his
life
i n t he A c t a
may have been,
a ne a r c r i s i s
t he chur ch
^ ^ Rer .
for
I t o I . Ser i p t . .
his
But
was h i s
Dante
lights,
f ound f i t
to
irreproachable
writings
i n t he t h i r t e e n t h
V IM ,
influence
claiming fo r
t he B o l l a n d i s t s
it
d. 1 2 0 2 )
t hose g r e a t
and Ansel m,
Sanctorum ^
as J o a c h i m’ s l i f e
1132,
province.
p l a c e d t he r e v e r e d o l d man i n the company o f
Hugh of
(b.
whi ch caused
century.
18
co I . 699 •
16
Dant e A l i g h i e r i , D i v i n a commedie. ( London:
J . M . Dent
and Sons, L t d . , 1 9 6 2 ) , Par odi so" Cant o X I I , v . 13 9, p. 1 5 0 .
17
Ac t a Sanct or um, ( e d . B o l l a n d i s t s , 68 v o l s ,
V i c t o r T T O e T l W r r M a i i , Tom 7, pp. 8 7 - 1 4 4 .
^ J o a c h i m o f Fl or a , ' PTC,
VI I I
cc.
Paris:
1425-1458.
Ed.
10
However,
in e l l
e x t e n t of hi s
thesis,
justice
t o Joechi m i t
must be s e i d t h e t
i n f l u e n c e was due t o those who e n l a r g e d upon hi s
notably
t he s p i r i t u a l
Franciscans.
They a v i d l y
upon Joachi m’ s i dee o f a c o n t e m p l a t i v e and e v a n g e l i c a l
barefoot
friars
f i c a t i o n of
as a p r e f i g u r i n g
their attitude
the w r i t i n g s of
But
and i t
was o n l y by f r eedom o f
band of
t h e i r m i s s i o n and a j u s t i ­
Joachim were
anonymous and a p o c r y p h a l
able
of
seized
t owar d t h e r i g i d ob ser va nc e o f
rule.
of
the
in t h emsel v es
the
vague,
i n t e r p r e t e t i o n and t h e a t t r i b u t i o n
works
t o him t h a t
the z e a l o t s
were
to a r o u s e such a f u r o r . ^
The most
c o n tr o v e r s ia I of
J o a c h i m' s works was t h e E t e r n a I
/
G o s p e I , an expose o f
hi s
t h e o r y o f an o r g a n i c and d e v e l o p i n g
chur ch as opposed t o what he c o n s i d e r e d a s t a t i c
His
i n s p i r a t i o n f o r i h e book came f r om the A p o c l y p s e ,
"And I sew a n o t h e r angel
the e t e r n a l
gospel
flying
t h r o ugh
tribe,
t he work he d e v i s e d an e l a b o r a t e
by he d i v i d e d h i s t o r y
into
three
was the age o f God t he F a t h e r ,
to Christ;
19
XIV,
6,
the mi d s t o f heaven h a vi n g
t o pr each unt o them t h a t
and over e v e r y o t h e r n a t i o n ,
In
foundation.
sit
and t ongue,
system o f
periods.
upon the e a r t h
and p e o p l e . "
calculations
The f i r s t
wher e­
of these
e x t e n d i n g f r om the t i me o f Adam
t h e second was t h a t o f
t he Son and was c a l c u l a t e d
Fr an ces co Russo, "San Fr a n c e s c o e i f r a n c e s c a n i n e l l e
l e t t e r e t u r a p r o f e t i c a q 5o a c h i m i t a , " M i s c e l l a n e a F r a n c e s c a n a ,
XLVI ( June, 1 9 4 6 ) , 2 3 3 .
11
t o be f o r t y - t w o g e n e r a t i o n s o f
two hundred and s i x t y y e a r s .
end i t s
book o f
life.
thirty
ye a r s each,
Each age had i t s
The age o f
or one thousand
hero,
its
precursor,
the F a t h e r was e n l i g h t e n e d by
the Ol d Test ament and had Adam as t he h e r a l d o f Abraham.
larly
t h e B a p t i s t was t h e p r e c u r s o r of C h r i s t
i n t he e r a o f
appr oached
t he New T e s t a me n t .
Italians
Hol y S p i r i t .
f r om h i s
cove o u t s i d e
h i s message o f
Virgin
had r e v e a l e d
penance to t he c i t y
the d i s c i p l i n e
be
lost.
theories
but
20
long s i n c e
t he f i g u r e
of
to p o p u l a r
little
t h e new h e r o .
emerged
t he
he preached
a p u b l i c example o f
in p r i v a t e ,
P e r u g i a would
incident e x i s t ,
hove been propounded r e g a r d i n g
t h ey o r e o f
and
legend the Bl e s s e d
unl ess
citizens
long p r a c t i c e d
account s o f
the
Pe r ugi a and began t o pr each
According
and gave i t s
passed,
R a n i e r o Fasani
t o t he o l d man t h a t
he hod
Several
had
the age o f
the ap pe a r a nc e o f
t he c i t y o f
penance .
t h e coming o f
Benedict,
t h e peopl e a p p r e h e n s i v e l y a w a i t e d
I n t o such a s e t t i n g
and as such usher ed
Now as the y e a r o f 1260
were warned o f
The h e r a l d ,
Simi­
consequence h e r e .
the
2i
and v a r i o u s
identity
of
Raniero
All
is
known
that
20
Cf . A r n o l d o F o r t i n i , Lo louda i n Ass i s i e _[e o r i q i ni de I
t e a t ro i t a I ?a n o .
(Assisi:
A Cura deTTa S o c i e t i i n t e r n o z i o n e I e
T i STucfi T r o n c T s c o n i , 1961 ) , p. 1 4 f f .
21
These h i t h e r t o unknown t h e o r i e s a r e c o n t a i n e d i n on un­
p u b l i s h e d i n v e n t o r y o f t h e p r i v a t e c o l l e c t i o n o f t h e Arch i v i o
de I Pi o Soda I i z ?o B r a c e i o F o r t e b r a c c ? ( P e r u g i a ) , now i n the
p o s s e s s i on o f t he Archf vi o~~3i S t o t o , P e r u g i a , p. 3 4 1 f f .
12
w i t h any de gr ee o f
certainty
f laqe I l a n t ? movement
the f o r m a t i o n o f
is
t-hat
R a n i e r o d i d i n aug ur at e
i n 1260 and t h a t
the f i r s t
he was r e s p o n s i b l e
d? sci p I i nat i s o c i e t y ,
t he
for
t h a t o f Ges u
Cr ?s t o .
Several
important ch ro nic le s
e v e n t w i t h unusual
Token t o g e t h e r
plete narrative
f laqe 11 a n t ? .
officials
22
joined
record the
and a r e q u i c k t o r e l a t e
cities
f o l l o w e d t h e example o f
t h e s e ac cou nt s s u p p l y an a m a z i n g l y com­
the e v e n t s
c l e r g y end
alike
by R a n i e r o .
of
Italian
We or e t o l d t h a t
men and women,
the m i d d l e ages
v i v i d n e s s and d e t a i l ,
th a t a m u l t i t u d e of other
Perugia.
of
surrounding
rise
of
whenever t h e movement
laity,
in t he
the
and c i v i l
penitential
t he
sp r e ad,
and e c c l e s i a s t i c a l
processions
in itiated
These d e m o n s t r a t i o n s were know t o be o f
t h r e e day d u r a t i o n ,
and i n s p i t e o f
23
and were c o n t i n u e d
r a i n and c o l d a l i k e .
wal ked f r om one chur ch to a n o t h e r
and s i n g i n g hymns.
27
26
25
throughout
th irty-
t he n i g h t ,
24
Sol e mnl y the p e n i t e n t s
whi le s c o u r g i n g
The movement spr ead w i t h
themselves,
greet
rapidity
oo
M u re to ri, Rer.
7 0 4 ; and c o I . 4 9 .
2 3 1bi d . .
V III,
I ta I . S c r i p t . ,
col.
712.
25 I b i d .
2 7 1bi d . ,
VIII,
2 4 1b i d . ,
26l b i d .,
VI I I ,
col . 1121 .
IX,
col.
Cf .
col.
71 2/
I X,
IX,
col.
49;
VI,
col.
50.
c o l . 527.
13
but was al ways c h a r a c t e r ! z e d by t h e s e some i n v o c a t i o n s
peace and mercy f o r
the a c t u a l
ing
is
the p e o p l e .
invocations
used,
by f o r more v a l u a b l e
in p a r t i c u l a r
relate
God end t he V i r g i n ,
thot
29
28
but
Se v e r a l
t he p e t i t i o n s
clear
i n s t r u m e n t s and
Onl y t h e " a n g e l i c songs o f
o f t h e most c o l o r f u l
He d e s c r i b e s
Christ.
thot
time,
these
in proise of
30
Furthermore,
l u gub r i o us
songs
saying s p e c i f i c a l l y
love songs were s i l e n c e d .
31
the p e n i t e n t s were t o be hear d,
r e p e a t e d ov e r and ov e r a g a i n . "
Fr o Sol i mbe ne,
Two c h r o n i c l e r s
sung were
end t he p o s s i o n o f
were t h e o n l y music a l l o w e d a t t h i s
both mu s i c a l
record
t he s p e c i f i c me nt i on of s i n g ­
to t h e m u s i c o l o g i s t .
the Chron i con Pat av i n ? mokes i t
thot
chroniclers
imploring
32
w i t h h i s us ual
occount s o f
eye f o r
detail,
t h e phenomenon o f
hos
left
one
t he f l a q e I l e n t ? .
t h e i r songs t h u s :
. . .
i n t h e i r mouths sounded words o f God ond not o f men
and t h e i r v o i c e was os the v o i c e o f a m u l t i t u d e :
and men
wal ked i n the way o f s o l v o t i o n , ond composed g o d l y songs
o f p r o i s e i n honor o f the Lo r d and the Bl e s s e d V i r g i n :
and
t h e s e t h e y song os t h e y went ond scour ged t hemseI ves . 33
What
271,
i s most s i g n i f i c a n t
28 l b i d . , I X ,
onT"vT, c o l .
c o l. 704.
527.
is h i s
use o f
and co I . 1 3 4 .
t h e v e r b "componebont"
C f . a I so X VI I I ,
29lb t d .,
V III,
col.
1121.
3 0 1b i d . ,
XV,
col.
334.
3 1 1b i d . ,
V III,
col.
713.
32 l b i d . ,
I X,
col.
49.
33
coI .
Monumenta Germani a Hi s t o r i a . The Chr oni c l e o f S a I ?mbene.
S c r i p t XXXI I , f e d . Oswo I d Ho i d e r - E g g e r ; hl anover:
1 8 9 0 ) , P- 7T •
[ a l l f u r t h e r r e f e r e n c e s w i l l be i n d i c a t e d MGH. l
14
which would seem t o
imply an e l e me n t o f
f o r ma n c e .
El sewher e
in hi s
those r a r e
d e s c r i p t i o n s of mediaeval
the s t o r y o f an i t i n e r a n t
bear ded e v a n g e l i z e r
im provization
c h r o n i c l e Sal i mbene
preacher
in
the p e r ­
p r o v i d e s one o f
pe r f or ma nce when he r e c o u n t s
known as B e n e d e t t o .
i s d e s c r i b e d as going about
in a
The
long c l o a k
and c a r r y i n g a t r umpe t whi ch Sal i mbene d e s c r i b e s as " f r i g h t f u l ,
and not b e a u t i f u l . "
witness of
for
the
was u n d o u b t e d l y an e y e ­
i n c i d e n t whi ch he r e l a t e s
Benedetto v i s i t e d
still
The c h r o n i c l e r
the town o f
with
such v i v i d n e s s ,
Parma whi le Sal i mbene was
Ii vi ng t h e r e .
( B e n e d e t t o ) s a i d a l o u d i n t he v e r n a c u l a r :
" P r a i s e d and
g l o r i f i e d be t h e F a t h e r ! "
And t he c h i l d r e n r e p e a t e d i t
a f t e r him a l o u d .
And t h e n he r e p e a t e d t he words, a d d i n g :
"and so a l s o be the S o n ! "
A f t e r t h a t t he t h i r d !
And
a f t e r t h a t , he added— A l l e l u i a , A l l e l u i a , A l l e l u i a .
Then
he p l a y e d on h i s t r u m p e t . . . 3 4
From t h e a c count of Sal i mbe ne
it
is c l e a r
that
sorial
manner of p e r f o r ma n c e was a l r e a d y empl oyed
ing o f
t h e s e v e r n a c u l a r hymns.
by t h e c h r o n i c l e r
Riccardo o f
note t h a t B e n e d e t t o used h i s
hi s
but w i t h
t h e added
piazza.
35
the scene d e s c r i b e d above o c c u r r e d p r e v i o u s
the f l e o e I l a n t i movement
34 I b i d . ,
is given
t r u mp e t as a means o f announci ng
pr esence and summoning t h e p e op l e to t h e
Although
i n t he s i n g ­
The same d e s c r i p t i o n
San Germano,
the respon-
p. 71 .
it
is possible to r e c o n s t r u c t
3 5 t b i d ..
XIX,
c o l . 370.
to
f r om i t
15
some ideo o f
the manner In whi ch t h i s
was e x e c u t e d .
instruments
of a
later
even i n t h i s
period,
evidence of
ance .
In a d d i t i o n
And
illuminated
early
stage of development.
r e p r e s e n t a tio n s of
the
both t e x t
l au d o r I o manuscripts o f
laude
the use o f
Many
cr ude
laude
and musi c,
r e s p o n s o r i a I , o r even d i a l o g u e
ment s— a f a c t whi ch has
opinion that
is a t e s t i m o n y o f
upon e x a m i n a t i o n of
antiphonal,
century c o nta in
it
popular singing of
give
perform­
t he f o u r t e e n t h
f i g u r e s w i t h mus i c a l
led some m u s i c o l o g i s t s
instru­
to h o l d the
laude were p r o b a b l y accompani ed by some cr ude
instruments.
But ,
unfortunately,
the manner o f
p e r f or ma nce o f
t he
Sal i mbene does not d e s c r i b e
laude d u r i n g
t he f l aq e I l e n t ?
per i o d .
W it hi n a year a f t e r
the o u t b r e a k o f
both t h e papacy and c i v i l
ions.
mode,
Out o f
ond
legislated against
t han out o f
resolved,
at
being.
truces
ond not
lea st of
But wi se r u l e r s
such d i s t u r b a n c e s more f o r
such o p p o s i t i o n
hod been
least a p p a r e n t l y .
t he soke o f o r d e r
i m p i e t y os some co nt e mp or a r y c h r o n i c l e r s
In the f a c e of
P is .,
many t e mp o r a r y
come i n t o
mania
hod f o r b i d d e n t he p r o c e s -
were f r e e d and v e n d e t t a s abandoned,
new c o n f r o t e r n i t i e s
fr om I t a l y
upheaval
long s t a n d i n g e n m i t i e s
Prisioners
all,
t he g r e a t
authorities
the p e n i t e n t i a l
charged.
36
t he more f a n a t i c e l e me nt f l e d
i n t o n o r t h e r n Europe.
Soon t h e i r
l i k e was t o be
^ M u r a t o r i , Re r . I to I . S e r i p t . , X V I , c o l . 4 7 ; Ant i q . I t a I .
X V I , co 1. 46; and R e r . I t a l T Scr ?p t ., V I I I , coTI 7l 3 .
16
f ound
!n t he M i d i ,
r o p i d spreod o f
ond os f o r n o r t h os H o l l o n d ond P ol o nd.
t he movement o f t e r
by S o l i m b e n e ’ s s t o t e m e n t
ofter
its
prey."
"this
c r os sed t h e Al ps
devotion fle w
And i n Germony p o r t i c u l o r l y ,
woke o new mu s i c a l
I n the
thot
it
repertoire
relative
quiet
thot
s e t t l e d over
t h e f looe I l o nt i s e v e r a l
remained.
Although
tempororily,
tion,
ond t h e
l i k e on e o g l e
it
left
in
its
Italy
e l e me nt s o f
ofter
t he
t h e i r actions
the p u b l i c d e m o n s t r a t i o n s hod ceosed,
t he s i n g i n g o f
practice of
t e m p e r a t e mann er .
is A t t e s t e d
known os t h e Ge i s s I e r I i e d e r .
p a s s i ng of
leost
the d i s c i p l i n e
confraternity
ofter
characterized
by o movement o u t o f
t he d e n u n c i a t i o n o f
continued
i s h e d under t h e w a t c h f u l n e s s o f
i n o more
the r e l i g i o u s
t he f loqe I l o n t i
t h e open ond i n t o
owoy from t h e spontaneous ond v i o l e n t
devotion of
at
loude hymns was now on i n s t i t u ­
The consequent devel opment o f
more o r d e r e d ond q u i e t
The
is
the c h u r c h ;
u p r i s i n g ond towor d t h e
resident
groups whi ch f l o u t —
t h e mendi cont f r i o r s .
In t h e
p e r i o d which f o l l o w e d t h e e c c I e s i o s t i c o I c e n s u r e o f
t he f l a g ­
ellants,
quieter
numerous companies o f
ond more m o d i f i e d f or m o f
I oudesi
assumed t h i s
penitential
life.
They began t he
p r a c tic e of s e l f - i n f l i c t e d
scourging,
while
continuing t h e i r
long e s t a b l i s h e d custom o f
laudo s i n g i n g ,
changed t h e i r
dr awa l
title
t o di s c i p i i n e t ? .
into sedentary,
i n t h e next e r a
fratern ity.
and i n many i n s t a n c e s
I t was t h i s
very w i t h ­
q u o s ? - r e I i g i o u s communi t i es which us he r e d
i n t he de vel opment o f
t h e h y m n - s i n g i n g con­
17
The D i s c i p I ?nat i
A new s t a b i l i t y
attached
their
t hemsel v es
rites
was i n s u r e d when the p e n i t e n t i a l
t o urban p a r i s h e s ,
under t he
usually e i t h e r
bands
where t hey c a r r i e d on
d i r e c t i o n o f an o f f i c i a l
F r an ci scan or Dominican.
Thi s
visitetor,
period of
imposed
/
o r d e r soon bore f r u i t
in t he f or m o f w r i t t e n
ing the whol e e x i s t e n c e o f
entrance
into
significant
groups the
t he di sci p i i nat? f r om the t i me of
the o r d e r u n t i l
that
deat h and even a f t e r .
t he papacy g r a n t e d t o t hese
privilege
was not w i t h o u t
documents g o v e r n ­
of canonical
precedent,
for
p e r i o d had been g i v e n s i m i l a r
is
lay r e l i g i o u s
approbation.
the t e r t i a r i e s
recognition.
It
The s a n c t i o n
o f an e a r l i e r
The a c t i o n
thus
t a k e n by the Hol y See in b e h a l f of
the d ?sc? p I i nat i r e s u l t e d
granting
status
them autonomous
p r i n c i p l e of
exemption.
manence t o t h e f r a t e r n i t y
juridical
based on t h e c a n o n i c a l
But more t han t h i s ,
whi ch
insured
its
it
i mp a r t e d a p e r ­
c o n t i n u a n c e and
p e r m i t t e d an e x p a n s i o n o f c r e a t i v e e x p r e s s i o n w i t h i n
Just what d i r e c t i o n
examination of
the s t a t u t i ,
to t h e gr owt h o f
Italian
r i t u a I i , and
sour ce o f
laudari .
ritual.
t he
t h e a t e r as w e l l .
e I lanti
had been d e v o t i o n a l
p r o c e s s i o n s made i t
highly
but
not
to
t he f l a q -
and even when d i a l o g u e
t he n a t u r e o f
i mpr obabl e
relative
l auda,
The songs o f
in c h a r a c t e r ,
per f or mance may have been empl oyed,
Taken t o g e t h e r
information
the c o n f r a t e r n i t y and t he
t h a t of
tial
its
t h a t e x p a n s i o n assumed may be seen from an
t h e y c o n s t i t u t e an i n v a l u a b l e
only
in
that
the p e n i t e n ­
t h e r e shoul d
18
have been any g r e e t
spectacle
of
allowed f o r
t h e di sc i p I i n a t i
and costumes,
of
ond c l e a r l y
t he
'nvolved.
this
scenic annotations
Furthermore,
scripts
ternity.
laudarI
it
is
Manuscripts of
possible
to r e c o n s t ru c t
The documents chosen f o r
1.
MS
2.
MS
3.
MS
4.
MS
statut i , a ll
Latin
t he p e r i o d
rubrics
with
37
a reasonably accurate p i c t u r e of
ond t h r e e
properties
louda now moved i n t h e d i r e c t i o n
i n t he r e p l a c e m e n t o f
in I t a l i a n .
t he new s t o b l l i t y
the a c q u i s i t i o n o f
t h e devoz i one o r r a p p r e s e n t a z i o n e .
show e v i d e n c e o f
But
thot
life
f r om t h e s e manu­
in t h e c o n f r a ­
purpose o r e s i x ,
o f Umbri an o r i g i n .
three
They a r e ;
isI
5.
MS
y i
s j
i »
lomo 1
1iy/
Ass i s i ,
6.
MS
uc
m o
w
ii|
i g i gi
ii i
i w
wi
wun
i
a l s o f rom the c a t h e d r a I a r c K f v e s ;
38
37
I t s h ou l d be not ed t h o t t h e Umbri an l aude t ended t o be­
come d r a m a t i c whereas t h e Tuscon r emai ned a l w a y s more l y r i c i n
nature.
38
The s i x m o n u s c r i p t s me n t i o n e d w i l l be a b b r e v i a t e d a c c o r d ­
ing t o t he f o l l o w i n g key w h e r e v e r c i t e d .
1) MS Vo I A 26;
2) P e r . 9 5 5 ; 3) V . Em. 4 7 8 ; 4) S t o t . Sen S t e f . ; 5) O r d . Sen L o r . ;
6 ) S t a t . San a i f . Number 1) i s t h e l a u d a r i o o f t h e Compaqnio di
San Simone e f i r e n z e i n P e r u g i a .
The work Ts a p a l i m p s e s t o f
r a t h e r modest d i me n s i o n s , w r i t t e n i n c l e a r g o t h i c s c r i p t w i t h
Latin rubrics.
Number 2) c o n t a i n s both t he s t a t u t e s ond t he
l a u d a r i o o f t he 0 1s c i p I »no t i di Sen Domcni co o f P e r u g i a .
Manu­
s c r i p t number 3) i s f ne l audaTTo o f t he o I d e s t o f t he c o n f r o t e r n i t i e s o f A s s i s i , t h a t o f San S t e f a n o .
I t i s sometimes
19
These sour ces
indicate
thot
in o r i g i n ,
organization,
government most d? s c i p I i n a t i gr oups hod much i n common.
p e n i t e n t s who e s t a b l i s h e d
respects
only o f
set a p r e c e d e n t f o r
their
internal
name,
feared
their
large th ot
power.
thot
In general
T h i s was t r u e n o t
ond c i v i l
less po wer f u l
into
c o mp a ni e s .
In t h e
was d i v i d e d and
Soon t h e Umbri an
groups b e a r i n g t h e
popular s a i n t s .
t he c o n f r a t e r n i t y
e s t a b l i s h e d t o m o i n t a i n the
s t a n d a r d of conduct os r e q u i s i t e
a prospective as piran t
b a r r e d from e n t r a n c e
the e a r l y
authorities
P e r u g i a was f o r c e d t o d i v i d e
so t o o wer e the o t h e r s .
of
but o f t h e i r
compony o f D i s c i p-
was d o t t e d w i t h numerous di sc? p i ?n a t i
names o f a v a r i e t y
well
religious
The
i n 1260 in many
In t h e i r f a n o t i c z e a l
t h e "mot her c o n f r o t e r n i t y "
d i v e s t e d of s t r e n g t h ,
volley
societies.
Thus t h e o r i g i n a l
s m a l l e r ond t h e r e f o r e
some f a s h i o n
in Perugia
which numerous o t h e r s a d o p t e d ,
I ?na t i di Gesu Cri s t o of
several
later
a d m i n i s t r a t i o n os w e l l .
companies grew so
alike
t h emsel v es
and
t o t he
of
p e r i o d wos s u f f i c i e n t l y
prerogative of
f o r entronce
life
by o u t r i g h t
this
of
upholding a high
into
its
ranks.
If
t he di sc? p I i na t i wos not
prohibitions
stoted
in
the r u l e ,
39
r e f e r r e d t o i n o l d e r sour ces os t he Codex F r o n d i n i ( C f . Tenneroni ' ,
o p . ci t . , p. 10) but s i n c e i t s removal t o t he N a t i o n a l L i b r a r y i n
"Rome i t i s named f o r i t s p r e s e n t abode.
I t i s d o t e d 13 27, but
t h i s i s b e l i e v e d t o be t he y e or o f c a n o n i c a l a p p r o b a t i o n of t h e
c o n f r o t e r n i t y r a t h e r than t h a t o f i t s i n c e p t i o n .
The work i s mode
up p r i m a r i l y o f l a m e n t a t i o n s ond devoz i one f o r H d l y Week and c o nt o i n s many r u b r i c s i n d i c a t i n g t h e dramat? c c h a r a c t e r o f the
monuscript.
39
lazy,
S t a t . Son R u f . , p. 2 r .
The s t a t u t e s
d i s s o l u t e , sooomi t e s , ond u s u r e r s .
deny e n t r o n c e t o t h e
20
he mi ght pr oc eed i n hi s d e s i r e ,
ceive
for
the h a b i t . ^
investiture,
d e t o i I the d u t i e s o f
music.
But
services
of
r e c o r d e d suggest s
been f a m i l i a r
b r ou gh t to
light
thot
that
to t h e
of
spelI
out
in
p r o y e r ond penonce.
the c o n f r o t e r n i t y ?
ond t h e r e a d e r
the f a c t
instruction
ond t h e s t o t u t i
life
ond r e ­
loude which we.know were sung os on a d j u n c t
t h r e e m a n u s c r i p t s di scu sse d
t h e hymn t e x t s
41
the di sci p i i not i
But what o f t he
t he
to exeminotion,
The r i t u o I ? c o n t a i n e x p l i c i t
t he ceremony of
to t h e r e l i g i o u s
submi t
is
this
left
the me l o d i e s
t he
connection contain only
to spec ulate over
for
the
t h e hymns were not
tunes employed must c e r t a i n l y hove
singers.
frequent
in
Unfortunately
The c o l l a t i n g
r e p e titio n s of
of
texts
has
c e r t a i n hymns ond i n
a f ew i n s t a n c e s has s u p p l i e d t he melody f o r
these.
t he absence o f
t o g a i n some i n s i g h t
into
such e v i d e n c e
the manner o f
functional
role
MS 21 of t he
it
is
per f or mance o f
in the
life
privote
service
wos t o k e n .
The codex,
the loude,
and t o d e t e r m i n e
of t h e di sci p i ?n a t i .
Cothedrol Archives
liturgical,
possible
in A s s is i,
But even
its
The r ?t u o I i ,
describes
o semi -
d u r i n g which the d i s c i p l i n e
written
in
i n L o t i n ond I t a l i a n ,
was
contains
O r d . Son L o r . , p. 4i— 5v c o n t a i n s a d e s c r i p t i o n o f t he i n ­
v e s t i t u r e , r e f a t i n g t h o t t h e a s p i r a n t donot ed o pound o f pure
wax i n payment f o r t h e socco whi ch he woul d wear ond t he scour ge
he woul d u s e .
^ L a u d o r i q d e l l o O l i v e r i o n o c o n t o i n s i n number X I I I a hymn
p r o p e r to t h e r n v e s t i t u r e s e r v i c e .
I t b e g i n s , "Guordo bene,
d i s c i pi i not i , t u c h f o C r i s t o o m o r e . . . . 1'
21
prayers,
collects,
and a n n o t a t i o n s
aspects of wo rship.
frate I I i
42
m a n u s c r i p t s as
of
incorporated
" pr o d e f u n c t i s . "
e l e v e n such hymns.
t he
and o t h e r s
like
t he c e r e mo n i a l
It
brethren
laude d e s i g n a t e d
MS VaI A 26,
grave .
the
learn th a t
A detailed description
is c o n t a i n e d
t he
i n the
of
i n MS 120 o f C o r t o n a ,
l euda on deat h w h i l e
for
laudario
f o r exampl e,
deI la c o n f r a t e r n i tS d ? Sant a C r o c e , which a d v i s e s
to sing
we
possessed a m o d i f i e d v e r s i o n o f an o f f i c e
dead i n t o whi ch were
tains
From i t
to e n u n c i a t e
con­
the demise
the Cap? t o ! i
the f r a t e I I i
accompanying t h e cor pse t o the
43
The i n c i p i t s
and r u b r i c s o f MS VaI A 26 a r e
ments on the d r a m a t i c t e n d e n c i e s o f t h e
Hymn s t r o p h e s a r e d i v i d e d ,
by means of
rubrics
t he theme o f
on Sundays,
of Lent,
feasts
rather
this
period.
to various charac te rs
" C h r i s t u s ad M a t e r , "
On the whol e t he d r a m a t i z a t i o n s a p pe a r
the Gospel
for
t he day and g e n e r a l l y oc cur
o f Our Lord end Our Lady,
t han on f e a s t s
42
parts
such as " d i c u n t a n g e l i , "
and " M a t e r ad f i l i u m . "
c a r r y out
assigning
lauda o f
v a l u a b l e com­
of
and t he f e r i a l
t he s a n c t o r a I c y c l e . 44
P. 4 r .
E l s e w h e r e , i n MS O r d . San L o r . t h e r e
is
t i o n o f t h e s e r v i c e d u r i n g which the b r o t h e r s t ook t he
I t was h e l d on F r i d a y s and Sundays, and c a r r i e d o u t i n
f a s h i o n end f o r a s p e c i f i c l en gt n o f t i me whi ch was t o
ed by t he p r i o r
days
In
a descrip­
discipline.
an o r d e r l y
be i n d i c a t ­
4 3 Pp. 9'— 11 r .
4 4 Thi s p a t t e r n
t i o n u s u a l l y serves
i s r a r e l y br oken but when i t is t he e x c e p ­
to i d e n t i f y the patron of the c o n f r a t e r n i t y .
22
much t he same manner MS V. Em. 478 c o n t a i n s many I n d i c a t i o n s o f
characters
45
and s t a g e
dialogue treatment of
instruction,
t he
laude.
and i s g i v e n
this
l engt hy
46
R e l i g i o u s o r d e r s were p a r t i c u l a r l y a c t i v e
ment and d i s s e m i n o t i o n of
to
t y p e of
s e c u l a r c l e r g y were o c c u p i e d w i t h
in the develop­
dramatic
concerns o f
lauda.
readily
useful
reaching
comprehend.
or ga n o f
the poor
in a
D r a m a t i z a t i o n of
V. Em. 47 8,
and a t
t h e same t i me p r e s e r v e
they belonged.
character of
In t h e case o f
the manuscript
a remarkably b e a u t i f u l
Domi ni c and a n o t h e r f o r
order,
Peter of Verona.
recognized
r o l e of
houses o f F r a n ­
theaters.
manifest
t he
in
t he t y p e d e s c r i b e d was a
i n s t r u c t i o n and soon r e l i g i o u s
and P e r . 955 a l l
involved
language which t hey mi gh t
c i s c a n s and Domi ni cans became v e r i t a b l e
26,
t he
chur ch government
t h e young mendicant o r d e r s were becoming i n c r e a s i n g l y
the mi ssi on o f
While
this
identity
t he f i r s t
of
MSS Va I . A
d r a m a t i c t endency
t h e o r d e r t o whi ch
mentioned,
t h e Domi ni can
is un de r s c or e d by t he o c c u r r e n c e o f
dramatic
lauda f o r
the f e a s t of
Saint
the t h 5r t e e n t h - c e n t u r y m a r t y r o f
The m a n u s c r i p t
the F r i a r s
P r e ach er s
p o i n t s out
the
the
little
i n t he devel opment o f
t he r a p p r e s e n t a z i one i n the f o u r t e e n t h c e n t u r y .
Perhaps
the most
The lauda c o n t a i n e d on pp. I 2 v - l 6 r , f o r exampl e, I ists the
c h a r a c t e r s as Mary t he mot her o f Jesus, John, Ma g d a l e n e , Mary t h e
mot her o f James, and Joseph o f A r i m e t h e e .
^ L a u d a V I I I , pp. 2 4 v - 2 9 v c o n t a i n s a f i n e exampl e o f d i a ­
logue i n t he account o f t he b a r g a i n between Cai phas and J u da s .
23
r e ma r k a b l e document o f
this
sort
i s MS P e r .
955 whi ch be l onged
t o t he Conf r a t e r n i t £ d? San Domen i co i n P e r u g i a .
The
c o n t a i n s an addendum i n t he f or m o f an i n v e n t o r y
bear s t he d a t e 1 3 3 9 .
that
Its
title ,
t h e r e had been an e a r l i e r
accompanying
redaction.
Within
possible
ment i on
By compar i ng a c t u a l
la u da rio with
to f i n d
the
i t ems o f
its
lists
the
of
inventory
ond t h e i r
t he
A document o f equal ly e v i d e n t
Franciscan
influence
ma r k e d l y F r a n c i s c a n
of C h rist,
t i o n of
in t h e i r a f f e c t i v e
the manuscript
orations fo r
contains
in
its
earlier
fourteenth century
phase,
thot fa c t
ary evidence of another s o r t .
Assisi,
two
dot ed 13 2 5 ,
contains
poetry.
A *7
is f ound
the p a s s i o n whi ch o r e
emphasis on t he hu ma ni t y
loude t o S t .
t h e f e a s t s o f F r a n c i s ond C l a r e .
t he F r a n c i s c a n s w i t h t h e
especially
loude o f
is
specific
f ound w i t h
A p a r t f r om i t s
the
it
directions
i n MS V. Em. 4 7 8 .
of
be c o n s i d e r e d p r o p ­
hymn t e x t s
he r e both t he p r o p e r t i e s
in the r u b r i c a l
l i s t which
"nuovo i n v e n t e r i o , M suggest s
items t h e r e o r e many examples o f what mi ght
e r t i e s ond co st umes.
l au da r ? o
p ra c tic e of
is w e l l
Francis,
ond
The c l o s e a s s o c i a ­
loude s i n g i n g ,
known.
And by the
i s f u r t h e r s t r e n g t h e n e d by document­
A di pl oma o f B i s h i p Tebol do o f
t he words,
" f r o t r u m minorum g e r u n t
in cordibus e o ru m .”
The worm f e e l i n g must hove been r e c i p r o c a t e d
by t he F r i a r s M i n o r ,
for
many c o n f r a t e r n i t i e s
o f di sci p I i not i a t about
t h e y assumed t h e
^ F o r a s e lec ted l i s t of
c f . Appendi x A, pp. i 0 4 - r 7 .
t h os e
role of
visitator
this
i tems p e r t i n e n t
time.
to the
to
A member-^
lauda
24
shi p r o l l
d o t e d 1336
And s i n c e t h e
the names os
interpret
were a t
is not
title
it
includes
does not appear
does
this
the names o f
indiscrim inately
in a r o I I do t ed 1407,
to mean t h o t
it
some members o f
the some t i m e F r a n c i s c a n s ,
clearly
numerous " f r o t e . "
is
4R
before a l l
p o s s i b l e to
t he d ?sci p I i net ?
49
7 though t h i s
relationship
defined.
Summary
The r e l i g i o u s
confraternities
both numerous ond a c t i v e
centuries,
throughout
Umbria ond Tuscany were
the t h i r t e e n t h
Whet her or not
laudes i , t e r t o r i e s ,
f l aqeI I a n t i , o r di sci p i i not ? con
tio n y i e l d e d from these b r i e f
types o f me d i a e v a l
it
i n the
under c o n s i d e r a t i o n ,
it
turning
is n e c e s s a r y
Co r t o n e s e documents which r e ma i n,
among them some e v i d e n c e t o
of
the
A comparatively
o f such groups were known t o hove e x i s t e d
before
l i g h t of
considerations
confroternity.
Therefore,
t he Cor t ona
the m a n u s c r i p t wos t he hymnal of a
o n l y be d e t e r m i n e d by exa mi ni n g
Cortona.
ond f o u r t e e n t h
ond from them come the hymns whi ch compri se
Laudar ?o 9 1 .
group o f
of
in
indicate
t o t he
in the
the
i n f o r ma ­
various
l a r g e number
little
town o f
l a u d a r i o ma n u s c r i p t
to exami ne t he f r a g m e n t a r y
the hope o f d i s c o v e r i n g
the o r i g i n o f
this
precious
hymn c o I I e c t i on .
80 o f
A s s is i,p .9 r.
^
\ b
i d p.
the A r c h i v i o deI I a c a t t e d r a I e d? San Ruf i no,
I2r.
CHAPTER I I
THE CORTONESE CONFRATERNITIES
CHAPTER I I
THE CORTONESE CONFRATERNITIES
Part
Problems o f
The r i c h n e s s o f C o r t o n a ' s
at
Identity
pe st
both p r o v i n c e s
is
l e a s t among them t h i s
most a n c i e n t of
dates
separably
itself
h a l f of
settlement
in A s s i s i . ^
treasures—
back t o E t r u s c a n t i m e s ,
it
the t h i r t e e n t h
v e r y soon a f t e r ,
el e me nt s f r om
l auda c o l l e c t i o n s .
if
t he g r e a t
is known t oday came about
c e n t u r y and is a h i s t o r y
l i n k e d w i t h t he F r a n c i s c a n o r d e r ,
there
her p o s i t i o n
i s more t h a n a mere g e o g r a ­
In her remarkable a r t
f l o w e r i n g o f Co r t o n e s e c u l t u r e as
i n t he f i r s t
that
The m i n g l i n g o f c u l t u r a l
reflected
Although the c i t y
its
signifies
the b o r d e r o f Umbria and Tuscany
phic point of meeting.
not
I
n o t al mos t
whi ch e s t a b l i s h e d
simultaneously with
In 1210 F r a n c i s h i m s e l f went
Co r t o n a t o pr e a c h to t he peopl e o f
t he c i t y .
in­
to
Among them was
The r u l e o f t he F r i a r s Mi n o r was g i v e n o r a l a p p r o v a l i n
1210 by Pope I n n o c e n t I I I . ond i n 1211 t he young o r d e r a c h i e v e d
somet hi ng o f a permanent b a s i s i n A s s i s i t h r o u g h t he d o n a t i o n
o f a smal l p l o t o f land ond a t i n y chapel l a t e r t o be c o l l e d
M a r i a deq I i Anqe I ? .
26
27
one Guido V e g n o t e l l i ;
in t h e f o l l o w i n g
hi s
for
t he c i t y
and r e c e i v e d t h e h a b i t o f
to Francis
in
the
into
the f o u r t e e n t h
the v a r i o u s
the a c t i v i t i e s
intimately
lay c o n f r a t e r n i t i e s
A b r i e f consideration of
some v a l u e
i n t o be i ng t h e r e .
the e n i g m a t i c f i g u r e
cient
document ar y e v i d e n c e c o n c e r n i n g him t o e s t a b l i s h
that
in
Elias,
h i m s e l f a layman,
C or t o na a t p r e c i s e l y
The much
2
Thi s
^Cf.
^Cf.
Libroirie
study.
this
It
is e s p e c i a l l y
there
is s u f f i ­
certain
significant
s h oul d have been so i n f l u e n t i a l
4
time.
de ba t e d i ssues o f
Elias'
life
p r o p e r t y wos the famous h e r m i t a g e
Act a S S. ,
since
of B r o t h e r
is o f
to t h i s
connection,
century
growth o f
Elies
da t es e s s e n t i a l
in t h i s
property
the F r i a r s Minor
r e l a t e d with the
whi ch came
3
remai n t o d a y ,
t he t h i r t e e n t h
of
June Tom. I l l ,
p.
2
in C or t o na
the t r a n s f e r of
Throughout t he r e ma i nd e r o f
l i t t l e c i t y were
do na t e d
t o use as a h e r m i t a g e ,
monuments which
and t he numerous documents e s t a b l i s h i n g
and w e l l
that
po s s e s s i o n s ,
t he F r a n c i s c a n o r d e r
by bot h t he m a t e r i a l
to the o r d e r .
relate
the o r d e r f r om t he f o u n d e r h i m s e l f .
t he r a p i d gr owt h o f
is a t t e s t e d
the or der
y e a r Guido d i s t r i b u t e d h i s
property outside
Thereafter
the anno Is o f
and t h e
evaluation
of
CeI I e .
the
97.
Edward Lempp, F r e r e E I i e de C o r t o n e .
Fischbocher,
p . 1 4£7
(Paris:
of
But
hi s a c t u a l
the f a c t
Or d e r
his
of
i n 1239
death
role
i n the o r d e r a r e o f
hi s d e p o s i t i o n as g e n e r a l
i s of g r e e t
in 1253 E l i a s
o f Cor t ona and a t
Elias
consequence,
passed h i s
t he c o u r t
been s e n t a t one t i me
emperor.^
Attracted
in the
t h e s e i g e o f Foenzo and a t
the Franciscan
t i me a l t e r n a t e l y
by Pope Gr e go r y
by t h e
of
concer n h e r e . ^
f o r f r om t h a t
of Frederick
I I .
IX as
intellectual
sought asyl um t h e r e a f t e r
12 40 he wos f i g h t i n g
his
thot of
i n the
legate
town
in f a c t ,
t o the
c l i m a t e of
great
t i me u n t i I
He had,
the c o u r t ,
h u m i l i a t i o n ond by
ranks o f F r e d e r i c k ' s
f e r e n c e o f a l l e g i a n c e f r om t h e
Elios
little
Ravenna.
army both a t
T h i s open t r a n s ­
pope t o t he emperor m e r i t e d f o r
bot h e x p u l s i o n f r om h i s o r d e r ond excommuni cat i on f r om
the church.
On h i s
by v a r i o u s
periodical
intellectuals
some s i g n i f i c a n c e ,
center of
after
returns
of
t o C or t o na E l i a s
t he c o u r t o f F r e d e r i c k — a f a c t
because t h e c o u r t o f
the s o - c a l l e d
S icilian
t he s e i g e o f Toul ouse
wos f o l l o w e d
school
in 1218,
t h e emperor wos t he
of
p o e t r y ond hod become,
t he r e f u g e o f s e v e r a l
ba d o u r s ,
But
os w e l l .
The C h r o n i c l e sL t he Twent y- Four Gener a I s r e l a t e s
'’" E l i o
t h e r e wer e o t h e r s who f o l l o w e d E l i o s
d? C o r t c n e , "
^The i n c i d e n t
is
Enci c l o p e d i a
related
of
i ta I i ana,
trou­
t o Co r t o n a
v 13 ,
i n t he SpecuI urn Vi t e e .
p. 719
t h a t some f r i a r s
there
r emai ned f a i t h f u l
is document ar y e v i d e n c e
that
t o the deposed g e n e r a l , ^ and
among them was one Gi ovanni
delle
Laude, s o - c a l l e d because of h i s a b i l i t y to compose i n t h a t
g
genre.
The i d e n t i t y o f t h i s ley b r o t h e r i s w e l l e s t a b l i s h e d i n
v a r i o u s s o ur c e s of e a r l y F r a n c i s c a n
h i s t o r y and he i s perhaps
b e s t known f o r
by F r a n c i s ' himse I f
for
him a f t e r
havi ng
been s e l e c t e d
t h e s a i n t had r e c e i v e d the s t i g m a t a . ^
But d e s p i t e hi s c l o s e n e s s
faithful
f o l l o w e r of E l i a s ,
f r o m Cor t ona
until
t o care
to
the
little
. . 1 0
t he end o f hi s l i f e .
to F r a n c i s ,
and a f t e r
village
After
the
Giovanni
r emai ned a
l e t t e r ’ s deat h r e t i r e d
o f B e t t o n a where he remai ned
hi s d e a t h two
laude wer e
f o und in t he o l d convent where he had made h i s h o m e . ^
It
is
A n a l e c t a Fr anci s c a n a , e d . B r o t h e r s o f Q u a r a c c h i ; ( F l o r e n c e :
Ty pogr aphi o Col Tegio Sen f eonavent ur a, 1 9 5 1 ) , I I I , p. 2 3 2 .
[All
subsequent r e f e r e n c e s w i l l be c i t e d AF.3
®MGH S cr i p t . , X X X I I , p . 1 5 8 .
C f . Anna Ies Mi norum, ed. Luke
Wadding, 3d e d . Joseph Fonseca;
(Florence:
f i p o q r a f i a Barbera,
1 9 3 1 ) , IV, p. 2 9 9 .
[ A l l subsequent r e f e r e n c e s w i l l be c i t e d AM. 3
X III,
^AF.
8.
Ib id.,
p.
225.
Cf . a l s o X,
^ T h e mona s t e r y where Gi o v a n n i
s e r t e d she I I .
p. 6 1 9 /
was b u r i e d
and Leqenda M a i o r ,
is now o n l y a de-
^ A c c o r d i n g to F o r t i n i
( c f . s u p r a , p. 8 , n . 4 0 ) the two l aude
o f Gi ovanni a r e now i n the p o s s e s s i o n of t h e Co n v e n t u a l F r i a r s i n
Rpme.
However, a thor puqh s e a r c h o f the a r c h i v e s of* $anti . A p o s t o l i ,
t h e g e n e r a l c u r i a o f t h e C o n v e n t u a l s in Rome, has produced no such
evidence.
N e i t h e r the present a r c h i v i s t , F a t h e r Ant oni o Coccia,
nor t he past a r c h i v i s t and w e l l - k n o w n h i s t o r i a n , F a t h e r Joseph
A b a t e , knew o f t he document.
not
possible
to determine
to claim thot
the
But h i s o c t i v i t y
the
if
in Cor t ono does c o i n c i d e w i t h
the hymns in
speoks o f
it
were composed by hi m.
ond Umbrio who were g i f t e d
possible
composition of
El sewher e
like fo r
Elios
the
fact,
o certain
thot
Ther e
is,
groin of
to
the
l orge
o r d e r ond hod even a p p o i n t e d
that
ot
However,
leost
So Iimbene
12
in t h e
t o hi s
in S a l i m b e n e ' s chor ges
these
dis­
the
the w r i t e r ’ s c o l o r i n g o f
Dur i ng h i s
numbers of
thot
Elias
s u p e r i o r s h i p he
loy b r o t h e r s
i n t o the
to p o s i t i o n s of a u t h o r i t y
As o r e s u l t
this
vent
numerous chorges o g o i n s t
lo ity.
the c h o p t e r s o f
is n o t s u r p r i s i n g
that
in which
i n the or eo o f Tuscony
Sol i mbene g i v e s
despite
truth
m i n i s t e r s and g u a r d i a n s .
the ye or s
t h e Cor t ono MS.
writings
hod r e c e i v e d u n u s u a l l y
It
odvisoble
t h e y moy hove hod some p o r t
ond pours f o r t h
showed ext r eme f a v o r
l ay brot-hers a t
it
i n both per f or monce ond c o m p o s i t i o n .
loude of
i n hi s
deposed gener a I .
is
is p o s s i b l e
severe. I o t h e r F r a n c i s c o n f r i o r s
is e q u o l l y
nor
loude of Cor t ono MS 9*1 o r e t he work of G i o v a n n i .
l o u d o r i o wos t a k i n g shope ond i t
some o f
It
they ore his,
os
t h e r e were sometimes more
the o r d e r
concer n f o r
thon t h e r e
t he
loity
were c l e r i c s .
won f r om the
t ownspeopl e o f Cor t ono o s u p p o r t ond ent husi asm whi ch were demon­
strated
i n the form o f
gener ous d o n a t i o n s
t o the e a r l y f r i o r s .
C f . MGH Scr i p t . X X X I I , pp. 181 f f .
Sol i mbene ment i ons
s p e c i f i co I ly"“BroTKer E n r i co do r i s e whom he soys composed many
hymns; B r o t h e r V i t o Lucchese, ond B r o t h e r s Gi o v a n ni do Pormo,
Gi acomi no O l i e da Parma, Bonog Junto de F a b r i a n o ; ’ Gui do 11 hi
do
Parma ond G u g l i e l m o p i e m o n t e s e .
13
C f . Lempp,
o£.
ci t . .
p.
115.
31
Under E l i e s
t he F r e n c i s c e n s
co r e d f o r
t he deed i n
the ce met er y o f
the o r d e r ,
gr oup o f
Ieudes i ,
end s u p p l i e d f o r
Thi s o r e t o r y wes i n c o r p o r o t e d
cesco whi ch E l i e s
with
certeinty
just
ofter
built
Elios'
the c i t y
relic
of
true
It
is
p o s s i b l e to e s t e b l i s h
t he e r e c t i o n of
cr oss J ^
the church.
with
cherocteristic
di
dispetch,
Elias
s e t ebout
coveted r e l i c
B e f o r e the y e e r 1245 hed ended t h i s
the reneissence the
wos obendoned end e v e n t u o l l y
for
r e t u r n t he p e o p l e of
of
the
now famous c h i e s a
Sen Fr oncesco wes we I I under w e y .
After
It
bock t o Cor t o ne
lend known os Beqno de I Ie
bui I d i ng o chur ch which wes t o e n s h r i n e hi s
Hoi y C r o s s .
In 1 2 4 4 ,
F r e d e r i c k sent him on
Upon h i s
p r e s e n t e d t o him t he p l o t o f
Reg i no, where,
e
i n t o t he chur ch o f Sen F r o n -
second e x c ommuni c e t i on,
t he
buried
essumed t he d i r e c t i o n o f
o m i s s i o n t o Cons t e n t i n o p Ie whence he br ought
o lerge
the c i t y ,
them en o r a t o r y . ^
in Cortone.
t he de t e o f
the sic k of
wos r e - d i s c o v e r e d
cesco.
oratory
forgotten
until
beaneot h t he chur ch
fo irly
(1450-1523),
times.
t o hove been b u r i e d
The s e a r c h f o r
t h e r emai ns o f
a n a t i v e Cortonese
i n t h e chur ch o f Sen F r o n ­
t he g r e e t a r t i s t
^ G i r o l a m o M e n c i n i , C o r t o n e ne I Me d i o Evo .
G. Ca r ne s e c c hi e F i g l i , 1& i / ) , pp. T06 f f .
15
recent
i n 1887 when t he commune o r d e r e d t h e s e e r c h
t he bones o f Luce S i g n o r e l l i
who wes b e l i e v e d
little
pr oved t o
(Firenze:
Tip.
The s t o r y o f the r e l i c i s t o l d i n t he SpecuIum Vi t e e but a
f u l l e r r e f e r e n c e i s c o n t a i n e d i n t he V? t a o f Gui do of Cor t ono i n
Ac t a SS, June I I I , p. 9 8 .
The Bo I l e n d i s t odds t o t h e d e s c r i p t i o n
t h a t TFTe r e l i c "was one o f t h e l a r g e s t r e l i c s o f t he H o l y Cross i n
e l l of I t a l y . "
C f . a l s o Lempp, o £ . c? t
p. 1 5 u .
32
be f r u i t l e s s
but
t he e x c a v a t i o n s
in t h e d i g g i n g t h e smal l
discovered,
struction
gr ea t
the
and wos i d e n t i f i e d os o p o r t o f
bas i I i ca o f
church wos a c t u a l l y
i n t he s i x t e e n t h
the o t h e r .
t h e na v e .
wos a g a i n c l o s e d ,
i n the
slightly
con­
L i k e t he
had bu i 11 i n A s s i s i
16
interior
of
hod been w a l l e d
up
t h e upper chur ch
i n s t o l l e d along
the
lateral
r e mi n d e r o f
it
may s t i l l
be seen
rounded a r c h o f a door f r ame p r o t r u d i n g above
t o the
t h i s o r a t o r y was t r u l y
left
chur ch wos begun.
of
laudes i gr oup,
the c h u r c h . ^ 7
Cor t ona must
gr oup os e a r l y os 1245 when the
18
i m m e d i a t e l y provokes
the c o n f r a t e r n i t y
the e n t r a n c e o f
thot of a
hove possessed such a s i n g i n g
Thi s
wos
t he e x c a v a t i o n s o f 1887 the o r a t o r y
but one sma l l
t h e st one pavement
If
loudesI
the o r i g i n a l
The . lower chopel
large a l t e r s
After
t he
for
a doubl e s t r u c t u r e w i t h one church
c e n t u r y when t he
wos r e n o v a t e d ond f o u r
of
r ewor d,
between 1245 and 1 2 5 0 .
Son Fr a n c e s c o wh i ch E l i o s
super i mposed o v e r
w a l l s of
s u b t e r r o n e o n chopel
compl et e d some t i me
little
were not w i t h o u t
t he q u e s t i o n o f
t he
identity
of
t o which t h e o r a t o r y mi ght have b e l o n g e d .
The town o f Cor t ono hod a number o f such s o c i e t i e s
which o r e
E l i o s i s b e l i e v e d by many t o hove been t he a r c h i t e c t o f the
b a s i l i c a in A s s i s i .
Whet her t h i s i s t r u e o r n o t , he was i n cnorge
o f t he b u i l d i n g , ond i n t h o t c a p a c i t y u n d o u b t e d l y had much t o do
wi th the p Ions .
17 C f . Appendi x B, P l a t e
I,
p.
109.
^M oncini,
Ib id.
33
recorded
eral
of
earlier.
In
locomo Lauro Romano's Hi s t o r i a dI
C o r t o n o Sev­
t hese dot e from t h e f o u r t e e n t h c e n t u r y ond a f ew even
He enumer at es
them t h u s :
1)
The C o n f r o t e r n i t & d i San Ni c o l o , whose s p e c i a l
wos t o pay the dowry o f needy g i r I s ;
dut y
it
2)
The C o n f r a t e r n ? t& deI Ges u , which assumed the duty o f
accompanyi ng t h e p r i e s t w i t h the Bl e s s e d Sacrament
when he v i s i t e d the s i c k o f the p a r i s h e s o f t h e duomo
ond S e n t ' A n d r e o ;
3)
The C o n f r a t e r n ? t& di S a n t ' A n t o n i o e Honof r i o , which
cor ed f o r p r i s i o n e r s ;
4)
The C o n f r a t e r n ? tS de I I a Sant ?ss i mo Tr ?n ?t a . which
o f f e r e d l odgi ng t o pi I g r i m s , and sponsor ed on e l a b o r a t e
p r o c e s s i o n t hr ough t h e c i t y on H o l y Thur sday, c a r r y i n g
a s t a t u e o f t he naked C h r i s t a t t h e pi I l o r ;
5)
The C o n f r a t e r n ?to di Mor i a deI I ? A lemonn i ( de I la Manna) ,
which was re's pons iBTe f o r the gr and p r o c e s s i o n on Good
F r i d a y d u r i n g which t h e image of t h e dead C h r i s t wos
c a r r i e d thr ough the s t r e e t s in a c o f f i n ;
6)
The Conf r o t e r n i t d d i Ma r ?a de I la Mi ser ? c o r d i a , ^ whi ch
c a r r i e d t h e s + o t u e of t he r i s e n C h r i s t i n p r o c e s s ?on
on Hol y S a t u r d a y .
Among t h e s e l a s t t h r e e ment i oned
t h e r e was a p p a r e n t l y some r i v a l r y f o r t h e h i s t o r i a n
speaks o f t h e i r " h a v i n g a c o n t e s t t o d e t e r m i n e which
o f them c o u l d produce t he most smoke ( p r e s u ma b l y i n ­
cense) ond t h e most m u s i c . "21
^ P i e t r o R i d o l f i n i , Hi s.t o r ?a d i ” Co r t o n a di lacomo Lauro
Romano. (Rome:
Appresso Lodovi co G r T g n o n i , T6oT9)7 P . 1 5 v .
Ri d o f f i n i was a c a n o n i s t ond h i s t o r i a n of r e p u t e .
Some o f h i s
c o u n s e l s as a canon l awyer hove come down t o modern t i mes i n t h e
m a n u s c r i p t s o f t h e Roman Roto, CC484, CC489, ond CC500.
As on
h i s t o r i a n R i d o l f i n i produced a work on t h e c i t y o f Romet ond
t h i s volume on C o r t o n o , h i s b i r t h p l a c e .
H i s H i s t o r i a di C o r t o n a ,
p u b l i s h e d w i t h t he name La ur o Romano, f i r s t a p pe a r e d i n 1 6'3'J.
Today t h e work is v e r y r a r e , f o r o n l y a v e r y l i m i t e d number o f
books were p r i n t e d i n each o f t h e f i v e i m p r e s s i o n s whi ch i t
received.
Thi s 1o39 e d i t i o n is i n t h e Bi b I i o t e c a Vat i c o n e .
20 Th i s c o n f r a t e r n i t y owes i t s o r i g i n ^ t o the combined e f f o r t s
° f . S t . M a r g a r e t o f Cor t ono ond t he
e s t a b l i s h e d about 1 2 8 6 .
^ R idolfini,
oj>. ci t . ,
p. 1 5 v .
podesta Ugucci o C o s o l i .
ff.
It
wos
34
7)
The C o n f r o t e r n i t& d i
P)
The C o n f r o t e r n i tS de I Io Sp? r I to Sant o
of Son S t e f a n o ;
9)
The C o n f r a t e r n ? tfr d ? San S t e f a n o
Bor t o fomeo;
’
Santa C r o c e ?
in t h e church
i n the chur ch o f
10)
The C o n f r o t e r n i t& di
Benedetto p a ri s h;
11)
The C o n f r a t e r ni t& de I Sant i ss i mo S a I v o t o r e ;
12)
And f i na I Iv t h e Conf r a t e r n i t& d? Son Gi ovann i
Bat t i s t o . 22
A search f o r
has br ought to
the documents
light
bulls of
forms o f
s t a t u t e s as e a r l y os
of
is t h o t
t hese
de I 1 3 0 0 .
23
s t a b l e ones,
indicate
thot
en t i t l e d
t h e r e ore
identifying
approval,
24
statutes,
appears
l a t e r adaptations
a c tiv e at
of
it,
a relationship
raise
t he more
the r u l e which
the end o f
contained w i t h i n
t i o n of
re­
The o l d e s t
t o have been one o f
the o r ig in a l
references
and p a r t i a l
century.
The a n t i q u i t y o f
certain
in San
these c o n f r o t e r n i t i e s
the f o u r t e e n t h
t h e gr oup wos s t i l l
teenth century.
Evangelista
Cap? t o I i de I I a Compoqn i a ^i_ Santo Croce
The f r a t e r n i t y
for
San Gi o v a n n i
Son
t he
the s i x -
statutes,
and
inevitable
between t h i s C o n f r a t e r n i t y o f
ques­
t he Hol y
Cross and the Cor t ona L a u d a r i o MS 9 1 .
^ 1 b? d . ,
l 6r.
^ M S 120 o f the B? b I i o t e c a
E tr us c a, in Cortono.
24
deI
Comune e deI 11accadem? a
The m a n u s c r i p t c o n t a i n s in a d d i t i o n t o t he s t a t u t e s o f
1 3 0 0 a p a r t i a l r e f o r m o f 1325. a suppl ement i n 15 14, a b u l l o f
papal a p p r o v a l a l s o b e a r i n g t n e dat e 15 14, a p a r t i a l r e f o r m o f
1 5 2 6 , ond f u r t h e r e c c l e s i a s t i c a l a p p r o v a l in 1 5 8 3 .
35
Pert
The Capi t o I i
On r e a d i n g
deI I a Compaqn i a de Sant a Croce de I 1300
t h e capi t o I i one
larly d istin ctiv e
II
is
i mpr essed w i t h f o u r
particu­
features:
1)
t h e Hi gh degree of o r g a n i z a t i o n i n them, whi ch would
seem t o i n d i c a t e s t e b i l i t y and an a c q u a i n t a n c e w i t h
other ru les ;
2)
t he f a c t t h a t t he r u l e
di sci pI I n a t i gr oup;
3)
t h a t i t was a ley c o n f r a t e r n i t y
a p r i e s t ; and
4)
t h a t i t s c h i e f d e v o t i o n and r a I son d ' e t r e
n e r a t i o n of t he Holy C r o s s .
These marks are b e s t obser ved
is d e f i n i t e l y
I n a few
capi to I ? t o be c o n s i d e r e d under
1)
as w e l l
with
as w i t h
the
r u l e s of
officials
for
t he e l e c t i o n o f
this
i s not an u n t r i e d system but
c a t i o n of a p r a c t i c e of
some s t a n d i n g .
a c a m e r l i n g o and two i n f i r m a r i a n s
holding o f f i c e
terms on t h e k a l e n d s o f
25
the
of
for
were
the
enumerated.
show a
its
p r i o r and o t h e r
rather
The p r i o r ,
and i n ­
t he c o d i f i ­
fourcounsellors,
elected four
t i mes a y e a r ,
t h r e e months and b e g i n n i n g
January,
A pril,
July,
t i me
I n the openi ng
o f t he o r g a n i z a t i o n a r e e x t r e m e l y d e t a i l e d ,
that
therefore,
just
The s t a t u t e s
orders.
of
was the ve­
e x t r a c t i o n s f r om
confraternities
religious
of a
the d i r e c t i o n
t h e f o u r he a di ngs
t h e r u l e s of o t h e r
chapter the d i r e c t i v e s
dicate
under
The hi qh degr ee o f o r q a n i z a t io n .
sim ilarity
that
their
and O c t o b e r .
25
MS 1 2 0 ( C o r t o n a .
p. 2 r .
"Ordenemo e t fermamo che en q u e s t e
conpagni e de bi e e s s a r e uno P r i o r e e t 1 i i j C o n s e g l i e r i e t uno ce mer lengo e t I j E n f e r m i e r i , e t en che modo d e b i a n o e s s a r e e l e c t i q u a r t o
36
The c h a p t e r was convoked w i t h o i l
occasion.
26
h a b i t whi ch
The members of
is d e s c r i b e d
the s e c r e c y b e f i t t i n g
the a s s o c i a t i o n o b v i o u s l y wore a
in d e t e i I i n t h e c h a p t e r on i n v e s t i t u r e .
Each c a n d i d a t e was t o have a cape of
a discipline,
and a capuche.
2)
ceased man,
the r u l e s o f
that
the c o n f r a t e r n i t y ,
cappa and w i t h
his
discipline
some o f t h e f r a t e I I i c a r r i e d
The r e m a i n d e r of
disciplining
he
disciplinot? .
i s e n l a r g e d upon
t h e p r o p e r obs e q ui e s o f
upon c o n d i t i o n
l i v e d a good
mi ght
i n hand.
life
be p e r m i t t e d
2S
1
At
A de­
and o b s e r v e d
burial
the f u n e r a l
t h e b i e r whi le s i n g i n g
t he way t o t he c h u r c h .
The
i n t he c h a p t e r
the f r a t e I I i .
t he company wa l k e d b e f o r e
t h emsel v es a l l
c o ar se c l o t h ,
27
t o the d i s c i p l i n e
whi ch p r e s c r i b e s
death.
poor q u a l i t y
The qr oup was d e f i n I t e Iy one o f
above r e f e r e n c e
the
t he
in h i s
itself
lauda on
t he cross
29
7
They scour ged
v o l t e I ’ anno, ci oS ne lo di cembr e per lo g e n a r i o .
L ' o f f i t i o de b i a
d u r a r e t r e mesi e t debi ano i ncomencar e e l l o r o o f f i t i o m c a l e n d e
g e n a r i o e t a p r i le e l u g l i o e t o t t o b r e . . . . "
oo
26
I b i d . , p. 2 v .
" . . . . e t q u e s t p corner Iengo s t i a enn uon luoq
s e c r e t o e f s e n v o d e l a t e m e n t e ; e l p r i o r e che s i r a p e r lo tenpo voo
s e c r e t e m e n t e a I d e c t o earnerlengo e t d i c a p i a n o . . . . "
27
I b i d . , p. 9 r .
" E t q u e l l o c o t a l e che f o s s e r e c e v u t o debi o
e s s a r e de compi uto etd almeno XX o n n i ; e t c i o s c u n o puoi che sard
r e c e u t o d e b i o f a r f a r e uno coppo de c o n o v a c c i o vi l e , e t uno d i s ­
c i p l i n e con una c or da a n o d a t o , e t e l l o c a p u c c i o . . . . "
28
I b i d . , p. 1 0 .
"Ancho ordenomo, quondo e l c u n o passosse de
la n o s t r o conpogni o de quest o mi s e r a v i t a , d e b i a e v e r e o r d e n a t o
de v o l e r e e s s a r e s e p i I I i t o con quel le cappa e t d i s c i p l i n e con lo
quo l e^esso andave a p r o c e s s i o n e , s a l v o c n ' l p r i o r e d e b i a v e d e r e se
eg I i e s t a t o de buona v i t a e t p o r t o t o s e ooest ement e e t o b e d i t i ei
capi t o I i . . . . "
29
I b i d . , p. 1 1 r .
" . . . . que I 11 de lo compoqnio che vengono
bene a I To sue s e p u l t u r e , chi v o r r a :
e quel I I cne v e r r a n n o vengono
v e s t i t i e o c t e n t i de d e s c i p l i n o , e t vodono de r i e t r o a queI I i de
37
t hemsel ves e t
recited
3)
the
t h e gr ov e end a g a i n r e t u r n
required
prayers f o r
The c o n f r a t e r n i t y was under t h e d i r e c t i o n o f a p r i e s t .
t o Mosses c e l e b r a t e d
the
the puni shment f o r
but a d d i n g ,
t he p r i o r
In a d d i t i o n ,
various
t he manner
securing a
Chapter X I I ,
in f r a c t i o n s of
in
the r u l e ,
s e c r e t l y and t o
t o t h e p r i e s t who was o v e r t hem. "
30
i n a s p e c i a I manner d e v o t e d t o t h e
t h e Ho Iy Crps s .
t h e r u l e whi ch
brated.
"or
Tbe f r a t e r n i t y was
vene r a t i on o f
of
since every a l l u s i o n
t o t he p r a c t i c e o f a c c u s i n g one a n o t h e r
prior,
4)
laymen,
i n common speaks o f
t o conduct t h e s e r v i c e s .
discussing
refers
having
the de cea se d.
The group was o b v i o u s l y made up of
priest
t o t h e house a f t e r
Thi s
is c l e a r
i s de vot ed e n t i r e l y
i n which t h e f e a s t o f
f r om t h e
last
chapter
t o a d e t e i led account o f
the Hol y Cross s h o u l d be c e l e ­
A c c o r d i n g t o t he d i r e c t i v e s
a special
mess was o f f e r e d ,
p r o c e s s i o n s were f ormed and alms g i v e n t o t h e poor on t he day o f
la f r a t e r n i t a d i s c i p I i n a n d o s e en f i n e a la case del m o r t o .
A
p i e ! de I ' u s c i o e a l p i g l i a r e de l c a t e l e c t o f a c c i a n o essa d i s c i p l i n e
i n i a l mo r t o , e a i t a l l o ad a r c a n e vadano duo de l o r o cum queI I i
de le f r a t [ e ] [ r ] n i t a , e q u a t t r o vengano ad e r c a r l o col l o r o , l i
a l t r i t u c t i vadano denangi a la c r o c e d i s c i p I i n a n d o s i i n f i n e a l i a
h i e s a , e i v e s t i e n o d ’ a l i a t o dei p r e t i in s i l e n g o t a n t o chi s a r i
a c t a la p r e d i c a t i o n e poi r i mangano i v e r sopr a la s e p o l t u r a d i s ­
ci pi i nandosi t a n t o che serS s e p e l l i t o , ed a l o r e se ne vengano
di een do c i a s c u n o X I I p a t e r n o s t r i per I ' a n i m e sue; e poi che s a r o n
t o r n e t i a la chasa, o v e r o g h i e s a , lo p r i o r e lo racomandi a t u c t i
g u a n t i , che s e m p r e I ' a b b i e n o en recomandat o, e s i a s c r i p t o e l l o
l i b r o oe la compagnia
?
30
I b i d . , p. 1 3 r .
"E ki c o n t r a f e c e s s e c i a s c u n o d ’ a c u s e r e
11unno I ' a f t r o s e c r e t e m e n t e a I n o s t r o p r i o r e , o v e r o a I s a c e r d o t e
ke f o s s e p o s t o sopr a c i o . "
38
the f e a s t .
In a d d i t i o n
t h e r e were d e v o t i o n s
and p r e a c h i n g on a I I e i g h t
At t h i s p o i n t
tween
t he ca pi t o Ii
it
days.
is p o s s i b l e
to suggest a r e l a t i o n s h i p be­
and the C o r t o n a L a u d a r i o 91
reference
and the f i r s t
to the f r a t e r n i t y
the octave
31
hymn number XXV a r e m a r k a b l y b e a u t i f u l
Both the r e f r a i n
throughout
whi ch c o n t a i n s
in
leuda t o t h e Hol y C r o s s .
strophe of
t h e hymn makes a c l e a r
i n t h e s e words:
l e s u C r i s t o , lo f r a t e r n o
tu
lo c r e s c e e lo governo
de
lo g l o r i a s e p i t e r n o
^2
per lo v i r t u d e l l a c r o c e .
It
l e u da ,
of
is
i ndeed p o s s i b l e
was meant
in
its
t r u e Hol y C r o s s .
that
most
the word v e r a c e ,
literal
sense t o r e f e r
Inasmuch os t he o r a t o r y
t he church bui I t
by E l i a s
laudes i ,
church housed t h e t r e a s u r e d
cr oss
and the
os used i n t h e
to t h e r e l i c
i n t h e c r y p t of
b e l o n g e d to an u n i d e n t i f i e d gr ou p o f
br ought bock f r om t he E a s t ,
it
relic
of the
true
has been suggest e d t h a t
t h e r e may have been a r e l a t i o n s h i p between t h e s e t h r e e — t h e
Iauda r i o ,
t h e ca pi t o I ?, and t he o r a t o r y .
a theory of
r e l a t i o n s h i p on t he
t h a n s p e c u l a t i o n would be t o
33
But t o advance such
basi s o f what
is h a r d l y more
p r o j e c t hypot heses a l l
too t enuous
31 l b ? d . # p. 1 8 r .
3 ^ C o r t . 9 1 > P. 5 7 v .
C f . Vol. I I ,
and t r o h s l o t ion of t he c o mp l e t e hymn.
p.
266. fo r
transcription
33 C f . Z e f f e r i n o L e z z e r i , "I C a p i t o l i d e l l a Compaqnie dei
d i s c i p l i n o t i di C o r t o n a , Anno 1 3 0 0 , e i l L o u d o r i o deI I ' Accademl a
e t r u s c o , ” Primo A n n u a r i o deI I ' Accodemia E t r u s c a di Cor t ona X I I x i i i
( i 9 3 4 ^ 5 T T ’ i ^ r : ----------------------------------------------------------------------------
39
t o have r e a l
value.
There a r e
serious
two m a n u s c r i p t s which would r e q u i r e
discrepancies
resolution
t h e o r y c o u l d be a c c e p t e d .
The capi t o I i
t a i n many i n d i c a t i o n s
t hey
the d i s c i p l i n e .
wh a t s o e v e r
contrary,
The
that
laudario,
to t he p r a c t i c e
t he hymns a r e
Thi s d i f f e r e n c e
b e h a v i o r of
the
origins
Therefore,
t he
laudari o ,
bel onged t o a gr oup p r a c t i c i n g
devotional,
i n age
is
at
practices
be st
it
born o u t
linguistic
periods.
con o n l y be s a i d
that
t hese
the ca pi t o I ; , and the o r a t o r y
did,
and i ndee d s t i l l
evidence.
But even os u n r e l a t e d e x p o s i t i o n s
invaluable
testimonies
conclusions
confroternity
t he L o u d o r i o 91
i n d i c a ti o n of
On t h e
Iaudes i
by t he
o f two d i s t i n c t
No v a l i d
t i o n of
t he
no h i n t
common Cor t o ne s e
do e x i s t .
me di a e v a l
scourging.
and of
two documents which e x h i b i t
but d i v e r g e n t
b e f o r e such a
on t he o t h e r hand c o n t a i n s
purely
the
a r e da t e d 1300 and con­
of s e l f - i n f l i c t e d
character.
between
the
of
may be drown f r om t h i s
t he n a t u r e o f
in C or t ona .
itself
identity
of
It
of f a c t
the a c t i v i t y
three,
fragmentary
they are
of
the
is o n l y by c a r e f u l
ex a mi na ­
t h a t we con hope to d i s c o v e r some
t h e owner of
the manuscript.
CHAPTER
I I I
LAUDAR10 91 OF THE BIBLIOTECA DEL COMUNE E
DELL' ACCADEMIA ETRUSCA DI
CORTONA
CHAPTER I I I
LAUDARI0 91 OF THE BIBLIOTECA DEL COMUNE E
DELL 1ACCADEMIA ETRUCA DI
There
is en e l e m e n t o f m y s t e r y about
whi ch d e s p i t e
t he e f f o r t s
p r o b a b l y al ways
of
philologists
r emai n i n v i o l a t e .
s i g n s of much use but
codex
is t h e r e s u l t
the g e n e r a l
in a t i n y
and m u s i c o l o g i s t s
its
t he
d i s c o v e r e d t h e p r e c i o u s document under
room used t o s t o r e k i n d l i n g wood and c o a l ,
this
oldest of
layers of
and dust no one wi I I
first
folios
the e n t i r e
l i b r a r i a n and c u r a t o r of
how many y e a r s
title
exhibit
It
the same t i me as a r o o s t f o r
was no
wi l l
loss and u t t e r n e g l e c t .
and whi ch s e r v e d a t
dirt
folios
poor c o n d i t i o n o f
of a period of
Bi bI I o t e c a d e I Comune.
the MS Cor t ona 91
Certain of
was i n 1876 t h a t Gi r o l a mo M a n c i n i ,
a stairway
CORTONA
page o r
leuda c o l l e c t i o n s
identification
pigeons.
For
lay hi dden under
p r o b a b l y e v e r know.^
There
o f t h e m a n u s c r i p t and t h e
a r e badly d e t e r i o r a t e d .
So a l s o a r e t h e edges o f
M a n c i n i , os c u r a t o r and l i b r a r i a n a t t h e B? b I i o t e c a de I
Comune, de vot ed hi s e n t i r e l i f e t o the s e a r c h f o r and s t udy o f
documents r e l a t i v e t o the h i s t o r y o f C o r t o n a ,
I t is his op inio n
t h a t t h e m a n u s c r i p t was removed f r om t he mona s t e r y o f Son F r a n ­
cesco t o t h e l i b r a r y a t the t i me o f t he s u p p r e s s i o n o f t he I t a l i a n
m o n a s t e r i e s and c o n v e n t s .
BtTt no one knows why i t s h oul d have
been r e l e g a t e d t o t he coal b i n .
^ C f . Appendi x B,
Plate
II,
41
p. 110.
42
t he
vellum.
cleaned
it,
Mancini,
recognizing
t he v a l u e o f
bound i t ,
and e n t e r e d
it
the document,
in to the
library's
catalog
o f m a n u s c r i p t s a? number n i n e t y - o n e .
Descr ?pt i on o f
The m a n u s c r i p t
is d i v i d e d
t h e Manuscr i pt
i n t o two d i s t i n c t
o f whi ch
is o f g r e a t e r a n t i q u i t y .
It
t han t h e
last
is s l i g h t l y
h a l f of
measur i ng 231
style
t he work and
by 174 mm.
section.
The
later
165 mm. and i s
t h a n t h e smal l
p o rt io n of
in p a r t
in itial
letters
only
in the f i r s t
notation
off
part.
although
lies
manuscripts
larger
vellum
in s i z e ,
large Gothic
in
the newer
s e c t i o n o f t h e work
the o l d e r
part
is
in itial
t h e music a ppea r s w i t h
But
n o t a t i o n f ound
i n squar e b l a c k p l a i n s o n g
vertical
F i n d ar a b e s q ue s o f
is or nament ed
i n r ed and b l u e .
i n the mus i c a l
The music
mar gi ns above and below t h e
end e l l
Neither
on s t a v e s o f r ed and w i t h
t he m a r g i n s .
on b e t t e r
s c r i p t of
executed a l t e r n a t e l y
the most n o t a b l e d i f f e r e n c e
is
the f i r s t
t h e m a n u s c r i p t measures 220 by
illegib le.^
c o n t a i n s any i l l u m i n a t i o n ,
with
is w r it t e n
The c a l l i g r a p h y
and i s much c l e a r e r
parts,
l i n e s o f r ed ma r k i n g
r ed d e c o r a t e
letters.
t he f i r s t
subsequent s t r o p h e s a r e c o l l e c t e d a t
t he
left
hand
As i n t r o u b a d o u r
s t r o p h e of t h e
text,
t h e end.
3
C f.
I M a n o s c r i t t i de I le Li b r e r i a deI Comune q deI I * Accademio
E t r u s c a dj £o r f o na .
(Co r t o n a :
18 S 4 ) , p . 3l~!
[ X T l"”f u r t h e r r e f er e n c e s w i l l be c i t e d t h u s :
M a n c i n i , I Manoscr i t t ? . . . . 1
128.
^Cf.
Appendi x 0,
Plates V I I I ,
IX,
and X,
pp.
124,
12 5,
and
43
In both di men si o n and workmanshi p Cor t ona 91
manuscript.
Neither calligraphy
to a p a r t i c u l a r
discrepancies
indicate c le a rly
s e u r ’ s m a n u s c r i p t of
C h a n s o n n i e r Cange.
Yet
its
between t h e s i m p l i c i t y o f
the
Apart
At
indicate
instances
t he be st
this
i s not a c o n n o i s ­
literature
and as music
i s a sense o f harmony
and t h e u n s t u d i e d manner o f
whi ch a r e p r o b a b l y
t h e work o f
scribes.
f r om t he pleonasm and
in the t e x t ,
lack o f
a r i s e from t he
t i mes
clear
definition
t he m a n u s c r i p t abounds
of a more p u r e l y mech a ni c a l
plications
text.
There
texts
and n o t a t i o n ,
grammar and sy nt a x
ficulties
that
v a l u e both as
fact.
two d i f f e r e n t
and both c o n t a i n many
t he r e f i n e d c h a r a c t e r o f Las Huel gas o r
i s not d i m i n i s h e d by t h i s
the c a l l i g r a p h y
nor no-la t i on can be a s s i g n e d
school or s c r i p t o r i u m ,
whi ch
i s a modest
nature.
t he e d i t o r
lock o f p r op e r a l i g n m e n t o f music and
possible
pl acement o f s y l l a b l e s , " * w h i l e
is
le ft with
distribution
The amanuensis of
i n the pl acement o f
lines
to
in other
t h e t a s k of e s t a b l i s h i n g
of music and t e x t J3
t h e musi c
clefs.
in d i f ­
Numerous com­
the s c r i b e was f o r c e d t o employ g u i d e
the proper
in
lapsed i n t o f r e q u e n t
inaccuracies
Examples of f o r g o t t e n c l e f s
or of
agreement bet ween the c l e f and t he p r e c e d i n g c u st o s o r e many.
dis­
In
~*Cf. Appendi x B, P l a t e I I I , p . 1 1 1 .
In t h e f o u r t h system
t h e s c r i b e , ( o r perhaps t he. s i n g e r ) has drawn a g u i d e . l i n e f r o m
t h e b e g i n n i n g o f t h e word b a s e i o t o t he p r o p e r n o t e whi ch is
a c t u a l l y o v e r the wrong word.
£
C f . Appendi x B^ P l a t e I V .
Compare t h e s o l u t i o n on p. 285
w i t h L i u z z i ' s t r a n s c r i p t i o n , Appendi x C, p. 1 2 2 .
44
the
latter
case i t
lia b le guide.
are
has been f ound t h a t
Not
infrequently
repeated un ne c e s s a r ily .
poor a l i g n m e n t whi ch f o r c e
into
of
the c u st o s
i s a more r e ­
not es a r e o m i t t e d ,
S i m i l a r l y one can f i n d
t he musi cal
scribe
or co nversely ,
examples of
t o ex t end the
notes
t h e mar gi n where t h e y hang j_n campo a p e r t o w i t h o u t e x t e n s i o n
t he s t a f f ?
The p l a i n s o n g n o t a t i o n of
absence o f any o f
The shapes o f
t he usual
or s i ne p e r f e c t i o n e ,
used are
the P o d a t u s ,
t he cum oppos ?t a
propr i e t a t e .
The
bi v? r g a ,
scandi c u s ,
l a s t named,
however ,
torcu Ius,
often
to t he g r e g o r i a n forms o f
t o r c u I us r e s u pi nus,
No
is
porrectus,
l engt hened by added
Compound neumes
t h e podat us sub- bi p u n c t i s ,
scand i cus f I e x u s , and c l ?macus r esupi nus a r e
l i q u e s c e n t neumes a p p e a r
p l i c a f or m i s
The
exceeds t he us ual
r h o m b o i d a l - s h a p e d not es t o f or m conj u n c t u r a e .
found.
indis­
t he forms s ?ne p r o p r ?e t a t e
t h r e e no t e f o r m and the downward p a t t e r n
corresponding
less
the s i m p l e neume forms o f g r e g o r i a n n o t a t i o n ;
c I i v ?s ,
and c I i m a c u s .
is no use o f
nor o f
a c o mp l e t e
p r e - f r a n c o n i a n forms and s y mb o l s .
the vi rqe and punctum a p pe a r more o r
c r i m i n a t e l y and t h e r e
ligatures
t he music m a n i f e s t s
in the manuscript
but t h e
r a t h e r f r e q u e n t and al ways oc cur s w i t h a downward
tai I .
One o f
tona MS 91
t he most f a s c i n a t i n g a s p e c t s o f
is
t he
7C f . Appendi x
inconsistency of
B,
P l a t e V,
t he n o t a t i o n o f
neume f orms
p . 113 •
NB l a s t
Cor­
in repeated m e lo d ie s .
sy s t e m.
45
It
is not
several
uncommon t o f i n d
different
ways,
awkward a p p e a r a n c e
identical
melodic
turns w r i t t e n
in
and sometimes t a k i n g on a s t r a n g e l y
i n a neume which mi ght have been w r i t t e n
much more s i m p l y .
In Laude XL I t he form
, occurs.
It
i s an upsi de- down
t o r c u lus whi ch would n o r m a l l y have t a k e n the f orm of a p o r r e c t u s ♦
Laude X I I I
proper.
uses the shape A*
When t he phrase
neume t a k e s
ligature
its
written
is
, where a t o r c u I us would have been
repeated
c o r r e c t form.
thus
,
in t h e f i f t h
Laude XXI
system t h e
contains a four-note
when a t o r c u 1us r e s u p i nus form
woul d be more common i n g r e g o r i a n
notation.
too numerous
by way of summary t h e f o l l o w ­
ing f i g u r e
t o bear m e n t i o n ,
repetitions
indicate
i n neume forms which appea r
Lauda
but
t o some degr ee
second system
■
t h i rd systern
i
pi-
e-
tan-
9a
8
fk
1
1
re-
gno
cia-scun
a
1
gno
an-
1
di-
e
Me-ri-
e
system
1
fifth
1
se-
1
no-bli-
Lauda XXVI
fourth
Ik
quan- do
se ven t h system
system
the m anu scr ip t.
iN i.i
Jl
system
the v a r i a t i o n s
commonly t h r o u g h o u t
IX
fourth
Such examples a r e
1
*1
9a
46
Lauda XXXVI I I
fourth
system
a - ma-
fwS 1
i
sixth
system
for-
s e ven t h system
Liuzzi
are
t he o n l y
numbers X I I ,
instances
t he
indicating
indications
of
XXVI ,
XXX,
XXI X,
insuring
repetition.
n
its
to
dupl e x
,
is
nature
of a r e l a t i v e
1
ma-
re
not es o f c e r t a i n
XXXVII,
pl a c e d a t
of
He r e f e r s
and XLV,
t he end o f
In a l l
The shape o f
to
t hese
t he s t r o p h e ,
the r e f r a i n .
t h e cadence o f
laude
But
in numbers
t he r i t o r n e l l o ,
t he n o t e s
differs
but a r e r a t h e r
to represent
length at
t aken t o be i n d i c a t i o n s
to the me di a ev al
t he p o i n t
of
thus
f r om
and they a r e not g i v e n t h e s i g n i f i c a n c e o f
longa h e r e ,
a visual
Hi IV*
e x a c t measur ement .
thus no r e p e t i t i o n
it
re
t he f i n a l
long not e oc cur s a t
XX and XXVI I
ja-
for-
has remarked t h a t
re
the
of
singe r the notion
rest.
Exami n a t i on o f Con t en t
In t r e a t i n g
t he t o n a l i t y
of
the
is p o s s i b l e t o
say t h a t
t hey a r e d e f i n i t e l y
But
this
s t a t e m e n t must be t emper ed w i t h some r e s e r v a t i o n s ,
for
the f r e q u e n t
the m e l o d i c
ality
rooted
lauda i t
use of th-e b f l a t
l i n e gives a strong
when i t
oc cur s
in the
very
necessitated
tradition.
by t r i - t o n e s
t r i t us and p r o t u s modes.
l i g h t l y and perhaps
in
suggestion o f major-minor ton­
o n l y two i n s t a n c e s o f an a c c i d e n t a l
that
in g r e g o r i a n
written
Ther e a r e
i n t o t h e mel ody,
i n a n o t h e r ha nd .
The f i n a l s
and
most
47
frequently
used a r e t he p r o t u s and t r i t u s , w i t h a c o n s i d e r a b l e
number i n t e t ra rdus .
ambi t us o f
t he
the
the m a t t e r of
tenth,
repertoire
feeling
of
tonic-
i n t h e m e l o d i e s add t o
the
and o c c a s i o n a l l y
laude employ
t he s e v e n t h .
may be o b s e r v e d t h a t
intervals
Re g a r di ng
laude
remai n
c o n f i n e d t o a nar r ow ambi t us s u g g e s t i n g a p l a g a l
mode,
while
especially
it
i n n e r cadences
some
others,
r ange
figures
the
the mu s i c .
t he g r e g o r i a n
the s i x t h ,
lies w ith in
Fr e q u e n t
the q u a s i - t o n a l
and t r i a d i c
d i r e c t i o n of
Unlike
of
strengthen
polarity,
tonal
example
i on i an o r aeo I i an mode.
on t h e domi nant
domi nant
An o c c a s i o n a l
those empl oyi ng a j oyous
text,
an u n u s u a l l y wi de range f o r monophonic musi c of
The f o r m a l
and t he s t r o p h e
lauda a r e
(stanza).
The
l a t t e r may be d i v i d e d
It
t he m e l o d i c members of
this
repetition
restatement.
Ther e
i n t he m e l o d i c scheme t o d i s c r e d i t
A b b a A.
8
with
the r e f r a i n
is q u i t e c h a r a c t e r ?s t i c of
However,
t han an e x a c t
whi ch L i u z z i
period.
t he
r e p e a t one o r more o f
tion
this
el e me nt s o f
pi ed i and v o I t a .
the s t r o p h e .
may u t i l i z e
t he
(ritornello)
into
the
lauda t o
the r i t o r n e l l o
in
i s more o f t e n a d e r i v a ­
is co ns id er ab le
vari ei y
t he e x a g g e r a t e d emphasis
p l a c e s on t h e s o - c a l l e d
l a u d a - b a 1 1 a t a f or m,
A c t u a l l y o n l y a ve r y few o f
t he f o r t y - s i x
exampl es
The terms r e f r a i n and s t r o p h e w i l l be used i n t e r c h a n g e a b l y
t h e a l t e r n a t e forms i n d i c a t e d i n p a r e n t h e s e s h e r e .
48
i n t he m a n u s c r i p t can be r educed t o
The mus i c a l
r espondi ng
letters
to a v e r s e o f
indicate
t he p i edi
da nc e .
of
Whenever
to t u r n
that of
thus:
the
es
last
A B
letters
( each c o r ­
c d a b.
Capital
sung by t h e chorus end smo I I
lines of
i n numbers
i n upon i t s e l f ^
I X,
in t he manner of
t h e round
t he s t r o p h e u t i I i z e
XXXI ,
ond XXXVI ,
letters
t he mel ody
the melody
is
ond the scheme may be r educed t o
t h e baI I a t a , t h us:
1)
A B
2)
A
Of t h e
c c a 'b
Sr*
t o s i mp l e
the t r u e
relotively
smal l
restatement of
bo I I a
t
a
is t o examine
for m o f a g r a p h .
A B
c c a b
V
Sr'
b b a
pr ocedur e most exomples
claims
text)
the r e f r o i n
formula.
r e p r e s e n t e d by
ond vo I t a sung by s o l o i s t s
the r e f r a i n ,
said
form i s h e r e
this
A
A 3
etc.
A
etc.
v
b b o
number o f
laude whi ch f o l l o w t h i s
t e nd more t o v a r i a t i o n o f
it
Per haps
and t hus
lose t he donee c h a r a c t e r o f
t he best means o f
the s k e l e t a l
The d i v e r s i t y
of
t he theme t han
f r amework o f
their
forms
disproving l i u z z i ' s
t he hymns in t h e
is
immediotely
d i s c e r n i b le .
g
7L i u z z i
colls
this
the c o b l e c o p f i n i d a .
^ T h e l e t t e r s o f 1 )each r e p r e s e n t
one m u s i c a l phrase whi ch
cor r es ponds w i t h one l i n e of v e r s e .
In 2) one l e t t e r o n l y i s used
to represent the r e f r o i n
ond one l e t t e r f o r t h e c o r r e s p o n d i n g
s e c t i o n os i t a p p e a r s a t
t h e end o f the s t r o p h e .
The r e f r a i n and
s t r o p h e a l t e r n a t e i n on i n t e r l o c k i n g f o s h i o n e r e c t i n g a oaI l a t a
effect.
11
The baI l a t a i s c o n s i d e r e d h e r e
as a s i x l i n e f o r m .
in i t s
strictest
definition,
49
TABLE 1
THE MUSICAL FORM OF THE LAUDE FROM MS CORTONA 91
WHICH ARE COMPOSED OF SIX MELODIC MEMBERS12
Type I .
R e f r a I n of
two members; s t r o p h e o f f o u r members
Form
Number o f Lauda
...........
A B
c d a b
A B
a c d b .........................
........... I I
A B
c d e b .........................
........................ I I I , X X I , XXV
A B
c b a b .........................
........................
A B
a a c b .........................
........................ VI
A B
c c d e
A B
a b a b
A B
c c d b
A B
c d b a
A B
c c a b
A B
c d c e
A B
c d e f
A B
c d c d
A B
c c d b
A B
a c a b
A B
b a c b
A B
c c d e
A B
a a a b
12
V,
XIV
........... ........... V I I , X, XVI I
...........
........... ........................ XI
........... ........... X I I I
..... .
........... ........... XV
........................... ........... X V I , X I X , X XI X,
XLII I
........... ........... XXVI I
........... ........... XXVI I I
........... ........... XXXV
........... ........... XXXIX
........... ........... XL
........... . . . . . . XL IV
The hymns hove been c l a s s i f i e d by gr a p h, on t he b a s i s o f
t he number o f ve r s es (ond m e l o d i c members; i n e a c h .
50
TABLE
2
THE MUSICAL FORM OF THE LAUDE FROM MS CORTONA 91
WHICH ARE COMPOSED OF MORE THAN SIX MELODIC MEMBERS
Type
II .
TweI ve members; r e f ra i n o f f o u r ,
strope of e i g h t .
Form
Type
Number
ABC
D
ABA
B
ABC
D
ABC
D
ABA
C
II I.
Seven members ; r e f ra i n o f
ABC
,
.
.
. XVI I I
.
.
.
.
.
. XXI I
e f e f a b c d . . .
e f 9 h a b c 6 . . .
d b d b d b a c . . .
.
.
.
. XXVI
. .
.
. XXXI I I
.
.
. XL I
.
three,
s trophe of f o u r .
XXXVI I
TweI ve members; r e f r a i n o f
three,
strophe of n i n e .
d e d e d e a b c
XXXVI I I
Ten members; r e f r a ?n o f f o u r ,
A B C D
Type VI .
.
d d b c .................................................... XXXIV
ABC
Type V .
.
a b e d
ABC
Type I V .
e f c d 9 h c d .
c d c d a b a b .
a b a b e d ........................ . . . X L V I
NI ne members; r e f r a i n o f
A B
s t rpphe of s i x .
two and s t r o p h e o f
c b c b d a b ..............................................XXXI I
I n c o mp l e t e
A B C D .................................................................... . I V
A B
A B C D
cc d ( )
.................................................... XXI I I
d e d e ( ---------- )
................................ XLV
seven .
51
Regar di ng t h e p o e t r y o f
wide v a r i e t y
i n rhyme scheme,
laude employ t h e a a
group is t h a t
texts
usi ng
a l t ho ugh the g r e a t e r
b b b a pattern.
the a b
Lauda
Lauda
pattern of
IX
internal
of
t he
rhyme as
0 M a r i a , - d ' o m e l i a - se' f o n t a n a
f i o r e grana:
- de me a i a p i e t a n g a .
chi i n c h i n a - ci ascum r egno,
la c u r i n a - quando seqno,
- ' n c o r e tegno - t u f i g u r a
^
- ch' on gn e mat m ' e ’ n o b l i o n g a .
the hymns employ a d e v i c e c o mpar abl e t o the
p r a c tic e of a n a d lp lo s is ,
locking p a t t e r n
b e g i n n i n g of
between the
t he n e x t . ^
thus e f f e c t i n g an i n t e r ­
l a s t word o f
Metrically
to the
II I
line of
verse,
l aude t e nd t o r e g u l a r i ­
i n t he number o f s y l ­
t h us:
v e r +g c e l e s t i o l e
c o l l o g r a t i a superno le
eri t e , v i r g o v i r g i n o l e ,
d i s c e s e berni gni ssi mo .
- O t h e r s or e Laude V I I ,
t h e s t r o p h e ond t he
t he
ond most examples c o n t a i n a p a t t e r n
Lauda
Several
' ^ a Di o t e mandoe - san G a b r i e l l o
ke t ' a p o r t b e - * I s a l u t o b e l l o ,
e a n n u n t i i e - ke de n o v e l l o
e r i da D i o madre o r d e n a t a .
A few o f
lables
largest
by t h e f o l l o w i n g :
Gram r e i n a , si m ' a f f i n a io non degno,
c h i a r ’ e pura,
r h e t o r i caI
number of
The second
c c c b scheme.
contain a rather elaborate
exemplified
ty,
t h e m a n u s c r i p t one can obser ve a
X,
X VIII,
8
8
8
8
and X X X V I I I
14 They a r e Laude I . X X I I , XXVI , X X X I I , X X X I I I , XXXI V, and
XL.
In lauda V e v e r y s t r o p h e be gi n s w i t h t h e word "ave" and i n
lauda X I I w i t h t he words, H0 M a r i a , " S i m i l a r l y e v e r y ve r s e o f
number XXV ends w i t h t he word " c r o c e . ”
52
TABLE
3
POETIC FORM OF THE LAUDE OF CORTONA 91
Type
I♦
S i x v e r s e s ; r e f r a i n of
two
lines,
Form
s t rophe o f
four .
Number o f Lauda
a
II ,
a b b b a .................................................. I I , I I I , VI , XI
X I V , XV, X V I , XVI I ,
XX, X X I , X XI V, XXV,
XXVI I , XXVI I I , X XI X,
XXX, XXXI , XXXV,
X X X V I , XXXI X, XL, XL I V .
a
b c c c b .................................................. I , V, VI I , VI I I
, X, XI ,
X I I , X I X , XXI I I , XL I I ,
XL I I I .
a a
b b a a .................................................I X
a b
a a a b .
. ■....................................... 1Vb
Twelve v e r s e s ; r e f r a i n o f f o u r , s t r o p h e o f e i q h t .
TVPe. 1 1
c d c d d e e a
....................
X X I I , X X X I 11
a b b a
.
Type
a b b a
c b c b b c a a
....................
XXVI
a b b a
c d c d d e e b
....................
XLV
a b a b
b c b c b c c b
....................
XLI
a b c d
d e f e g e f g . . . . .
III,
Seven v e r s e s ;
•
IV.
Twel ve v e r s e s ;
Ten v e r s e s ;
Type V.
a b c b
ab
refrain
c d c d c b e e b
a a b
Type V I .
of
three,
strophe of
c c c b ............................................ XXXI V,
a a b
Type
refrain
X L V I 11
of
three,
....................
r e f r a i n of four,
a d a d d b
Ni ne v e r s e s ;
c d c d c d b
.............................
r e f r a i n of
t wo,
four.
XXXVI 1
strophe of nine
X X X V I 11
strophe of s i x .
XLVI
strophe of seven.
XXXI I
53
T h e o r i e s o f O r i g i n and Age
£f
News o f
t he M a n u s c r i p t
the d i sco ver y of a
laudario reputed
m i d - t h i r t e e n t h century a t t r a c t e d
examine
it.
c a t i o n of
Their a t te n tio n
several
phi l o l ogy and
all
century,
are
The f i r s t
of
i n t he
last
is th a t
decade and a h a l f
none of
that BarthoIomaeis, w ritin g
t he m a n u s c r i p t
to
i n t he p u b l i ­
in j o u r n a ls
c h a r a c t e r i z e d by two e s p e c i a l l y
these
t o Cor t o na
of
Italian
These d i s c u s s i o n s and d i s p u t a t i o n s ,
of
It
is
the
incredible
a century a f t e r
shoul d have cause to
features
w r i t i n g ab ou t
t he m u s i c .
nearly half
the n i n e t e e n t h
significant
t he s c h o l a r s
m a n u s c r i p t concer ned t hemsel v es w i t h
covery of
scholars
t he codex r e s u l t e d
s t u d i e s which appear ed
literature.
concentrated
to
several
t o be f r om t h e
the d i s ­
lament
t h e absence o f one o f t he most h e l p f u l i n s t r u m e n t s o f
c r i t i q u e , whi ch would be a b l e t o r e s o l v e so many d o u b t s ,
t h a t i s , t he knowledge o f t h e music whi ch accompani ed
t hese s o n g s . ^5
The second o b s e r v a t i o n
authors of
is
these studi es are
t he m a n u s c r i p t .
In f a c t ,
e n t i r e l y ar ound one i s s u e ,
that
based o n l y on i s o l a t e d a s p e c t s o f
the claims of
mat i c a ,
three of
namel y, the pr esence
laude t o Bl e s s e d Gui do V a g n o t e l l i ,
15
the arguments adduced by t he
them r e v o l v e
( o r absence)
and S a i n t M a r g a r e t
of
(both of
V i n c e n z o de B e r t h o l o m a e i s , Le or ?g i n i deI I a poes i a dram(Bologna:
Z a n i c h e l l i , 1 9 27T, p . 241 .
54
Cortona)
In t h e m a n u s c r i p t .
determining
of
S i g n i f i c a n t as t h i s may be i n
t h e a p p r o x i m a t e age o f
t h e argument and does not
in
the codex,
itself
it
present
is only a p a r t
indisputable
ev i dence .
Mancini,
in de signat ing
t he
l a u d a r i o as a m i d - t h i r t e e n t h
c e n t u r y w o r k ^ was ba si ng h i s h y p o t h e s i s
upon t h e absence of
laude t o Guido and M a r g a r e t
part
I n doi ng so he c i t e s
their
two s a i n t s
recalls
i n t he e a r l y
t he g r e a t
ent hu s i a s m o f
(an en t hu s i a s m s t i l l
Gui do,
a c c o r d i n g t o h i s Vi t a
f o u r y e a r s o l d when he r e c e i v e d
in 1211.
16
Mancini,
He d i e d a t
truly
I Manoscr i t t ? .
.
i n the A c t a
p.
17
for
and
t he p e o p l e of
SS. ,
1R
was t w e n t y -
the Fr anciscan
which would f i x
.,
alive)
in h e r h o n o r .
t he h a b i t o f
sixty,
t h e document.
t he C o r t o n e s i
t h a t w i t h i n a y e a r o f M a r g a r e t ’ s de a t h
t h e town had a l r e a d y e r e c t e d a church
Or der
very
of
the date of
51.
^ T h e C o r t o n e s i s t i l l ob s e r v e the f e a s t o f S a i n t M a r g a r e t
M a r g a r e t t w i c e a n n u a l l y , t h e f i r s t t i me on F e b r u a r y 22, and t he
second w i t h a gr and f e s t a on May 1 0 .
For many ye a r s t hey kept
two f e a s t s f o r Gui do t o o , one c e l e b r a t i n g t h e f i n d i n q o f h i s
head ( a f t e r t h e sacr ophagus c o n t a i n i n g h i s body had been smashed)
and t he o t h e r commemorating t he loss o f t h e r e s t o f t h e body.
C f . Ac t a SS.
June Tom. M l , p. 9 7 .
18
C f . M a r g a r e t ’ s Vi t o w r i t t e n by h e r F r a n c i s c a n c o n f e s s o r ,
Fra G i u n t a .
A c t a SS. F e b . Tom I I I , pp. 3 0 2 - 3 6 3 .
Other e d i t i o n s
o r e t hose o f L o d o v i c o do P e l e g o , 17 9 3 , E. C r i v e l l l , 1 8 9 7 .
More
r e c e n t works o r e A Tuscon P e n ! t e n t , C u t h b e r t , 1 9 0 7 ; M a r q u e r ?t e
de C o r t o n a , L . di ~*Cherehce, 1 9 2 7 1 M a r q h e r i t a do C o r t o n a , la sua
Teqqenda e la s t o r i a , M. N u t i , 1 9 2 3 ; and M o r q a r e f o f Ci ortona,
F r a n 901 s $ 0 u r i a c , T ? 4 7 .
------- -------- -----------------------
55
hi s
statement
If
19
de at h a t a p p r o x i m a t e l y 1 2 4 7 .
that
+be Vi ta
. .
is
by 1250 t h e r e was a p o p u l a r c u l t
trustworthy
The v i t a l i t y
o f Cortonesi
b a si s o f M a n c i n i ' s
t he o l d e r
t hese
two
to S t .
that
his
c u l t was o f
local
Francis
honor
i mmedi at e and s p o n t a n e -
devotion
argument f o r
part of
dating
t o t h e two s a i n t s
t h e L a u d a r i o 91*
t he codex c o n t a i n s
saints.
It
does,
Gui do,
t he
that
latter
is
The f i r s t
Reni er
two s a i n t s ,
t o sa y,
include
From t h i s
reaction
but b e f o r e
between 1231
i n t he f or m of an a r t i c l e ,
He no t e s
two
laude
he deduces
Renier e m p h a t i c a l l y
^ *^Cf . Ac t a
SS. ,
states,
June Tom.
o f M a r g a r e t and
21
in 1888,
i n whi ch
variance with M a ncin i's .
"I
Ill,
am c o n v i n c e d
that
For f u l l e r d i s c u s s i o n of t he o r i g i n o f h i s c u l t
s u p p l e me n t a r y no t e s c o n t a i n e d i n Appendi x D, p. 127 ,
22
Mancini,
I Manoscr i 11 i .
.
.,
22
it
p . 97 .
20
21
the
t h e o r y came f r om Rodol f o
published
he v o i c e s an o p i n i o n c o m p l e t e l y a t
that
and 1 2 5 0 .
to M a ncin i's
t he
no hymn t o e i t h e r o f
however ,
and one t o S t . A n t h o n y .
is
t h e col l e c t i o n o f hymns must have been c o mp i l e d a f t e r
deat h o f
In i t
in Guido's
20
ous o r i g i n .
that
Thi s a c c or ds w i t h Waddi ng' s
see t he
p. 51 .
Ro d o l f o R e n i e r , "Di un a n t i c o c o d i c e di
b i b I i o t e c a di C o r t o n a , " G i o r n a l e s t o r i co d e l l a
ana XI ( 1 8 8 8 ) , 1 0 9 - 1 2 4 .
flagellanti
Ietteratura
nella
?t a I ?-
56
( l a u d a r i o ) cannot
teenth century."
t he
partially
be f r om b e f o r e
23
the f a c t
that
decade o f
Hi s c o n t r a d i c t i o n o f Ma nc i n i
deteriorated
he f ound on f o l i o s
the f i r s t
1 3 9 r and 1 6 4 v
.
But
the hymns o c c u r o n l y
Re n i e r
i n t he
century o r i g i n .
In t h i s
Manci ni
to p o i n t out
Reiner a s c r ib e d
of
it
that
i n t he use of
the s t u d e n t
Renier,
"Di
"Laudi
23l b i d .,
24
fourteenth
variance
rebuttal.
in t h e i r
Iaudes i gr oup,
The t i t l e s
terms whi ch has so c o m p l i c a t e d
for
whi le
p r o v i d e a n o t e w o r t h y example o f
them.
entitles
c o d i c e di
attribution
From t he b e g i n n i n g
bel onged t o a
Fr ances ca ne dei
holding fo r t h
un a n t i c o
it
coming a f t e r
laudes i o r i g i n Manci ni
c e sca na ,
its
to a d ?sc ?p I i na t i a s s o c i a t i o n .
t h e two men' s a r t i c l e s
confusion
for
at
in his
l auda r i o t o the c o n f r a t e r n i t y .
had i n s i s t e d
the
R e n i e r ' s argument has no v a l i d i t y ,
The two men a r e e q u a l l y
t he
of
t he m a n u s c r i p t a l r e a d y w e l l
who had p r e v i o u s l y a d m i t t e d
of
f a i Is t o ment i on
la tte r half
known t o Ma n c i n i
was q u i c k
is based upon
laude t o Guido ond M a r g a r e t which
codex ( w i t h o u t m u s i c ) — a p a r t o f
as Ma nci ni
the f o u r -
his
In s p i t e . o f
letter
di sc i p I i n a t i
flagellant!
di
origins,
nella
the
issue
claims f o r
i n Mi see I l a n e a
disciplinati
the
Cortona."
entitles
biblioteca
FranAnd
his,
di
109.
G i r o l a m o M a n c i n i , " L a u d t Fr ances ca ne dei d i s c i p l i n a t i di
C o r to n a ," M is c e l la n e a Francescan, IV ( 1 8 8 9 ) , 4 8 .
[All further
r e f e r e n c e s wi I I be c i t e d t h u s :
M a n c i n i , Laud?
. . .MF] .
Cor tona .
Ther e
first
is an i n c o n s i s t e n c y
part of
He a d mi t s
thirteenth
that
the " f i r s t
(century) .
the
the end o f
i n f a c t o c c u r more e s p e c i a l l y
that
century."
25a
the
i ssue
briefly,
the
in the v e r -
Actually
this
per c e n t o f
pr i m­
the
t he mu s i c .
endi ng h i s
two I ndexes and the r e p r o d u c t i o n
the manuscri p t .
t i me
But
provocative
of s i x
laude f r om
26
The a r t i c l e
by Reni er
and t he c h a i n of
s e r v e d as a c a t a l y s t
theories
25Cf . R e n i e r ,
t o ensui ng
po l e mi c s was c o n t i n u e d by o t h e r s c h o l a r s .
Next came the st udy o f Gui do Mazzoni
Mancini's
that
t h e U f o r ch which
the m a n u s c r i p t whi ch c o n t a i n s
Renier dismisses
debate,
use o f
t he k occur s more t han n i n e t y
i n t he p a r t o f
st udy w i t h
s e c t i o n coul d be f r om
The f r e q u e n t
nacular manuscripts of
use o f
ar gument
t he m a n u s c r i p t was from the f o u r t e e n t h c e n t u r y .
i s f ound her e does,
itive
in Renter's
27
who a c c e p t e d some of
w h i l e d e f e n d i n g a l s o some o f
ojg. c? t . ,
111.
Renier's.
Ib id .
26
The laude whi ch R e n i e r chose t o t r a n s l i t e r a t e ( w i t h o u t
much e d i t i n g ) a r e :
I I , V I , V I I , XI X ( whi ch in t h e p r e s e n t
system o f numbering i s X V I I I ) , XXXVI (XXXV)
and XXXVII ( X X X V I ) .
Hi s v e r s i o n o f Lauda XIX ( X V I I I ) i n c l u d e s t h e F r a n c i s c a n i n t e r ­
p o l a t i o n whi ch is o b v i o u s l y i n e r r o r .
C f . Vo I H . p. 2 4 0 .
2 ^Guido M a z z o n i , "Leudi C o r t o n e s i del s e c o l o X I I I , "
I I Prop u q n a t o r e , NS I I , ( 1 8 8 9 - 9 0 ) , 2 0 5 - 2 7 0 ; and NS I I I ( 1 8 8 9 - 9 0 ) 7 " 5 ^ ? 3 .
The work a p p e a r e d l a t e r i n the f or m o f a s e p a r a t e volume b e a r i n g
the same t i t l e .
P u b l i s h e d i n Bol ogna:
T i p o g r a f i a Gargnani,
1890.
58
Mazzoni
ad mi t s
establish
origin,
us i ng t he y e a r o f M a r g a r e t ' s
one d a t e o f
but d e n i e s
t he o t h e r .
not w e l l
usi ng
this
before
1250.
the b e l i e f
Thus he deni es t h e
into
to f i x
justify
to
such c l a i m s .
proximity
28
the drops o f wax t h a t
t h a t Gui do was
the
i mmedi ate
t he e a r l i e r
of
.
d a t e of
Renier,
laudorio
bel onged
Both men ca I I upon the
t o Per ugi a
i n an a t t e m p t
As t e s t i m o n y Mazzoni
still
to d e t e r m i n e
possibility
t h e group t o which t he
to
l auda r ?o ' s
t h e same e r r o r as di d
was one o f d i s c i p i i na t ? o r b a t t u t I .
argument o f C o r t o n a ' s
(1297)
de at h
loved t o have ar oused
falls
that
the
s t a nd by c l a i m i n g
In a t t e m p t i n g
boundary Mazzoni
namel y,
this
enough known and
had.
boundary o f
t he y e a r o f G u i d o ’ s
He j u s t i f i e s
c u l t whi ch M a r g a r e t
origin
the possible
de a t h
calls
to
attention
r emai n on t h e m a n u s c r i p t — s i g n s ,
he c l a i m s ,
o f t h e i r use d u r i n g p e n i t e n t i a l p r o c e s s i o n s o f the
29
f I age I l a n t ? .
Thi s comment has l i t t l e meaning i n v i e w o f the
fact
that
p r o c e s s i o n s wer e one o f
t he main a c t i v i t i e s
I a udes ? in a p e r i o d decades e a r l i e r .
Cor t ona 91
for
The a t t r i b u t i o n
t o f laqe i l a n t ? or d i s c i p i i nat i b e t r a y s
investigation
Italy,
30
into
an a r e a
the h i s t o r y
of
28l b i pd . ,
t he e a r l y
now acknowl edged t o be o f
t he de vel opment o f m e d i a e v a l
p.
29
7M a z z o n i ,
6;
C f . Renier,
Ib id .
30
of
a
c? t .,
of
l ack o f
confraternities
the ut most
country.
111.
Cf . T e n n e r o n i ,
of
i mpo r t a nc e
p o p u l a r hymnody i n t h a t
o£.
the
oj>. c i t . ,
p.
ix.
59
The emi nent
Terruggia,
lauda s c h o l a r of
has a p t l y
the present
day,
D o t t o r e s s a Angel a
pointed out:
A g r e a t h e l p i n t h i s r e s e a r c h comes t o us f r om t he most
i n t i m a t e knowl edge o f t h e a c t i v i t i e s o f the f r a t e r n i t i e s
which had employed tne lauda i n the v e r n a c u l a r , i n j e c t i n g
t hese songs i n t o the DevozI one and t hus p r e s e r v i n g them
f o r t h e p e o p l e . 51
Such s t u d i e s would go f a r
to u n r a v e l
ments caused by an a l l
too c a s u a l
on t h e p a r t of
writers.
earlier
Enrico 3 e t t a z z i ,
1 8 9 0 *s,
l a s t of
appr oached t he codex w i t h
He comments r a t h e r
t h e work but
briefly
question.
Ermanno,
polemicists
terms
of
t he
t h e eyes o f a p h i l o l o g i s t .
on the p o s s i b l e o r i g i n
and age o f
usages o f
definite
a
t h r e e men seem t o have assumed w i t h o u t
da t e d 1 2 4 4 - 4 5 ,
identity,
he is a b l e
and to p o i n t o u t a t
Tuscan o r i g i n ,
o t h e r s which by 1300 were a l r e a d y
the
the fo u r
in t h e use o f
By compar i ng the m a n u s c r i p t w i t h
Cortonese
favors
confusion
t he e n t a n g l e ­
t hen t a k e s up t h e m a t t e r o f C o r t o n e s e o r i g i n ,
f a c t which t he o t h e r
notary,
t he
some o f
Iaudes i o r i g i n o f
the
documents o f
to e s t a b l i s h
the
their
t h e same t i me c e r t a i n
o t h e r s o f Umbri an,
defunct.
32
and s t i l l
L i k e Ma nc i n i
he
laudari o .
0-1
Angel o T e r r u g g i a , "Lo svi luppo del dramma sacr o v i s t o
o t t r o v e r s o i c o d i c i di A s s i s i , " At t i deI c e n t ro s t ud ? o r i q i ni
de I t e a t r o i t a I i ono ( 1 9 5 7 - 5 9 ) / 4 3 .
^ E n ric o Bettozzi,
(Arezzo:
Tip B e l l o t t i ,
Not i z i a d ? un Lauda r i o deI
1 8 9 0 ) , p p . 10 f f .
Sec . X I I I ,
60
W I + h t he passi ng o f
settled
t h e y e a r 1890 t h e C or t o na MS 91 a g a i n
i n t o comparative o b s c u r i t y ,
havi ng had
e f f e c t on t he musico l o g i c a I
world
known.
testified
How t r u e
this
is
is
emi nent B r i t i s h m u s i c o l o g i s t
A s s o c i a t i o n of G r e a t
that
it
"about
t han t o make i t s
( t h e me d i a e v a l
Britain
l auda)
who,
more
existence
by t he words o f
Edward De n t ,
the Mu s i c a l
little
the
in addressing
in 1R16,
coul d say
h a r d l y anyone knows a n y -
,i •
„33
t h i n g ."
By 1930 a t t e n t i o n
la uda r i o and
Italian
was a g a i n f o c u s e d on the Cor t ona
r e v i e ws
new s t u d i e s
of
of one man,
Fernando L i u z z i ,
ie ty of
the manuscript.
publications,
facsimile
publication
In an st udy
from t h e
and p e r i o d i c a l s
34
of
publishing
They were n e a r l y a l l
t he work
Florence.
in a v a r -
hi s a r t i c l e s
Appearing
pr esaged t h e m a g n i f i c e n t
of 19 35 whi ch was t o make him f amous.
i n Ar ch i vum Roman ?cum ( 1 9 3 0 )
l a u d a r i o and i n doi ng so gave t o
glimpse o f
were
35
th? hymns of C or t o na 91 •
Liuzzi
t he p u b l i c
its
firs t
The C h r i s t ma s and Epi phany
"^Edward J . D e n t , "The Laudi S p i r i t u a l i , "
t he Mus ?ca I Associ a t i o n , ( 1 9 1 6 ) , 6 4 ,
34
quot ed gener ous ly
P r o c e e d i n g s of
Fernando L i u z z i , " M e l o d i e m u s i c a I i i n e d i t e del d u e c e n t o , "
Arch i vum Roman? cum X I V , ( 1 9 3 0 ) ; "Bo I I a t o e I auda a l i a o r i g i n i
deI I a I T r i co mus 1co I e i to I I o n a , " Annuar i o de I 10 _R. Accademi a di
Santo C e c i l i a ( 1 9 3 0 - 3 1 ) ; "I p r i mi c a n t i i t e T i o n i per la n o t i v T t a
e I ' i n f a n z i o de C r i s t o , " I I I us t r oz ?one V a t ?cona XV, ( 1 9 3 1 ) ; and
"Jacopone do T o d i ; uno lauda neI I ' i nt onoz i one del c o d i c e 91 di
C o r t o n a , " So I a r i a ( 1 9 3 1 ) .
3 5C f .
supra.,
p.
34.
loude of
the c o l l e c t i o n
t hen a p pea r e d
in a study of 1931.
And i n 1932 he p u b l i s h e d a c o m p i l a t i o n o f
instrumental
accompani ment .
hi 1935,
the year
G i l b e r t o Br unacci
loudario.
It
i n whi ch L i u z z i ’ s monograph a p p e a r e d ,
p u b l i s h e d an a r t i c l e
exhibited
in the t r a n s c r i p t i o n
article.
Nicolo Garzi,
f o r no o t h e r
in his
of a c c i d e n t a l s .
are at
c o n c e r n i n g t he Cor t o na
c o n t a i n e d no new t h e o r i e s
if
liberty
laude w i t h
37
t i o n her e
greet
selected
36
but
i s wo r t h y o f men­
reason t han t he poor m u s i c a l
of
t he hymns accompanying the
the e d i t o r of
rendering of
Hi s a d d i t i o n s
taste
the musi c ,
has t a k e n
t he rhythm and t h e
insertion
o f mar ki ngs such as con s e n t i m e n t o
be st s u s p e c t . 33
The o n l y
really
t e x t and musi c,
s c h o l a r l y appr oach t o t h e e n t i r e manuscri
i s t he b e a u t i f u l
whi ch crowned h i s ye a r s o f
the work is a
vened s i n c e
36 C f .
t he
t a s k t oday t han
The t h i r t y
p u b l i c a t i o n o f JLo
supra,
p u blic atio n of
st udy and r e s e a r c h .
less d i f f i c u l t
a q u a r t e r of a century ago.
facsim ile
it
Liuzzi
An e v a l u a t i o n o f
would hove been
ye a r s which have i n t e i —
laude e
primord? me I odi a
n. 34.
37
Pass i one ne I la i n t o n a z i o n i de I l a u d a r ?o 91 d 1 C o r t o n a .
(Rome:
. di SoTvtis, 1932) .
t h e accompaniment i s s c or ed f o r 2
f l u t e s , 1 oboe, 2 t r u m p e t s , 2 h a r p s , o r g a n , and s t r i n g s .
Cf.
Appendi x C, pp. 1 1 8 - 1 2 0 .
38
G i l b e r t o B r u n a c c i , ” Le loude del l a u d a r i o C or t o na secondo
la t r o n s c r i z i one de 1 1 ' e c c .. c o n . Don N i c o l o G a r z i , ” Secondo a n n u a r i o
d g li♦acpademta e t r u s c o <H C o r t o n a . X I I I - X I V ( 1 9 3 5 ) , T 3 - 3 6 ; and
t h e musi c , 3 7 - 8 4 .
For exampl e C f . Appendi x C, p . 1 1 7 .
62
?t a 1?a na
it
39
have,
the o b j e c t o f
cologists
agree
t he m u s i c , ^
recognition.
is
in his
last
Today most musi ­
the
lauda
in to a p o s i t i o n of
no
greatest
the t e x t s .
t he e f f o r t s
upon t h e i r
editions
of
his
contribution
Hi s emendat i on
less than t en m a n u s c r i p t s ,
t o t he f o u r t e e n t h c e n t u r y .
recognizes
of
same t i me e q u a l l y a t one i n commend­
p r e p a r a t i o n of
collating
made
of L i u z z i ’ s t r a n s c r i p t i o n
appear s now t h a t L i u z z i ' s
whi ch he a t t r i b u t e s
41
all
of
In a d d i t i o n
he
p r e d e c e s s o r s and sometimes c a l l s
to help c l a r i f y
obliterated
passages or
in the t e x t .
In h is e d i t i o n
stanzaic
reader
rejection
bringing
painstaking
of
i n s c r u t a b l e ways o f t i m e ,
both p r a i s e and c r i t i c i s m .
in t h e i r
It
t he r e s u l t
lacunae
t o t he
but a r e a t t h e
ing him f o r a t
lies
according
f or m,
Liuzzi
sets
t he p o e t r y
and by means o f v e r t i c a l
j u s t where t he
^Published
l i n e e n di n gs occur
in
lines
its
correct
indicates
t o t he
i n t he m a n u s c r i p t .
by the Li b r e r i o de I I o s t a t o ,
1935.
4 0 C f . Jack We s t r u p , " M e d i e v a l Song, " New O x f o r d H i s t o r y o f
Mus i c , Vol I I , e d . Dom Anselm Hughes (London:
Oxford U n i v e r s i t y
P r e s s , 1 9 5 4 ) , p . 267; A r c h i b a l d T . Dav i son and W i l l i Ape I , The
H i s t o r i ca I Ant ho I oqy o f Mus? c , ( Cambr i dge:
Harvard U n i v e r s i t y
P r e s s , 1 9 5 7 ) , Vol 17 p. 2 1 6 , n . 2 1 ; Hi g i n i o A n g l e s , La Mus i ca de
las Cant ?qas de Sant a M a r ?a de I Rey A l f o n s o Sab?o , T S e r c e I o n a :
D i p u t e c i o n P r o v i n c i a l de Bar ce Ton a, 1 9 4 3 ) , p. 4 7 .
More gener a I ly
e n d o r s i n g t h e use o f f r e e r hyt hm i n me di a e v a l song, c f . C u r t Sachs,
Rhythm and Tempo, (New Y o r k :
W. W. Nor t on and C o . , 1 9 5 3 ) .
I t s h oul d be not ed t h a t i n h i s a t t r i b u t i o n o f t he MS Ar s
8521 t o t h e f o u r t e e n t h c e n t u r y he st ands i n c o n t r a d i c t i o n to
T e n n e r o n i , o j j . c? t
p .
25, wno a s s i g n s i t t o t he f i f t e e n t h
century. •
63
Unlike
earlier
diacritical
editors
markings.
occur s he s e t s
it
off
is, however,
careful
attention
by usi ng
■
d iffic u lt
t o the
into four
general
M a r i a n hymns.
loude t o s a i n t s ,
rises
sections,
t he
a h o m i l e t i c and d i d a c t i c
saints.
Yet L i u z z i
clear outlines
i n t o smal l
of
into
hymns a t
of
t he f i r s t
error.
t h e end o f
when in r e a l i t y
he m i s t a k e n l y
Evangelist,
it
Liuzzi
i s made up o f
is de v o t e d t o hymns o f
last
in dis s e c tin g
primarily
t o the
t he b e a u t i f u l l y
y e a r by d i v i d i n g t he m a n u s c r i p t
pieces.
l a b e l i n g of
He d e s i g n a t e s
several
t he f i r s t
of
of
the
t he
laude he
two added
t he m a n u s c r i p t as a hymn t o a I I the s a i n t s ,
is a d d r e s s e d t o the t w e l v e a p o s t l e s .
identifies
i n t he f i r s t
writes
falls
l a r g e s e c t i o n which comp­
Lauda X L I I
and second s t r o p h e s
the c o n t r o v e r s i a l
in a s t y l e
Simi l a r l y
as one a d d r e s s e d t o John t he
i n s t e a d o f John t he B a p t i s t .
Regar di ng
to
The m a n u s c r i p t
It
seems i n c r e d i b l e
t h a t he sh ou l d have f a i led t o see t h e names o f
Elizabeth
such
two s e e mi n g l y m i s p l a c e d
The t h i r d
t he l i t u r g i c a l
in his
t he
o f which
n a t u r e and t he
persists
to s e p a r a t e
shoul d have f a i l e d
t he codex.
c y c l e s and i n d i v i d u a l
Furthermore,
falIs
Liuzzi
There f o l l o w
cycle.
rhyme
following.
and t hen t h e second
liturgical
internal
to u n d e r s t a n d how a f t e r
text,
t he br oad o u t l i n e s
wh e r e v e r
the s i g n ^ y
ediately
recognize
fifteen
the n e c e s s a r y p u n c t u a t i o n and
In a d d i t i o n ,
rhyming word f r om t h a t
It
he adds
i ssue o f
Zachar y and
respectively.
t h e m a n u s c r i p t ’ s age
uncommonly s u c c i n c t ,
in c o ntr ast
to
64
his
usual
clearly
manner .
that
before 1297.
Wi t h d i s p a t c h
the codex d e f i n i t e l y
He a r r i v e s
and not a l t o g e t h e r
that
Lauda
belonging
IV of
at
he d i s m i s s e s
originated
the f i r s t
sound a r g u m e n t s .
date
after
1270 and
texts
i n the
collection
a very
g r a p h i c manner the a c t of
he o b ser ve d
I o u d a r ?o
o f Ba 11 u t i f r o m U d i n e .
latter
saying
by r a t h e r c i r c u i t o u s
In c o l l a t i n g
t h e Cor t ona MS occur s a l s o
t o the c o n f r a t e r n i t y
the i s s u e ,
In t h e
t h e hymn i n c l u d e s f o u r s t r o p h e s d e s c r i b i n g
in
self-flagellation.
St r ophe 11
lo si son s t a d o pecador e
e t ai o f f e s o a l mio s i g n o r e ,
b i t t o m e per lo suo amore
c h ' e l me d e b i a per donar e
St r ophe 12
Et a l e g r o e goudent e
bi tome le spa l i e e ' l v e n t r e ,
per d e s c a z a r quel s e r p e n t e
che me v o l e a d e v o r a r e .
St r ophe 14
Oime, c a m e t o p i n e l la,
come t u e ! f r e s c a e b e l l a ,
t u dei andar s o t t o la t e r r a
e li vermi t ' a v e r a a ma nz i a r e
St r ophe 15
Non s i a nessun si duro
che si ver goqni d ’ an dar nudo;
Jesu C r i s t o f o bat udo
^
per l i pecca t or ? s e l v a r e .
42
Quoted i n L i u z z i , La l a u d a . . . , p. 24 6
S t r oph e 1 1 ,
I have been such a s i n n e r / and have o f f e n d e d my l o r d , /
and so I sc our ge m y s e l f f o r hi s l o v e / so t h a t he must pardon me.
St r ophe 1 2 .
And J o y o u s l y and h a p p i l y / I sc our qe my s h o u l d e r s and
b e l l y / in o r d e r t o escape t h e s e r p e n t / who wa n l s t o devour me.
S t r oph e 1 4 .
A l a s , m i s e r a b l e f l e s h / how f r e s h and b e a u t i f u l you a r e , /
( b u t ) you must go under t he e a r t h / and t he worms w i l I have you t o e a t
Strophe 1 5 .
Le t n o t h i n g be so h a r d / t h a t you be ashamed t o go. naked;
Jesus C h r i s t was b e a t e n / i n o r d e r to sa ve s i n n e r s .
65
On the bos'is o f
this
Liuzzi
claims
Cor t o na Codex must have bel onged
consequently
that
91,
time.
that
But
the e n t i r e
the
lauda
that
in q u e s t i o n ,
as i t
these strophes,
to s u b s t a n t i a t e h i s
to discount
t he f a c t
these verses
is,
the
t o t he f lege I I an t i of 1260,
e v i d e n c e o f any s o r t
finds
I V of
and
m a n u s c r i p t must d a t e f r om a f t e r
not o n l y does not c o n t a i n
entirely
hymn no.
that
in f a c t ,
appear s
it
c o n t a i n s no
theory.
t he document
known t o have
i n Cor t ona
Liuzzi
seems
in wh i ch he
its
origin
some-
y
|^
time a f t e r
t he y e a r 1 3 5 6 .
It
simply
t he t y pe of a c c r e t i o n so common i n
century of
dissemination.
t y pe c o u i d be c i t e d
if
additions
in
numbers o f
entirely
text.
for
it
In t h i s
it
does,
their
Liuzzi's
t he hymns of
removed f r om t he
43
1260.
It
is
hymns shoul d r e f l e c t
argument
is e n t i r e l y
large
this
untenable,
least a
issue.
t o h i s own s a t i s f a c t i o n
document,
the no t io n
he goes on t o
t he d a t e 1260 must be moved f o r w a r d a n o t h e r de cade.
Th i s a l l e g a t i o n
attribution,
and w i t h s i z e a b l e
must be remembered t h a t
t h a t Cor t ona 91 was a p o s t - f l a q e l l a n t i
that
this
the Cor t ona
on e v i d e n c e drawn f r om a work a t
But h a v i n g e s t a b l i s h e d
insist
examples o f
l a t e r ma n u s c r i p t s
Furthermore
therefore,
p e r i o d o f more t han a
I a udes i became d i sc i p I i na t i a f t e r
me t a mo r p h o s i s .
century
in
understandable th at
r e s t i n g as
that
Countless ot her
one chose,
codex a p pe a r f r e q u e n t l y
represents,
he bases on a n o t h e r unproved and u n q u a l i f i e d
namely t he a s s i g n i n g o f
Cf . T e n n e r o n i ,
o£.
ci t . ,
p.
lauda XXXI I
10.
t o Jacopone da
Todi.
Si nes
Liuzzi
r easons
f o r e 1270,
t he F r a n c i s c a n f r i a r ' s
that
the
In t h i s ,
manuscripts,
several
Furthermore,
recent
of
Liuzzi's
is c o n t a i n e d
p o i n t out
in
this
the famous
poem o f
Jacopone,
hypothesis
u n d e r l y i n g L i u z z i 's t h e o r y
But
the
prototype
not h i s
45
but
One
sim ilarity
to el eve n p a r t i c u l a r l y ,
and
Aga i n t he
i s weak.
laude a r e w e l l
k n o w n , ^ and
the baI l a t a f or m has a l r e a d y
i s s h ou l d be ment i oned t h a t
their
really
Donna de I pa rad i so .
views on t he form o f
regarding
t h a t a vast amount
c o n n e c t i o n t he s t r i k i n g
eight
t he
to a T u d e r t i n o . ^
be d e s i g n a t e d as " p s e u d o - J a c o p o n e . "
strophes
the theor y
it
t o Jacopone i s
between Lauda XXV,
His
for
be­
i n a number o f me di a ev al
s c h o l a r s h i p has r e v e a l e d
t he p o e t r y once a t t r i b u t e d
mi g h t we l l
claims a r e suspect,
o f whi ch a s c r i b e
shoul d more c o r r e c t l y
in 12 6 8 ,
lauda c o u l d h a r d l y have been w r i t t e n
too,
hymn to whi ch he r e f e r s
conversion occurred
Liuzzi
believes
in L a t i n e c c l e s i a s t i c a l
forms.
been d i s c u s s e d .
the
laude have
I n hi s o p i n i o n
C f . R e n i e r , o£. ci t ♦, 111 .
I t shoul d be n o t e d t h a t L i u z z i
makes some o t h e r e r r o r s o f t h i s n a t u r e .
Ha p l a c e s M a r c h e t t u s o f
Padua' s work i n 1274 r a t h e r t han a f t e r 1 3 0 0 ; he s i t u a t e s Anonymous
I V a t t he op e n i n g o f the f i f t e e n t h c e n t u r y i n s t e a d of ar ound 12 80,
and i n s i s t s upon a t t r i b u t i n g t h e SpecuIum mus i c a e to Jean de M u r i s ,
whereas i t i s g e n e r a l l y a s s i g n e d t o Jacobus o f Lifcge.
45
XXV,
For compar i son of
Vol I I , p. 2 6 9 .
these
two t e x t s
^ C f . Ape I , H a r v a r d D i c t i o n a r y ,
t he M i d d l e A g e s , p. 2 3 7 .
p.
c f . no t e s a f t e r Lauda
294;
Reese,
Mus i c in
67
t hose hymns whi ch c o n t a i n
within
the exact
t he s t a n z a have t h e i r
specifically
and the
that
la s t of
i n t hese
r oot s
t hose
At
cases t he
the s t r o p h e al ways
last
the r e f r a i n
patterned a f t e r
t h e r i pr esa
V III,
XX,
whatsoever.
t he L a t i n
these
the more numerous exampl es
the
of
and XL I I I .
r e p e a t e d s e c t i o n s must more t r u l y
the o r i g i n a l
mel od y.
-Midway between
These he c a l l s
such p a t t e r n s .
prototypes
was
it
o f me di a ev al
But even i f
is
t h e sequence
intentional.
It
the
to d e t e r m i n e
i s more
of
lauda i s
song.
likely
that
The p o p u l a r el e me nt
too pr omi nent
musicologists are
to discount,
inclined
i n f l u e n c e more than t h a t of
is d o u b t f u l .
influence of Latin
t o what e x t e n t
the
to fa v or
this
i n f l u e n c e was of
a subconsci ous n a t u r e - - r e s u 11ing f r om r e p e a t e d
liturgical
l a u de .
monody can be reduced to
we a d mi t
impossible
in which
be c o n s i d e r e d v a r i a t i o n s
What ever v a l u e t h e s e d e s i g n a t i o n s may have
F o r m a l l y a good deal
They a r e ,
hymn c o m p o s i t i o n s .
XXI X,
lie
XXI V,
the s c a l e he pl aces
The best exampl es a r e X I X ,
two d e s i g n a t i o n s
He not es
In t h e Co r t o n a
exampl es,
t he ext r eme o p p o s i t e end o f
to L i u z z i,
line of
r hyme.
laude which c o n t a i n no r e p e t i t i o n
according
of
in t h e l i t a n y f o r m .
l a u d a r i o t h e r e a r e f o u r such e x a c t
and XXX.
repetition
h e a r i n g of
i n t he v e r y e n v i r o n me n t
and p r e s e n t - d a y
the t h e o r y o f
Italian
popular
litu rg ic a l.^
4 *7
N o t a b l y p r o f e s s o r s G h i s i and F a b r i , f r om remar ks i n pei—
sonaI i n t e r v i e w and l e c t u r e s a t t he C o n s e r v a t o r i o L u i g i C h e r u b i n i ,
i n F Iorence.
68
But t h e r e a l
system o f
"Achilles
t r a n s c r i p t i o n of
Franconian s o l u t i o n f o r
hell"
of
the music.
the f o l l o w i n g
1)
t h a t i t was i n t e n d e d f o r
pr i ma r i I y ;
2)
t h a t the manuscript contains
F r a n c o n i a n symbol s; and
3)
t h a t where t h e system i s
The s o l u t i o n whi ch he suggest s
principle
en unciating his
rhythm o f
t he wor d.
In t h e usual
p h r a se n o r m a l l y
the p a t t e r n
turn
falls
two u n i t s o f
be gi ns h i s w o r k .
transcriptions
none o f
tried
it
t h e usual
pr oves
in artistic.
48
upon a t w o - f o l d
in the
to t h e
lauda a mu s i c a l
length wi t h a verse of
eight
syllables).
This
text
(as a
phrase
in
r h y t h m i c groups compar abl e to
Each o f
these
one s t r o n g and one weak,
alternation
of
in t u r n compr i s es
or one t h e t i c and
s t r o n g and weak beat s
Liuzzi
But whereas Fr ench monody c o u l d be r e n d e r e d
longs end br eves o f modal
rest
upon t he e q u a l i t y o f
t he r h y t h m i c modes t o
r hyt hm of
in
i s one of
Upon t h i s
the
use i n p o l y p h o n i c music
d i s p o s i t i o n o f e l e me nt s
time,
rejects
r easons:
instead rests
i n modern n o t a t i o n .
the a l t e r n a t i n g
He j u s t l y
i s hi s
may be d e s c r i b e d as f o l l o w s :
into four smaller
f o u r measures
theory
p r i m a r y concer n f o r f i d e l i t y
coincides
rule
one a r s i c .
It
Liuzzi's
the te x t
Italian
which
notation,
syllables.
v e r s e would do v i o l e n c e
is not a c c e n t u a l
but
i n an a c c e n t u a l
^Liu zzi,
192.
Iauda.
.
.,
p.
laude
Applying
t o the
tonic.
Madame Rokseth remarks t h a t
La
t he
language such
in
69
as Fr ench,
t he c o r s e t de f e r
of
the
se r v e s t o s u p p o r t and un d e r s c o r e
of
Italian
lyric
poetry
marked to e l i m i n a t e
tio n of
it
the need o f
t he musi c,
lies
c o inc ide with
it,
t he
r h y t h m i c modes
But
verse
space
V? e r h e b i q ke I t
strongly
to s u i t
likely
left.
theory,
but
b e a t of
thirteenth
it,
and c o n t r a c t i n g
t h e word must
the music.
rhythmic a l t e r a t i o n s
s i n g i n g of
the
the
laude
but have
is
l auda .
i n t he
not
length,
and i s
i n keep­
The pr obl em
becomes even more c o m p l i c a t e d
strophic
to the
pr ocedur e whi ch was v e r y
purpose o f t h e
s t a n z a s w i t h an uneven ver se
by t he e l e v e n - s y l l a b l e
itself
Thi s m a n i p u l a t i o n o f music
Such an academi c appr oach
the s i m p l i c i t y o f
What ever
hi s method c a nnot
i s f a r f r om the t y pe o f
century.
by such
Procrustean manipula­
foreswearing of
t he r e s u l t o f
employed i n the a c t u a l
ing w i t h
his
"Ri emanesque" o v e r t o n e s .
text
sufficiently
the a c c e n t
p r i m a r y a c c e n t of
For a l l
in the case
notes.
stretching
the t h e t i c
is
between t h e s e s t r o n g b e a t s must accomodate
amount of
of
bending
49
underscoring
proceeds w i t h a s c r u p u l o u s
in such a manner t h a t
al ways
the t e x t .
the r hyt hm o f t he
a d e v i c e as t h e p r o l o n g a t i o n o f
Liuzzi
inflexible
in
t w i c e confounded
pattern.
^Yvonne Rokset h, "Le l aude e t l eur e d i t i o n par M. L i u z z i , "
Roman?a , LXV ( 1 9 3 9 ) , 3 8 5 .
More r e c e n t works woul d t a k e i s s u e
w i t h Madame Rokseth i n c a l l i n g Fr ench p o e t r y a c c e n t u a l .
Best
known i s t he o p i n i o n o f C u r t Sachs ( C f . Rhythm and Tempo, 1 9 5 3 ,
p. 1 78) . D r . Sachs c l a i m s t h a t t h e rhythm o f Fr ench v e r s e i s
n u mb e r i c a l r a t h e r t han m e t r i c a l or a c c e n t u a l .
70
The h a r mo n i z i n g o f s y n t a c t i c
of
the b a s i c
psal mody,
It
laws o f
for
exampl e,
is t h e e n t i r e
represents
and i t s
certain
rule
h i e r a r c h y of
then
is
of
Liuzzi,
with
music i s
Perhaps
is
pr i me concern of
t he
result
that
true of
t h os e
thetic
calls
the t e x t
to r e a l
f r amework c a r e f u l l y
the
and
t he
last
principle
tonic accent.
in r e v e r s e
i n v i o l a t e and the
deformity.
Thi s
is
par­
such a method
lies
In
the s u cce ed i ng
ve r s es of
t he hymn in a
c o n s t r u c t e d to f i t
the f i r s t
strophe.
in itial
stanza of
The t h e o r y ne v e r
treat
Onl y
t he c o n s i d e r a t i o n
upon t hese r u l e s
r emai ns
be con­
transcriber
play,
beat w i t h
t he
lauda was sung and t h e o t h e r s were s i mp l y
criptions
is
to a
laude c o n t a i n i n g m e l i s m a t i c f i g u r e s .
had once b e l i e v e d t h a t o n l y
tory s t y l e .
into
Finally,
t h e s t r o n g e s t argument a g a i n s t
t o handle
it
the
distortion.
called
precedence.
on t he c o n t r a r y ,
inabi l i t y
Mazzoni
The music must al ways
the a l i g n m e n t of
there
in t he t r a n s c r i p t i o n o f o l d
the t e x t
sometimes s u b j e c t e d
ticularly
its
system o f
that
t o be employed a c c o r d i n g
importance.
the
relevance.
cadence which
MadameRokseth obser ve s
the two may come i n t o c o n f l i c t
t o be a p p l i e d
little
c a esu r a and i t s
t o be a p p l i e d
the music whi ch t a k e s
order,
its
i s one
In g r e g o r i a n
word is of
the me l o d i c c o n t o u r w i t h o u t
t he m e t r i c
wher e ve r
unit.
Therefore,
to p r e s e r v e
e a r l y mu s i c .
individual
t h r e e axioms are
sidered f i r s t .
is
the
se nt e nce w i t h
the musi c al
is a t r i p a r t i t e
musi c,
form in a l l
s t r u c t u r e w i t h music
laude as
pe r f or me d
f ound c r e d e n c e ,
if
yet
he b e l i e v e d t h i s
the
in de cl a ma­
Liuzzi's
trans­
t o be t r u e .
71
Hi s
rhythmic,
succeedi ng
mensural
versions
s t r o p h e s of
show
little
t he h y m n s . ^
No one would deny t h e p o s s i b i l i t y
period
i n which
certainly
the
the
l aude were bei ng
I i k I ihood o f
must be a d m i t t e d .
There
c o r r e c t i o n on the
part o f
into
not a l t o g e t h e r
is,
reluctance
actuality
to
rectify
t he
sense and c l a r i f y
well
obvious,
He has,
appear s most o b v i o u s l y
and
t he s c r i b e
need f o r
such mus i c .
Liuzzi
and has not h e s i t a t e d
to
however ,
errors
shown a c e r t a i n
I n t he musi c,
when in
a d j u s t m e n t would both enhance the musi cal
certain
as
of
the
on abundance o f a c c i d e n t a l s
the d i s t r i b u t i o n
i n t he cose o f
ticularly
in t e x t ,
part
on i n e v i t a b l e
t r a n s c r i b e r of
even smal l
only a s l i g h t
transmitted a u r a l ly ,
therefore,
tastefully,
the t r a n s c r i p t i o n s .
of c o r r u p t i o n during
some e r r o r on the
has a t t e n d e d t o such e d i t i n g s
inject,
o r no r e g a r d f o r
of
text.
51
Hi s system works
s y l l a b i c hymns whose rhythm is
i n the case o f
i n the
VII
and X.
But
its
par­
weakness
laude o f a more m e l i s m e t i c c h a r a c t e r .
By a l mos t m e c h a n i c a l l y c o n f i n i n g
ligatures
t o t he space o f
t he
MadameRokseth c a l l s a t t e n t i o n to t h i s and o f f e r s c o r r e c t e d
v e r s i o n of s e v e r a l l a u d e .
( C f . Rokset h, 3 9 1 - 3 9 3 ) .
But both she
and L i u z z i a r e c r i t i c i z e d by R a f f a e l l o Mo n t e r o s s o in hi s Mus i ca
<5 r i tm? ca dei t r o v a t o r i . (Mi l ano:
G i u f f r e , 1 9 5 6 ) , pp. 6 6 - 7 5 .
M o n t e r o s s o ' s o b j e c t i o n i s t h a t w h i l e RoKset h’ s c o r r e c t e d v e r s i o n s
presume t o be on improvement t hey a r e s t i I I mensur al and t h e r e f o r e
e q u a l l y os u n a c c e p t a b l e as t h os e o f L i u z z i .
51
For exampl e c f . r e s o l u t i o n o f Lauda XXI X, Vol I I ,
Compare t h i s w i t h L i u z z i * s v e r s i o r } Appendi x C, p . 1 2 2 .
p.
285.
72
unit
note,
Liuzzi
sequences o f
a trained
rapid,
singer
ticularly
presents
in h i s
transcriptions
some j a r r i n g
measured semi quaver s which would r e q u i r e
to execute a r t i s t i c a l l y .
unsatisfying
Thi s becomes p a r ­
when t h e meli smas oc c u r on t h e
last
s y I Sables ^
Yet wi th a I I
i ts weakness,
me I od i a i t a I i ana has f i I l ed a
me d i a ev al
non-liturgical
By way o f
contrast
_La I auda £ J_ pr ?mord i de I I a
large h i a tu s
monody and w i l l
the most
s t udy o f
t he
lauda r e p r e s e n t s
suralist
appr oach o f L i u z z i .
is
Qua r a n t a d u e Laude Fr ancescane do I
The t r a n s c r i p t i o n
of
four
l aude)
completely
style
bound by the r u l e s
I n the words o f
t he p o l y p h o n i c composers of
teenth centuries
t he f l u i d
clothed
r hyt hm o f
53
Praglia
of s t r i c t
melodies."
to
this
(with
rhythm o f
t he f o u r t e e n t h ,
t he chant
52C f . Appendi x C,
is
is
53
secoIo.
t he e x c e p t i o n
chant.
The
i n the modal
chant h o r m o n i z a t i o n .
the h a r m o n i z a t i o n
their
t he men-
I audar i o Cor t onese X I I I
by Padre N.
the e d i t o r
the
the work e n t i t l e d
in t h e f r e e
supplied
into
reversa I of
by Padre A n t o n i o Conuto
accompaniment
but not
r emai n a monument .
recent excursion
a compl et e
It
i n t h e h i s t o r y of
is
that
" w i t h which
fifteenth,
and s i x -
The a p p l i c a t i o n o f
music w i t h
its
regular
p. 1 2 1 .
A n t o n i o Canut o, and N. P r a g l i a .
Qu a r e n t a d u e I audi f r a n c e s cene de I l a u da r i o C o r t o n e s e X I I I s e c o I o , ( ftome:
f 3 i z I on i NT
F r a g I i a , 19 5 7 ) , p . 4 .
73
and u s u a l l y
factorily
v e r y r h y t h m i c p o e t i c met er r e s u l t s
amorphous c h a r a c t e r whi ch shows too
for
t he r hyt hm o f
t he
liberty
However,
the t e x t .
of a l t e r i n g
in vi ew of
hymnal f o r
present
justified,
since
it
their
intention
such t e x t u a l
rather a practical
In thus
reviewing
have t a k e n
completely.
e mendat i on would be
t he
it
p o e t r y and the
impractical
for
In t h e i r
F a t h e r Canuto nor F a t h e r
makes any c l a i m t o p r e s e n t a c r i t i c a l
but
the e d i t o r s
age t han t h e m e d i a e v a l .
neither
regard
t o produce a p r a c t i c a l
passages woul d r e n d e r
that
little
sometimes a l m o s t
both t he a r c h a i s ms of
less f o r t h r i g h t
must be s a i d
the t e x t s ,
day use,
c r u d i t y of c e r t a i n
in any
Furthermore,
i n an u n s a t i s ­
use
behalf
Praglia
e d i t i o n o f the m a n u s c r i p t ,
one.
the amount o f
"plastic
surgery"
to which
Cor t ona 91 has a l r e a d y
been s u b j e c t e d one h e s i t a t e s
to suggest
still
But
t he compl et e
another
investigation
anical
with
theory.
of
the
behavior,
can be of
t he s t u d y o f
Italy
it
points
construct
upon i t
Out o f
t he
by t h e
this
text,
t he w r i t e r
for
believes
c o n t e n t as w e l l
that
as me r e l y mech­
some e n l i g h t e n m e n t .
the d e v e l o p i n g me di a e v a l
And t o g e t h e r
confraternity
in
to t he need f o r a system s i m p l e enough to r e ­
lauda a c c o r d i n g
ver y
society
conviction
to
that
t he s p e c i f i c a t i o n s
br ought
it
into
imposed
existence.
t he p r e s e n t work has e v o l v e d .
CHAPTER IV
PROBLEMS OF EDITING
CHAPTER IV
PROBLEMS OF EDITING
Port
I
Ed i t i nq the Mus i c
Despite
in the
last
the
pro I i f e r o t i o n
century
the
pr obl em o f
remai ns a c o n t r o v e r s i a I one.
t he a p p l i c a t i o n
free
the
rhythm o f
o f modal
Suggested s o l u t i o n s
dependi ng
individuo I . t r a n s c r ib e r ,
t h a t any s o p h i s t i c a t e d
intended.
and s o c i o l o g i c a l
the simplest
rendition
th e ir original
There
t he
is a r u s t i c i t y
repertoire
stitutes
t a s t e of
transcription
realization
their
issues
of
the
sim plicity
on the b a s i s o f
both mus i c a l
with
the hope of
in
preserving
popular c h a r a c t e r .
the t r a n s c r i p t i o n o f
this
upon t h e
the
laude have he r e been p r e s e n t e d
possible,
endemic to the
by the P r o c r u s t e a n methods of
to
range from
as t h a t o f the p e op l e f o r
Therefore,
r easons
monody
ex t r eme o f
hormony w i t h
c o n t e n t and e x p r e s s i o n as w e l l
whom they were
largely
The p r e s e n t
l aude would be c o m p l e t e l y out o f
of
rhythm i n me d i a e v a l
rhythm t o t he o t h e r
t he c h a n t ,
f r om a c o n v i c t i o n
of m u s i c o I o g i c a I i n v e s t i g a t i o n
perhaps
is
certain
the music.
fixed
stages
75
it
is v i o l a t e d
academi c appr oaches
Fundament al
the u n d e r s t a n d i n g t h a t
the f i n a l
lauda which
to any s t u d y of
i s musi c whi ch c o n ­
in the e v o l u t i o n o f
ne umat i c
notation,
and can n e i t h e r
or s c r i p t o r i u r n ,
is,
therefore,
Even w i t h i n
be a t t r i b u t e d
nor be g i v e n an u n e q u i v o c a l
little
school
realization.
There
t o be g a i n e d by compar i ng m a n u s c r i p t s .
t he same work t he d i s c r e p a n c i e s
page t o page f r e q u e n t l y
present
whi ch a r e not easi ly s o l v e d .
the task of
to any s p e c i f i c
problems
e n c o u n t e r e d from
in n o t a t i o n a l
The i n d i v i d u a l
d e v i s i n g h i s own be st method f o r
is
thus
practice
left
with
t he s p e c i f i c
work
under c o n s i d e r a t i o n .
The q u e s t i o n o f o r i g i n
poses a probl em to t h e t r a n s c r i b e r .
The absence o f music i n n e a r l y a l l
the
lauda m a n u s c r i p t s
have been p r e s e r v e d from t h e m i d d l e age s ,
fact
that
well
known t o t he
didactic
friar
th e m e l o d i e s e m p l o y e d i n s i n g i n g
people.
nature of
the
o r even r e p e t i t i o u s
laude
it
the e v a n g e l i c a l
lie
popular a r t
of
in
t he f a c t
the
its
past has al ways
may a l s o be a s c r i b e d
V e l l u m was c o s t l y ;
that
this
little
t he
itinerant
t he hymns t o h i s
de a rt h of w r i t t e n
sour ce was p o p u l a r song,
been poor Iy r e c o r d e d .
to the s h e e r f o r c e
and t h e
that
and
so academi c as s o l f e g g i o
in p r e s e n t i n g
The r eason f o r
t o t he obvi ous
them must have been
is u n t h i n k a b l e
r o t e methods
outdoor c o n g re g a ti o n .
it
Considering
sh ou l d have had to employ a n y t h i n g
musi c may
points
which
and
But
of circumstances.
town o f Co r t o n a u n d o u b t e d l y
had ve r y few c i t i z e n s who c o ul d have a c q u i r e d t h e knowl edge o f
music and t h e s k i l l
in c a l l i g r a p h y
I t a l i a n was not y e t
taught
rely
on h i s
needed t o
record t h i s music.
i n t h e school s and t he s c r i b e had to
knowl edge o f L a t i n
to record
the
v u l g a r t e x t s as he
77
hear d them.
In a l l
Admittedly
t he
probability
t h i s was t h e work o f a c l e r i c .
t he s u r v e i l l a n c e o f
l ay c o n f r a t e r n i t i e s
of
t he mendi ca nt f r i a r s
the m i d d l e ages may have caused an
el e me nt of
the c l e r i c a l
l aude,
t he Cor t ona m a n u s c r i p t o f f e r s
this
but
nature.
si gns o f
ably a
later addition
into
the musi c al
little
s t y le of
Pueri
haebraeorum f r om t he
that
the openi ng
ad a I t a
voce,
vi ew o f
the f a c t t h a t
Hol y Cross
to the m a n u s c r i p t .
it
i s d e r i v e d f r om
is
possible that
unquestion­
is Lauda XLV,
Palm Sunday
lin e of
liturgy.
theme
Padre
t he Lauda XXV, Onne homo
t he g r e g o r i a n Vex ? I la Reg i s .
t h e r e mi ght
inspiration.
evidence
in p r a i s e of
In
the
be some a s s o c i a t i o n ,
But t he
c o n f i n e d t o a mere s i x not e p a t t e r n a t
sufficient
is
certain
draws upon t he chant
both c o mp o s i t i o n s a r e
o n l y an unconsci ous
line— hardly
It
t he
evidence of
lauda f r om the codex e x h i b i t s
_e I l a u d a t i , whi ch c l e a r l y
Canuto c l a i m s
if
to e n t e r
b o r r o w i n g from a g r e g o r i e n sour ce and i t
Bened ?c t i
of the
On l y one
ov e r
r esembl ance
the end o f
to s u b s t a n t i a t e
is
t he f i r s t
claims of
chant
origin.
Ther e
is
upon a common
quently
i n the
laudario
?1 e v i d e n c e o f
fund of melodic f r a g m e n t s .
encountered p a t t e r n
Vor
115 .
2
Perhaps
in the manuscript
I|l: /7 f
p.
a t e nde ncy t o draw
d iffe r e n c e s in c a llig r a p h y
C f . a l s o V o l . I I , p. 404
» •'
is
t he most f r e ­
the f o l l o w i n g :
i
c f . Appendi x B,
Plate
VII,
Not e f r om p e r s ona l i n t e r v i e w w i t h Padre Canut o, C o r t o n a .
I t a l y . May 1 l , 1 9 o 4 .
For purposes o f compar i son c f . Lauda XXV,
vol H , p. 266 , and Li ber Usuo I i s , p . 5 7 5 .
78
Although t h i s
cannot
f r a g me n t occur s
i n many exampl es o f g r e g o r i a n
chant
it
be c o n s i d e r e d a bor r owi ng f r om i t ,
f ound
in numerous o t h e r sour ces as w e l l .
fragmentary s i m i l a r i t i e s
of
t he
laude
in
cannot
the manner o f
The p r e s e n t
justify
the chant
t r a n s c r i p t i o n of
mode 1^ and g r e g o r i a n s o l u t i o n s o f
Cortona 9 1 .
3
the n a t u r a l
rhythmic
rendition
t he
repertoire.
sl ow and r a p i d groups whi ch occur
version,
and y e t
rhythmically
meter of
the
if
To p r e s e r v e
sometimes n e c e s s a r y ,
alterations
in the
enough to p r e s e r v e
results
i n a hymn o f
t he rhythm i n
or a t
i n t he t e x t and
t i o n s whi ch were
the j a r r i n g
t hese
least advisable,
in t h e manner o f
necessary
n a t u r e such as X X I I I ,
regu lar pulse.
or
in
In g e n e r a l
in
the
t he same
it
t o make c e r t a i n
singing;
p r o b a b l y a u t o m a t i c a l ly a p p l i e d
a r e not
t he
instances
altera­
by the s i n g e r
i n much t h e same manner as t h e u n w r i t t e n mus i c a f i e t a .
alterations
Liuzzi
In t e x t s o f a d e c i d e d l y r e g u l a r m e t e r
system f o l l o w e d he r e n e c e s s a r i l y
metric q u a lity .
the
i n a r hyt hm f r e e
ju x ta p o s itio n of
poetry.
t he m e n s u r a l ,
r h y t h m i c pr obl em o f
m e l o d i c cur ve w i t h o u t
regular
is
t h e s e few
The hymns have he r e been r e n d e r e d
enough t o r e s p e c t
it
Above a l l
the music r e j e c t s
t he
for
Such
the hymns o f a r e c i t a t i v e
those po sse ss i ng a weaker and
these a l t e r a t i o n s
less
may be d i v i d e d
The phr ase quot e d may be f ound i n g r a d u a l s o f t he c h a n t ,
hymns, a n t i p h o n s of t he o f f i c e and i n the O r d i n a r y o f t h e Mass,
But t n ey a r e l i k e w i s e c o n t a i n e d i n t h e ca nt i g a s , t h e Lei c h # and
the c a r o l .
For more c ompl et e di scuss i on c f . J a c k West r up, NQHM,
I I , p. 2 3 9 .
79
according to
t hose made i n t e x t ,
both s i m u l t a n e o u s l y .
They a r e
those
E lision.
A word
and those
in
the f o l l o w i n g :
A I t e r a t i ons
^*
in musi c,
i n Tex t
whi ch ends
i n a vowel
and pr ecedes
a word b e g i n n i n g w i t h a vowel may sometimes u n i t e
with
are
that
word.
In t h i s
t r e a t e d os one,
cases
two s y l l a b l e s
united
s h o r i n g one not e of m u s i c .
the a l t e r a t i o n
by a c u r v e d
case the
is
indicated
lin e connecting
in
the
In a l I
transcription
t he s y l l a b l e s
united.
"modre^e f i I i a"
A I t e r a t i ons
*
Synaer esl s .
Thi s
is
?n Mus i c
the u n i t i n g of
s i n g l e not es
whi ch would o r d i n a r i ly r e c e i v e one p u l s e each,
the manner o f a
ligature.
the v a l u e o f t he u n i t
of
not
reasonably
to
They c o n t r a c t
t o shar e
I t oc c ur s o n l y
i n hymns
r e g u l a r met er and is employed
in o r d e r
interrupt
the
note.
in
r h y t h mi c f l o w .
It
by t h e use o f a p o i n t e d ar ch c o n n e c t i n g
is
indicated
t he s y l l a b l e s
concerned.
A
"Gloria'n
2.
D ?a e r e s i s .
Thi s
is
.
.
A
c i e l o e pace'n
the op po si te
the musi c
is expanded to f i t
It
very
oc c ur s
procedure,
the s y l l a b l e s
I n f r e q u e n t l y and when i t
the f or m o f b r e a k i n g
order
terra.”
t o accomodate
. i a
"Stomme
ligatures
the t e x t .
into
+
+
of
text.
does,
takes
single
n a e t l ia tMi o slo ”
allegro
by which
not es
in
80
Si mu I t aneous A I t e r a t i on of
1.
The c o mb i n a t i o n o f e l i s i o n
v e r y commonly in t he
of a decidedly
and s y n a e r e s i s occur s
particularly
rhythmic c h a r a c t e r .
t h e s i mu l t a n e o u s
ligatures
l aude,
Tex t and Mus i c
It
tr e a tm e n t of s i n g l e
the sense o f
contracting
approximately
the space o f
t he u n i t
indicated
proper
to each,
use o f
in
them i n t o
note),
i n t o one sound.
by the s i m u l t a n e o u s
results
not es as
(in
c o n t r a c t i n g of vowels
i n those
It
and the
is
t he symbols
thus:
"Onne homo^pd a l t a
voce"
"Quanto^e di gna da
laudare"
Unaccent ed Words
1.
All
in itial
c litic
unaccent ed s y l l a b l e s ,
words a t
as an a n a c r u s i s
In t he
usual
avoided.
It
the b e g i n n i n g o f
of a regu lar
may be noted t h a t
c o r r es ponds w i t h a phrase o f
t he t hought o f
t o be f ound
t he p o e t r y .
i n the
lines
signatures,
p a tte rn of
bar
stress
t h e next w i t h o u t
cases
text
i ncorrect.
ar e r e n d e r e d
lines,
and a cadence
t o a pause
t ype poems,
refrain
after
in
usually
i n which the
t o the b e g i n n i n g
i n t e r r u p t i o n o r even p u n c t u a t i o n .
t he
and t he
have been
Ther e a r e a few e x c e p t i o n s ,
long n a r r a t i v e
the r e p e t i t i o n of
pro­
g e n e r a l l y a phr ase of music
t h o u g h t c o n t i n u e s f r om the end o f one s t r o p h e
of
as
i n t he mus i c .
present e d i t i o n a l l
indications
as w e l l
In t h e s e
each s t a n z a would be
81
Thr oughout
are
the
transcription
r educed to t he
exception of
the •
,
J o f modern n o t a t i o n ,
t he a l t e r a t i o n s
previously
.
The p l i c a
v ir tu e of
the f a c t
practically
t he obvi ous
L i g a t u r e s are
under b r a c k e t s
thus:
is
infrequently
t r a n s c r i b e d as such
that
t he s c r i b e
seems to have used i t
in d is c rim in a te ly with
Compari son o f
with
noted.
t r a n s c r i b e d as q u a r t e r not es and appear
JJJ
t he ^ , and the
identical
the br eve and t he
passages r e v e a l s
t he c a s e .
For t h i s
reason t he p l i c a
seriously,
and i n n e a r l y e v e r y
that
has not
instance
this
l onga.
is f r e q u e n t l y
been t a ken
those
too
t r a n s c r i b e d have
been pa ssi ng t o n e s .
Dotted v e r t i c a l
are
pl a c e d
in
l i n e s e x t e n d i n g above and bel ow t h e s t a f f
t he e x a c t
i n t he o r i g i n a l
location
manuscript.
i n the music t h ese
value of
punct i d ?v i s i on i nor of
pl acement a t
t h ey a r e more
However,
laude V I I
simple
indications
thus:
in
Yet
the modern s e n s e .
ve r s e s
indicates
of breathin g
is
t h e n o t i o n of
that
places.
pr obl em i n t h e
They a r e
it
g i v e n t he
too close
possible
bar
to
to d i s c r e d i t
line.
It
is
t h a t such an i n t e r p r e t a t 5on would r e s u l t
in a hor r endous c o n f l i c t
and the s t r o n g
lines
lines occur.
c o m p l e t e l y any s u g g e s t i o n o f
X a ppea r
bar
pauses o r b r e a t h ma r ks.
i m m e d i a t e l y ob v i o us
dashes a r e not
and X p r e s e n t a p a r t i c u l a r
f r e q u e n c y w i t h whi ch the
indicate
vertical
the m i d d l e and end o f
likely
slashes occur
S i n c e t h e r e a r e no si gns o f men­
suration
Their
i n which r u b r i c
pulse of
between t h e n a t u r a l
t he mu s i c .
ac cen t of
The v e r t i c a l
lines
t he t e x t
i n number
82
Re- g i -
no
so-
The pl acement o f
vor-
rubrical
hymn is not c o n s i s t e n t .
After
t he openi ng system t hey n e a r l y
lost f o u r
s y st e ms .
t han the s t r a n g e
forms o r
The
no
de grom
signs
pi-
e-
ton-
i n t he a b o v e - me n t i o n e d
occurring
in close
sequence
disappear e n t i r e l y
f r om the
lines ore
inconsistencies
perhaps no more me a n i n g f u l
a l r e a d y no t ed i n
ligature
solid
l i n e s above and below the s t a f f
o r e used t o
se t o f f
the b e g i n n i n g o f new g r ou pi n gs and oc c u r b e f o r e
natural
a c c e n t o f t h e word,
this
in c o n t r a d i c t i o n
instances
These
except
i n those few coses
t o t he m e l o d i c s t r u c t u r e .
t he music t a k e s
pr ecedence o v e r
i n d i c a t i o n s or e meant
accent or a r e g u l a r
pulse
the
i n whi ch
I n t hose
t he word a c c e n t .
to be i n t e r p r e t e d ,
i n t he
r a t h e r os an i n d i c a t i o n o f
not os a musi c al
sense o f a bar
line,
but
e l a n ma r k i ng t h e new i mpul se a t
beginning of a rhythmic group.
The rhythm thus a l t e r n a t e s
groups o f
It
that
in
in s p e l l i n g .
Smal l
is
qo
two,
three,
some p a r t i c u l a r l y
w i t h s y l l a b i c musi cal
hymn t u n e .
o r mor e.
regular
style
The number o f
Above a l l
must be r e p e a t e d ,
the
in
however,
p a t t e r n s of
p o e t i c met er combine
t o f o r m a very
r e g u l a r and r h y t h m i c
such exampl es
is f a i r l y
i t must be emphasi zed t h a t
t he
ligatures
not meant
t o be i n t e r p r e t e d as oc cupyi ng s t r i c t l y
amount o f
t i me as t he u n i t
note.
large.
are
the same
They or e not s t r i c t
mathemot-
83
i ca I s u b d i v i s i o n s o f
the
quadruplets,
t o be r e n d e r e d f r e e l y ,
but a r e
of
br o a d e n i n g
of
the u n i t
note.
as number XI
florid
rather
tactus
into duplets,
is
especially
necessary
intended to r e t a i n
t he n o t a t i o n
is o n l y an a p p r o x i m a t i o n o f
ligatures
and s i n g l e
l i n e above t h e s t a f f ,
a p p l i c a t i o n of
but o n l y r a r e l y
is
its elf.
pl a c e d on t he s t a f f
has a l r e a d y
careful
both t he pages o f
oc cur
in o r d e r
Thi s
to avoid
t he
the a c c i d e n t a l
in the t r a n s c r i p t i o n .
II
the Text
preparation of
been c o n s i d e r e d .
throughout
sound.
i n d i c a t e d on a
In t hese few cases
It
the
in p r e p a r i n g
l aude t e x t s
this
noted)
that
translation.
the m a n u s c r i p t and t hose o f
i n the upper r i g h t
o f Cor t ona
i s h i s e d i t i o n of
( w i t h a few e x c e p t i o n s whi ch a r e c l e a r l y
followed
true
In s h o r t ,
t he c h r o m a t i c a l t e r a t i o n w r i t t e n
Editing
Liuzzi's
the
These
free
the a c c i d e n t a l s .
is ne c e s s a r y
Part
91
i n the hymn such
meas ur ed.
not e shapes a r e
as e r e a l s o
mus i ca f i e t a
i n t o t he m a n u s c r i p t
is
t he space
the q u a l i t y o f
and sh ou l d not be s t r i c t l y
tritone,
into
i n whi ch each phr ase ends w i t h a me I i s m a .
vocalization,
dr y
and
and w i t h a sense
t han o f c o n t r a c t i n g e x a c t l y
Thi s
portions are
All
triplets
t h e poems
has been
Therefore,
Liuzzi's
monograph
hand c o r n e r o f each t r a n s c r i p t i o n .
The
writer
has worked f r om bot h t he m a n u s c r i p t and t he p r i n t e d e d i t i o n
of
l a u d a r i o . and has c o n s u l t e d numerous o t h e r m a n u s c r i p t s
the
84
whi ch mi ght
clarify
certain
textual
emendations.
the ma n u s c r i p t sour ces were not a v a i l a b l e
necessar y
texts
were
several manuscripts
located
Whenever
to t h e w r i t e r ,
in secondar y s o u r c e s .
not used by L i u z z i
were employed
the
In a d d i t i o n ,
in t h i s
t r a n s c r i pt i o n .
All
textual
omi s s i o n ,
such
or o b l i t e r a t i o n
in t h e
given
emendat i ons n e c e s s i t a t e d e i t h e r
translation,
of
philological
collected at
er e c l e a r l y
and t he source o f
in t h e accompanying
usages or
text
notes.
Similarly
i n the
is
c e r t a i n obscure
problems a r e c l a r i f i e d
is cont ai ne d
i n d i c a t e d as
t he c o r r e c t i o n
the end of each t r a n s l a t i o n .
other abbreviations
by c o r r u p t i o n ,
in the
notes
A key to t hese and
introductory
section
o f Vo Iume I I . 4
The purpose o f
poetry
the t r a n s l a t i o n has been t o r e n d e r
into s u f f ic ie n t ly
on c o n t e n t m a t t e r whi ch
and a u t h o r s h i p o f
r e n d e r the
laude
readable
is
into
made to keep them as
v e r s e but
literal
as
interpretations
particularly
4C f .
p.
15 3 f f .
No a t t e m p t
has been made t o
is
possible.
has been
Necessarily
the
in some i n s t a n c e s where
r emai n vague t o d a y .
Frequently etymological
clarify
to t h e q u e s t i o n o f o r i g i n
r a t h e r every e f f o r t
w r i t e r has been f o r c e d t o be f r e e
literal
E n g l i s h to p e r m i t comment
relevant
the manu scr ipt.
the
ex pl a na ti on s are r e q u i r e d
difficult
passages.
At
to
t he same time t he
85
dialectal
traits
ev i de nce d h e r e e r e e x t r e m e l y
d e t e r m i n i n g t he background o f
uncomplicated pa tte rn s
on c o l l e c t i v e l y .
sistent
1.
of
t he m a n u s c r i p t .
linguistic
The m a n u s c r i p t
t endency
b e h a v i o r may be commented
Before
2.
The sib? l a n t
it
is
do I ye.
the
"d" f o r
Conversely,
the' c e d i l l a
"c."
fo r securo.
"t,"
and appear s
Thi s
5.
Ecclesiastical
Latin
The seme i s
thong.
the use o f
"p.”
sapi a .
"qn."
Thi s
is
in words such as oqne ( onqne) .
Letinisms.
word en di n gs
These may be i n t he
such as e n t i a ,
words such as
The p r e s e r v a t i o n o f
codex
vowel
thus:
true of
and t he "v" or "b" f o r
bo r r owi ng o f e n t i r e
6.
before
is common i n words such
The i n t r u s i o n of "n" o r "m" b e f o r e
very fr eq u en t
"b,"
t h e "m" becomes an " n . "
emperadore f o r e m p e r a t o r e , and sav i a f o r
4.
con­
do I yo r e .
The use o f " q" f o r
as s e q u r o ,
"p,"
When "c" pr ecedes a p a l a t a l
w r it t e n with
mer^ede,
3.
"c."
a fairly
labials,
and "m" the "n" becomes and "m. "
and " d , "
and
usages.
The homorqani c m ( o r n ) ♦
"t,"
in
Some g e n e r a l
shows t h r o u g h o u t
to the f o l l o w i n g
dentals,
significant
the
the t o n i c "o"
i uxta.
tonic "o."
is r a r e l y
For exampl e,
or e n t i a ,
or
Lux,
Throughout
t r a n s mu t e d
f orm of
i n the
etc.
t he
in to a diph­
f u o c o remai ns f o c o ,
cuore,
core,
and uomof om.
7.
Frequent s u b s t i t u t i o n s .
versa,
Finally
sour ces
t he " I I " f o r
"gl/"
The "e" f o r
" i ,"
and v i c e -
and t he " s c " f o r
some g e n e r a l m e n t i o n shoul d be made o f
known t o the composer o f
the
leude.
"g."
the
Allusions
literary
occurring
most commonly ar e
o f a s i mp l e
those
to S c r i p t u r e .
r e f e r e n c e or a more e l a b o r a t e
g a t i o n has shown t h a t o f t e n ,
are all uded
of
the
this
to,
t hey a r e
intervening
Wher ever
texts
whi ch oc c u r
comment
it
ceased t o suppl y what
individually
may be s a i d t h a t
aiso.
But
i t appears
Occasionally
been r e c o r d e d
literary
the
Each of
by a b r i e f
helpful
t hr ough
other
of
in understanding
laude
s o ur c e ,
t o t he s a i n t s
By way o f g e n e r a l
consulted
Jacobus de
l e g e n d a r i e s were known
drawn f r om t h e s e
the mi d d l e a g e s .
legends have
These,
like
i n t he notes assembl ed a t
translations.
t he f o u r d i v i s i o n s
introductory
in
t he Domi ni can f r i a r ,
indicated
individual
poet sought
t h e work most f r e q u e n t l y
the s t o r i e s
are
the
literary
in each c a s e .
that
in p a i n t i n g s
references,
t h e end o f
of h i s
T h i s happens most o f t e n
was t he famous Leqenda Aurea o f
Voragine.
passage
in the D i v i n e O f f i c e
known t o t he s c r i b e
t o f i n d he t u r n e d t o the o t h e r h a l f
and is d i s c u s s e d
Investi­
source.
the B i b l e
legend.
paraphrase.
when obscure Ol d Testament
t i me and were p r o b a b l y w e l l
popular
They may be in t he form
of
t he m a n u s c r i p t
section dealing with
t he
respective
a d d i t i o n each
individual
a c i t a t i o n of
the o t h e r manuscripts
t he background
groups o f
lauda t r a n s c r i p t i o n
i s preceded
hymns.
In
I s accompani ed by
in which t h e hymn may be
found.
And f i n a l l y ,
regarding the t r a n s l a t i o n s ,
no c lo i m 'to ph i lo log i ca I exce I I e n c e .
Ra t h e r
t he w r i t e r mokes
it
i s si nee re I y
87
hoped t h a t
laude o f
this
first
English
t r a n s l a t i o n of
Cor t ona 9*1 moy prompt t h e
p r e f e c t e d v e r s i o n of
and u n d e r s t o o d .
the b e a u t i f u l
phi l o l o g i s t
t o a more
t h e s e t e x t s whi ch so de s e r v e
t o be read
CHAPTER V
FINDINGS AND CONCLUSIONS
CHAPTER V
FINDINGS AND CONCLUSIONS
Thi s
d iscussion of
upon an i n v e s t i g a t i o n
lytical
light
which mi ght
and s y n t h e t i c a l .
its
o f e l e me nt s
s i m u l t a n e o u s l y ana­
The f o r m e r process
oge and o r i g i n .
from whot oppeor
y i e l d s a k i n d of
s t one to a s s i s t
has br ought
in itially
in
identifying
It
is
the c o n c l u s i o n s
too c l e a r
o b v i o u s l y a man o f
a pleasing
t he c o d e x .
primacy.
invalid
The
the
p a t t e r n of
Its
is a l mo s t
distinct
t o have b^en me r e l y f o r t u i t o u s .
d i s p o s itio n of
parts
p r o b a b l y on t h e b a s i s o f
c y c l e whi ch f o l l o w s
" s e c u l a r monody"
89
im­
four-fold
The s c r i b e ,
and good t a s t e ,
ba l a n c e and o r g a n i z a t i o n
liturgical
label
two pr ocesses
b e g i n t o emerge.
the m a n u s c r i p t
to the exominer.
In t h i s
laude a p pe a r f i r s t ,
t hese
Cont ent
c o n s i d e r a b l e abi l i t y
sense o f
sources,
which se r v e s as a t o u c h ­
t o such an i n v e s t i g a t i o n
mediately d is c e rn ib le
di vi si o n is
to be e x t r a n e o u s
in t he convergence o f
formal
the compounding
t he o r i g i n and i n s p i r a t i o n o f
The T e x t ;
The g e n e r a l
to
t he codex which
At t h e some t i me
synthesis of m a te r ia l
t he m a n u s c r i p t .
of
be c a l l e d
i n numer ob l e and f o s c i n o t i n g a s p e c t s o f
indicate
that
the Cor t ona L o ud a r t o 91 has been based
manifests
i n h i s a r r a ng e me nt
the f i f t e e n
their
chronological
illustrates
is when a t t a c h e d
Ma r i a n
how
t o the
leuda
90
repertoire.
liturgical
In s p i r i t
season
into
wou Id more c o r r e c t l y
t he
third division,
a forthright
intended to
Apart
the
the
theme of
t he d a i l y
the
t ownspeopl e and
the h o m i l e t i c
instruct,
edify
points
r a n g i n g from the a c t u a l
laude
X III,
Franciscan
o f f o r ma l
t he
laude
influence.
a r r a n g e me n t
i n d i c a t i o n s of a u t ho rs hi p ,
t o vague h i n t s
of
gr oup or c o n f r a t e r n i t y .
The m a n u s c r i p t
and X L I V ) ,
whi ch bear
Gar z o,
who a ppea r s
to have been t he a u t h o r o f
actual
identity
the poet
of
is m a n i f e s t e d
And f i n a l l y
naming o f an a u t h o r
XXI X,
In
t he hymns a r e c l e a r l y
observations
to c e r t a i n
to a p a r t i c u l a r
(V II,
for
overtones of
Spec i f i c des i qna t ?on o f a u t h o r .
four
there
and admoni sh.
from t hese g e n e r a l
assignations
l aude,
to d i d a c t i c i s m ,
contain s t r i k i n g
investigation
l i f e of
t he
be d e s i g n a t e d as " e x t r a - I i t u r g i c a I
intention
t o the s a i n t s
t hese hymns c a r r y
i s not
known,
the
contains
the name o f
poems.
s i n c e none of
The
the
oldest
of
documents o f the a r c h i v e s o f Cor t ona c o n t a i n any r e c o r d
-|
the name.
The f i r s t o f t h e s e is a s e t o f pr ov er bs w r i t t e n
in verse,
discovered
i n the B? b I ?o t e c a de I Comune o f C o r t o n a .
They d e s i g n a t e
the a u t h o r as G a r z o ,
sim ilar
laude i t
1
to the
is
logical
and s i n c e
their
to suppose t h a t
style
is
t hey may be
There i s a t p r e s e n t a fami Iv in t he town o f C o r t o n a by t he
name of G a r z i , but a c c o r d i n g t o t n e head of t h e :a m i l y , the
a n c e s t r a l l i n e o r i g i n a t e d i n Sp a i n , and the fami ly came t o I t a l y
o n l y in the s i x t e e n t h c e n t u r y .
91
the work o f
the
Anot her
i n t he MS I
same man.
poem b e a r i n g
I I 4 of
t he name of Garzo
t he B? b I i o t e c a
comunaI
is c o n t a i n e d
d i S i ena .
It
reads:
A lui f i e le g r a t i e che f a I? doni
c i o £ i I grande s i g n o r e che e somo bene,
di cui sempre f a l a u do r e ;
e Gar zo amen o r a .
It
is f o l l o w e d
in the m a n u s c r i p t
t i ss i ma, whi ch a l s o c o n t a i n s h i s
o f not e
that
this
without Garzo's
conceivably
specific
latter
name,
by the
name as a u t h o r .
hymn is f ound
a fact
the a u t h o r of
lauda Ave donna sanis wor t hy
i n t he Cor t ona m a n u s c r i p t
which mi ght
some o f
It
indicate
t h a t he
is
t he hymns whi ch c o n t a i n no such
identification.
Gar zo
is
grandfather o f
containing
b e l i e v e d by some s c h o l a r s
3
t he poet P e t r a r c h .
This
t he name o f Gar z o,
o f Per enzo who was the f a t h e r
is not c o n c l u s i v e
there
a notary
of
to have been the p a t e r n a l
is based on a r e g i s t e r
r e p u t e d t o be the f a t h e r
Petrarch.
A l t h o u g h t he e v i d e n c e
i s some r eason t o b e l i e v e
that
t he two
poets were r e l a t e d .
2
The Pr over bs o f Gar zo a p p e a r i n two modern p u b l i c a t i o n s .
They a r e i n c l u d e d i n t h e M a z z o n i ’ s e d i t i o n o f the Cor t ona l aude,
( Pub. G a r g n a n i , 1 8 9 0 ) , 1 1 4 - 1 3 8 .
A l a t e r e d i t i o n may be f ound i n
Poet i de I d u e c e n t o , Vo I . I I o f La L e t t e r a t u r a i t a I i ana s t o r i a e
teste,
fid? t e d by R o f f a e l l o Ma 11 i o Ti , Pi e t r o P a n c r a z i , and
A l"f redo S c h i a f f i n i .
(Milan:
Riccardo R i c c i a r d i E d i t o r e ) ,
pp. 2 9 5 - 3 1 3 .
3
Among them M a z z o n i ,
Liuzzi,
and P i r r o t t a .
92
Genera I r e f e r e n c e s .
Several
ment i on a company or f r a t e r n i t y
i n common.
has
One o f
received
writers
these,
in Cor tona.
or
two o t h e r
laude
brotherhood.
Lauda
II
Cor t ona
to
Lauda XXV,
Thi s
hove c l e a r l y
I n vi ew o f
Iaude.
By
it
o r i g i n f r om t h e t e x t .
t he f a c t
is e q u a l l y
t he p o s s i b i l i t y
assertions,
But
to not e
and
that
and a n o t h e r
possible
this
to
i n f e r e n c e must be count ed
t h e most i m p r e s s i v e of
t hese
Laude XXXVI
and XXXVI I
to
order.
The
l a t t e r of
strophe
to t h e p r a i s e o f
The argument
On the s i d e of
the many b r i e f
Franciscan
influence.
is the t h r e e - f o l d
the thre e
the
distinct
but
Perhaps
reference
branches o f
two me nt i on e d hymns de vot es an
t he
third
least
These may be i n t he form
relevance here.
revealing
the
does not
of determining at
or s i m p l y ommi ssi ons .
is not w i t h o u t
important a l l u s i o n s
reasons.
Spirit,
the Hol y S p i r i t ,
to any a u t h o r .
some h i n t s
positive
t he
f a r the m a j o r i t y o f the hymns o f
preclude
the
foiled
some
these.
automatically
"ex s i l e n t i o "
several
They a r e Lauda XXX to the Hol y
codex a r e not a t t r i b u t e d
positive
that
i n t he m a n u s c r i p t a l s o speak o f a company
l a u d o r i o to one o f
of
t he Hol y Cr o ss ,
the e x t e n t
is u n t e n a b l e f o r
the Bl es sed V i r g i n .
Anonymous
t he codex
codex t o the C o n f r a t e r n i t y o f
d e d i c a t e d t o t he Bl e s s e d V i r g i n ,
of
i n honor of
possessed a C o n f r a t e r n i t y o f
a s s i g n the
laude o f
whi ch may have sung the hymn
Those who make such a t t r i b u t i o n s
that
the
perhaps undue e m p h a s i s - - t o
a s s i g n the e n t i r e
Hol y Cross
of
order,
and i n a
later
in
the
entire
stanza
93
closes with
but no
t he
i n v o c a t i o n of
less s i g n i f i c a n t
is
Francis
the a l l u s i o n
in Lauda XXX t o t he Hol y S p i r i t .
contains
hymns
for
two f e a s t s
p r i m a r i ly t h r o ugh
Minor,
the V i s i t a t i o n ,
The i n c l u s i o n o f
section of
t he
to S t .
In a d d i t i o n
whi ch were
Roman c a l e n d a r
namel y,
as " p a d r e . ”
Less ob vi ous
Francis
contained
the manuscript
introduced
into
the
the e f f o r t s
of
the F r i a r s
and t he f e a s t
of
the Hol y T r i n i t y .
hymns t o F r a n c i s and Anthony
i n t he f o u r t h
I a uda r i o is a t e s t i m o n y ob vi ous enough to r e q u i r e
no comment.
The " p r a i s e "
overlooked.
the o l d e s t
l i t a n y of
c h a r a c t e r of
These b e a u t i f u l
t he M a r i a n
hymns,
i s ma r k e d l y
that
invocations of
of a
laude f r om t he
contain at
provide
ings.
least
provides
affective
is v e r y s i g n i f i c a n t .
p e r i o d of
two i m p o r t a n t o b s e r ­
All
of
self-
the ma n u s c r i p t s
t he f I age I I a n t i and d ?sc i p I i na t i
some r e f e r e n c e s
to taking
examination of
t he d i s c i p l i n e ,
t hese
l i k e w i s e more r e a l i s t i c
i n e x p r e s s i o n t han
From t h i s
Their character
t o the a c t
laude d e s i g n a t e d t o be sung a t
They a r e
and un d o u b t e d l y
i n t h e f or m o f a
the V i r g i n .
The absence o f any r e f e r e n c e
i n f I i c t e d scourging
penitential
in i mage r y ,
meet ­
the hymns o f Co r t o n a 9 1 .
textual
content
the f o l l o w i n g
The C or t o na L a u d a r i o c o n t a i n s a s e t o f
laudes i o r i g i n .
and
and more
c o n c l u s i o n s may be drawn:
1.
be
I audes i hymn r e p e r t o i r e .
The ar gument " f r o m s i l e n c e "
of
the s i m p l e s t
i n t he c o l l e c t i o n a r e f r e q u e n t l y
laudatory
vations.
Laude must not
hymns of
94
2.
1+ is f ound +o c o n t a i n a l s o
other c o n f r a t e r n i t i e s .
3.
The f r e q u e n c y o f F r a n c i s c a n r e f e r e n c e s suggests t h a t
some o f t he nymns o f the m a n u s c r i p t were i n t e n d e d
f o r a gr ou p o f t e r t i a r i e s o f t h e O r d e r of F r i a r s
Mi n o r .
4.
I t f o l l o w s from t h i s t h a t the Cor t ona L a u d a r i o 9*1 >s
c e r t a i n l y , i n t he most l i t e r a l sense, a c o m p i l a t i o n
o f laude f r om a v a r i e t y o f s o u r c e s .
5.
The absence o f a I I r e f e r e n c e s t o s c o u r g i n g , as w e l l
as the freedom f r om t he ext r eme r e a l i s m o f t he
f I age I I a n t ? hymns, i n d i c a t e s o r i g i n s p r i o r to the
pen i t e n t i a I mania o f 1 2 6 0 .
The T e x t :
The d i v e r s i t y
of
t he
of o r i g i n s
Although
is
t he most common,
of
uneven ve r s e
manuscript.
hymns o f
manifested
by t he
by t he v a r i e t y o f
the f o u r - I i n e ,
textual
forms employed
octosyl la b ic strophe
l e n g t h do a p pe a r w i t h some f r e q u e n c y
There
content
the he ndecasyI I a b i c s t r o p h e and t he s t a n z a
is a g r e a t
the c o l l e c t i o n
t he s a i n t s
certain
Form and E x p r e s s i o n
I auda r i o i s borne out
in t he hymns.
the hymns o f
while
m a n i f e s t a sense o f
stylistic
uniformity
i n the
in t he e a r l i e r
the homi l e t i c - + a u d e and t h o s e ' t o
greater
individuality
i n both
The hymns o f
t h e codex a r e
i n the
s t y l e and f o r m .
D i a I e c t a I behavi o r .
Umbri an d i a l e c t ,
but t h e r e
is
r eason to b e l i e v e
who w r o t e them was a T u s c a n - - perhaps S i e n e s e .
by h i s
spelling
his L a t i n
of c e r t a i n forms.
training
whole L a t i n words,
is e v i d e n t ;
or L a t i n
Throughout
not o n l y
suffixes,
that
This
t he s c r i b e
is
betrayed
t he m a n u s c r i p t
i n t he bor r owi ng o f
but
in h y p e r - c o r r e c t i o n
95
os w e l l . ^
In
view o f
in the s c hoo l s
with
is
the s c r i b e
knowledge o f
nacular
the f a c t
Italian
i mp r o v i s e
and s i m u l a t e
to t h e be st of h i s abi l i t y .
usages f r om S i c i l y,
little
with
had t o
Latin,
w i t h much o r i g i n a l i t y .
t he
that
city
Umbri a,
of A r e z z o .
regularity.
w i t h on ”m" -
Hi s
texts
In
t h e best
this
suggesting
the v e r ­
he succeeded,
and
t he d i a l e c t a l
and even those common t o
throughout,
Latinisms
Such words as oqne o r e f r e q u e n t l y
omqne,
taught
he c o u l d
t he sound o f
draw t o g e t h e r
Tuscany,
But
was not y e t
t he unconsci ous
a ppea r
spelled
i n t r u s i o n of
omnes.
The poet
sometimes employed words o f
os a v e n e n t e , moi a , qui n c i ,
and a u I i re
"i"
with
not
some degr ee o f
and many,
Tuscan but
script
early
such
used i n Tuscan d i a l e c t s ) ,
But he p r e s e r v e s
t he t o n i c
c o n s i s t e n c y where t he more t y p i c a l
an " e . "
such os possamo,
rather southern.
Is a b e a u t i f u l
exampl e o f
Tus­
A few words or e o f S i c i l i a n
and s i r a v e ,
Taken i n
its
are d e f i n i t e l y
entirety
the f l e x i b i l i t y
t h e manu­
evident
in the
vernacular.
There
is
little
manuscript except
for
(s till
(from the L a t i n o i i r e ) .
can usage woul d s u b s t i t u t e
origin,
voI Ii
Tuscan o r i g i n
"ch"
to c h a r a c t e r i z e
t o soy t h a t
bespeoks d e f i n i t e
the p a l a e o g r a p h y o f
the al mos t
thirteenth
consistent
-
use o f "k "
century o r i g i n .
^For example t h e word p e r t i s c i o n e f o r
t he
perdi z i on e .
By 1300
96
t he custom hod become d e f u n c t .
On the b o s i s o f
t hese o b s e r v a t i o n s
it
is
possible
to
cone Iude t h a t :
1.
The a u t h o r s o f t h e p o e t r y were w e l l i n s t r u c t e d i n
L a t i n (as w e l l os t h e o l o g y , s c r i p t u r e , and t he sour ces
of legend);
2.
That t he s c r i b e
gr ound;
3.
That t hey ( p o e t s and s c r i b e ) , were fami l i a r w i t h the
Umbri an d i a l e c t , but knew a l s o t he Tuscan and perhaps
t he S i c i l i a n os w e l l .
I t i s l i k e l y t h a t the s c r i b e
who r e c o r d e d t he laude may a l s o have been t h e a u t h o r
o f a t l e a s t some o f t hem.
t oo m a n i f e s t e d
The Mu s i c :
thor ough
Notation
The pr obl em f a c e d by the amanuensis o f
essentially
musi c,
t he some os t h a t
namel y,
t he music o f
t he t e x t was
e n c o u n t e r e d by the w r i t e r o f
repertoire
and r e p r e s e n t
t o o l s o f a post s t y l e .
t he
it
It
to the eye,
is q u i t e
laude was not sung a c c o r d i n g
p l o i n s o n g - - w h i c h was t he s t y l e o f
notation
of
Nototionol
necessity,
thirteenth
ex pr e s s e d h i m s e l f .
c e n t u r y was pa ssi ng
devel opment so r a p i d l y
time to c o d i f y
met hods ,
the
how to c a p t u r e t he aur e I i m p r e s s i o n o f on un­
w r i t t e n mu s i c a l
empl o yi n g the
L a t i n back­
before
that
t he r u l e s
the
certain
that
t o t he r u l e s o f
i n which the s c r i b e ,
practice
i n t he
t hr ough subsequent s t a g e s o f
theorists
r e g u l a t i n g t he
t h e y hod passed
still
hardly
hod s u f f i c i e n t
?n t e r p r e t o t i o n o f
such
i n t o o b s o l e s c e n c e and been
super seded by a n o t h e r more modern met hod.
Hence t h e r hyt hm o f
monody i n t he p r e - f r a n c o n i o n p e r i o d proves a s p e c i a l
pr obl em
97
t o t he t r a n s c r i b e r .
if
is a l t o g e t h e r
possible
been a pr obl em to t he s c r i b e as w e l l .
us e l e s s
to c l a i m
t h a t an u n e q u i v o c a l
mode i n t o modern n o t e v a l u e s .
the f a m i l i a r
neumes of
was f a m i l i a r
with
interpret
The
exists
totally
It
and would not
it
s i mp l y employed
the s i n g e r
be i n c l i n e d
on u n w r i t t e n one and
the m a n u s c r i p t .
Therefore,
3.
that
t he s i n g e r
p r o b a b l y never sow t he m a n u s c r i p t .
f r om t h e s e o b s e r v a t i o n s
t h a t t he t r a n s c r i b e r o f such
a p o p u l a r r e p e r t o i r e must p r u d e n t l y
t he musi c a c c o r d i n g
sense of musi c al
to his
A q u e s t i o n whi ch
any t y pe o f me d i a e v a l
Ther e
correct,
amend,
underst anding of
the
there
instrument,
literature
Per f or mance
i n v a r i a b l y a r i s e s i n t h e d i s c u s s i o n of
monody i s
that of instrumental
is no i n d i c a t i o n o f such accompani ment
Cor t ona MS y e t
and i n t e r ­
taste.
The M u s i c :
t y pe o f
we
that:
t h a t t h e s e laude p r e s e r v e d a c e r t a i n f r eedom and
f l e x i b i l i t y which d e f y r e d u c t i o n to t ne a b s o l u t e
not e v a l u e s o f modern mensural n o t a t i o n ; and
ment .
to
the p l o i n c h o n t .
2.
and hi s
is
The musi c , os w e l l os t he p o e t r y , o f Cor t o na L o u d a r i o
91 a r e a t be st v i s u a l a p p r o x i m a t i o n s o f t h e a c t u a l
a u r a l e x p r e s s i o n o f t h i s hymnody;
follows
pret
may have
can be
knowing t h a t
is e s s e n t i a l l y
i n dependent of
it
r eason
transcription
notation,
t he m e l o d i e s ,
lauda r e p e r t o i r e
For t h i s
The amanuensis
them in t h e manner o f
may concl ude
• 1.
chant
that
is e v e r y
reason t o b e l i e v e
o r complex o f
accompani ­
in the
t h a t some cr ude
i n s t r u m e n t s may have been
98
employed
i n t he pe r f or ma nce o f
Musicologists
have a t
t i mes
appear ance o f f i g u r e s w i t h
manuscripts.^
thirteenth
T h i s has
century,
for
t han t he Cor t ona
laudario.
the
based such c l a i m s on the
i n t he
reasons.
vielle,
The i n s t r u m e n t s
t he p s a l t e r y ,
t he r e b e c ,
intended.
laude c o n t a i n i n g
such
was v e r y
likely
illuminations
inspired
in them
and the p o r ­
t h e s i mpl e f o l k
Furthermore,
f r e q u e n t l y makes some a l l u s i o n
t he a r t i s t
illuminated
represented
f o r whom t hese hymns were
the t e x t
the
speci mens and a r e o f f a r g r e a t e r e l e g a n c e
beyond t he means o f
the
laude of
The o n l y
t a t i ve o r g a n - - i n s t r u m e n t s
t i o n of
i l l u m i n a t i o n of
b e a r i n g on t h e
several
later
l a u de .
instruments
little
I auda r i o MSS a r e
a r e as a r u l e
t hese
an i n v e s t ! g a
reveals
that
t o an i n s t r u m e n t ,
and
t o convey a p i c t o r i a l
image
f
of
the t hought
contained
Far more c o n v i n c i n g
he d e s c r i b e s
his
t r umpe t
in chapter
the manner
is
I.
poem.
t he t e s t i m o n y o f
i n which o l d f r i a r
i n t h e s i n g i n g of
v a t e d mus i c a l
ear,
the remark t h a t
P l a t e XI,
Sal i mbene
i n whi ch
B e n e d e t t o employed
the t h r e e f o l d
Coming from S a l i mb e n e ,
5C f . Appendi x E,
6
i n t he
blessing
who bo a s t e d o f
3enedetto's
described
hi s
cu lti­
t r umpet was
p. 1 3 2 .
1
A case i n p o i n t is t h e lauda o f Magi , p. 6 v . whi ch r e l a t e s
t he d e s c r i p t i o n o f the l a s t judgment and speaks o f the angel who
summons t h e dead f r om t h e f o u r c o r n e r s o f t h e e a r t h w i t h hi s
trumpet.
The i l l u m i n a t i o n c o n t a i n s a long t r u m p e t .
99
"terrible
soundi ng" and " n ot s w e e t , "
t he cr ude and m a k e - s h i f t
t he peopl e o f
is
bar e
bones o f
ch aracter of
that
irrelevant,
no n o t a t i o n
It
in accompanying
instrumental
able
that
part
t he
It
these
that
by t he drone of
it
was p r o b a b l y
of
some
instrument.
is f a i r l y
certain
that
t he s i n g i n g o f
the
manner w i t h a s o l o i s t
gr oup o f
t h e pi edi
soloists
performing
t he r e f r a i n .
i n t he case o f
However,
c e r t a i n of
it
laude was
or smal l
and vo I t a , and the chorus
is d i f f i c u l t
the s i m p l e r
sh oul d not have p a r t i c i p a t e d
well
is conceiv­
t he open f i f t h s
c a r r i e d on i n a r e s p o n s o r i a l
singing
best
the t a b o r o r cymbal
harmony was d e s i r e d
t h e bagpi pe o r
It
their
In r e a l i t y
l i n e and a t
on i t .
t he
t h e pi pe and
instruments.
some s i m p l e rhythm i n s t r u m e n t s o f
If
contains only
t r o u b a d o u r songs y e t
a few i m p r o v i z e d e l a b o r a t i o n s
cr ude s t r i n g
used by
p r o v i d e d f o r an accompani ­
o n l y doubl ed t he vocal
t y pe may have been used.
supplied
is
is c e r t a i n
chansonn i e r 1s c o n t a i n no music f o r
allowed fo r
instruments
inasmuch as t he m a n u s c r i p t
the p e r f o r m a n c e .
t a b o r were used
t he
the
hand e v i d e n c e o f
the town in t h a t e r a .
The mere f a c t
ment
is f i r s t
l aude,
to
i magi ne t h a t
t he c o n g r e g a t i o n
in the s in g i n g of
t he s t r o p h e as
as t h e r e f r a i n .
The musi c,
like
the t e x t o f
s c ri b e of c o n s i d e r a b le
o f Cor t ona
it
f ound o u t s i d e
the
intellectual
is u n l i k e l y
t he w a l l s of
that
l audar i o ,
stature.
pr esupposes a
In t he smal l
town
such a person sh ou l d have been
t he m o n a s t e r y .
Hence t h e music v e r i -
100
fies
what has been s a i d of
t he c l e r i c a l
origin
of
the t e x t .
Reca p i t uI a t i on
On t he b a s i s
of
the co ncl usions of
1.
the e v i d e n c e assembl ed he r e
this
The codex 91
i n summary,
st udy may be s t a t e d b r i e f l y
' s +he work o f
two s c r i b e s ,
t h us:
one who
c o p i e d t h e music and one t h e t e x t .
2.
It
is
truly
of
sources,
a compilation,
and r e p r e s e n t i n g some d i v e r g e n c e
age and s t y l e ,
3.
though not
The poet?, as w e l l
in L a t i n ,
dr awi ng f r om a v a r i e t y
as
theology,
a greet
the s c r i b e
Scripture,
These q u a l i f i c a t i o n s
in
on e.
were w e l l
ver s ed
and p o p u l a r
combine t o suggest
l egend.
t h a t he was
a cleric.
4.
The r e c u r r e n c e of
that at
one
least
some o f
( o r more)
The f i r s t
songs
this
fifteen
indicates
the hymns were t h e work of
of t he F r i a r s
i n Co r t o n a a t
5.
Franciscan references
Mi nor who were a c t i v e
time.
hymns o f
the m a n u s c r i p t a r e p r a i s e
to t he Bl es sed V i r g i n ,
typical
laudes i hymns.
They may p o s s i b l y have been the same hymns sung by
the
laudes ? o f
San F r a n c e s c o f o r whom E l i a s
t he o r a t o r y beneat h
6.
Since
the manuscript
Ant hony
d e at h s
7.
it
the church.
i n c l u d e s hymns t o F r a n c i s and
c o u l d not have been w r i t t e n
before t h e i r
i n 1226 and 1 2 3 1 .
And f i n a l l y ,
flagellant?
of
bui I t
t h e obvi ous absence o f a I I t r a c e o f
and di sc i p I ?na t i usage can i n d i c a t e one
two t h i n g s ,
namel y,
(
\
101
a.
t h a t the codex was w r i t t e n b e f o r e
f I age I l a n t i o u t b r e a k i n 12 6 0 , or
b.
t h a t i t was t he p r o p e r t y o f a gr oup
s u f f i c i e n t l y s t a b l e t o remai n unchanged
by t he p e n i t e n t i a l ma ni a .
Such a gr oup
would a l mo s t c e r t a i n l y have been one of
te r t i a r I e s .
Therefore,
monast er y o f
friar,
t h e Cor t ona Codex 91 had i t s
San F r a n c e s c o .
p r o b a b l y more f o r
used by the t e r t i e r i e s
f ound i n t he hands o f
f ormance o f
before.
of
It
is
t he purpose o f
t he f r i a r
t he
It
impossible
Neither
is
t he basi s o f c o n t e n t
long b e f o r e
likely
it
either
possible
alone,
since
t h e y were r e c o r d e d
likely
by a f a i r l y
it
learned
that
t he
i n t he p e r ­
laude were
w ritten.
Thi s
the d a t e o f
slightly
t he w r i t i n g
palaeographicaI
or n o t a t i o n a l
to d e t e r m i n e
entirely
it
on
the hymns must have e x i s t e d
i n the
ye a r s
t o be
woul d have been
who a c t e d as c a n t o r
is
i n the
p r e s e r v a t i o n t han
At most
to determine
may o n l y suggest a span o f
was v e r y
origin
ti me o f t h e f laqe I I ant i o u t b r e a k o r
the codex on grounds o f
practice.
was w r i t t e n
themselves.
t hese hymns.
w r i t t e n a t about
It
t he
Iaudar?o.
d u r i n g which
Therefore,
we
t he m a n u s c r i p t
would have been sometime between
1250 and 1265 .
What ever
been,
not
it
t he
is f a i r l y
the e x c l u s i v e
selves,
but
in tervening h i s t o r y of
certain
that
repertoire
of
t h e common f u n d o f
confraternities
of
t he
little
the
Iauda r ?o may have
t he hymns c o n t a i n e d
in i t
t he F r a n c i s c a n t e r t i a r i e s
were
them­
p o p u l a r hymnody sung by t h e o t h e r
town of Cor t o na as w e l l .
Thus
102
t h e Cor t ona Codex 91
of
t h e me d i a e v a l
must be pursued
represents o c o l l e c t i o n of
Italian
Christian.
t he best endeavor s
The r e m a i n d e r o f
in t he s i m p l e be aut y o f
its
story
the hymns themsel v-es.
A P P E N D I X
A
INVENTORY OF THE CONFRATERNITY
OF SAN DOMENICO; ADDENDUM TO THE
MS PERUGIA 955
104
Q u i s t o si e lo E v e n t e r i o nuovo de t u t e le mosor i e che
sonno de lo f r o t e r n e t d n o s t r o , e t u t t e ei comorl enghe sonno
t e n u t e de r o n d e r n e r o g i o n e oi l o r o s u c c e s s o r e .
F o t t o en le
MCCCXXXVII I J , o l tempo de Gi ovogne d' Amo t uc c i o p r i o r e , e de
Motiucdio d'Andruccio sopriore.
29
30
31
Ancho uno m o n t e l l o n e r o do Dev oz i on e
Ancho uno v e l o de zendodo ner o
Ancho t r e v e g I i nere de l i n o
33
34
35
36
37
Ancho
Ancho
Ancho
Ancho
Ancho
39
40
41
Ancho q u o t t r o veg'l i de s e t t e b r u n e t t e
Ancho uno ve t o de s e t o bi oncho
Ancho t r e bende de bonbogi o con c o p e t t o de set o
48
49
50
Ancho uno comi sci o dot S i g n o r e del Vener di
Ancho uno v e s t o nero do Modonno
Ancho s e i e v e s t e n e r e , I ' uno e do I nemico
52
53
Ancho s e i e
Ancho t r e
g i o I lo
Ancho uno
ner o
Ancho d o i e
Ancho uno
54
55
56
d o l e v e s t e nere de zendodo nero do
uno m o n t e l l o de zendodo r o s c i o con
uno bendo con copet o od oro
q u o t t r o bende de se t o bi onche
uno bendo de s e t o b r u n e t t o
Angnol i
f r o s c e od or o
So nto
b e r e t t e , bi onc he con c r e s t e r o s c i o
b e r e t t e , I ' uno b i g i o , I ' o l t r o b i o n c o ,
borbo e uno c o p e l l o
de
I'oltro
l i n o ci o sc uno con p e l o
borve de p o l o , I ' uno b i o n c o c c i o e
poi o de quont e s e gnot e de r o s c i o
I'oltro
nero
I'o ltro
de
59
Ancho i r e
bonbogi o
livoro
de
l oode,
doie e pecorino e
65
Ancho t r e
b o r s o l e do Mogie p i c c o l i n e
75
Ancho uno se di o do s e d e r e e uno s t e l l o
79
Ancho uno cr oce con d o i e f r u s t e ,
ch i oveg I e
con
lo
de
leno
l o n c i o e con g l i
This i s the I n v e n t o r y o f o i l the t h i n g s whi ch bel ong t o
our f r a t e r n i t y , ond a l l t h a t t he st ewar ds must r e n d e r a c c o u n t
o f to t h e i r s u c c e s s o r s .
Made i n t h e y e a r 1339, d u r i n g the
o f f i c e of G i o v a n n i D* Ama t uc c i o, p r i o r , and o f M a t i u c c i o d ' A n d r u c ­
cio, sub-prior.
29
30
31
33
34
35
36
37
39
40
41
A l s o one b l a c k mant el f o r t he devoz i one
A l s o one v e i I of bl ock t a f f e t a
A l s o t h r e e vei Is o f b l o c k l i n e n
Also
Also
Also
Also
A I so
two b l a c k robes o f t a f f e t a , f o r a n q e l s
a ma n t e l of red t a f f e t a w i t h g o l d f r i n g e
a band w i t h a l i t t l e cop o f g o l d
f o u r bonds o f w h i t e s i l k
a band o f brown s i l k
A l s o f o u r v e i l s o f brown s i l k
A l s o a v e i l of wh i t e s i l k
A l s o t h r e e bonds o f c o t t o n - w o o l
with a
little
43
49
50
A l s o 0 s h i r t f o r t he Lord f o r Good F r i d a y
A l s o a b l a c k dress f o r t h e Madonna
A l s o s i x b l a c k gowns, one f o r the enemy
52
53
54
55
5o
Also
Also
Also
Also
Also
cope o f
si Ik
s i x w h i t e b i r e t t o s w i t h r ed c r e s t s
t h r e e b i r e t t o s , one g r a y , one w h i t e ond one y e l l o w
0 bear d ond a wig o f l i n e n , each w i t h b l a c k s k i n
two bear ds of l e a t h e r , one w h i t e and t h e o t h e r b l a c k
a p a i r o f gl o v e s embossed w i t h red
59
A I so t h r e e books o f
65
A I so t h r e e
75
A I so a cho i r f o r
79
A l s o a cr oss w i t h two s c o u r g e s ,
t h e no i Is
l aude,
smo I I purses
sitting
for
two o f
the
vellum,
little
on ( t h r o n e ? )
with
f*
1
and one o f c o t t o n
magL
ond 0 wooden s t a r
t he
l ance ond w i t h
106
82
Ancho d o i e pol o d ' e g l i
da A g n o g l i e cun
92
Ancho
uno l i v e r o de c a r t e de pecora el
le D i s c i p l i n e degl e S p i r i t u a g l e .
la v e s t a de saccho
q u a l e se chiama
32
Al so
two p a i r s
o f angel
wi ngs w i t h a
92
A l s o a booh o f v e l l u m whi ch
d e q I i Spi r I t u a I i
is c o l l e d
l oose f i t t i n g
gown
t he D i s c ?p I i n o
Bondogio * ' b o m b o g i o ' .
When used i n r e f e r e n c e t o
m a n u s c r i p t s i t s i g n i f i e s a t y p e o f m a t e r i a l used i n pl a c e of
vellum.
I t was e r r o n e o u s l y b e l i e v e d t o be mode o f c o t t o n .
A P P E N D I X
5
PHOTOGRAPHIC PLATES OF THE CHURCH
OF SAN FRANCESCO AND
THE CORTONA LAUDARI0 91 ,
PART I
109
PLATE I
E n t r a n c e of
with
t he chur ch o f
partially
visible
t e r r a n e a n chapel
of
San F r an ces co
door f r a me o f
the
laudes i .
in Cortona,
t h e sub­
110
PLATE
II
The d e t e r i o r a t e d f i r s t
of
folio
t h e MS C or t o na 91
111
PLATE
I I I
F o I i o 4 6 v,
illustrating
the use o f gui de
i n t he mus i c
lines
112
PLATE IV
Folio
illustrating
of
text
65 r
faulty
alignment
and music
113
PLATE
V
F o lio 70r, .
i I I us t r e t i ng not es
i n campo a p e r t o
114
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a kcalmdiao futnldmoD
Uto am.
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■
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PLATE
VI
F o l i o 100 v ,
The most p e r f e c t
example
f r om MS Co r t o n a 91
PLATE
VI I
Fo I I o 1 23 r ,
A
later
addition
the m a n u s c r I p t
to
A P P E N D I X
C
VARIOUS TRANSCRIPTIONS OF THE LAUDE
FROM THE CORTONA MANUSCRIPT
117
o f CORTONA LAUDARIO 2 1 r
LAUDA VI I f
TRANSCR I BED BY
Ni c o I o Gorz i
R e fr a in
Con s e n t i m e n t o
9:
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La Pass i one n e I Ie i nt o n a z i o n t
deI
L a u d a r i o 91 de Cor to na
t r a n s c r i bed by Fernando Li u
I
(number X V I I I
Sostenuto
zzi
i n the m a n u s c r i p t )
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na -
t o e t h u - ma- n a -
to per s a l v a r
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IV
(number XXXIX o f m a n u s c r ip t)
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121
TRANSCRIPTIONS FROM LA LAUDA E I PRIMORDI
DELLA ME LOP IA I TALI ANA, BY FERNANDO LI UZZI
R e fr a in
... J
*
Q
A-
ve^
f) _ j j_.
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122
R e fr a in
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Spi-
so-
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vr o
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san-
sia
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A P P E N D I X
D
PHOTOGRAPHIC PLATES OF THE LAUDE
TO SAINT MARGARET OF CORTONA AND BLESSED GUIDO;
AND ADD I TIONAL TEXTS
124
cfh rtvJT i r t t t f c i
iX'Q'.o
rtmotk
f t e f l c i t a t ' C
&
PLATE
VIII
Fo I i o
164v,
Hymn t o B l e s s e d Guido f ound
in P ar t
II
of
the Cor t ona
Laudario
125
id IflUDACo am cte (pi*
o f CO * h « C M p W T c n :
a m a t o I t a f i W e T n c tjo
nr.^terin? ^litiono fiio azvc
ft najnwa (cr
Ml* avpo cub nntnoiiw
*’ ‘ ft1o0Nf(b:tana, ci.v
friit^ ndfwo
f
fyun> fb ihiienfc ce
l& u itt vpo cm ihrt*B *c>
nonottns mmvyrcpemir
r a p fdircmico d
iicm it
i s
t j b
w
p
cmuht
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'
>
t
a
n
t *
PLATE
IX
Folio
I65r,
f r om t he hymn t o
B l e s s e d Gui do o f Cor t ona
126
LAUDA TO BEATO GUIDO VAGNOTELLI
Cor t o ne 91 /
port
i i,
f o I i os 1 6 4 v - 1 6 5 r
Buono co nt o s i o ca nt o
s onct o Guido s i o l o u d o t o .
Si o l oudot o o t u c t e I ’ o r e
q u e l l o s onct o f r o t e c o n f e s s o r e
chi omot o er o f r o t e menore.
Stondo ol luogo suo o r d e n o t o .
Soncto Guido si odorovo
s e r v i v o o C h r i s t o e non moncovo
l i a n g e l o si lo c o n f o r t o v o
che s t e s s e fermo ne I suo s t o t o .
Sanct e Guido f o s e r v e n t e
de s e r v i r e C h r i s t o er o obedent e
non potevo motore mente
che i mol nemico e d e s c o c i o t o .
Quondo venne e i punt o e I ' o r o
D i o g l i o p r e s e n t o corono
e * n v i t o e t e r n o co l l u i demoro
cum so nct o Fr oncesco ene ocompongnot o.
C f.
Appendi x B,
Plotes
IX ond X.
127
THE CULT OF BLESSED GUIDO OF CORTONA
S up pl emen t or y Not es
On h e a r i n g o f h i s d e a t h , the c i t i z e n s o f Cor t ona
immediately gathered to ge th er f o r
e public Council,
and d e t e r m i n e d unani mousl y t h a t h i s body must ne v e r be
t oken f r om them but s h ou l d be b u r i e d i n a s u i t a b l e
s e p u l c n e r w i t h i n the p r o v i n c e .
Then i n on a r d e n t sea
of p e o p l e , men and women, boys and g i r l s , a l l wavi ng
palm branches and s i n g i n g hymns t hey wa l k e d in pr o­
c e s s i o n t o the C e l l e .
From t h e r e t ney c a r r i e d the
c or pse back t o Cor t ona and r e v e r e n t l y l a i d i t o u t in
the c h u r c h .
Then when t h e O f f i c e hoo b e a n r e c i t e d ,
t h e y met to d e c i d e what manner o f s e p u l c h e r ought to
be e r e c t e d f o r t h e de cea se d.
Suddenly a r u s t i c p l o w ­
man rushed in and s a i d :
"0 men of C o r t o n a , come and
see the m i r a c l e ! "
They asked what hod happened.
"Be­
h o l d , w h i l e I was p l owi n g my oxen f e l l t o t h e i r knees
and n o t h i n g can budge t hem. "
T h e r e f o r e , many r an out
t o see t h i s t h i n g and when t h e y come t o the spot where
t he oxen were g e n u f l e c t i n g , t h e y began t o d i g a l i t t l e .
They uncover ed a most l o v e l y ma r b l e s e p u l c h e r , and im­
m e d i a t e l y t he oxen r o s e .
Without h e s i t a t i o n , a l l agr eed t h a t God hod m i r a c u l o u s l y p r o v i d e d f o r the b u r i a l
o f Gu i do, and thus t hey i m m e d i a t e l y l i f t e d t h a t se­
p u l c h e r i n t o a c a r t and the v e r y some oxen p u l l e d i t
i n t o t he c i t y .
There i t was r e c e i v e d w i t h g r e a t j o y
and p l a c e d ooove t he a l t a r c o n t a i n i n g t he body o f
Bl essed Gui do whose soul no one doubt ed to be among
t he s a i n t s i n h e a v e n .
T r a n s l a t e d f r om t h e V i t a o f Beat o Gui do c o n t a i n e d
t he Act a Sanc t or um, June, Torn. I l l , p. 1 0 0 .
in
128
e ra
t u a f t u
m
a r io t o t o
i
PLATE
Folio
Opening of
X
139r,
t he hymn to
Saint Margaret of Cortona,
P a r t Two of
f ound
t he Cor t o na L e u d a r i o
in
129
LAUDA TO SAINT MARGARET OF CORTONA
Cor t ono 9 1 /
port
,
i i,
f o I i os 1 39 r - 1 41 r
A l l e g r a m e n t e e de b u o n ^ o r con f e d e ]
ch! o m o r g o r i t o cr ede [ e l i b e r o t o ]
e t e l [ l i ] donta duct a sua e n t o n d o L n z o . ]
La suo en t en do nz a si f o i hesu c h r i s t o
d amor l o t a n t o non se por r eo d i r e
el suo cor e pi engeva e s t a v a t r i s t o
e va g r i d o n d o che I v o l e a veder e
d i c i a mesere v o [ i f o l s t e e n c r o c i a t o
n [ e l v ] o s t r o l a t o j e f r i t o do] l o n c i o .
De l o n c i o f u f e r i t o [ s i g n o r e mi o]
[ p e r ] noi peccot o r i r e c o p e r o r e
[ o c e t o e f i e l e d o t o t e omore mi o]
de quest o p e c c o t r i c e che si r o n e ]
[ v o i v e p r e g o r e che n o g i o t e me r z e d e ]
[ c h i o abbo en voi gr ande f e d e e t ] gr an sper onzo
Si g r [ a n ] d e
sper onz o abbo en vo? mesere
pi u ch i o non d i c o ne p o r r i o c o n t i o r e
a voi me rendo i n co l po per mercede
che voi me d e g g i a t e pe r d on ar e
ch i o so ne I more e veggiome p e r i r e
se I v o s t r o omore non me done b o l d o n z o .
A gr ande bol donz o se mosse e l s i g n o r e
q u e l l ? che pi eno di t u c t a c o r i t o d e
o s a n c t o f r o n c e s c o en cr oce se most r one
o p o r e c h i o t o per comuni core
o r non pensore m o r g o r i t o mio
tu se e I Io e donot e o l e g r o n z o .
Con o l e g r o n z o o l i e? se demostrone
bi ene e s t o t o f e r v e n t e e I I o suo nome
e l di e Io n o c t e st ovo od o r o t i o n e
pi ongendo i l suo pe ccot o con do l o r e
e d i c e peccot or ? che non p i a n g e t e
quondo v e d e t e si gr ande c o r d o g I i o n z o .
130
31 qr ande c o r d o g l i o f a c e a m a r g a r i t a
de l a pa s s i one non se p o r r e a d i r e
s c a l z e e nuda quel la e la sua v i t a
e I suo corpo pena a s s a i s e n t i r e
de l suo s a v e r e t u c t o r a d i c e humi I i
a m a r g a r i t a p i e n de m e t u r e z z a .
F[o?te
p ] r e g h i e r e o sancta m a r g a r i t a
a yhesu c h r i s t o per l i [ c o r ] t o n e s i
[ c n ] e le mantegna i n poce e t [ i n ] buona [ v i t a ]
e t per le v o s t r i [ m e r i t i s i e n o ] d e f e s i
e t s i e n o l a c e s i de I amore d i v i n o
c h e ] a l [ p u n ] c t o [ s t ] r e m o a g g i o n conso I [ a n ] z a .
E
En poso s t a i e sa I i t a en g r e n d [ e z z a ]
e n t e b e l l e z z a p o r t o se de mare
chi a a l c u n o male c a voi s ’ acomanda
c h r i s t o l i manda la sua m e d i c i n a
e f o r t e pena senza d u b i t a r e
e r a l e g r a r s e po cun gr ande ba l d a n z a
Gr ande b a l d a n z a s e t e m a r g a r i t a
i n c i e l o sa I i t a de van t e a l s i g n o r e
e la madonna se f a m o l t a l i e t a
e san f r a n c e s c o suo amadore
ch amas t i l ui sopra onni sa nct o
or a s t e i t e in canto e n a l e gr a nz a
Grande a l e g r a n z a f a c e a m a r e g r i t a
de na n t e a l v i s o de la m a i e s t e d e
e l d i r e I ' a l e q r a n z a e I gi oc o e I r i s o
chi a quel [ b l a l l o e pr eso bene ne [ v a ]
[ e n l vi ta
e t f e r n a ] e sta sen[za] langofre]
[ e n ] verdure ed en gr ande a l e g r a n z a .
Amen .
Cf . Appendi x B, P l a t e V I I I .
Tne t r a n s l a t i o n is t a k e n from M a n c i n i , Laudi
. . . C o r t o n a , MF. p . 5 3 .
The poor condi t i o n o f
t h e f r r ios c o n t a i n i n g t h i s p a r t i c u l a r hymn made
i t n e c e s s a r y f o r Ma n c i n i t o seek c l a r i f i c a t i o n
elsewhere.
Hence a l l p a r t s o f t h e t e x t c o n t a i n e d
w i t h i n b r a c k e t s a r e t hose which he has i n t e r p o l a t e d
w i t h the a i d o f t he Ant ?ca leqqenda de I la vi t e de
_s. Mar qher i t e di f r a Gtiunta feeveqnatT] p a r t I I ,
pub I i sned I n Lucca, 1 7 9 3 .
p. 1 ^ 4 .
t n e work was
based on a m a n u s c r i p t vi t a .
\
A P P E N D I X
E
FOURTEENTH CENTURY FLORENTINE
LAUDARIO ILLUMINATION
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_
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THE LAUDE FRANCESCANE AND THE DI SCI PLI NATI
OF THIRTEENTH CENTURY UMBRIA AND TUSCANY:
A CRITICAL STUDY OF THE CORTONA CODEX 91
VOLUME
II
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TABLE OF CONTENTS
Page
KEY TO ABBREVIATIONS IN E D I T I N G ..............................................................153
PART I
THE MARIAN L A U D E
Laude N o .
I
II
III
IV
I Va
V
VI
VII
VIII
IX
X
XI
XII
X III
XIV
XV
PART I I
. 157
Fi r s t Li ne
Venite
e l a u d a r e ......................................................
Lauda n o v e l l a
Ave,
donna s a n t i s s i m e ........................................................... 1 08
Ave M a r i a ,
Ave,
. . . . . . .
.........................
175
p l e n a .......................................................... 178
gratia
Regi na g l o r i o s a
Da c i e l
. . . . . . .
.......................... 182
venne messo novel l o ............................................. 187
Altissime
Fami
160
s i a c a n t a t a .................................................. 165
Madonna s a n t e M a r l a .
luce col
center
gr ande s p l e n d o r e ..........................192
I ’ amor di
0 Maria d'omelie
se'
la b e a t a ....................................197
f on t a n a ........................................ 202
Regina sovr ana de gram p i e t a n j a ....................................... 205
Ave,
Dei
0 Maria,
Ave,
g e n i t r i x .........................................................................208
Dei
c e l l e ................................................
. .
.211
ver gane g e u d e n t e ............................................................216
0 divine
Salve,
virgo,
salve,
flo re.
virgo
pia.
. . . . . . . . . . . .
223
. . . . . . . . . . .
228
THE LITURGICAL CYCLE...................................................................234
Laude N o .
XVIII
.
Fi r s t
L? ne
C r i s t o S nato et
h u m a n a t o . ................................................. 239
XI X
Glorio
i n c i e l o e p a c e ’ n t e r r a ....................................... 243
XX
Stella
nuova'n f r a
XXI
XXII
XXIII
Pl engi emo quel
la g e n t e ................................................. 246
crudel
bascier[e]
...............................
249
Ben £ c r u d e l e e s p i e t o s o ...................................................... 252
De
la c r u d e l mo r t e de C r i s t o ............................................ 2 5 8
iv
Laude N o .
XXI V
XXV
XXVI
First
Demi
Li ne
Page
conforto,
Dio,
e t a l e g r e n g e .................................... 263
Onne homo ad a I t a v o c e ............................................................ 266
l e s u C r i s t o g l o r i o s o ............................................................ 271
XXVI I
Laudamo
la r e s u r r e c t i o n e ........................................................277
XXVIII
Spiritu
s a nct o do l ge amor e.
XXI X
Spirito
s a nct o g l o r i o s o
XXX
Spirito
s a nct o da s e r v i r e
XXXI
PART I I I
Alta
XXXIII
XXXIV
XXXV
PART I V
Laude N o .
XVI
XVII
XXXVI
XXXVII
XXXVIII
XXXIX
XL
XL I
XLII
XL I I l
XLI V
XLV
XLVI
..........................
282
...................................................
285
..............................................
292
b e e t a ...................................................................... 297
THE HOMILETIC L A U D E ..................................................................303
Laude N o .
XXXI I
Trinita
. . .
First
L ?ne
Troppo per de l
tempo ke ben non t ’ ame
Stomme a l l e g r o e t
Oi
latioso
mS l asso e f r e d d o
Chi
vol[e3
. . . .
306
. . . . . . . . . .
319
lo mio c o r e .................................... 325
lo mondo d e s p r e c c a r e .....................................330
LAUDE TO THE S A I N T S .................................................................. 334
Fi r s t
Line
Ver gene d o n g e l l a da D i o a m a t e ..........................................340
P e c c a t r i c e nomi nat e
Laudar v o l l i o
Sia
............................................................
344
per a m o r e ..................................................
347
l a u d a t o San F r a n c e s c o ....................................................352
Ci e s c un ke f e d e s e n t e
Magdal ena degna de
L’ elto
Faciamo
.
................................................... 359
l a u d a r e ................................................... 369
prence e r c a n g e l o
laude a t u t t ' i
lucente
Amore d o l g e ,
Benedict!
novel
38 4
s a n c t i .......................................... 387
San lovaunni a I mond’ e n a t o .
Ognom c a n t i
. . . . . . .
.......................................... 391
c a n t o ........................................................ 39 4
senga p a r e ........................................................ 397
e l l a u d a t i .................................................................. 404
Selutiem divotamente.
...............................................419
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Manuscr i pt
Source
Aret
MS 180 deI I a Bi b I i o t e c a d e l l a
T a i ci d ' A r e z z o
Ars
MS 8521
Mag 1^
MS Mag I i a b e c h i a n o l l [ 1 2 2 , Bi b I i o t e c a
Tfoz ?ona Te C e n t r a I e , F I or ence
Mag I ^
MS Mag I i a b e c h i a n o I I I 21 2 , Bi b I i o t e c a
Naz i ona fe Cent r a l e , F I or ence
Mod
MS d e l l a
Pis
Fog I i deq I i S t a t u t i ne I Arch ?vi o de S t a t o
a r i sa
S Sep
MS de I Arch i vi o deI I * o s p e d a I e d ? San B a r t o Tomeo i n 'Sorgo San Sepol cna
Ud
MS deI I a C o n f r a t e r n i t& d i
Santa Ma r ?a de i
Ba t t u t i , o r a de l I * os peda I e d i Ud ?ne e depos i t a t o ne I I a Bi b I i o t e c a C? v j ca
F i or
MS d e l l a Compaqnia de S a n ' E u s t a c h i o , F l o r e n c e .
TKe ' m a n u s c r i p t i s now T o s t and t h e w r i t e r was
f o r c e d to depend upon t he monograph o f E Ceccone
Laudi dj una compaqnia f ?o r e n t i n a deI sec X I V .
LA
Jacobus de V a r a g i n e , Leqenda a u r e a v u l q o Hi s t o r i a
lombardi ce d i c t a .
Edi t e d by Thomas G r a e s s e .
Lipsiae:
L i b r a r i a e Arnoldionae, 1846.
Li u
Fernando L i uzz i , L£ Iauda e j_ pr i mordi delb me I od ?a i t a I i a n a .
Rome:
Li b r e r i o d e l l a S t a t o , 1 9 ^ 5 .
Mazz
Gui do Ma z z o n i , ’’ Laudi C o r t o n e s i del s e c o l o X I I I , "
II Propuqnatore.
NS I I ( 1 8 8 8 - 9 ) » P. 2 0 5 - 2 7 0 ; and
FT5 I T r T T 8 5 $ = T 3 9 0 ) , p. 5 - 4 8 .
Bett
E n r i c o B e t t a z z i , Not ?z I a di un l a u da r i o de I
sec. X I I I .
Arezzo!
t i p .”*SeTTot t i , i 890 .
of
Fra t e r n i t S
de i
the Bi b I i d’ heque Arsena I P a r i s
Cor qr e q a z ?one d i Car i t& di Modena
153
154
Cel
1
Thomas o f C e l e n o .
S t . Fr an ci s of A s s i s i .
±.
J c
J i • “F "*
"« »"l
i
. !■
9
Fi r s t and Second L i T e , w i t h s e l e c t i o n s ^ rom
t n e f r e a t ise on the M i r a c f e s o f B l e s s e d
Fr an ci s .
CRi cago:
F r a n c i scan H e r a l d Pr ess,
r* •
V?vr.
Leg. M.
Leqenda Ma j o r , _S. Bona v e n t u r e .
ci s c a n a , I I I , Q u o r a c c h i , 18 9 7 ,
Ana I e c t a F r a n ­
ppT 557-&57T
Tr i um S o c .
Leqenda Tr i u m Soci orum, M i s c e l l a n e a F r a n c e s c a n a ,
X I I I ( 1 9 6 8 ) , p p . M - 1 0 7 , "and XXXIX ( 1 9 2 9 ) , pp.
325-432.
Fior.
The L i f t le FI owe rs o f S t . Fr anc i s .
Trans l a t e d
i n t o E n g l i s h by RopRoe T B' own 1 Sa r d e n C i t y :
D o u b l e d a y and C o . , 1 ? 5 8 .
Spec.
SpecuI um p e r f e c t i o n i s , leqenda a n t i q u i s s i m a .
ed Paul Sabot i e r .
Par i s':
L i b r e r i e FI s c h b a c h e r ,
1898.
Kerv.
Jul.
Leon de Kerva I .
Sanct i i Ant on i I de Padua v i t a e
duae quorum a I t e r a hucusque i n d e i t o .
Peris:
L i bra i r i e Fi schbo’ch e r , 1 9 u 4 .
Sp.
Scr i p t u r a I
( J u l i a n of S p e i e r ) .
Vi t a a u c t o r e anonymo v a I d e
a n t i q u o de Be a t o A n t o n i o .
Ac t a SS. , Jun. T. I l l ,
P e r i s: " T?>89, p p . T 9 8 - 2 0 2 .
References
All
are
r e f e r e n c e s and q u o t a t i o n s f r om t he B i b l e
t a k e n from t h e Douay- Rhei ms ChaI l oner e d i t i o n .
SymboIs
[.....]
I n d i c a t e s an ommissi on
s c r ip t version.
[
When b r o c k e t s o r e used t o e n c l o s e words t h e y i n ­
d i c o t e t h a t t he p o r t i o n o f t e x t t hus s e t o f f i s
on emendot i on n e c e s s i t o t e d by d e t e r i o r a t i o n of
p o r t s o f the m a n u s c r i p t .
A l l such emendat i ons
a r e n o t e d in t h e remarks c o l l e c t e d a t t he end o f
t h e r e s p e c t i v e l aude .
]
in the
text
i n t he manu­
155
(
) O cc os io na Ily a r t i c l e s , adverbs, or co njunctions
have been added t o t he E n g l i s h t r a n s l a t i o n in
o r d e r t o c l a r i f y me a n i n g .
When such words a r e
not a c t u a l l y f ound i n t he I t a l i a n v e r s i o n t hey
a r e no t ed i n t he E n g l i s h by bei ng e n c l o s e d in
parentheses.
'
' Words thus e n c l o s e d a r e
lents of old forms.
"
11 Words s e t o f f w i t h q u o t a t i o n marks a r e q u o t a t i o n s
f r om manuscr i P + sour ces o t h e r than C o r t 91 .
the modern I t a l i a n
____________
Words u n d e r l i n e d a r e o l d forms
Med
I n d i c a t e s mediaeval
XIII
Common i n t h i r t e e n t h
XIV
Found p r e d o m i n a n t l y
/
D i a g o n a l l i n e s i n t he I t a l i a n t e x t i n d i c a t e
end o f a page in t h e m a n u s c r i p t .
46v
equiva­
usage
century
in t he f o u r t e e n t h c e n t u r y
the
Small numbers a p p e a r i n g i n t h e l e f t hand mar gi n o f
t h e I t a l i a n t e x t a r e page numbers i n t he m a n u s c r i p t
P A R T
I
The Mo r i o n Loude
TRANSLATION AND TRANSCRIPTION OF THE
CORTONA LAUDARIO 91
The Mo r i a n Loude
W i t h t he w r i t i n g s o f Anselm ( d . 1 1 0 9 )
vaux
(1091-1153)
quality
Mo r i o n d e v o t i o n began t o assume on e f f e c t i v e
hitherto
unknown i n m e d i a e v a l
piety.
ceived
i mpet us f r om t h e r a p i d gr owt h of
Minor,
f o r f r om t h e v e r y o u t s e t
pr eached a s p i r i t u a l i t y
manity of C h r i s t .
phasized
it
St.
And os q u a l i t i e s
followed
that
the
popular preaching,
itinerant
w rite.
But
realities
the Order of F r i a r s
F r a n c i s and h i s sons had
images o f
o f human s o n s h i p wer e em­
t h e mot her s h o u l d e n t e r
if
the p i c t u r e
in
The F r a n c i s c a n m i s s i o n was one
and v e i l e d
evongelizer
the
The t e nde ncy r e ­
which p l a c e d g r e a t emphasi s on t h e hu­
a more human m a n i f e s t a t i o n a l s o .
of
ond Ber nor d o f C l o i i —
i magery was o f
his
little
audience could n e i t h e r
avail
to
read nor
t h e mot h er ond c h i l d wer e t a n g i b l e
whi ch c h ou l d p e n e t r o t e where mere concept s mi q h t n e v e r
gain e n t r a n c e .
Soon t h e a f f e c t i v i t y
reflected
in v i s u a l
the enthroned,
the preaching f r i a r s *
representations.
hieratic,
crowned f i g u r e w i t h
of
I n t i m e Mary ceased t o be
s t r o n g but d i s p a s s i o n a t e mot her h o l d i n g a
t he f or m ond e x p r e s s i o n o f a man shr unken down
t o t he p r o p o r t i o n s o f a c h i l d .
Instead the t h i r t e e n t h - c e n t u r y
madonna g r a d u a l l y assumed a more r e a l i s t i c
It
message was
appearance.
was £ m i l e Mol e who de v e l o p e d t h e t h e o r y o f
157
relationship
158
between t h i s
effective
t y p e o f d e v o t i o n d i s s e m i n e t e d by t h e F r i e r s
M i n o r end t h e e f f e c t i v e
que I i t y
p e in tin g of
Mele c e l l s
of
t he t i m e . ^
t h e M e d l t e t ions s g r
of
the time.
in
t h e ononymous F r e n c i s c e n e u t h o r
Ie vi e de Jesus- C h r i s t e p e i n t e r wi t h words,
whose p i c t u r e s q u e d e s c r i p t i o n s
ertist
f ound more end more p r o m i n e n t l y
s u gg e s t e d meny e t e n d e r scene t o t h e
The some humen q u e I i t i e s
the p e i n t i n g ore e v i d e n t
in the
leude t e x t s o f
whi ch Me l e f i n d s
in
t h e Cor t one m e n u s c r i p t .
The imogery used i s s i m p l e end d i r e c t
end e Iweys e p p e e l i n g
common f u nd o f
Most commonly i n t he M e r i o n
l eude o f
of
every-doy experie nce .
t he m e n u s c r i p t
invocotions of
eI we y s
the
imoges oppeer
t he v i r g i n
under v e r i o u s
in the foshi on o f o
leudetory
t he humen c o n d i t i o n o f C h r i s t end Mery i s
titles.
thirteenth
p r e s e n t him i n
the ce n tu ry ,
the v i r g i n
p i c t u r e him i n e
long t u n i c end peI Iiurn,
the gorments of e beby,
es e neked be be.
kneeling
Netivity
scenes o f
Iiteny
But
p r e s e n t most t e n d e r l y .
M e l e r emerks t h e t es t h e t w e l f t h c e n t u r y r e p r e s e n t e t i o n s o f
c h i l d el woys
to the
t he C h r i s t
t h os e o f
the
o r by t h e end o f
this
t y pe r e p r e s e n t
in o d o r e t i o n b e f o r e her son end t h e enonymous
Frenciscen meditetions
likewise
exhort
t h e r e e d e r t o eppr ooch him
l o v i ng l y .
Quend t u e u r e s reconnu I ' E n f e n t , egenoui I I e - t o i , b e i s e ses
p e t i t s p i e d s , p u i s p r e n d s - l e dens t e s b r e s , e t ^ p l e i n e d ’ une
douce q u i e t u d e , demeure q u e l q u e temps evec l u i .
1#
E mi l e M d l e , L ' A r t r e l i o i e u x de Jo f i n du moyen eqe en F r o n c e ,
(Poriss
L i b r e i r i e Armend C o l i n , 1 9 2 5 ) , p. 3 4 .
2
Quoted i n M o l e ,
o g . ci t . ,
p. 144.
159
O
I n somewhat t h e same a t t i t u d e
of
Lauda X I X
describes
the scene
t h e mot her and baby:
She gave him b i r t h w i t h a song,
f u l l of t he H o l y S p i r i t ,
I n her arms she m a n t l e d him
with greatest f e r v o r .
I n t h e s t r o p h e whi ch f o l l o w s
immediately
a word p i c t u r e compar abl e t o t he p a i n t i n g s o f
suckling
the c h i l d ,
at f i r s t
anonymous m e d i t a t i o n s
tim idly
there
is c o nt ai ne d
t he young madonna
and t hen o p e n l y .
d e s c r i b e t he s c ene ,
The some
reflecting
Avec q u e l l e j o i e e l l e l * o l l o i t o i t !
On peut c r o i r e
q u ' e l l e r e s s e n t o i t e n ^ I ' a 1 1 o i t e n t une do uc eur i n c o n nue aux o u t r e femmes.
The composer o f
t he
loudo soys s i m p l y :
Then t he g l o r i o u s mo t h e r ,
t h e c l e a r luminous s t a r
w i t h g r e a t sweet ness
suckl ed t he high desi rous
The
Sun.
lock o f mannerism ond t h e t e n d e r n e s s o f a d d r e s s f ound
in t h e
loude s i m p l y
young,
fresh
has not y e t
intensify
the
impression
that
this
people,
in a
longuoge whi ch
literature.
But
p o e t r y o f an u n l e t t e r e d
produced a corpus o f
l ock o f a f f e c t a t i o n
ond i t s
in
d i r e c t n e s s of approach,
a p r e c i o u s c h a p t e r i n what mi g h t be c a l l e d
t he
is the
its
it
utter
constitutes
l ayman' s m a r i o l o g y .
O
S t r i c t l y c o n s i d e r e d , Lauda XI X be l ongs t o t h e s e c t i o n o f t h e
l a u d o r i o d e v o t e d to hymns f o r t h e l i t u r g i c a l c y c l e .
C f . p. 23 4.
I e,
o £ . ci t . ,
p . 149 .
Lauda I
MS I r - 3 v .
L i u z z i , 257
160
R e fr a in
mo-
n
n
n
n t n
fo..f J r r
I'a -
mo-
ro-
n
r
sa
5.
ver-
ge -
ne
Ma-
1 |3
' f
'
f*
Ma-
ri-a
sem-
1
.
i
of
glo-
9
t h is
—f
ghiem
o-
sa
lauda
occurs
bi-
au-
ke
also
, IV__ T_
f
ri-
i
1
, jl
f %
i
n
the
M
S Ar e z z o ,
a-
ta,
da -
n
h_
r ' :7
............ r- ^ -■
ne
si* avo-
ih
w
a.
f
-ff.f
Pre-
text
r
-I
re
3=^
ri-
4
pre
^
The
n
f ■r J " ~ J
Strophe^
M
re can- t a -
^
1--------------------cata
161
V e n i c e o le u d e r e pe r emore c e n t o r e
I' a m o ro so vergene M a r t a .
1»
Maria g l o r i s e b io ta ,
sempre s i ' m o l t o l a u d a t o ;
preghiam ke n e / s i ' a v o c a t a
a I tuo f i l i o l , v i r g o pi a .
Pietose regin a sovrana,
c o n f o r t a la mente c h ' S va n a ;
grande m e d i c i n a ke s a na ,
e i u t o n e per tua c o r t i s i a .
5
10
C o r t e s e ke f a i g r a n d i don?,
I 'a m o r t u o mai non ci abandon?:
p r e g & n - f e che tu ne perd on i
t u t t e la n o s t r a vi M a n i a .
2«
Vi I loni p e c c e t o r i semo s t a t i
amando la ca rn e e l i p e c c a t i ; /
vid&n ke n ' o ' I mondo e n g o n n o t i ; *
defen dan e la t u a g r a n b a i l i a . *
B a i l i a ne dona e p o t e n t i o ,
0 madre, de f a r p e n i t e n t i a :
volemo a t e f a r e o b e d i e n t i a
e s t a r e a la t u a s i g n o r i a ,
S i g n o r i a k ’ a f r a n c h i lo c o r e .
D io,
la tua madre d ' a m o r e :
s e ' I sapesse lo p e c c a t o r e
a t e , donna, r e t o r n a r i a .
15
20
&
2v
R e t o r n i a tua gran f i d a n g a
I'omo cum grande s p e r o n g e /
ke t u l i f a r e ? perdononga
pi Ci k 'adomandar non s a p e r i a .
25
30
Sapesse la g e n t e c r l s t i a n a
k ' & sc on os ce nt e e vi I lana
g u s t a r de t e , d o lg e f o n t a n a ,
d'om arte piu gran se te a v o re o *
Avfen-te p e r n o s t r a r i c h e g a ,
v o l & n - t e so vr an a b e l l e g a ;
ki tu a non s e n t e d o l c e g a ,
t r o p p ' e lo suo v i t a r i a .
35
162
Come t o p r a i s e and f o r love t o si n g
t o the l o v a b l e V i r g i n M a r y .
5
10
B le s s e d and g l o r i o u s Mary
may you alw ay s be g r e a t l y p r a i s e d :
We pr ey t h a t you be o u r o d v o c a t e
w i t h y o u r Son, co m p as s io n at e V i r g i n .
M e r c i f u l s o v e r e i g n queen,
c o m f o r t and mind which e r r s .
G r e a t m e d i c i n e which h e a l s ,
o u t o f yo u r k in d n es s h e l p u s .
K ind one who g i v e s g r e a t g i f t s ,
in your love n e v e r abandon us:
We pray t h a t you pardon us
a I I o f our ba s e n e s s .
15
20
25
30
Low s i n n e r s we hove been,
l o v i n g t h e f l e s h ond s i n s .
S in c e we hove been d e c e i v e d by th e w o r l d
moy y o u r g r e a t power d e f e n d u s .
G i v e us power ond s t r e n g t h
i n o r d e r t o do penance, 0 m o th e r :
We wont t o be o b e d i e n t t o you
and r em ai n under yo ur domain,
a domain which f r e e s th e h e a r t .
God i s t h e o r i g i n o f yo u r l o v e ,
ond i f e v e r y s i n n e r c o u l d know t h i s
he would come bock t o you, l a d y .
Moy he r e t u r n t o y o u r f u l l c o n f i d e n c e ,
t h e man w i t h g r e a t hope„
You w i l l f o r g i v e him more than
he would a c t u a l l y dare t o a s k .
Could t h e low and i g n o r a n t
C h r i s t i a n o n l y t o s t e o f you,
sweet f o u n t o i n , he would have
a g r e a t e r t h i r s t f o r you.
35
We hove you f o r o u r r i c h e s ^
we want you f o r o u r s o v e r e i g n b e a u t y .
Too m i s e r a b l e is t h e l i f e o f those
who do n o t f e e l yo u r s w e e t n e s s .
163
3r
Rio v i t o dei p e c c o t o r l
che non pensono n e I I i l o r c o r i ,
de t a n t o qo ud io son f u o r i
ke I i n g u o / c o n t o r no I p o r r e o . *
40
P o t r e b b e t ' o v e r per emen9o
e t u t t o s e n t i r delectongo
chi ben t i ^ p o r t o s s e l i o n g o *
ne I cu or si come d o v r e o .
45
Dovrebbe cioscum r i f r u t o r e *
per t e t u t t o ' I mondo d ' o m e r e ,
e t e , d o lg e modre, loudore
co l p i u d o l 9e f i l i o l che s i a .
50
\
3v
S iate o piocere, g lo rio s a ,
ke c a n to tuo leudo amoroso,
de f o r l i lo mente s t u d i o s e , /
ke la u d i ben no cte e d i e . *
D ian a s t e l l a l u c e n t e ,
l e t i t i o de t u t t a lo g e n t e
t u t t o ' I monde & p e r d e n t e
sengo lo tu a v i g o r i o .
55
Vigoroso potente beoto,
per t e £ q u e s t a laude c a n t o t o :
t u se* lo n o s t r o o v o c a t a ,
la p i u f e d e I ke mai s i e .
17
ENGANNARE - X I I I
18
Ba i l i a - X I I I
34
Av a r e a - E n d i n g
42
Por re a -
45
L 1AN9 A - X I I I Ce n t , ' l e a n z a '
47
R if r u t a r e - E xa mp le
54
O l A - l*DIAE VAL USAGE FROM THE L A T IN , 'D IE S '
Ag a i n
60
CENT. ' I I G ANN ARE'
Ce n t ,
• • a l ia '
s h ou lo
sreakes
be
the
'
ia
'
in
Rhyme
of h y p e r
order
scheme.
to
pr es e r ve
C F . S upra ,
tn e
Rh y m e .
34
c o r r e c t io n
NOTE THE USE OF THE RHETORICAL DEVICE OFANAOIPLOSIS USED HERE BETWEEN THE LAST WORD OF THE REFRAIN
AND THE FIRST WORD OF TNE STROPHE!
THEREAFTER, BETWEEN THE LAST WORD OF ONE STROPHE AHO THE FIRST
WORD OF THE STROPHE IMMEDIATELY FOLLOWING.
164
40
45
50
M is e r a b le is the l i f e of s in n e rs
who do not t h i n k in t h e i r h e a r t ,
who o r e so much o u t s i d e o f ha ppiness
t h a t no human tongue c o u ld t e l l .
He who i s c o m p l e t e l y f a i t h f u l
o f h e o r t , as he s h o u ld be,
c o u l d hove you as a lo v e r
ond f e e I a l l de I i g h t .
Everyone ought t o r e f u s e
t o love a l l t h e w o r l d ( i n o r d e r )
t o p r a i s e you, sweet m o t h e r ,
w i t n th e s w e e t e s t Son t h e r e i s .
Moy he p l e a s e you, g l o r i o u s one,
who s i n g s y o u r l o v i n g l a u d e .
Moke th e mind a n x i o u s t o p r a i s e
you w e l l n i g h t and d o y .
55
60
S h i n i n g m or ni n g s t o r ,
j o y o f a l l the p e o p l e ,
e l l tne w o rld is lo st
w ith o u t your v i g o r .
V i g o r o u s , p o w e r f u l , b l e s s e d one,
f o r you
t h i s leudo i s sung:
You o r e o u r a d v o c a t e ,
t h e most f a i t h f u l e v e r .
165
Lauda M
MS 3 v ~ 5 v .
LIuzz i , 260-3
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OF TNE MANUSCRIPT BEFORE TNE WORS 'N U L L A '.
SECOND LINE IN ORDER TO PRESERVE THE NODE.
AFERTO'.
fo-
sti
lI o ;
1
i
no-
to .
of c l e f i MIS s i n b on tne t h i n s s y s t e m
THE CLEF SHOULD BE MOVED FROM THE THIRD TO TNE
t r a n s p o s it io n
THE LAST THREE NOTES OF THE NYMN HANS ' I N
CAMFO
166
Loude n o v e l l a s i o c o n t o t o /
o I ' o l t o donno e n c o r o n o t o .
4*
Fr esco v e r gene d o n ^ e l l o ,
pr i mo f i o r , roso n o v e l l a ,
t u t t o * I mondo a t e s ' a p e l l a ;
n e l l o bonor f o s t i n o t e . /
4v
5
Font e se* d' oqquo s u r g e n t e ,
modre de D i o v i v e n t e ;
t u s e ' luce de lo g e n t e ,
s o v r a le enge I i e x a l t o t a .
10
Tu s e ' v e r g e , t u s e ' f i o r e ,
t u s e ' luna de s p l e n d o r e ;
v o l u n t o ovemo e cor e
de v e n i r a t e , o r n o t a .
Tu s e ' r o s o , t u s e ' g i l l i o ,
tu p o r t o s t i e l^ do lc e f i l l i o :
p e r i , donno, si m ' e n p i l l i o
de l a u d a r t e , h o n o r o t o .
15
Ar cha s e ' d ’ u m i I i t o d e ,
voso d ' o g n e s a n c t i t e d e ;
en t e venne d e i t o d e ; /
d'ongel f o s t e s o l u t o t e .
5*
20
De la v e r g i n s e ' v e r d o r e , *
de le spose se* h o n o r e ;
a t u t t o gente port'omore,
to nt o se' i n g r o t i o t o .
25
N u l l a l i n g u a pd c o n t o r e
come t u s e ' do l a u d a r e ;
lo t uo nome f a t r e mor e
Sat hanas a mi I l e f i o t o . *
30
P r e g o t * , ov ocot o mio,
ke ne m e t t i en bona v i o :
q u e s t a n o s t r o componi e*
s l a t e sempre commandoto.
Commenton- te q u e s t a t e r r a
c h e / l o guard! d'ogne g u er ro :
ben s ' e n g a n n a e t r o p ' e r r o
ki t ' a f e n d e , * o b e o t o .
5v
35
23
'VEROORE' FROM 'V ERDE*, LITERALLY SREENESS, SPROUT, BUD ETC.
30
*F ia t a '
should
be
’m
ate
*?
Pr o ba bly
considered
a neuter
plural
E .g .
'G a u o i a '
167
L e t e new loude be sung
t o the e x a l t e d , crowned
5
10
Fr esh v i r g i n damsel ,
f i r s t f l o w e r , new r ose
a l l t h e w o r l d i mpl o r e s you:
I n a b l e s s e d hour you wer e b o r n .
You o r e a s p r i n g o f w a t e r ,
mot her o f t n e l i v i n g God.
You o r e t he l i g h t o f t h e p e o p l e ,
e x a l t e d above t h e a n g e l s .
You a r e
you o r e
We have
t o come
15
20
25
30
lody.
the s t a f f , you o r e t h e f l o w e r ,
a moon of s p l e n d o r .
both the wi I I ond t h e cour age
t o y ou, a d or e d o n e .
You o r e t h e r o s e , you o r e the l i l y;
you bor e t he sweet son:
F o r t h a t , l a d y , I commit m y s e l f
t o p r a i s e y ou, honored o n e .
You o r e t he o r k o f humi I i t y ,
the
vessel o f o i l s a n c t i t y :
I n you t h e godheod come (when)
you were g r e e t e d by t h e onge I .
You o r e the f r e s h n e s s o f v i r g i n s ,
you o r e t h e nonor o f b r i d e s .
To a l l p e o p l e you bear l o v e ,
so f u l l o f g r a c e o r e y o u .
No tongue can tel I how
you o r e t o be p r a i s e d .
Your name makes Sat a n
t r e m b l e a thousand t i m e s .
I pray you my, a d v o c a t e ,
t h a t you p l a c e us i n t h e r i g h t
Moy t n i s , o u r company,
al ways be commended t o y o u .
35
pa t h :
We commend t o you t h i s e o r t h
t h a t you gu a r d i t f r om a l l w a r .
He is c o m p l e t e l y d e c i e v e d , ond a s t r a y
who o f f e n d s you, 0 b l e s s e d o n e .
33
NOTE REFERENCE TO THIS COMPANY,
38
' A f e n d e ' fo r ' o f f e n o e '
I N I T I A L SYLLABLES.
An
'QUESTO COMP ASK I A . '
example
of
the
t e n d e nc y
to e m p l o y
the
'
a'
for
u n a c ce n te d
Lauda I I I
Ms 5v - 8 v .
Li u z z i , 2 6 4 - 9
168
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to
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T e x t on ly occurs i r MSS ARET., A R S ., F IO R ., and MAGL2.
T he do c le f on the l a s t s y s t e m of the
MANUSCRIPT HRS BEEN CHANGED TO A FA CLEF IN ORDER TO PRESERVE THE MODE. THE PRECEDING CUST0S
IS CORRECT. T he PENULTIMATE SYLLABLE OF POTENT 188 IMA IS HERE CARRIED UNDER TNE C L I V I 3 FIGURE,
RE-DO, BECAUSE OF TNE ANALOGOUS FIGURES OCCURRING ON THE WORDS 8ANTIS8IMA AND BENIGNIS3IMA.
169
Ave, donna s o n t i s s i m e ,
r e g l n a p o t e n t i s s I mo.
6r
Lo v e r t O c e l e s t i o l e
c o l l o g r o t I o / s u p e r n o le
en t e , v i r g o v i r g i n o l e ,
discese* benignissimo.
Lo n o s t r o r ede mp t i on e
pr e s e e n c o r n o t i o n e
k ' & s e n 9a c o r r u p t i o n e ,
de t e , donno s o n c t i s s i m o .
5
10
S t o n d ' a l mondo se ngo’ l mondo
t u t t o f o per t e i ocondo,
lo super no e ' I pr o f o n d o ,
e I'oere suovissimo./
6v
Quosi
come lo v i t r e r o ,
uondo l e r o i del s o l e lo f i e r o , *
e n t r o posso q u e I l o s p e r o
k*£ to nto splendidissim o,
15
3
st ondo c o l l e
en t e C r i s t o
quondo de t e
permonsisti*
porte kiuse
se r e n c h i u s e :
se de s c h t u s e
purlssimo.
A l t r e s ' p e r t uo m u n d i t i a
v e n n e * I s o l de lo i u s t i t i o
i n t e , donno di l e t i t i o ,
si f o s t e p r e c l a r i s s i m o .
7r
Tu s e 1 p o r t o e t u s e ' domo,
di
t e noqque D i u * e t homo;
o r bo r e * c o l do Ice porno
ke sempre s t a / f l o r i s s i m o .
20
25
30
Per lo t uo s c i e n t i o puro
c o n s e r v o s t i lo s c r i p t u r e :
t u t t o qente s ' o s i c u r a
o t e , donno p u r i s s i m o .
Oi mon da s t i per p i e t o n 90
de l i a p o s t o l i c o n s o l o n 9 o,
o lo tuo t r o n s mu t o n 9o *
l o r componio c o r i s s i m o .
35
Hoi I , most h o l y l a d y ,
queen most p o w e r f u l .
The c e l e s t i o l v i r t u e
w i t h di vi ne grace
decended on you, m a i d e n l y
v i r g i n , most b e n i g n .
Our r e d e m p t io n
took f lesn which is
w ithout c o rru p tio n
o f you, most n o l y l a d y .
Being i n t h e w o r l d though not o f
a l l was (made) f o r y o u r j o y ,
th e s u b li m e ond t h e lowly
ond th e s w e e t e s t a i r .
Almost l i k e a
when t h e ra y s
i n s i d e passes
which i s so b
pane o f g l a s s
o f t h e sun s t r i k e
tnot lig h t
rillia n t.
it
it,
W i t h t h e doors r e m a i n i n g s h u t ,
?n you C h r i s t e n c l o s e d h i m s e l f :
When he come f o r t h from you
you re m ai ne d most p u r e .
And so f o r yo u r p u r i t y
t h e son o f j u s t i c e came
in you, lady o f j o y .
You were so b r i l l i a n t .
You o r e t h e d o o r , you a r e th e house,
o f you was born God and mon;
T r e e w i t h sweet a p p l e
which i s a lw a y s b l o o m in g .
In y o u r pure wisdom
you k e p t th e c o n t r a c t :
(Now) a l l pe op le t a k e r e f u g e
in you, p u r e s t l a d y .
Out o f p i t y you asked th e a p o s t l e s
f o r t h e i r mercy ond c o n s o l a t i o n
( i n ) y o u r passage t o a n o t h e r l i f e
i n t h e i r d e e r e s t company.
Per 6 k ' e l e r o n g i t i *
pe r lo mondo d i s p a r i t i .
p e r t uo prego f d r r e d i t i
d a v e n t'e t e , gaudissime.
Quando t u s t e v i I n o r a r e
si f 6 r f a c t ! a d u n a r e ;
non d o v e 1* p i u / d i m o r a r e ,
regina genti I is s Im a .
C o g n o s c e s t i * ben per c e r t o
ke l a s c l a v i lo d e s e r t o :
su neI c i e l o k ' e r a a p e r t o
a ( n ) d a s t i , * di l e c t i s s i m a .
I n l o r men! t i m u t a s t i :
c r edo ke t ' e d o r m e n t a s t I :
ad a l t r a v i t a t r o n s l a t e s t i *
sempre ma? s e c u r r i s s i m e .
A costume k ’ e r a u s i t a t o ,
s' ebbero c o l l o c a t o
lo suo cor po c o n s e c r a t o
cum p i e t d g r a n d i s s i m a .
S a n e ’ Tomasso ver ament e
non e r a co I l o r p r e s e n t e :
s' venia tostamente
d a v a n / t e a la b e l i s s i m a .
Quando ne I monte v e n i a
v i d d e la donna ke s a l i a ;
le ange I i
sua compani a,
t u t t a I ’ a i r e pl e^i ssi ma.
Ed e l l i p i a n g e e kiamd mo I t o
de lacreme s i l a v a ’ I v o l t o :
HTheseur o ke me s e ’ t o l t o ,
gemmo p r e t i o s i s i m a ! "
Glamai
si non
f a ’ s^
donna
q u i n c e * non me muto,
mi da ' de l t uo a i u t o ;
ke mi s i d c r e d u t o ,
l a u d a b i 1 1 s s i ma
Even though t hey were gone,
dispersed over the world,
a t y o u r r e q u e s t t hey come bock
b e f o r e you, joyous o n e .
When you wer e i n p r a y e r
t h ey g a t h e r e d t o g e t h e r .
You no l o n g e r had to dwe l l
h e r e , most g e n t l e queen.
You s u r e l y know t h a t you
were l e a v i n g t h i s d e s e r t :
Up i n t o t h e open sky
you w e n t , d e a r e s t o n e .
In t h e i r honds you wer e changed:
I b e l i e v e t h a t you f e l l a s l e e p ,
tr a n s la t e d to another l i f e
f o r e v e r mo r e s e c u r e .
A c c o r d i n g t o t he custom f o l l o w e d ,
t h ey thus p r e p a r e d
your b l e s s e d body
with g r e a t e s t reverence.
T r u l y , h o l y Thomas
was n o t w i t h them:
He come i m m e d i a t e l y
b e f o r e the most b e a u t i f u l
one.
When he come up t h e m o u n t a i n
he sow the lady who was a s c e n d i n g
The a n g e l s , her e s c o r t ,
f i l l e d a l l the a i r .
And he wept ond lamented much,
h i s f a c e ba t he d w i t h t e a r s ,
"Jewel t h a t i s t o k e n f r om me,
most p r e c i o u s gem."
" Ne v e r con I move f r o m h e r e
i f you do n o t g i v e me your h e l p .
G r a n t t h o t I may be b e l i e v e d ,
lady most p r a i s e w o r t h y . "
173
La r a i n a se d e s t r e n g e , *
v i d d e * ben ke non s ’ i n f i q n e ; *
i n p r e s e n t e si d i s c i n g e , /
k& t e n t o S c o r t e s ?ss ima .
8v
75
"Tomosso, q u e s t o t e ne p o r t a , *
c o lli apostoli ti conforto;
de* k * i o so* v i v a , non s o 1 mo r t a ;
non f u i mei s' b o I d i s s i m o . "
80
Ben si move a q u e s t o po ct o
per c o n f e r t u t t o lo f a c t o ,
come o r e c e ' I g r o n d ' o c a t t o
di la pi u n o b i l i s s i m a .
8
OlSCESE - MEDIAEVAL USAGE FOB ’ 01 SCEHDERE. 1
16
FlERA -
22
28
FROM 'F I E O E R E '.
PERMANSISTI OlU -
CF.
'CHIE OERE,'
*Rl
85
CHIEOERE, ' ETC.
BETRAYS THE SCRIBE'S FAMILIARITY WITH LATIN.
VERY RARELY USED FORM FOR ' D l O ' .
29
ARBORE ~ NOT A LATINISM AS I T APPEARS ON FIRST REAOING, BUT
i n S outh c e n t r a l I t a l y
3 6 -46
Th e th o u g h t s c o n t a i n e d in the s e three s t r o p h e s w h i c h t e l l of Ma r y ' s d e s i r e to be cohsoleo
BY THE COMPANY OF THE APOSTLES AS HER LAST HOURS APPROACHED, ARE A PARAPHRASE OF THE WELL
KNOWN PASSAGES CONTAINEO IN THE LEGENOA AUREA OF JACOBUS DA VARAGINE. CF.
P . 3 3 5 . THE SANE
ACCOUNT IS PORTRAYEO PICTORULLY IK THE FRESCOES OF GROTTO IN THE SCROVEGNI CHAPEL IN PADUA.
37
T ra n sm u ta n ;
-
a
'
FERO K'EL ERAH G I T I -
46
Dove - s h o r t e n e d form of 'O o v e t e '
IS NOT SO RARE AS I T MIGHT SEEM.
Co g n o s c e s t i -
50
ANOASTI -
53
TRAN3LATA8TI -
59-82
IN THE MANUSCRIPT THE EL'
f o r ' c o n o o c e st i'
V id d e -
71
QUINCI -
75
De s t r e n g e -
y ic u it
fin a l
' te *
of
the
second
person p l u r a l e n d i n g
THE SI6N OF
THE NASAL.
PURE ECCLESIASTICAL LATINISM.
'
v id e '
s t il l
absence
f r o m the
s c e n e of the a s s u m p t i o n
THE LEGENOA A uREA, C F . P .
common
d i a l e c t i c a l form
u s ed
and h i s
c on seq ue nt
5 0 9 . "THOMAS AUTEM CUM ABESSET .
in
T uscany
and al l
. .
p o i n t s sout h .
TYPICALLY TUSCAN USAGE.
cf.
'R is t r in g e '
76
INFIGNE — MEDIAEVAL 1INFINGERE
76
Vi o
79
T he
-
the
IS FOLLOWED BY AH ERASURE.
.
T he o r a m a t i c account of Tho ma s '
OOUBT AND SORROW IS INSPIRED BY
F u i s s e t As s u m t a . ”
d i,
d r o p p in g
THE MANUSCRIPT HAS 'A D A STI' WITHOUT
64
USAGE
transmutare'
39
46
RATHER A WORDOF COMMON
'V
io e '
cf.
THIRTEENTH CENTURY MEANING SlMILARE
S ups A. 64
th e Les e n p a Au r e a WHICH i n s p i r e d
V i r g i n th r o w in g h e r b e l t down to
the d o u b t in g ano sorrowful Thomas below may be foun d i n numerous p a i n t i n g s .
The V a t i c a n Mu s e u m
ALONE CONTAINS EXAMPLES BY GOZZOL1, ANTONIO DA VlTERBO, RAPHAEL, AND N|COLO FlL O TE SIO .
meaning
so many
of
th is
p a in t in g s
of
tex t woulo
th e m i d d l e
be most
obscure
ages to o .
T he
were
it
account
nof
of
for
the
The queen was so overwhel med
(when she) saw t h a t he d i d not ffeign
i m m e d i a t e l y she u n g i r d e d h e r s e l f ,
so g r e a t i s he r k i n d n e s s .
"Thomas, t a k e t h i s away;
w i t h the a p o s t l e s c o m f o r t
yourself
in t h a t I am l i v i n g , I am not dead;
I was ne v e r so a l i v e . "
(He was) c o m p l e t e l y moved a t t h i s
covenant t o t e l l t he whole s t o r y ,
t o announce t h e g r e a t deed
o f t he most n o b l e o n e .
l_auda I V
MS 8V - I 0 r .
175
L i u zz i ,
A
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U
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s +o
&
ke
ne
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gia
T e x t i s c o n t a i n e o a l s o i n Mss Ar e t . , Ma b l . 2 ,
WHILE THE LAST THREE MtMAIN EMPTY*
do-
p e r-
and
(JO.*
on ly
tne
fir s t
nn r ee
na -
systems
c o n ta in
re
.
m u s ic *
i
176
9b
Madonna s a n t a M a r i o ,
merce de noi p e c c a t o r i ;
f e i t e * p r e g o / a I dolge C r i s t o
Ke ne d e g i a p e r d o n a r e .
Madonna s a n c t a M a r i a ,
che n ’ a^ m o s t r a t a la v i a ,
o r e s c a c i a ogne r e s i o , *
r e c e v e ki vo I t o r n a r e . /
9v
5
M i s e r i c o r d i o , p a t r e Deo,
de t u t t o * I p e c c a t o meo:
e ' so* q u e l m e l v a s c i o * r eo
ke sempre v o l s i maI f o r e .
10
Peccotori e b h o m i n o ti , *
pensiam l i n o s t r i p e c c a t i :
t a u p i n e l l i , * onda t e a I p a d r e ,
m e t t e t e v e ' n suo i u d i c o r e .
15
0 t a u p i n e l l a * e f o l l e gente,
t o r n a t e a Dio omnipotente,
ke ne f e c e de n i e n t e
ed a l ui dovem t o r n a r e .
I Or
20
Te ne p r e g o , Ih e s u C h r i s t o ,
a l l e q r a lo mio c o r k ' £ t r i s t o ,
e scampane da ou eI m i n i s t r o
ke L u c i f e r / s e f a k i a m o r e .
Penetentio, penetentio,
domendata con r e v e r e n t i o :
omgn'om pensi la s e n t e n t i a *
ke non se d i e moi r e v o c o r e ,
25
l esu C r i s t o , mondo pace;
scompane do la f o r n a c e
lo quo I gemai a l t r o non f a c e
che i p e c c o t o r i e t o r m e n t a r e .
30
3
FaiTE - MOT MERELY AN AMOLOGY TO 'DATE* BUT AM EXCELLENT EXAMPLE OF THE INTERMEDIATE
STA6E OF < FACITE.
T
Re s i a - common T h i r t e e n t h Ce n t u r y T uscan usage for ' E r e s i a , ' i n the l i g h t
HERESIES CORRENT IN THE OUGENTO THE REFERENCE IS ESPECIALLY MEANINGFUL.
II
Ma l v a s c i o -
12
Vo l s i -
13
ABHOMINATI “ THE SCRIBE USES THE ' H ' AFTER THE *B* IN THIS LEARNED WORO UNDOUBTEDLY TO
INSURE THAT TNE PLOSIVE SOUND NOT BECOME 'V * AS WAS COMMONLY DONE AT THE T IM E .
15
Ta u p i n e l l a -
IT
Ta u p i n e l l i -
'
m e d ia e v a l
v o l l i'
<
s t il l
' m a l v a g io ' .
for
useo
TALPA -
'
in
the
tofo* ,
C F . S u p r a , 15
cf.
Tuscan
lite r ally
X II. 5
for
use
of
'S C'
in
of
place
of
the
the
numerous
mooern
d ia le c ts .
' moles'
27
Se n t e n t i a - X I I I S e c .
'G i u
d i z i ©'
' g* .
Madonna h o l y Mary,
have mercy on us s i n n e r s ;
Prey t o sweet C h r i s t
so t h a t He f o r g i v e us.
Madonna, h o l y Mary,
you who hove showed us the way,
now d r i v e away a l l h e r e sy ( and)
r e c e i v e him who wants t o r e t u r n .
Have mercy, God t h e F a t h e r ,
on a l l o f my s i n :
I am t h a t wi c k e d , g u i l t y one
who al ways wonted t o do wr ong.
Abomi nabl e s i n n e r s ,
l e t us t h i n k o f o u r s i n s :
M i s e r a b l e w r e t c h e s , go t o t h e F a t h e r ,
p l a c e y o u r s e l f i n h i s j u dgme n t .
0 mod and m i s e r a b l e l i t t l e pe opl e
r e t u r n t o o l mi g ht y God
who mode us out o f n o t h i n g
ond t o whom we must r e t u r n .
1 pr ay you, Jesus
moke my sod h e a r t
ond f r e e me f r om
who c o l l s h i m s e l f
Christ,
happy
t h a t agent
Lucifer.
Penitence, penitence,
ask i t w i t h r e v e r e n c e .
Every mon must t h i n k o f t h e judgment
whi ch wi I I ne v e r be r e v o k e d .
Jesus C h r i s t , send us peace,
f r e e us f r om t h e f u r n a c e
whi ch never does a n y t h i n g
but t or ment s i n n e r s .
Lauda I V a
MS 1 0 r - 1 2 v .
L l u z z i , 274-5
178
10*
Ave M a r l a , g r a t i a p l e n a ,
v e r g e n e / mo d r e b e a t a .
Ave M a r i a , - g r a t i a p l e n a ,
s t e l l a d i a n a , - luce s e r e n e ,
de v i t a v i a - per cui de pena
& la g e n t e l i b e r a t e . /
11s
Gr a n d * a l egr engo - cun ume l t a de
f o e n t ur bo ng o - in t ua b o n i t e d e ,
quando i n posange* - de la d e i t a d e
f o s t i madre a n n u n t i a t a
5
10
Ver gene pure - per cui d i v i s o
f u o r de r o n g u r e * - f o * I mondo mi so,
p o r t a secur e - del p e r e d i s o ,
c h * e r ' e l oseppo s p o s a t a .
D i o t e mand&e - son G o b r i e l l o
ke t * a p o r t d e - ' I s a l u t o b e l l o ,
e o n u n t i d e - ke de n o v e l lo
e r i do Di o madre o r d e n a t a . /
11»
15
I n N a g o r e t h - de G a l i l e e
I ' o n q e l o s t e t t e - ke r e s p l e n d e o ;
20
tu o f e d e * I c r e d e t t e - quando d i c e o :
"De D i o s i r o i o b u m b r a t a . "
M o r o v e g l i o s a - f o * n suo p o r v e n t e *
s i a I t a cosa, - s t e l l o l u c e n t e ;
d o l c e r esposa - d e s t i ’ n p r e s e n t e ,
poi ke f o s t i s a l u t o t a .
25
Per t u t t o * I mondo - voce suove
d e s t i d i c e n d o : - "Come si r o v e *
q u e l l o c h * i n t e n d o ? - Ben senbr a g r o v e ;
non sono ad omo c o n t o t o . "
30
12r
Response a t e n t ’ - a l t o mesoi o
i n suo be I c a n t o : - "Roso de moio
S p i r i t u s onct o - / s i S* I t u o do no i o;
v e r o i n t e , do n ’ o m o r o t e .
Tu i n c i g n e r o i , * - e t p i u che g i l l i o
puro s i r o i ; - d o l c e f i l i o
p e r t u r i r o i : - p e r t e mi n ' e m p i l l i o ,
de q u a l e g r o t i o t ' S d o n a t e .
35
179
H a i l M a ry , f u l l o f g r a c e ,
B le s s e d V i r g i n m o t h e r .
5
10
H a il Mary, f u l l o f grace,
morning s t a r , c l e a r l i g h t ,
way o f l i f e by whom men
is f r e e d f r o m p u ni s hm en t.
G r e a t jo y w i t h h u m i l i t y ,
you were d i s t u r b e d i n yo ur goodness
when in ( y o u r ) t r a n q u i l i t y you
were so l u t e d the mo ther o f God.
Pure v i r g i n by whose wish th e
w o r l d was put o u t s i d e o f e n m i t y .
Sure g a t e o f p o r a d i s e who
was espoused t o Jo sep h.
15
20
25
30
God se n t t o you S a i n t G a b r i e l
who br o u g h t you t h e b e a u t i f u l g r e e t i n g
ond announced th e news t h a t you hod
j u s t been o r d a i n e d a m oth er by God.
In N a z a r e t h o f G a l i l e e s t o o d
th e a n g e l who was s h i n i n g .
Your f o i t h b e l i e v e d when he s o i d ,
"By God you w i l l be ov er s h a d o w e d ."
M a r v e lo u s ( h e ) was in h i s a p p e a r a n c e ,
such a h e a v e n l y t h i n g , s h i n i n g s t a r :
Sweet onswer you mode i m m e d i a t e l y
a f t e r you were g r e e t e d .
For a l l t h e w o rl d yo ur sweet v o i c e
spoke s a y i n g :
"How con t h i s be,
wnat I h e a r ?
This is d i f f i c u l t ,
I am untouched by man."
He answered to such a h i g h message
in h i s b e a u t i f u l song, "Rose o f May,
th e H o ly S p i r i t i s thus y o u r g i f t .
He w i l l come in you, b e l o v e d l a d y .
35
T he MS c o n t a i n s
OF THE MELOOY.
L auda X X IX .
You w? I I be p r e g n a n t ,
be p u r e r th o n th e l i l y
you w i l l b r i n g f o r t h :
o f t h e g r a c e which i s
the s t a v e s
THE TEXT
for
the
hymh
but
fob
y e t you w i I I
A sweet son
Fo r you I s h a l l
given to you.
.
some
reason
IS ALSO CONTAINED IN MS ARET,» AND
speak
the
s c r i b e never recorded
THE
REFRAINOCCURSIN MAGL.'»
the
notes
180
Non d u b i t o r e , - che D i o p o t e n t e
lo pb ben f o r e - lo suo p l a c e n t e : *
io ki omor e - en f ro lo g e n t e
fi
non s i e t u r b o t o .
40
F i e * f i g l o degno - de I ' o l t o Di o:
perd lo ' nsegno - k ' e N o g o r i o ,
e n t r o e ( n ) regno - del s i g n o r mio
ke non f i n ' a l c u n o f i o t o . /
I2v
45
Or guordo bene - gr onde c e r t e g o ,
g r a t i a ke venne - k ' e [ n ] suo v e chi ego
o ’ I f i l l i o e t ene - o g n ' o l e g r e c o
E l i s a b e t c o g n a t e . ”*
50
Alor respondisti, - be llo doncello,
poi l o ' n t e n d e s t i , - v e r e n o v e l l a ;
s' che d i c e s t i : - " l o sone o u e l l o
de I ’ o l t o D i o cui sono don ato "
9
POSANIjA -
’ RIPOSANJA'
12
RANGURA -
’ RANCORE’
18
ERI - M
S HAS ’ ERA’
21
M
S IS HISSING THE NASAL SI6N
23
PARVENTE - X III
28
SlRAVE “
34
MS HAS 'DONA MORATA'
35
I NCIGNERAI
-
40
PLACENTE -
' PIACENTE’
43
F ie -
47
Or GUARDA - M
S HAS 'ORGIAROA'
50
COGNATA - THE MEDIAEVAL USAGE MEANING SIMPLY 'R E L A T I V E '.
I t . c o n g iu n t o d i s a n g u e .
Cf . V I , 4 7 .
50
o 'E l i z a b e t
NB
T he d r a m a t i c d ia l o g u e manner
FROM VERSE 15 TO THE END.
OVER THE • OE’ OF ’ CREDETTE1
'FARVENZA'
'SAREBBE' THIS FORM IS DEFINITELY NOT TUSCAN
from
MAZZONl'S SUGGESTEO CORRECTION IS
FROM * IN CIGNERE
"DOHA INORATA*.
1 MEDIAEVAL USAGE OF ' INCINGERE '
«. FIAT
- M
S is
m is s in g
the
THE CORRECTION USED HEREIS THAT SUGGESTEOBY MAZZONI
'
of
o'
w h ic h
the
is
lau oa
su p p lie d
as i t
FROM THE LATIN CUM
( g ) NATUSj
here.
relates
the
story
of
the
a n n u nc ia tio n
181
40
45
50
Have no f e a r , because t h e p o w e r fu l
God con c e r t a i n l y do h i s p l e a s u r e
t o c a l l h i s son among t h e p e o p l e .
Do not be d i s t u r b e d .
He w i l l be t h e w o r t h y son o f th e h i g h God:
Fo r t h i s rea s on I te a c h t h a t he i s a N a z o re n e
who e n t e r s t h e kingdom o f my l o r d ,
which wi I I have no e n d .
Now o b s e r v e w e l l , ( w i t h ) a b s o l u t e c e r t a i n t y ,
t h e g r a c e which has come t o E l i z a b e t h
y o u r r e l a t i v e , t h a t i n h e r o l d age
she be e r s a son w i t h e v e r y j o y . ”
Then you an swered, b e a u t i f u l damsel,
when you un de rs t o o d t h e t r u e message;
Thus you s a i d :
" I am t h e s e r v a n t
o f the
high God t o whom I am g i v e n . "
Lauda V
!AS 1 2v Liuzzi,
14 v .
276-9
182
R efrain
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1
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r jjrj
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V
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ve,
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ih
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gi-
g I o-
ri-
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a-
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g r a n - ^a
One OF THE FEW HYMNS OF THIS MANUSCRIPT WHICH IS NOT FOUND IN ANY OTHER UUOARIOTHE SYSTEM UPON
WHICH THE REFRAIN IS NOTATEO CONTAINS NO CLEF BUT ITS POSITION NAY BE DEDUCED BY ANALOGY WITH THE
SAME MELODIC FIOURE WHICH OCCURS AT THE END OF THE FOURTH SYSTEM-
Ave , r e g i n o g l o r i o s o ,
p l e n a d ’ ogne c o n s o l o n g o . /
Ave, p u l c r e m e r g e r ! t a ,
s p l e n d i d a luce c l a r i t a ,
fr e s c a rose e t a u l o r i t o , *
n o stro gaudio et a le g r o n g e .
Ave, r e g l n a a d o r a t a ,
v i r g e n e madre b e a t a ;
poi ke f o s t i
sa lu tata,
madre s e ' de gran p i e t o n g e . /
Ave, s c a l e pe r la q u a l e
descese la d e i t a d e
e t p r e s e i n t e umen itade
per d a r e s e g u r a n g o . *
Ave, r e l u c e n t e s t e l l a ,
v i r g e n e madre d o n g e l l a :
a l o r che t i c h i a m a s t i a n c i I la
f e c e in t e D i o r i p o s e n g a .
A ve , v i r g o i m p e r i a l e :
madre s e ' de gr a n p i e t a d e ;
t u se* qu e l la per la q u a l e
noi semo f o r di d u b i t o n g a .
A ve , p e r o d i s i * p o r t a ,
di la q u a l e luce
crto :*
ki enni I * tuo nome si c o n f o r t a ,
ben s ' e p r e n d e a buona o m a n g e . /
h
Ave, f l o r e cum b e l l o o d o r e ,
f r u c t o cum d o l g e s o v o r e ,
s t e l l a cum grande s p l e n d o r e ,
madre de n o s t r o s o l v e n g a . *
Ave , v i r g o p r e t i o s e ,
p i u de n u l l a amoroso,
t u t t a ioc unda e t g i o i o s a ,
madre de g r a n d e l e c t a n g a .
Ave, madre i n c o r o n o t a ,
sovra i c i e l i e x a l t a t a ,
do t u t t i l i s a n c t i v e n e r o t o ;
de? p e c c o t o r i se ' s p e r a n g a .
H a i l , g l o r i o u s queen,
f u l l of every c o n s o l a t i o n .
H ail, beautiful pearl,
resplendent c l e a r l i g h t ,
f r e s h end f r a g r a n t r o s e ,
our j o y and our h a p p i n e s s .
Hai I , ador ed queen,
h o l y v i r g i n mot her ;
Si nc e you were s a l u t e d , you
a r e t h e mot her o f g r e a t compassi on.
H a i l s t a i r w a y by which
descended t he godhead
and i n you t ook on hu ma ni t y
i n o r d e r t o g i v e us s e c u r i t y .
H a i l , resplendent s t a r ,
v i r g i n m o t h e r , damsel ;
When you c a l l e d y o u r s e l f a handmaiden
God t ook h i s repose i n y ou.
H a il, imperial v ir g i n ,
you o r e the mot her o f g r e a t p i e t y :
You o r e t h e one because o f whom
we no l o nge r hove any f e a r .
H a i l , gate of paradise
f r om whi ch l i g h t hos a r i s e n :
He who t a k e s c o mf o r t i n y o u r name
a t t a c h e s h i m s e l f t o a good l o v e r .
H a i l , flo w e r of b e a u t if u l
f r u i t w i t h sweet f l a v o r ,
st o r of great splendor,
mot her o f our s a l v a t i o n .
fragrance,
H a i l , p r e c i o ,,e w ; ° ; "
more l o v i n g
a l l happy and j oyous
mot her o f g r e a t d e l i g h t .
Hai I , crowned mot h er ,
e x a l t e d above t h e he ave ns ,
v e n e r a t e d by a l l t h e s a i n t s ;
you a r e t h e hope o f a I I s i n n e r s .
185
Ave . p o r t o de s o l u t e ;
ki ben t ' o m a t u I ' o i u t e ;
gu ar dan e di f a r c a d u t e ,
t r o i c l f o r di d u b i t o n g o . /
14*
40
Ave , d i c e * l l i t u o i amenti
quondo t i s t a n n o d a v a n t i ;
laude cum d u l c i bei c a n t i
cantam cum grftn i u b i l o n g a . *
45
Ave, v i r g a di r o d i c e , *
d? Ih e s u d o l c e n u t r i c e :
ke le t u e laude d i c e ,
da I I i de t e c o n s o l o n g a .
5
Au l o r i t a -
L at.
'
It.
o l ir e 'J
'
a u l ir e '
,
50
common
in
T uscany
in
X I I I Ce n t . CF. X , 7 ; X I I I , 6 ;
X IV , 2 .
14
Se g u r an ;
a
23
Pa r a d i s i
-
24
Or t a -
25
-
pure
'
s ic u r e z z a '
La t in
pure
La t in is m .
g e n it iv e
'L
ight
has
a r is e n
Kl ENNIL “ SHOULD THIS BE 'K tE NNEL'T
V I , 18
S alvan;
43
D i c e l l i - no l a c k of concordance between
ASSIMILATEO INTO THE FOLLOWING ' L ' .
46
Iu b ila n {a -
47
V ir g a
oi
-
X llt
Ce n t ,
xill
radice
Cent.
-
from
'
for
g ir t h .
THE LATER ITALIAN
30
a
fig ure
'N EL' INTRANSITION.
CF.
LAUOA
salvare'
th e
subject
and
verb h e r e .
T he
'N '
has been
' 6 iu b ila n p a ', fro m 'g iu b ila n e ’
ob vio u s
r e fe r en c e
to the
scriptural
' r a d i x J e s s e ' CF.
Is a ia s i
X I, 1
;
186
40
45
50
H o i k harbor of s o lv a tio n ;
you h e l p him wno loves you w e l l :
Guard us fr o m f a l l i n g , (e n d )
draw us o u t o f ( o u r ) f e a r s .
Hoi I , soy yo u r lo v e r s
when t h e y s t a n d b e f o r e you;
W i t h g r e a t j u b i l a t i o n th e y
s i n g p r a i s e w i t h sweet b e a u t i f u l
Ho? I , bronch from t h e r o o t ,
sweet n u r s e o f Jesus:
( t o ) him who speaks y o u r p r a i s e s
g i v e o f y o u r sweet c o n s o l a t i o n .
so ngs.
Lauda VI
MS 1 4v - 1 7 r .
L i u z z i , 280-3
187
R e fra in
ven
S tro p h e
Nel-
m
ci-
la*
v'e-
Ie -
ra
la
a
gen-
te
I u-
a
de-
a,
^
j
h ]
r
i
a
y
, - - H
^ r _
fa-
n
in
vel-
i
ci-
la-
A
ti
va-
*
et
.a
in
no i n
Ien-
gu a ^ e - b r e - a
1
1
ca-
T F -
stel-
lo.
T he t e x t i s c o n t a i n e o also i n MSS Mag l 1 . , Ar e t . , F i o r . , and Ar s .
Both t e x t and m u s i c are found
IN MA6L2 .
The m a n u s c r i p t i s m i s s i n g a note above th e e l i s i o n w h ic h occurs on the s y l l a b l e s
'FAVELLANO I N ' * THE NOTE SUPPLIED HERE IS SOL.
188
Do c i e l venne messo nove I lo
cid fo I'ang el G o b r ie llo .
15 r
15v
N e l l e c i t e di G a l i l e o
I d ' v ' e r o lo g e n t e I u d e o .
f o v e l l o v o n o i n lengua e b r e e
in c i t d e t in c o s t e l l o
c h ' e ki omont o N o g o r e t h , *
Id u ’ la ver gene noque e t s t o t t e ;
sponsat o e r a a l o s e p he ,
secondo lo. l e g g e , / co I I ' one I lo . *
5
10
L ' e n g e l o f o messo da D i o ,
ben comengd* e t ben f i n i o ;
s o v i o me n t e sengo r i o
a n n u n t i o lo suo I i be I I o :
"Ave M a r l a , g r a t i o p l e n a ;
Dio t i s a l v i , s t e l l a sereno:
D i o e con t e c o che t i meno*
e n n e l * pa rod i s o b e l l o .
Fr o le femene s e ' benedect o
p i u ke n u l l ’ o l t r o ke s i a d e c t a :
S p i r i t u s o n c t o s' t ’ a e l e c t o
pe r lo m e l i o sengo r i b e l l o .
16r
De l tuo v e n t r e u s c i r d t a I f r u c t o /
ke s a l v i r a lo mondo t u t t o ,
unde'I diavolo ovird corocto,
s' p o r r a g r a n d e ' I f l o g e l l o . "
Lo
lo
et
d?
donna f o t u t t a t u r b o t o ,
raina incoronota,
d i e i s i * g r a n mi r o t e
quel ke d i s s e G o b r i e l l o .
15
20
25
30
"Come f i e quel che t u di dect o?
no I cr edo a t o r t o nd a d r i t t o ,
e ben ne posso f o r d i s d e t t o ;
non cognosco horn v e c h i o n£ f o n c e l l o . "
16v
L'ongelo disse:
"Non t e m e r e ,
t u se' a D i o s i a p i o c e r e ,
a l t r o madre n o n / v o l e a v e r e
se non voi con k ' i o f o v e l l o .
35
From heaven t h e r e came a new messenger ;
I t was t he angel G a b r i e l
I n t h e c i t y of G a l i l e e ,
t h e r e where t ne Jewi sh peopl e l i v e d
they spoke t he Hebrew language
in t h e c i t y and i n t h e c o u n t r y
whi ch i s c a l l e d N a z a r e t h ,
where t h e v i r g i n was born and l i v e d ;
She was espoused t o Joseph
a c c o r d i n g t o t he law w i t h a r i n g .
The a n g e l was a messenger f r om God
who began w e l l end ended w e l l :
W i s e l y and w i t h due p r o p r i e t y
he announced hi s d e c l a r a t i o n .
" H a i l , Ma r y , f u l l o f g r a c e ,
God keep you, c l e a r s t a r :
God i s w i t h you, who leads
you i n t o b e a u t i f u l p a r a d i s e .
Among women you a r e b l e s s e d
more t h a n any o t h e r t h a t has been s a i d :
Thus t h e Hol y S p i r i t has e l e c t e d you
t h e best womon, w i t h o u t c o n t r a d i c t i o n .
From y o u r womb w i l l come such f r u i t
t h a t i t w i l l save a I I the w o r l d .
Where the devi 1 w i l l hove c o r r u p t e d
the d i s a s t e r w i l l appear g r e a t .
The l ady was much d i s t u r b e d ,
t h e crowned queen,
A g r e a t mar vel o c c u r r e d a t t h a t
which G a b r i e l s a i d :
"How con i t be, what you hove sa i d ?
I do not b e l i e v e i t one way o r t h e o t h e r .
And I con c l e a r l y deny i t ( f o r )
I know not man, n e i t h e r o l d nor young.
"Have no f e o r , " t h e a n g e l s a i d .
You a r e so p l e a s i n g t o God t h a t
no o t h e r mot her does he wish t o hove
i f not you w i t h whom I om s p e a k i n g .
190
F i l l © ! * di I ' e l t i s s i m o f i e chi emat o
l esu C h r i s t o i n ont l e t o :
40
per l u i f i * ' I mondo s o l v e t o
e t t r o c t o de l e men del f e l l o . *
Tu s e ’ r e g i n e e t e l l i e r e i e ;
v i r g o M a r i e , cr e d e o mei e:
non e v r i f i n e , i I d i c o a t e i e ,
l o so r egno e l t i s s i m o e b e l l o .
45
E l ys a be t h tua cogn at e*
i n sue v e k i e ^ a £ • n g r e v i d a t a :
non & / i m p o s s i b i l e cosa n a t e *
f e r e e l r e Manuel I o . "
17r
50
Respose la k i a r e s t e l l a :
" l o son qui ke so' su* a n c e l l a :
s i a secundo la tua f a v e l l a ,
cusi mi chiamc e t a p e t l o . "
Quest a donna i n t e r c e d e n t e
a g i a mercfc de la g e n t e :
Pr e g i ’ l * p a d r e o m n i p o t e n t e
ke possamo* e s s a r e con e l l o .
55
Wi t h THE EXCEPTION OF THE CLOSING STNOPHE TNE ENTINE LAUD* IS a OR AMAT 1C VENSION IN DIALOGUE FORM,
OF THE GOSPEL STORY OF TNE ANNUNCIATION AS FOUNO IN LUKE 1 , 2 6 - 3 6 *
7
10
NOTE THAT TNE SENSE OF THE TEXT CONTINUES WITHOUT EITHER PAUSE OR PUNCTUATION BETWEEN THE
CLOSE OF STROPHE NUMBER 1 , AND THE BEGINNING OF STNOPHE NUMBER 2 .
OBVIOUSLY THE REPETITION OF
THE REFRAIN AFTER THE FIRST STROPHE WOULD INTERRUPT TNE MEANING OF THE POETRY AND WOULD SEEN
UNCALLED FOR HERE.
NB.
The
Th i s
r a th e r
reference
to
q u a in t
Mary
being
a l l u s i o n was
espoused
a
ro J os eph ’
f a v o r it e subject
a c c o r d in g
of m e d i a e v a l
to
the
law * w i t h
p a in t in g
and we
a r in g . '
s ee
portr ay eo
Mary and J o s e p h * i n w h ic h ceremony th e h u s b a n d i s c l e a r l y
S f t N TO PLACE A RING ON MARY'S FINGER* AN EXAMPLE IN THE VATICAN MUSEUM IS THECANVAS OF
S ana da P i e t r a * and a more famous p i c t u r e i s t h a t of Beato An g e l i c o i n tne mus eo d i S an Mar co *
F l o r e n c e * The s i g n i f i c a n c e a tt a c h e d to the m a t e r i a l symbol of the r i n g i s s t i l l a l i v e i n
ITALY* MORE SPECIFICALLY IN PERUGIA WNERE THE MOST COVETEO RELIC OF TNE CATHEORAL IS THE
ALLEGE0 WEODING RING OF TNE V I R 6 I N .
TRADITION
HAS IT THAT IT WAS BROUGHT THERE BY A LEVANTINE
MERCHANT IN THE MIDDLE A6ES.
in
many
in s ta n c es
the
12
C omen ; o - X I I I
14
L i b e l l o - Me d i a e v a l
17
Men a - MS
18
En n e l -
29
Die
is i
has
Ce n t ,
m a r r ia g e
'
c o m in c ia r e '
usage*
' m in a '
CF. V* 2 5 .
-
of
'S i D i e i * * ( D i e d e )
'
breve
s o r it t o ' l it e r a l l y .
191
The son o f the most h i g h w i l l be
c e l l e d Jesus in e v e r y p i e c e :
By him t h e w o r l d w i l l be seved end
drewn fr o m th e hends o f t h e e v i I o n e .
40
You e r e t h e queen end he i s t h e k i n g ;
V i r g i n M e r y , b e l i e v e me:
I t e l l you, i t w i l l heve no end,
h i s h i g h end b e e u t i f u l kingdom.
45
E l i z e b e t h yo ur c o u s i n hes become
p r e g n e n t i n h e r o l d age:
For t h e k i n g , Emmenuel
nothing is im p o s s ib le ."
50
The c l e e r s t o r enswered,
"Be hold me who em h i s hendmeiden:
Mey i t be done o c c o r d i n g t o y o u r w o r d s .
Thus I c e l l end d e c l e r e m y s e l f . "
55
Mey t h i s ledy i n t e r c e d e
end heve mercy on t h e p e o p l e :
Mey she p r e y t h e o m n i p o t e n t F e t h e r
t h e t we mey be w i t h hi m .
39
Fil
42
F ello - X l l l
47
C06NATA -
C F . IV A , 50
57
Pn e « ( n )
-
58
Possamo - De f i n i t e l y
io l
-M S
il
ha s
'P f
il io l
'
Ce n t . Eq u i * .
not
'C a t t iy o *
Tuscan
Lauda VI I
MS 17 r - 19 v
L i u z z i , 284-7
192
R e fra in
T
_
A l-
t i s— s i - ma
•
*
f!. A
^
|
-
I u - ce
; -J , ... ^
r•
col
gran-
,rj J* .i J 5 E
de s p l e n - d o - r e ,
■» •L %, >L, •
*
r~r' r ./?r| jV j rjj j j j)
1
in v o i,
do I - f e j s -
mo- re a - giam c o n- s o -
Ian- y a .
S tro p h e
A-
*a-
ste I-
i
ma-
na ke
non
stai
•
a t ' a)
I u - ce
d i-
v i-
na
be I -
n a - s c o - sa
~j -|- J—bIv ir-
tu
gra-
ti-
o-
sa;
X
X
T
sa
i f
I
J
mo- r o -
riJ. <i
Ie-
5a
4 1■4
f o r - mo- sa
■j j
di
Dio
s e ’ sem-blan-ge
T s x t als o in MSS Magl 1 . , As e t * , F io r . , S . S e p t . , v . EM, 36 0. T e x t ano m u s ic both in Ma6 L 2 . ,
N8 THE RELATIONSHIP BETWEEN THIS lAUOA ANO NUMBER X OF THE NAME MANUSCRIPT. THE 1WO ARE
NEARLY IDENTICAL:
REVERSED IN ORDER.
THE MELODIC MATERIAL OF THE FIRST TWO MEMBERS OF THE STROPHE IS JUST
A l t i s s i m e luce - c o l g r a n d e / s p I e n d o r e ,
in v o i , d o lg e emore, - egiem c o n s o l a n g a .
Ave, r e g i n a , - p u I g e I I' a r a o r o s a ,
s t e l l a m a r i n a - ke non s t a l n e s c o s e , * /
luce d i v i n a , - v i r t u g r a t i o s e ;
be I lege f o r m o s a , - di D i o s e ’ s e m b l a n g a . *
Templo s a c r a t o , - o r n a t o v a s e l l o
e n n u n t i a t o - da san G a b r i e l l o ;
C hristo
in c a r n a to - neI tu o v e n tre b e l l o ,
f r u c t o n o v e l l o - cum gran d e l e c t a n g e .
V e r g in ita d e - a Dio p ro m e tte s te ,
u m e n i t e d e * - co l l u i c o n i u n g e s t e , *
cum p u r i t e d e / - tu si ’ I p a r t u r i s t i ,
non c o g n o s c e s t i * - c a r n a l d e l e c t a n g e .
Fost? r a d i c e * - in c i e l o p l a n t a t a ,
m adr ’ e n u d r i c e - a D i o d i s p o n s a t a :
im perad rice - tu s e ’ d e f i c a t a , *
n o s t r a a d v o c a t e - p e r tu a p i e t e n g e .
F r e s c a r i v e r a - o r n a t a di f i o r i ,
tu se* la s p e r a - di t u t f i c o l o r i ;
guido la s k i e r a - di noi p e c c e t o r i
si c ’ a s e v o r i - de t u a beninanga
Ave M a r i a , - di g r a t i a p l e n a ,
t u se* la v i a - c ' a v i t a ci mena;
di t e n e b r i a / - t r a e s t i e t di pena
in g e n t e t e r r e n a - k ’ e r e ' n g ro n t u r b a n g e ,
Dono p l a c e n t e - ke si f o s t e humane,
f o n t e s u r g e n t e - s o v r ’ ogne f o n t a n a ,
i s t l e v i a mente
la q e n te c r i s t i a n e ,
ke non s i e vane - la n o s t r a s p e r e n g e .
HumiHasti - l a summa p o t e n g e ;
quando i n c i l l a s t i * - la t u a s a p i e n t i a ;
s i g n o r i g i a s t i - cum grande e x c e l l e n g a
si c ' a i l i c e n g a - di f a r pe rd o n an g a.
Vergene pure - cum t u t t a be l l e g a ,
senga mi sura - S la t u a g r a n de g a:
n o s tra /n a tu re - re c a s t! a frankega
k ’ ere a v i l e g a - per molta o f f e s a n g e . *
194
Highest l i g h t w ith g re a t$ p le n d o r,
l e t us he ve c o n f i d e n c e i n you, sweet
5
10
H a i l , qu e e n , l o v e l y damsel,
s t a r o f t h e sea which is n e v e r h i d d e n ,
d iv in e l i g h t , gretiou s v ir t u e ;
Comely b e a u t y , you a r e t h e l i k e n e s s o f God.
Sacred t e m p l e , ad or ne d v e s s e l ,
s a l u t e d by S a i n t G a b r i e l ;
C h r i s t t o o k f l e s h in y o u r b e o u t i f u l
t h e new f r u i t o f g r e a t d e l i g h t .
You pr om ise d v i r g i n i t y t o God,
you u n i t e d hu ma nit y t o hi m.
W i t h p u r i t y you so gave b i r t h
( t h a t ) you d i d not know c a r n a l
15
20
25
30
love.
womb,
d e lig h t.
You were t h e s t a f f p l a n t e d i n heav en ,
moth er and nu rse espoused t o God:
Empress, you ere g o d l i k e .
(Be) ou r a d v o c a t e o u t o f y o u r m e r c y .
Fr es h r i v e r b a n k a d or ne d w i t h f l o w e r s ,
you e r e t h e l i g h t o f a l l c o l o r s ;
G u id e t h e l e g i o n o f us s i n n e r s
t h a t we may t a s t e o f y o u r b e n i g n i t y .
H a i l , Mary, f u l l o f grace,
you o r e t n e way which leads us t o l i f e :
O u t o f d o rk n es s and s o rro w you drew th e
pe o p le o f e a r t h who were in g r e a t d i s t r e s s .
P l e a s i n g lad y who was made a human,
f l o w i n g f o u n t a i n above e v e r y o t h e r f o u n t a i n ,
Dear in mind the C h r i s t i a n p e o p l e ,
t h a t ou r hope be no t i n v a i n .
You humbled t h e h i g h power
when you made a s e r v a n t o f y o u r wisdom;
You commanded w i t h such e x c e l l e n c e
t h a t you hove th e r i g h t t o g r a n t p a r d o n .
35
Pure v i r g i n w i t h a l l b e a u t y ,
yo u r g r e a t n e s s is w i t h o u t measure:
You b r o u g h t t o freed om o u r n a t u r e which
was base because o f o u r many o f f e n c e s .
195
De la do l 9o r e - k e ’ n t e d t a n t a
l i n g u a ne Core - non pd d i c e r q u a n t a ,
G a r 5o * d o c t o r e - di v o i , donna, c a n t a ,
v i r g e n e s a n c t a - cum t u t t o ho no ra n 9a .
4
Stella
m a r in a
-
mote
the
l ik e m e s s
to
the
f ig u r e
common
in
L a t in
40
hymns
of
the
m io d l e
ages,
'HARIS STELLA.'
6
S e m b la n ja - X l l l
9
CRISTO - HAS BEEN ADOED TO THE MAHUSCRI FT LATER AND IN ANOTHER NAND.
12
Cent ; ' s e m b ia r e . '
UMANITADE - THE MS ACTUALLY READS 'IM A N IT A ' THE CORRECTION
IS JUSTIFIED BY REASON OF ANALOGY
WITH THE PREVIOUS LINE WHICH READS ' VERGINIT ADE' ANO ALSO TO PRESERVE THE REGULARELEVEN
SYLLABLE STRUCTURE OF THE VERSE THROUGHOUT THE LAUDA.
13
PURITADE - MS READS 'P U R IT A ' FOR CORRECTION C F . SUPRA. 1 2 .
14
Co g n o s c e s t i - MS reads ' co s n o sc e n o o ' .
Both L i u z z i
PRESERVE THE PATTERN OF INTERNAL RHYME.
15
RAOICE -
17
De f ic a t a -
32
INCILLASTI -
38
Of f e s a n $ a -
41
ano
Mazzoni
co r r ec t
i t th u s
in
order
to
AGAIN THE 'RADIX JESSE' FIGURE FROM IS A IA S . C F . V , 4 7 .
*
de i
f ic a t a '
MEANING NOT CLEAR.
X lll
Ce n t .
L lU Z Z I SUGGESTS THAT IT MIGHT BE ' ANCILLASTI '
'O f f e s a . '
GARJO - THIS IS THE FIRST OF THE FOUR LAUDE OF OUR MANUSCRIPT WHICH BEAR THE NAME G AR^O. FOR
DISCUSSION OF HIS POSSIBLE ID E N T IT Y , AND THEORY OF HIS RELATIONSHIP WITH THE POET PETRARCH
C F . Ch a p t e r V , P. 91 .
Als o CF L auoe X l l l x 4 1 ; X X IX , 91 1 and X L IV , 77.
NB» the same
DOCTORS."
text
o c c u r in g
in
MS 3 . S e p .
replaces
the words
'G ar $ o
doc t o r e * w it h
*G r a n ( oe )
. 1 96
40
/
Of t h e sweetness which i s so g r e e t in you
n e i t h e r tongue no r h e a r t con t e l l enough.
G o rz o , th e d o c t o r , sin gs t o you, l a d y ,
holy v i r g i n w ith a l l honor.
Loudo VI I I
MS 19v - 2 2 r .
L i u z z i , 288-291
197
R e fra in
1 ,1
*
a
s
i\
con-
J» ‘
to r
I ’ o-
mor
1 1 \ , V
^
q u el-
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ke
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to,
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v
sto
go u- den-
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te*.
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r" T " ' J'‘? T T ' ' T r y r | j r |
c o n- f o r -
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S tro p h e
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te
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co e t
I ’ o - mo-
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re,
.
i
f l o m - bo ne I nafo c o - r e ;
5
V Ml
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t ’ o - mos-
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J L - J _________________
ii; :.■*! - j d :
K’ i o
Text
als o
t
ne t r o n s -
in
MSS As e t . ,
mor-
ano
Ar s .
. ^
tis-
Text
and m u s ic
te
I ’ o*
*
re ,’
*
L
-J -. J 'g
se
in
spes-
MAGL1 .
r
sa-m en-te.
Fomi c a n t o r I ’ amor di lo b e o t a ,
q u e l l o ke de C r i s t o s t o g o u d e n t e . /
Domi c o n f o r t o , madre de I ' o m o r e ,
e t m e t t e f u o c o e t f i o m b o * ne I mio c o r e ;
k * i 't'om osse to n to a t u t t e I 'o r e
k ' i o ne t r o n s m o r t i s s e * s p e s s e m e n te . /
Femino q l o r i o s e si b e n ig n o ,
n u l l ’ o l t r a se ne t r o v o t o n t o degna
come s e ' t u , madonna, c ' d i la 'nsegno
del c r e o to r e o l t i s s i m o v i v e n t e .
S p e n d i e n t e luc e d ’ ogne mondo
d i f f i n lo c i e l o d i s p p r o e t in p r o f o n d o ,
u n d ' o g r e c o r e s t o ' I l e g r o e iocundo
di q u e l ' c ' d o n o lo mente o D i o i n t e n d e n t
C o n f o r t a m i de t e , modonna mi a ,
e t g i o r n o e t n o c t e o I ' o r a de lo d i o ; *
come s e 1 d o l 9e o c h i o m o r , M o r i a ,
ke por ke r i m b o l d i s c o t u t t o g e n t e . /
V e r g i n e b e l l o , f i o r s o v r ’ ogni r os o ,
senca c a r n a l omore s e ' d i l e c t o s o ;
omoro f o s t i e t se* s o v r ’ ogni coso,
ne I p o r o d i s o s e ' la pi u p i o c e n t e .
Per voi ne pi ang on m o l t i sosp i rondo,
k ie d e n d o lo tu o omore von g r i d a n d o ,
l ev an l i o c c h i i in o l t o ami rondo:
o r t i ci dona, go ud io d e l l a g e n t e .
Cominciomento f o s t i , modre b e l l o ,
dl s t a r i c o s to v i r g e n e donee l i e :
p e r voi f i o r e s c ’ i l mondo e t r i n o v e l l a ,
r e i n a s o v r o l i ange I i r e s p l e n d e n t e . /
Porno col d o l ^ e f r u c t u s o v o r i t o ,
I ' o n i n e ke t ’ a s o g g r i o por s m o r i t o ; *
non euro mio d ’ e s t o p r e s e n t e v i t o ,
p e r c i d k e ’ l tu o s a v o r suave s e n t e ,
Verge ne p i e n o di t u t t o Mo mo re ,
ku i f e ' s i ' n voi lo g l o r i a cum d o l ^ o r e ,
s p s p i r i si t i mondo c o l mio core
ke t u d ’ omor me f o c c i s t o r e a r d e n t e .
L e t me s i n q t h e love o f th e b l e s s e d one,
th e one who I s j o y f u l in C h r i s t .
G i v e me c o m f o r t , m o th e r o f lo v e ,
end put in my h e a r t f i r e and f l a m e ,
t h a t I may lo ve you so much a t a l l ti m e s
t h a t I swoon f r e q u e n t l y .
G l o r i o u s lady so b e n i g n ,
no o t h e r e x i s t s so w o r t h y as you
who have t h e s i p n o f
th e h i g h e s t l i v i n g c r e a t o r .
Shining l i g h t of a l l the w o rld,
fr om o u t t h e sky above and i n th e deep,
because o f whom e v e r y h e a r t i s c h e e r f u l end gey
o f th os e who have t h e mind t o comprehend God.
Com fo rt me w i t h y o u r s e l f , my la d y,
and day and n i g h t , a t th e h o u r o f th e day,
how sweet i t i s t o c a l l , M a ry ,
by whom a l l p e o p l e become more c h e e r f u l .
B e a u t i f u l v i r g i n , f l o w e r above e v e r y r o s e ,
you a r e f u l l o f d e l i g h t w i t h o u t c a r n a l l o v e :
You have been and a r e loved above a l l t h i n g s .
In p a r a d i s e you a r e t h e most p l e a s i n g .
Fo r you many weep, s i g h i n g d e e p l y ,
C a l l i n g on y o u r love t h e y go s h o u t i n g .
They l i f t t h e i r eyes on h i g h , g a z i n g a t vou:
Now g i v e y o u r s e l f t o u s , j o y o f t h e p e o p l e .
(From) t h e b e p i n n i n g you w e r e , b e a u t i f u l m ot h er
t o r em ai n a c h a s t e v i r g i n damsel:
The w o r l d f l o w e r s and i s renewed because o f you
r e s p l e n d e n t queen above th e a n g e l s .
A p p l e w i t h sweet s a v o r y f r u i t ,
t h e so ul who t a s t e s o f you seems c o n f u s e d :
I t n e v e r more c e r e s f o r t h e p r e s e n t l i f e
because i t t a s t e s y o u r sweet s a v o u r .
V i r g i n f u l l o f a l l l o v e , which
made i n you g l o r y end sw e e tn e s s ,
such s i g h s I send you w i t h my h e o r t
t h a t you may make me a r d e n t w i t h l o v e .
200
Voi ke v i v e t e co l c o r n o l e omore,
c o p t i v i ke d o r m i t e i n om o r o r e,
non co g n o s c e te D i o n o s t r o s i g n o r e
quei ke d o l c ' e so vr o d o ^ o r p o t e n t e . /
22r
40
Or v i c o n f o r t a t e in o l e g r o n y a ,
voi k ’ a v e t e i n D i o lo gron s p e r a n c a :
Madonna cum I esu n o s t r o bo ld on 9a
t u t t o r a lo p a t r e sonno p r e s e n t e .
45
Modre de C r i s t o p l e n a de s c i e n t i e ,
i n voi e S 0 I 0 9 0 , g i o i ' e s o p i e n 9 a ;
per pi e t d ci dona cognoscen 9a ,
ke sempre t e c o s i o lo n o s t r o m e n t e .
4
F ia m b a -
6
T RANSMORTISSE -
rut
’ MB'
is
n e it h e r
T uscan
nor
50
S outhern
XI I I CENT. USAGE MEANING 1TRAMORT I RE'
16
D i a - Common X l l i
32
SMARITA -
45
BXLOANgATr CF.
cent.
Um b r ia n
and
LITERALLY * ASTRAY *
lauda
X ,.1 Q ; X I , 10
S ic il ia n s
from l a t in
- < 0 IE S .
(F r e q u e n t
in
J acofone)
You who l i v e in c a r n a l lo ve ,
c a p t i v e s who s l e e p in b i t t e r n e s s ,
you do not know o u r lo r d God
who is s w e e t e s t above s t r o n g s w e e t n e s s .
Now
you
Our
are
comfort y o u r s e l f in jo y ,
who have g r e a t e s t hope in God,
l a d y , w i t h Jesus our p r i d e ,
always p r e s e n t to t h e F a t h e r .
M o th e r o f C h r i s t , f u l l o f kn ow le dge ,
i n you i s s o l a c e , j o y and wisdom:
Out o f compassion g i v e us u n d e r s t a n d i n g
May o u r minds be a lw a y s w i t h y o u .
Loudo IX
MS 2 2 r - 2 4 r .
L i uzz i , 2 9 2 - 4
202
R e fra in
1 i
* iv
\
0 Ma- r i -
,
ly
1
-
a,
e
^
gra
me-
1
J
fio r
Strophe^
d*o-
1, 1
*1
■ l • 1 ru
a se*
, 1 1, IV
^
de ma
1
si
re-
» (V
i-
1,
m 'o f-
fi-
no
1
f r |t
r
7
1
V *
"
chi a -
r'e
na,
, *l
1 iv
9
ta n - go.
IW 1
1
iiiijj i
c ia -
•
ri-
,
e-
scun r e - g n o ,
no quon-
'
1
<1
tu t*
ji
do s e - g n o ,
*
".«■
1
^ r uLr,
7
co- re
r
•
• , •
cu-
1
p i-
c h i - no
la
7
non d e - gn o 'n
■ 1 ,1
I
in -
• n.
•
lo
no chi
*1 , ru
ta -
J N i)
aia
in -^ a m i. r'..i
Grom
fon-
^
na:
1%
li-
•
1
te-
gno
i, (V *
■
- -•■r - :~-~ 3 : - g
tu-o f i- g u - r a
1
* _ * > * ,*
r J - - r/ ^
*
i T P ^ j
T------------------------- r ^ - -------------- r
pu- r o ,
c h ’ o n - gne mol m’ e ' n o - b l i - o n - g o .
T e x t in MS A re t .
The p o s it io n o f the c l e f m is s in g in tn e l a s t l i n e ha s here been a s c e r t a in e d
FROM THE CUSTOS NOTE OF TNE PRECEEOINO L IR E . CURIOUS ALTERATIONS OFNEUNE SHAPES OCCUR IN TNE
NOTATION OF ANALOGOUS CAOENCES C F . CHAPTER IV , P . 6 0 .
22v
23r
0 M a ria , - d'om elie - s e ’ f o n ta n a ,/
f i o r e g r a n a : - de me a i a p i e t e n ^ e .
Gram r e i n a , - chi i n c h i n a - c i e s c u n re g n o ,
s ' m ' e f f i n e * - la c u r i n e * - quando segno,
io non degno, - *n c o r e te gno - / t u o f i c j u r e
5
c h i a r ' e p u r a , - c h ’ ongne maI m ' i ' n o b l i e n p e . *
R o s 'au len te* - s p le n d ie n te ,* - f a ' ve n ire
me f a l l e n t e - tuo s e r v e n t e - o b e d i r e ,
cum
^ e c h i r e - r e v e r i r e , - t e laudando
honorando: - e g i a de t e c o n s o l a n 9a .
23v
C hiare sp era,
k ' i o non pe ra
Ben
i m or to mai
sag I i r e -
10
- gram l u m e r a , * - d i c o n f o r t o
- s t en d o ne ra - ne I m e l / p o r t o .
chi nonn i e c o r t o * «• [ a ] s e r v i r e ;
non p o r r i in a l e g r a n ^ a .
Rocco f o r t e
- sen 9a p o r t e - d i ' n s o c o r s o
15
ch£ [ l e i s o r t e - de la m o r te - v i e n de c o r s o .
lo sum [ s m o r s o ] * - s a l * c h ' u n so rso - di s a v o r e
dal t u ' e m o r e - non me viem mi a d o lq a oman^e.
Gran r u g i a t a * - c a n d i t a t a * - p u r ' e n e c t e ,
a n t i n a t a - p e r b e a t a - da D i ' e l e c t a ,
20
t u m ' a s p e c t a - c h ' i o r e m e t t a , - c h ' i o sum c i s o
me I ass i s o , c h ' i o non v a d a ' n p e r d e n q a .
24r
D o l ^ ' a u r o r a - f r e s c ' e t sora - r i s e r e n e * /
le memoria - ke m ' a c o r ' - e ma I me mena;
la c a t e n a m ' e n t e r r e n a - d ' e s t o mondo:
s i ' I s e c o n d o , * - m e r ^ , damme s p r e y e n y e . *
25
Amen.
4
Af f i n a -
X I1 1 Ce n t ,
4
Cu n in a -
' corona'
6
Ob l i a n (
-
13
Ac o r to -
'A c c o r t o '
16
Smorso -
No t
17
S orso -
19
Ru g ia t a - M
19
C a n d io a t a - F rom ' v e s t it o i n B ia n c o ' or ' o r e ss e o in w h it e '
De r iv e o from the p r a c t ic e of
CANOITATES FOR ADMITTANCE INTO A RELIGIOUS SOCIETY WEARING A WHITE GARMENT WHEN PRESENTED
FOR ACCEPTANCE.
a
'
'm o u r n
f in e
,'
l it e r a l l y ,
to
r e f in e .
rosary.
o b l ia r e '
X lll
actually
L it e r a l l y
alla
a s ip
e o ia e v a l
Ce n t ,
fo und
,
in
usage,
the
a oraught
usage
for
'D in e n t ic a r e . '
m a n u s c r ip t
of
a s a vo r y
' g u a zza
but s b p f l ie d
h e re
by
L iu
z z i.
b r o th .
m a t t u t in a ,
'
' m o r n in g
dew ,
'
204
0 M a ry , you a r e t h e f o u n t a i n o f h o m i l i e s ,
f l o w e r and g r o i n :
hove compassion on me.
5
10
G r e a t queen, b e f o r e whom ev ery kingdom bows down,
though I am not w o r t h y t o bear in my h e a r t yo ur
pure, c l e a r
image; when I si g n m y s e l f in th e r o s a r y
moke me so keen t h a t I may f o r g e t e v e r y e v i I .
F r a g r a n t s h i n i n g r o s e , o l l o w me,
y ou r e r r i n g s e r v a n t , t o come t o you,
to obey you b l i n d l y , t o r e v e r e you, p r o i s i n g
and h o n o r i n g yo u.
G r a n t us c o n s o l a t i o n .
you,
C l e a r l i g h t and g r e a t lamp, g i v e c o m f o r t
t h a t I may not p e r i s h , being b l o c k i n th e ev i I p o r t .
He i s r e a l l y dead who i s not w is e t c s e r v e you;
Nev er wi I I ne be a b l e t o ascend t c b l i s s .
15
20
25
S tr ong f o r t r e s s w i t h o u t e n t r a n c e , g i v e us a i d
because t h e f a t e o f d e a t h comes q u i c k l y .
1 am pa rc hed i f a s i p o f the sa vo r o f your love
does not come to me, sweet l o v e .
G r e a t w h i t e morning dew, pure and c l e a n ,
b e f o r e b i r t h you were e l e c t e d b l e s s e d by God.
You must w a i t f o r me, t h a t I r e c o v e r , f o r I am dead;
I am b a d l y s i t u a t e d , ( w a i t ) t h a t I go n o t i n t o p e r d i t i o n .
Sweet dawn, f r e s h and s i m p l e , calm my
memory which saddens me and n u r t s me;
The c n e i n s o f t h i s w o r l d h o ld me t o e a r t h .
Hence 1 w i l l bear i t .
Mercy!
G iv e me h o p e .
Amen.
23
R is e r e n a - F rom '
26
S i'l
26
SPREf AN(A -
seconoo
serena'
- H a v in g
the
m e a n in g
of
' so
be
it
.'
LAPSIS CALAMI FOR 'SPREfANJA, OR PERHAPS SUBCONSCIOUS INTERVENTION OF ,
Jov.
11
ISMERA - X I I I ,
'U lM IE R A ' A HANGING LAMP WITH MANV LIGHTS.
CF. X I I I , 71.
'P R E IA N fA ,'
Lauda X
MS 2 4 r - 2 5 v .
L i u z z i , 296-9
205
R e fr a in
td
.
1 1 1 1 1 1 1 1 1 a
H
iy
a •
1
aJ1"'■ jJ— ri
^
j J"■ j
1 < C ? :± ^
g |I ,m—--------— |---------- ~ ■■ " j..... ■+ >’ ■J
^ —
I
»
Re- g i - no s o - v r o - na
de gram ’ p i - e tede/
« 1 .i
1
j , *»
r ?, 1
1
8
re-
po-
11
en t e ,
do I -
mo-
dre,
a - giam
s o n- ^o *.
S tro p h e
S te I-
lo
g e n- t e smo- r i -
i
l
j
re-
T e x t fo o n o a ls o
ta
to
tro-
col
la
ser-
gran-
he- ste
de s p l e n - d o - r e .
d’ er-
ro-
re;
i
* 1 1
1 1
1 , 1
1
J______________ I___________________ I________ L
j:, A ^ J ,r j
J
r e g - gi
r1
chia
v i-
viom
to
s'
le-
ch’ e
w..
tu t-
on-
in MSS N a s i8 . , F IO R . , ASET., and ARS.
MELODIC MATERIAL 0ISP0SE0 IN SLIGHTLY DIFFERENT ORDER.
te
I ’ o-
re
^o
Cf .
Lauda V I I , p .
1 9 2 , f o r same
206
Regina so vr an a - de gram* p i e t a d e ,
en t e , d o l g e medre, - agiam r e s p o a a n g a .
24v
S t e l l a c h i a r i t a - col g r an d e s p l e n d o r e /
gente s m a r i t a * - t r e h e s t e * d ' e r r o r e :
regg l la v i t a - s ' c h ’ a t u t t e I ’ o r e
reserviam le e n g a .*
O rto lucente - e a u l i t e * rose,
a t u t t a g e n te - s e ’ madre p i e t o s a :
non & p e r d e n t e - ke en t e se r e p o s e ,
ma s t a gr an b a l d a n g a . *
5
10
F r u c t o p i a c e n t e - c o l gr an de s p l e n d o r e /
s a t i a la m en te , - reempe lo c o r e :
s i a m o t ’ a m ente, - f o n t a n a d ’ amore.
Et agge p i e t e n g a .
25r
G i a r d i n o r n a t o - de f r e s c a v e r d u r e ,
f o s t i s e r r e t o - de f o r t e c l a u s u r a ;
tuo f r u c t o n e t o - non pose n a t u r e
ma gr an de s p e r a n g e .
Bel g i l l i o d ’ o r t o , - c r i s t a l l o s p l e n d e n t e ,
I ’ om c h ’ e r a morto - f e c e s t i v i v e n t e :
se* cjren c o n f o r t o - a I ’ om p e n ! t e n t e ,
a d a i I i ferm an9a.
25v
A l t a r a i n a * - de sol a m a n t a t a ,
c o r o n a / f i n e - se s t e l l e t ’ & d a t a ;
g r a t i a d i v i n e - t ’ e f a c t a a m at a,
ke t ’ a n ’ v e n e r e n g a .
Tu r e t r o v a s t i - e l t h e s e u r o s m a r u t o , *
t u r e t r o v a s t i - I ’ om k ’ e r a c a d u t o ,
qu an d’ a s c o I t e s t i - lo d o l g e s a l u t o
cum gr an de f i d e n g e . *
15
20
25
30
A r b o r f r o n d o s e - ke f a i d o l g e f r u c t o ,
de C r i s t o s e ’ sposa - k ’ e n o s t r o c o n d u c t o . *
Dacci r i p o s a - de q u e s t o gron l u c t o ,
e t d o n’ a I e g r e n g e . Amen.
1
Gram -
CF.
7
4
S m a rita - M
S has 'S m a r i t e ' CF. I n f r a , 2 7 .
10
4
T raheste -
6
Leah9* “ CF. 1* 45•
The *m '
is m e re ly H o h o g r a r ic .
L it e r a l l y ,
’ brew ’
A u l i t a - CF. V, 5 j X III,
6 ) XIV, 2 .
B a ld a r^ a - CF. XI, 1 0 ; VI11, 4 6 .
207
S o v e r e i g n queen o f g r e a t compassion,
i n you, sweet m o t h e r , l e t us hove r e p o s e .
B rig h t s t a r , w ith g re a t splendor,
you led a l o s t pe o p le o u t o f e r r o r :
Rule o u r l i f e so t h a t a t e v e r y hour
we may remain f a i t h f u l .
5
S h i n i n g garden and f r a g r a n t r o s e ,
t o a I I pe op le you o r e a m oth er o f compassion:
No one i s l o s t who t a k e s r e s t in you,
be he i s in g r e a t c o u r a g e .
10
P leasing f r u i t w ith g r e a t splendour,
you s a t i s f y t h e mind and f i l l t h e h e a r t :
We be ar you in o u r m inds, f o u n t a i n o f l o v e .
Hove compassion (on u s ) .
15
Garden odorned w i t h f r e s h f o l i a g e ,
you were s e a l e d os a s t r o n g c l o i s t e r :
Your f r u i t cann ot be born o f n a t u r e
but o f g r e a t hope.
B e a u t i f u l l i l y o f the garden, s h in in g c r y s t a l ,
you r e v i v e d th e man who was dead:
You o r e a g r e a t c o m f o r t t o the r e p e n t e n t man
and you g i v e him s t e a d f a s t n e s s .
20
E x a l t e d queen c l o t h e d w i t h the sun,
a f i n e crown o f s t a r s was a i v e n t o you:
D i v i n e qr oc e has mode you b e lo v e d
who h o ld s you in r e v e r e n c e .
25
You f o u n d a g a i n t h e l o s t t r e a s u r e ,
you r e c o v e r e d t h e man who had f a l l e n ,
when you h e ar d the sweet s a l u t a t i o n
w ith greot confidence.
30
L e a f y t r e e which bears sweet f r u i t ,
you o r e t h e spouse o f C h r i s t who i s o u r g u i d e .
G i v e us r e s t fr om t h i s g r e o t mourning
and g i v e us h a p p i n e s s .
Amen.
23-24
NB.
Re fe r e n c e to tne f ig u r e fo uno i n Afo c .
HAVING *A CROWN OF STARS* ADOUT HEN HEAO.
27
Sm a r u to -
CF.
30
F 1DAN9A -
X l l l C e n t, f o r
32
CONDUCTO -
HAVING LITERALLY THE MEANING OF
32
CONDUCTO -
MS
Sm a r it a , S urra . ,
4*
Us u a l
X II, I . ,
r e a o ir s
T he
women
" clo th ed
w it h
the
sun"
and
' s h a r k it a . '
' f i d u c i a * th e m e d ia e v a l L a t in s
f i o a n t i a r e , m eaning t o re n d e r s e c u r e .
'VIATICUM.1
HAS 'CONDUCTS' CORRECTED HERE TO PRESERVE THE RHYME.
Lauda XI
MS 25v - 27 r .
L i u z z i , 300-303
208
R e fra in
if
*
J
A-
J
J
ve,
ft
ii
''
' Uj.'"
D e--
ni-
ge -
tr i x,
P>F
1 \
T
fon-
ta­
d’ o -
na
I e-
9°
gron-
S tro p h e
:i"m
A-
ve ,
fon-
d bzrj
c o n-
te
s I-
g o a-
to, '
Nl
■ J -- D
iY
T
? T
T
de
la
stI r -
pe
a
§
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de
la u d s
a i-
n u ll*
is
a*
tro
.*
se'
*
be-
o-
" , * s f V
to :
%
?( •V -;• J ’ ~ ^ ,jJ j i l ^ X « f J
FT
A- v e - s t i ' n
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te:
r ^ h r . ' J ■ riTj
1 --------------- ~ T
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d
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Do-
not p o u n d
in
Deany
otnen
o ve-
re-
known m a n u s c r ip t .
ce / '*eT here
is
mona t r a n s p o s it io n
9°
of c l e f
H I3 S IN 6 IN THE FOURTH SYSTEM, DETWEEN THE WORO 'S E ' AND ’ B EA TS'. SIM ILARLY THE 00 CLEF OF
THE LAST SYSTEM MUST SE READ AS A FA CLEF.
IN BOTH INSTANCES THE CORRECTION IS DEOUCEB FROM
THE FRECEDIN6 CUSTOS. THE LAST SYLLABLE OF ’ ALEBRAN9A’ HAS BEEN CARRIEO UNDER THE FIN AL NOTE
OF THE MEL I SNA BY REASON OF ANALOGY WITH ’ AMAN9A.’
209
26ii
Ave , De! g e n i t r i x , * /
f o n t a n a d * a l e g r o n 9e .
Ave, f o n t e c o n s i g n e t e ,
de lo s t l r p e D o v id n o t e : *
pi u de n u l l ' e l t r e s e ’ b e e f o :
e v e s t i ' n Deo ve ro ce emonge. /
26v
5
A m o t t i c e r t o vera mente
I ’ e l t o D io om nipotente,
cho pe r s o l u t o de la g e nt e
suo f i l i o l in t e pres e b a l d o n ^ o . *
10
V e rio f o r t e nature
quando’ n t e , v e rq e n e p u r e ,
lo s i g n o r p r e s e f i g u r e
senge c a r n a l d e l e c t a n g e .
A lo s e p de sp o n s o to ,
quando f o s t i s a l u t a t a
concepisti fecundate*
lo r e k * h p i e n de p i e t a n 9 o .
15
Regino v e r g e n e del mondo,
lo r e c e l l e s t i a l iocondo
p o r t e s t i n e I tuo corpo mondo,
ke ne t r o s s e d ’ ogne p e s e n g a . /
27r
20
V er ge n e pure p o r t u r i s t i
e depoi p a r t u p e r m o n s i s t i
vergene, perk£ cre d e s t!
a G a b r i e l sen9o f o l l a n g o .
25
Tu s e ' columbo sen 9 o f e l e ;
do Ice a g u s t o r p i u ke m e l e ,
p o r T o de cu! E g e c h i e l [ e l
d i s s e ke sempre e r o ’ n c l a u s a n g e . *
30
Donna, de laude se* degna,
k4 p o r t e s t i I ' a I t o * n s e g n e ,
lo s o l v o t o r ke v i v ' e t regno
per cui sem f o r de m o l i g n a n 9 a .
1
AVE DEI SEN IT R IX -
PURE LATIN ISM
4
OE l a STIRPE OAVIO NATA - INTERISTIHSLY ENOUSN TNE SOS PELS DO NOT SPEAK OP MARTAS SELONS INS TO
THE NOUSE OF OAVID. TWICE THERE IS MENTION OF JOSEPH DELONS INS TO TNE LINE OF D A V IS .
CF.
M A T T *, 1 -1 7 1 AND MATT. 1 , 2 0 .
TNE BOOK OF NUMBERS DOES, HOWEVER, STATE THAT ALL HEN MUST TAKE
WIVES FROM W ITHIN TNE IN OWN TNI BE AND CLAN.
10 BALBANQA - CF. V III, 48, AND X, 10.
CF.
NUMBER,
XXXVI, 8.
210
Hoi I , mother o f God,
fo untain of Joy.
Ho i I , ' o u n t o i n s e t o p o r t ,
born o f t h e l i n e o f D a v i d :
More th a n ony o t h e r you
or e b l e s s e d ;
You hod i n God a t r u e l o v e r .
5
He s u r e l y loved you t r u l y ,
th e h i g h o m n i p o t e n t God,
t h o t i n o r d e r t o sove t h e pe op le
h i s son to o k courage in y o u .
10
He changed n a t u r e g r e a t l y
when in you, pure v i r g i n ,
th e l o r d took f l e s h
w ithout carnal p leasure.
15
Espoused to Joseph
when you were g r e e t e d ,
you c o n c e i v e d and were p r e g n a n t
w i t h t h e k i n g f u l l o f comp ass ion .
V i r g i n queen o f th e w o r l d .
you c a r r i e d in your pure body
t h e h e a v e n l y and j o y f u l ki n g
who f r e e d us o f e v e r y w o r r y .
20
V i r g i n pure# you gave b i r t h
and a f t e r c h i l d b i r t h rema i ned
a v i r g i n because you b e l i e v e d
of G a b rie l w ithout e r r o r .
25
You or e a dove w i t h o u t g a l l ;
s w e e t e r t h a n honey t o t a s t e ;
door o f whom E z e c n i e l s a i d
i t was a lw ay s c l o s e d .
30
La dy , you a r e w o rt h y o f p r a i s e ,
you who bore t h e h i g h s i g n ,
t h e s a v i o r who l i v e s ond r e i g n s ,
th ro u g h whom we a r e o u t s i d e o f harm.
17
FECUROATA “ LITERALLY * IHPRE8RATEB.*
29-30
Tee w r it e r r e t r a y s e e r e IE h i s r e f e r e r c e t o E z e c m ia l a r o teer f i r e e x a m p l e of h i s f a m i l i a r i t y
WITH TEE SCRIPTURE ARD PARTICULARLY TEE Ct.0 T e STAMCRT. CF. EZCCH. XLIV, 2 . “S h u t THIS 0ATE
MUST EVER BE, TEE lORB TOLO ME, R0R 0PER ITS BOORS TO BIVE MAR EHTRARCE AGAIR, SIHCE TEE LORB,
tee
God
of
I srael
eetereb
by
it
.*
Lauda X ! I
MS 2 7 r - 2 9 r .
L i u z z i , 304-7
211
R e fra in
Me-
r i-
D e-
ce
ft
vo I
u-
ce
sem-
1 IS
P 1
S tro p h e .
r
4 ------------------- L _
1m.ir*
j
B=
'T jJ
0 Mar1
1
r i-
sa-
9
-H 1------fo rt*
a-
via
d’a-
1 IV
bL 1
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j L* s
fi ■y f i f
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Si
na
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r
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r 771
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sti
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re,
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lor
fe -
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■ ■ L^
11
1
A
IT
re,
2*1
n=
sc 10-
ma-
su-
-
ft
9
ne
ftftM -
T
I
pre-
se^ e l-
bei—
go’ n
te r-ra.
The t e x t i s fo u n d a l s o in H5 F iO R . T ne o l iv e s f io u n e on the word »v o i » i s not c l e a n .
I t m i out
BE BEAD AS D O T I ON AS N £ T | .
TNE FONMEN NEAOINS NAS BEEN CHOSEN HENE SV SEASON OF ANALOOV WITH
THE C L IV IS O O -T I ON TNE SYLLABLE 'H E . '
THE THINS NOTE OH TNE WOND •SA V IA * IS B4SCOLONEO TO THE
POINT OF B E IN | ALMOST IN V IS IB LE IN TNE NANUSCHIFT.
U ffa ftm A jg 'I IWU/ IKS,«Ia,/ l i wAfcS,{|.l!i,i;''SI1
OCCURANCE OF TNE LONG NOTE, f f t * a | f ENT f f t l B B I OF TNE STHOPNEt UNDOUBTEDLY THE SCNIBE'S WAV OF
INDICATING TO THE SINSEN THAT THE NEFNAIN SHOULD NOT BE S U I6 AFTEN EACH STNOPHE AS IT ONDIHANILV
WAS«
0 M a r i a , Dei ce I l a , *
s i a a voi I u c e / s e m p i t e r n e .
0 M a r ia , s o v io * d'emore,
s ' f o r t ’ amosti D i o s i g n o r e ,
ke de t e f e c i sua m a s c i o n e *
a l l o r ke p r e s e / a I b e r g o * n t e r r a .
0 M a r i a , cum' f o r t ’ omasti
ke I ' a l t o D i o e s e d i e s t i , *
ke de c i e l o ad t e ' l c h i a m a s t i ,
s ' f o r t e t e f a s t i be I l a .
0 M a r i e , cum11 1a d o r n e s t i
a D io p i a c e n t *a s u ti II i o s t i *
ke so vr o i c i e l i a l u i mandasti
per t r o r e r in d e nova s t e l l e .
0 M a r i a , cum u m i1 1 ta d e
v e n c e s t e la summo c i t a d e ,
1e r u s a I e m si f « c h i a m a r e ;
per t e v ^ i n t r o m o e p o s s e d S l l a .
0 M a r i o , v i r g e n e modre,
se mp re/o t e v o l i a m d i r a v e ,
p e r k l t u a lo t r i n i t o d e
o p a r e c h i o s t i novo c e l l a . *
0 M a rio , fre s c o rose,
de t e f e c e D i o sue sposo
perkfe tu f o s t i g r a t i o s o
d ' e s s a r e pure d o n y e l l a .
0 M a r i o , cui o n u n t i d n e
san G o b r i e l l o , ke lo mandone
D i o de c i e l e i comenddne
t e s o l u t a r , t e sue s p o s e l l o .
0 M ario ,
lo d o l 9 e
cum gram
"Eccome,
cum* r e c e v e s t i
so luto c fovesti
pauro/respon desti:
k ' i o sum su* once l i e . " *
0 M a r i o , v i r g e n e p u re ,
po rto s e ’ del c i e l o s ic u r o ;
k i * p e r t e v ’ e n t r o non t r o v o muro
n6 serrome ke lo r e t e g n o .
213
0 Ma ry,
eternal
5
10
God* s c e I I ,
l i g h t be to y o u .
0 M ary, l e a r n e d in lo v e ,
you loved t h e l o r d God so s t r o n g l y
t h a t he made h i s house i n you
when he to o k h i s
l o d g i n g on e a r t h .
0 M a r y , you loved so s t r o n g l y
t h a t you b e s ie g e d t h e h i g h God,
and fr o m heaven you c a l l e d him t o y o u .
You mode y o u r s e l f so v e r y b e o u t i f u l .
0 Mory, you adorned y o u r s e l f
and mode y o u r s e l f so e x t r e m e l y p l e a s i n g
t h a t above t h e heavens you se nt t o him
in o r d e r t o draw a new s t a r from t h e r e .
15
20
25
30
0 M ary, w i t h h u m i l i t y
you conquered t h e g r e a t ci ty
which i s c a l l e d J e r u s a l e m ;
Through you we e n t e r
t h e r e t o ta k e
possession.
0 Mory, v i r c j i n m o t h e r , t o you
we olweys wish to soy "h oi I"
because you p r e p a r e d f o r
the T r i n i t y a new c e l l .
0 Mory, f r e s h r o s e ,
o f you God mode h i s spouse,
because you were (s o ) g r a c i o u s
os t o be a pure v i r g i n .
0 Mory, t o whom S a i n t G a b r i e l
announced, because he hod been se n t
from heaven by God and commanded
to s o l u t e you, h i s l i t t l e sp ou se.
0 Mory, os you r e c e i v e d
th e sweet s a l u t a t i o n
w i t h f e a r you r esp ond ed ,
"Be ho ld me, I who am h i s
35
t o God
hondmoiden."
0 M ar y, p u re v i r g i n ,
you o r e t h e su re g a t e o f he ovenj
Who e n t e r s th ro ug h you does not f i n d w a l l s
o r a lock t o impede h i m .
214
0 M a r i o , cum gram* p i e t o d e
o voi kiomom cum h u m ! I i f a d e ,
ke t u ce d e bi o semp r’ o i t o r e
da l n i m i c o ke non ce p r e n d o .
Ce l l
3
S a v ia -
5
MASCIONE -
8
As e d i a s t i -
12
ASU TILLIA STI -
22
CELLA -
c f.
34
Ma r y ' s
woros
37
Kl
39
Gram
-
a
-
MS
1
f®
F io a .
XI II
reads
Ce n t ,
“
ancecla"
usase
'MASIONE' CF.
HAS
t ie t a o e
XI!I
40
f o r ' s a p ia ,* c e a a n e o ,
IV, II
Ce n t . T uscan
FOR USE OF
for
w is e .
'SC
'A s s e o ia a e ' ,
FOR
to
'G'
b e s ie o e .
' ASSOTISC I AST I *
SUTRA. 1 .
are h e r e
ai
exact
t a r a tn r a s e
NE
-
m o m o r g anic
'M *
cf.
X, 1 .
of
the
L a t in
*ECCE ANCILLA DOMINI.*
cf.
Luke
1 , 38.
215
40
0 Mo ry , w i t h q r e o t p i e t y
to you we c o l l w i t h h u m i l i t y ,
t h o t you s h o u ld olwoys h e l p us
f rom t h e enemy, t h a t he moy not s e i z e
us.
Leudi a X I I I
MS 2 9 r - 3 2 v .
L i u z z i , 308-313
216
R e fra in
b
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iv
---------- ^ ~ 7 T
0 1-
tro
fio -
rejsu -
len-
te .
T he t e x t occurs a ls o in MS P IS .
T he fo u r th s y s t e m c o n t a in s o n l y one note for the s y l l a b l e 'D r e '
OF *MADRE * ANO THE 'E * OF THE WORO WHICH FOLLOWS, L lU Z Z I HAS OIVIDEO THE VALUE OF TNE NOTE INTO
TWO HALVES OF THE VALUE, THE PRESENT TRANSCRIPTION INSTEAD USES AN ELISIO N OF THE WORDS THUS!
'HADRE £ ' , IN THIS MANNER AVOIOING TNE D IV IS IO N OF THE UNIT NOTE AND AT THE SAME TIME NOT
INTERRUPTING THE FLOW OF SCXT.
Ave, v e r g e n e g a u d e n t e ,
madre / de I ’ o n n ? p o t e n t e .
Lo s i g n o r pe r m e r a v e q l e *
de t e f e i c e madre e t i l i a ,
rosa b i a m c h ' e ve rm eg le
s o v r*o g I' a I fro f io r e au len te,
Eravamo’ n p e rd im e n to
per lo n o s t r o / f a I I i m e n t o ;
tu s e ' v i a de s a l v e m e n t o ,
cbiara s t e l l a d * o r ie n t e .
S t e l l a sovra
pid resplende
in t e C r i s t o ,
incarnbe Dio
la luna
ke neuna;
v ir g o pure,
viv e n te .
0 b e a t a ke c r e d e s t l
a l messogio ke v e d e s t i , *
lo s a l u t o r e t i n e s t i
col la g r a t i a f e r v e n t e .
F o s t i I ' e s k a e t C r i s t o I ’ amo
per cui f o d i f i s o Adamo;
p e r k ’ Eva pr es e e l camo*
del f r e n o ke f o t a l l i e n t e .
T*
'*
'
noi v e n i r e
nostro s i r e ;
v o i l e morte s o f f e r i r e
p e r r ec o m p or ar la g e n t e .
Sen^’ a I c h u n ’ o f f e n s i o n e
si s o s t e n n e p a s s i o n e
pe r t r a r e r di p o s s e s s io n e
lo 'n v id io s o serpente.
Quendo t u ' I v e d e s t i m or to
e ' n c r o c e * I * tuo d i p o r t o
la sp er en g a f o c o n f b r t o
de t e donna c o g n o s c e n t e .
Quel la pena t , e r * a m a r a
k e ’ I v id e v e s t o r e in o re :
c o m ' e n g n e l l o ke se s p a r e ,
stavo m olto p a t i e n t e .
218
Hoi I , joyous v i r g i n ,
mother o f t h e o m n i p o t e n t .
5
10
The l o r d , f o r o g r e o t m i r a c l e
mode o f you o mother ond d a u g h t e r ,
o r o s e w n i t e ond r e d ,
f r o g r e n t above e v e r y o t h e r f l o w e r .
We hove been l o s t
becouse o f our e r r o r ;
You o r e t n e woy o f s o l v o t i o n ,
c l e a r s t a r o f th e E a s t .
S t a r above th e moon,
more r e s p l e n d e n t th an ony o t h e r ;
In you, pure v i r g i n , C h r i s t ,
th e l i v i n g God took f l e s h .
15
20
25
30
0 b l e s s e d one who b e l i e v e d
in t h e message which you u n d e r s t o o d ,
you d w e l t upon th e g r e e t i n g
w ith fe r v e n t g roce.
You were t h e b o i t ond C h r i s t th e f i s h o o k
by whom Adorn wos d i v i d e d :
Becouse Eve to o k t h e b i t fr om
th e b r i d l e which wos s h a r p .
He d e i g n e d t o come f o r us,
ou r L o r d , Jesus C h r i s t ;
He wonted to s u f f e r d e a t h
to ronsom t h e p e o p l e .
Wi t h o u t ony o f f e n c e he
s u s t o i n e d sucn s u f f e r i n g i n o r d e r
t o draw us fr om tn e p o s s e s s io n
o f the envious s e r p e n t .
When you sow him dead
ond on t h e c r o s s , yo ur
hope wos a c o m f o r t
t o you, knowing l a d y .
35
Thot p a i n wos b i t t e r t o you
who sow him on t h e o l t o r ;
L i k e o lomb t h o t i s s l a u g h t e r e d
He re m ai ne d v e r y p o t i e n t .
Quel t e f o d o l o r de p a r t o
ke *I v id e v i/c o n f Ic t o * n * quarto,
t u t t o * I songue I I e r a s p a r t o
de lo gr a n pi ago r e p e n t e .
Quel d o l o r p o r t i c i p a s t i ;
ga im a i no I * o b o n d o n a s t i ;
nostro fede co nfirm osti
p e r k l non f o s s e p e r d e n t e .
Le l a g r i m e d e l tuo p i o n t o
t u r b d r lo mondo t u t t o q u a n t o ;
tenebre fu o r fa c te in to n to ,
ke le luce f u o r o s p e n t e . *
T e r r a e t o e r commosse,*
t u t t o I ' a c q u o si r i s c o s s e
p e r temo de le pe rcosse
!<e s o f r ' i o I I s i g n o r p o t e n t e .
0 M a r i o , vi rqo p u r e ,
mo I t o f o s t i / f o r t * e t d u r a ,
non f a l l a s t i [ p e r p a u r o ]
p e r k e tam e r i p r u d e n t e .
Sovro nnoi aveo f o c t o
lo n i m i c o g r o n d ’ e c o t t o t *
t u l i d e s t i acocco m o t t o ,
t o I ke sempre s t o d o l e n t e .
Benedicta tu , re in o ,
c o l la g r a t i a d i v i n o ,
o r c h o pi eno de d o c t r i n e ,
c ’ obundontie c o r r e n t e .
Tu se* f e d e , t u speran^a
do cu i v i e n e c o [ n j s o l o n g o ; *
ben h g i o i o e t o l l e g r a n ^ e ,
o c h i d e l t u o d o l 9o r s e n t e .
Li ro? de lo tu o lu m er o *
s p le n d ie n t e /s e smero;*
di t e [ * I ] s o l prende lo s p e r e *
p e r 6 ke se? r e l u c e n t e .
220
40
45
50
That was f o r you t h e p a i n o f
c h i l d b i r t h (wnen) you sow him q u a r t e r e d
A l l t h e blo od was sp i I t
s u d d e n ly fr o m th e g r e o t wound.
You sh ored t h o t s o rr o w ;
you n e v e r abandoned him;
you c o n f i r m e d o u r f a i t h so
t h o t i t m ig h t not oe l o s t .
The t e a r s o f y o u r weeping
d i s t u r b t h e w n o le w o r l d ;
M e a n w h i l e i t become da rk when
t h e l i g h t wos e x t i n g u i s h e d .
E a r t h and a i r were sh ak e n,
a l l t h e w a t e r wos d i s t u r b e d
f r o m f e a r of t h e blows
which t h e p o w e r fu l l o r d hod s u f f e r e d .
55
60
65
70
0 M o ry , pure v i r g i n , you
were v e r y s t r o n g ond c o u r a g e o u s .
You d i d n o t f o i l [ o u t o f f e a r ]
because you w er e so p r u d e n t .
Ove r us t h e enemy
hod t o k e n g r e o t t o l l :
You c h e c k - m a t e d him so
t h a t he i s s t i l l g r i e v i n g .
B l e s s e d ( o r e ) you, queen,
w ith d iv in e grace;
ark f u l l of d o ctrin e
f l o w i n g i n ab un da n ce .
You o r e t h e f a i t h , you o r e t h e hope
fr o m which comes c o n s o l a t i o n ;
He i s r e o l l y jo you s and happy
who f e e l s yo ur s w e e t n e s s .
The roys o f y o u r lamp
in s h in in g p u r i f y themselves:
The sun I s a r e f l e c t i o n o f you
because you o r e so r e s p l e n d e n t .
221
H o n o r e t a se* d a l padre
di cut t u s e ' f i l i a e t madre;
in t r i n i t y s e n c t a q u e d re ,
in s u s t a n t i a luce a r d e n t e .
75
Tu t h e s e u r o , tu r ? c h e g 5a,
tu v i r t u d e , t u I e r g h e g 9e ,
t u se* ’ m p e r i e l f o r t e c e
pe r corona r e s p l e n d e n t e .
80
0 M a r i e , v i r g o degna,
p r i e g a C r i s t o ke ne t e g n a ;
a I suo r e g n o , ne sovegna,
per noi s i e e n t e r c e d e n t e .
G a r ^ o * c a n t a cum do I c o re
per t e v e r s i / c u m l e u d o r e .
S' s s e 1 p l e n a de s e v o r e , *
c ie lo e te rra fa i flu e n te .
32v
1
MARAVE6LA -
6
A u le n te -
16
85
'NAR AVIG LIA'
IN TNE X I I
90
CENT. USAGE HAVING THE MEANING OFWONOER.
C f . V, 5y X, 7 ; XIV, 2 .
Veo e s ti - l i t e r a l l y s a w , b u t h e re h a v in g th e meaning o f u n o e rs to o d , as common
co unterpart,
to s e e ,
in tn e E n g lis h
to u n d e r s t a n d .
21
CAMO -
XIII FIGURE HAVING TNE MEANING OF A MORAL DRIDLE.
32
E 'n C r o c e 'l - M
S has ne c r o c e l .
40
CONFICTO -
40
Quarto -
L it e r a l l y
50
S pen t e -
from
Tne c o r r e c t io n
is U u z z i ' s
'CONFITTO* LITERALLY DRIVEN IN .
quartered .
' spegnere*
in
m e d ia e v a l
usage
' m o r to
m e a n in g
u c c is o ,
'
r i l l e d , m u r o e r eo .
51-54 Cf. g o s p e l a c c o u n t, M a t t XXVII, 51, and Luke XXIII, 44-45.
57
Per
60
Ac a t t o -
68
C o n s o la n ja -
71
Lnmera -
72
SNERA -
73
Ol T E 'L SOL - M
S READS DI TE SOL.
87
CARJO -
89
Si
paura
-
h is s in g
H a v in g
th e
in
tne
m e a n in g
m a n u s c r ip t
m a n u s c r ip t
of
reads
' ha s
sut
s u p p l ie s
made g r e a t
co so la r ja ,
sy
L iu z z i
progress.
w it h o u t
tne
from the
'
s ig n
of the
nasal.
CF. |X, II
FROM SMCRARE, X||| CENT. TO PUR IFY, TO CLEAN.
ON 6ARZ0
s s e ' p le n a de s a v o r e .
THE CORRECTION IS
MADE BY L tU Z Z I.
OF V||, 4 1 , AND CHAPTER IV, P . 9 1 .
C o rr e c te d fro m
MS
P is .
MS
p is
.
You o r e honored by t h e F o t h e r
o f whom you o r e ( b o t h ) d o u g h t e r ond moth er
I n t h e fromework o f t h e b l e s s e d T r i n i t y ,
in substonce burning l i g h t .
You
you
You
fo r
(ore) o t r e o s u r e , you ( o r e ) w e o l t h ,
( o r e ) v i r t u e , you ( o r e ) l i b e r o l i t y .
o r e th e i m p e r i o l f o r t r e s s
t h e r e s p l e n d e n t cr ow n .
0 Mo ry. w o rt h y v i r g i n ,
proy C n r i s t to keep us w i t h Him;
To n i s kingdom o i d us, (ond)
moke i n t e r c e s s i o n f o r u s .
W i t h sweetness Go rzo s in g s
f o r you v e r s e s o f p r o i s e .
You o r e so f u l l o f f l a v o r t h o t
you moke heaven ond e a r t h f l o w i n g .
Lauda X I V
MS 32v - 3 4 v .
L i u z z i , 314-317
223
R e fra in
i
i
* i , i
m
O
r -fl
d i-
v i-
na
vtr
I
-
Id ;
%
go,
flo -
lo-
It
A
[tl^t
rl
ifl ,
I
to
....—
d’ o-
a
1
-__ .
Jm
:|
re
^___________! _______ i _ J ! _______ 1 _ 4
'
8u-
S tro p h e
i
--- f --""'
^
.’"""J—.0 — f ------a r - "'--p'—■
.. J — £—
“ — 2— ........... T —L i—L-— L—
t jj r
B
n
-t ~
gne e u -
*1
1
lo -
-3 - q
re.
*
1 I1
f
/3.^
Tu
se*
*
*
flor
ke
9
■I
sem-
1
J
•j—J- ■:|r?= i*
m ol-
te
1
9
0
gra-
tia
1
in
fk
1
—
Tu
por-
n
1
to -
1
T—
eJI
9
—
H
( _
1
sti »I
' 1
•
— --------------- J—
nostro
THE LAUDA IS FOUND ONLY IN TNE COKTONA LAUDAS 10
*
r r1 d ■
„::
v—*
te
pei—
r
mo-
ne,
*
rg
ne;
1 —1 ♦
'
r
7 7 7 s i r -------------------- L L 4 -— L---------
=
...... ..
v i,
gra-
____________ L
1
"
cio
I
pre
now e
pa-
ffc
ne,
•!
-7
re-
dem-
pto-
re.
224
0 divine virgo, f lo r e
a u l o r i t o * d ’ ogne e u l o r e . *
33*
Tu se* f l o r ke sempre g r o n e , *
m o l t a / g r a t i a i n t e permane;
t u p o r t a s t i ' l v i n o e pane,
c i 6 & *1 n o s t r o r e d e m p t o r * .
Ave. ve r g e ne be ni qno,
t u ke s o l a f o s t i degno
di p o r t a r [ e J I ' a I t e * n s e g n a
de I ’ a l t i s s i m o s e g n o r e .
5
10
Tu es s a c r a v i r g o p i e ,
tu, dulcissima Maria,
t u ke se* le d r i c t o * v i a
per v e n i r ed s a l v a t i o n e . /
33v
P e r * t e Deo n ’ e v e * v i c t o r i a
de la s u p e r n a l e g l o r i a :
la t u a corona i m p e r i a
cum C r i s t o i m p e r a d o r e . *
T e n t e sono l i t u e v i r t u d e
ke c i e l o e t e r r o e mare c o n c l u d e :
t u t t i s o ’ di g r a t i a i n g n u d i ,
k i u n q u e de t e s i ’ en e r r o r e .
Tent'abundo per te g r a t i a
ke t u t o 1 I c i e l o se ne s o l a t i a :
unque de t e non se s a t i o n o
I ' a n g e l i de f a r l a u d u r e .
3*»
De q u e l c a n t o g l o r i o s o
f a n n o coro d e l e c t o s o .
C i a s c u n r endi g a u d i o s o , /
s p e r a n g ’ i de lo t uo a mor e .
15
20
25
30
T u t t i portan r e v e r e n t i a
cum m o l t e g e n t ’ e t ubi denga
a t e , donna de p o t e n t i a ,
i n cui regna t u t t ’ o n o r e .
Per la tuo b e a t i t u d i n e
de lo s e m p i t e r n a l l u m i n e , *
f o n t a n a ke s e ’ f l u m i n e ,
p i e t a d e per a mor e .
35
225
0 divine v irg in , flower,
f r e n g r e n c e of every perfume.
5
10
You e r e t he f l o w e r whi ch a Iweys beer s
Much g r a c e a b i d e s i n y o u .
You bore the wi n e ond t h e br ead
t h o t is o u r r e d e e me r .
H a i l , beni gn v i r g i n ,
you who a lone were wo r t h y
t o bear t h e h i g h s i g n
o f t he most h i g h L o r d .
You or e a h o l y l o v i n g v i r g i n ,
you, s w e e t e s t Mory,
you who a r e t h e s t r a i g h t pat h
t o come t o s o l v a t i o n .
15
20
25
30
Through you
vic to ry of
Your crown
C hrist the
So many
they f i I
A l l ore
whoever
God d e r i v e s t h e
supernal g l o r y :
governs w i t h
emperor.
o r e your v i r t u e s t h ot
I heaven ond e a r t h :
s t r i p p e d of grace,
is in e r r o r o f you.
So abundant i s your g r a c e t h o t
a l l heaven t a k e s c o mf o r t i n you
so t h o t t h e a n g e l s ne v e r t i r e
of s i n g i n g your p r a i s e s .
Of t h o t g l o r i o u s song
t n e y moke d e l i g h t f u l c h o r u s .
You moke e v e r y o n e j oyous
who ( h a s ) hope i n y o u r l o v e .
Many pe o p l e be a r
r e v e r e n c e ond ob e d i e n c e
t o you, lady o f s t r e n g t h ,
i n whom r e i g n s a l l h o n o r .
35
Becouse o f y o u r b l e s s e d n e s s
by t h e e t e r n a l l i g h t ,
you who o r e a f o u n t a i n
be p i t i f u l o u t o f l o v e .
seed;
226
0 d o ^ o r , de t e s ' o f i n o *
per lo m o i e s t d d i v i n e ,
per lo tuo sont o d o c t r i n o ,
si r e l u c e * I tuo s p l e n d o r e .
Tu s e ' v i o de v e r i t o d e
scolo se' d * u m i I i t o d e ; *
de t e pr ese
humoni t ede
l e s u / n o s t r o redemptore.
34v
Tu s e ’ g l o r i o del p o r o d i s o ,
sempre p o r e ' n t e d i v i s o ;
tu Lse’ j
g l o r i o , tu se' r i s o ,
t u se* roso cum d o l i j o r e ,
40
45
50
Ave, v i r g o i n c o r o n o t o ,
ove, Dei obumbroto,
ke' m c i e l se* en cor on ot o
modre d f ogne p e c c o t o r e .
2
A u l o r i t a j a u lo re -
C f. V, 5 ; X, 7; X I I I ,
3
GRANE -
4
PERMANE -
13
ORICTA -
15
A ve -
15
MS HAS IN IT IA L P OCCUR INS TWICE
18
IHPERAOORE - PfeO. 'IMPERATORE'
36
UlMINE “ M
S HAS U IN E ,
39
S'AFINA-CF.
49
P6 IS M ISSIN 6 THE 'S E ' OFTU SE' GLORIA,
6;
XI ll,'6 R A N E L L 0 '
'PERMANERE'
'O R IT T A '
FROM
< HABET
THE CORRECTION HAS BEEN MADE TO PRESERVE BOTH THE RHYME AND THE RHYTHM.
IX, 4
227
40
45
50
0 sweet ness i n you so r e f i n e d
by the d i v i n e m a j e s t y ,
y o u r s p l e n d o r s h i n e s thus
by yo ur h o l y d o c t r i n e .
You a r e t h e way o f t r u t h ,
the s t a i r w a y of h u m i l i t y .
Of you Jesus our
redeemer t ook h u m a n i t y .
You a r e t h e g l o r y o f p a r a d i s e ,
( w h i c h ) al ways ap pe a r s m a n i f e s t e d
You ( a r e ) g l o r y , you a r e j o y ,
you a r e a rose o f sweetness .
H a i l , crowned v i r g i n ,
Hai I , God o ' e r shadowed
who i n heaven i s crowned
mot her o f e v e r y s i n n e r .
i n you;
Lauda XV
MS 34v - 3 6 v .
L i u z z i , 318
228
R e fra in
ge -
mo
splen-
di-
da,
Mo-
ri-
o.
S tro p h e
Or
con-
t i am
cum
r V?
1
de
I * a—
mor
no-
. ■ *
ke
T ne
laude
is
•
i
,
sia
no t fo u n d
in
■■
1---------------------------------
stro
any
,
chi
a
pro
i""
no-
' .
bi s
lux
et
cto,
a
a
r \\:t f -J--p-= ■.|
•
no-
stra
tne
fe-
a
•
of
per-
•
J
pre-
cto
Tfi- f
a
.
ke
e-
|
^
“
gram
other s o u r c e s .
IS EASILY DETERMINED FROM THE PRECEDING CUSTOS S IG N .
T he
T ;
C ri-
c le f m is s in g
vifrom t h e
~
sto
a.
second s y s t e m
Salve, s a l v e , v ir g o pio,
gema s p l e n d i d o , M a r i o . /
Or cent Jam cum gram di l e c t o *
de I ’ omor n o s t r o p e r f e c t o ,
ke p r e c h i pro nobi s C r i s t o
ke si o n o s t r a lux e t v i a . /
Voi k ’ a v e t e ’ n c i e l lo ment e,
o r c a n t o t e dol gement e
C r i s t o i u s t o * voi p r e s e n t e
e lo v e r g e n e M a r i a .
De quel amor s ' g i o i o s o
o g n ’ on * c o n t i g l o r i o s o ;
c i o s c u n de noi s t e o s ’ amoroso
0 serviIlo tuttovio.
Or co nt i a mo con o l e g r o n 9o
de lo b e l l o n o s t r a amon^a,
k ’ e l l ’ & n o s t r o c o n s o l o n 9 a;
sempre b e n e d i c t a s i o .
A l t a donna g l o r i o s o ,
madre de l esu p i e t o s o ,
del p o r o d i s o t u s e ’ r o s o ,
1a pi u be l l o ke ni si a . * /
PitJ s e ' b e l l e di s t e l l o , *
c o st a f i l i o s o v r ono /
i n [ t e j Momor f i o r ’ e g r o n o , *
de t e f a sua d r u d i r i a .
E n g ro ti o to fost? in t u t t o :
de t e n ’ & quel d o ^ e f r u c t o
k ’ espugnone I ’ amor l u c t o
de lo i n f e r n a l t e n e b r i o .
Regina b e l l e d ’ e l e g r e n y o ,
de no? o g i o p? e t o n 9 o:
l a s c i o r volemo on gn’ a l t r ’ 0(110090
e t s e r v i r a voi t u t t o v i o .
Ki di t e & s e n t i m e n t o
non c u r ’ ouro n& o r g e n t o ,
s'! e gr a n d e lo f l a m o m e n t o /
de s e r v i r a tuo b o i l l a . *
H ail,
Mory,
hoi I , pi ous v i r g i n ,
s h i n i n g gem.
New l e t us s i n g w i t h g r e o t
d e l i g h t of our p e r f e c t love,
who pr ays f o r us t o C h r i s t
t h o t he be o u r l i g h t ond our way.
You who hove minds i n heoven,
now s i n g s w e e t l y .
C h r i s t i s p r e s e n t n e a r you
ond t h e V i r g i n Mo r y .
O f t h a t l ove so j oyous l e t
ev e r y on e s i n g g l o r i o u s l y :
L e t eoch o f us be so l o v i n g
os to s e r v e him a l w a y s .
Now l e t us s i n g w i t h j oy
o f our b e a u t i f u l l o v e ,
sne who i s o u r c o n s o l a t i o n :
May she be al ways b l e s s e d .
Exalted,
merciful
you e r e
t h e most
g l o r i o u s l ady,
mot her o f Jesus,
t he r os e o f p a r a d i s e ,
b e a u t i f u l t n a t c o u l d be .
You e r e more b e a u t i f u l t h a n a
s t a r , chaste sovereign da ughte r.
I n you l ove blossoms and beer s seed
o f you he makes hi s spouse.
You wer e f a v o r e d i n o i l t h i n g s .
O f you we hove t h o t sweet f r u i t
wnich conquer ed the b i t t e r mourni ng
o f i n f e r n a l darkness.
B e a u t i f u l queen o f j o y ,
have compassi on on us:
We wont t o l ea ve e v e r y o t h e r
love t o s e r v e you a l w a y s .
He who un de r s t a nd s you
ca r e s f o r n e i t h e r g o l d nor s i l v e r ,
so g r e o t i s t h e d e s i r e
t o serve your a u t h o r i t y .
231
El cor n o s t r o f a * p e n s e r e ,
di t e do Ice s o s p i r a r e ;
f a c t e t a n t o t e amare,
n u l ’ a l t r a c o s ’ a I c o r si a .
40
Ad t e , amor, ov&n c a n t a t o :
b e l l a , col s a n t o p o r t a t o
f a c c i s t a r del d e x t r o l a t o , *
possiam f a r t e compegni e.
3
D ile c to -
9
lUSTA -
12
ON -
45
f r o m 'd i l e t t a a e } X l t l C e n t.'d o o im e n to .1
^ JUXTA XI I I CENT. HE an I US o f
'P r e s s o '
IS THE ’ ON' FROM 'UN* OH FROM 'O M '? '(u)on'
22
l“S REAOS ' KK NI S IA ' WHICH MAZZONI READS AS 'KEM I I I '
23
' B e l l a a t s t e l l a ' b reaks th e o th e rw is e s te a o y rhyme schem e.
In o rd e r t o p re s e rv e th e p a t t e r n
OF THE RHYME MAZZONISUS6ESTS THAT
THE LINE RE AO'STELLA OEANA*
TORHYME WITH'S0VRANA'
AND
'6RANA.'
25
'8RANA* CF. X IV , 3 .
38
B a i l i a , CF. I , 1 6 .
4 5 -4 6
T he
reads,
c o r r e c t io n
'
fa c ti
sta r
presented
dal
he re
d e xtr o
i s th a t h e l o
lato ,
p o s s ia r
by
far
THE 0R I6IN A L
both
teco .
'
L iu z z i
IS PREFERRED HERE.
and m a z z o n i .
T he
m a n u s c r ip t
232
40
45
Our h e o r t mokes us t h i n k
o f you, sweet s i g h ;
I t causes us t o l o v e you so t h a t
no o t h e r t h i n g can be in o u r h e a r t s .
To you, l ove, we hove sung,
b e a u t i f u l one w i t h t h e h o l y one you b o r e .
Make us be on h i s r i g h t s i o e
( s o t h o t ) we may be i n y our company.
P A R T
II
The L i t u r q i co I Cycl e
Wi th
loudo X V I I I 7 we meet
liturgical
nativity
cycle.
hymn,
c e r t a i n of
it
Si nce
is
t he
However,
the
cycle
liturgical
for
year
practical
there ere,
nature.
the c y c l e ,
since
qualify
purposes we w i l l
lauda X V I I I
their
them as
consider
and t o e x t en d t o
The hymns a r e d i s t r i b u t e d
ov e r t he
in t h i s
Nativity
Ephiphany
Passiontide
Easter
Ascensi on
Pentecost
Hol y T r i n i t y
laude may i n no way be c o n s i d e r e d
even i n e a r l y ma n u s c r i p t
e v i d e n c e s of
t he f e a s t s
i n c l u s i o n of
thus:
Although the
hymnody,
the
is a c t u a l l y a
the
theme mi ght w e l l
Laude X V I I I , XI X
Lauda XX
Laude X X I , XXI I ,
XXI I I , XXI V,
and XXV
Lauda XXVI
Lauda XXVI I
Laude XXVI I I , XXI X,
and XXX
Lauda XXXI
musi c,
t he hymns of
in question
l aude i n t o
t o be gi n wi ih
inclusively.
of
t o ar gue f o r
t he p r e c e d i n g M a r i a n
Advent hymns.
liturgical
laude
possible
emphasis on t he a n n u n c i a t i o n
lauda XXXI ,
t he f i r s t
liturgical
manner
Furthermore,
it
influence.
indicates
is
possible
liturgical
sour ces o f
popular
The ar r a ng e me nt of
some s u r v e i l l a n c e o f a c l e r i c a l
to disco ver a t
l e a s t s ome t h i ng
At t h e end o f t he c o l l e c t i o n o f M a r i a n laude t h e r e a p p e a r two
s e e m i n g l y m i s p l a c e d hymns, number Xvl and X V I I , i n honor o f S a i n t
C a t h e r i n e o f A l e x a n d r i a and S a i n t Mary Magda I e n e , r e s p e c t i v e l y .
They w i l l be d i s c u s s e d w i t h t h e laude h o n o r i n g t he s a i n t s , i n the
i n t r o d u c t i o n t o P a r t I V o f t h i s vol ume.
235
of
the n a t ur e of
this
century r e lig io u s
particular
orders,
considerable a l t e r a t i o n s
influence,
l i k e dioceses,
in
liturgical
since
retained
i n t he t h i r t e e n t h
the r i g h t
t o make
p r a c t i c e s and t he o r d i n a n c e s
g o v e r n i n g t hem.
The i n f l u e n c e o f
t he F r a n c i s c a n s on t he
ages may be s a i d t o d i v i d e
certainly
related.
The f j r s t ,
Franciscan a c t i v i t y
a b r i d g e me n t o f
in t h e
liturgy
was t h e
into
two c h a n n e l s ,
of
t he m i d d l e
distinct
and p u r e l y e c c l e s i a s t i c a l
t h e Roman O f f i c e .
popular m a n i f e s t a t i o n ,
new f e a s t s ,
itself
liturgy
is
t h a t whi ch r e s u l t e d
The second,
trend to
but
facet
of
i n t he
and more d i s t i n c t l y
i n t r o d u c e new d e v o t i o n s and
many o f which e v e n t u a l l y f ound a p l a c e
i n the Roman
caIendar.
Fortunately
origin
s till
t h e r e ar e numerous or dos and m i s s a l s o f
extant,
and by means o f
these
it
is po ssible
t o some d e g r e e t h e r e l a t i o n s h i p between t he a c t u a l
of
t h e F r i a r s Mi n o r and t h e e v a n g e l i c a l
e qui p pe d them w e l l
for
the spread of
The a b b r e v i a t e d v e r s i o n o f
shaped by n e c e s s i t y .
The
life
of
practice
The r a p i d
n a tu r e of t h e i r mission
such f e r v o r ,
the O f f i c e
to d e t e r m i n e
liturgical
t h e o r d e r and t h e p o p u l a r d e v o t i o n d i s s e m i n a t e d by i t .
g r owt h of
Franciscan
albeit
a popular one.
used by t h e f r i a r s
t h e mend i ca nt s was such t h a t
was one
the
Q
The works c o n s u l t e d a r e t h os e quot ed i n w r i t i n g s o f t he two
F a t h e r s Von D i j k i n F r a n c i s c a n S t u d i e s .
Both w r i t e r s quot e g e n e r o u s l y
f r o m e a r l y o r d o s , m i s s a l s end b r e v i a r i e s o f t h e o r d e r .
St ephan A . Van D i j k , O . F . M . , ’'Some M a n u s c r i p t s o f the E a r l i e s t
F r a n c i s c a n L i t u r g y . ” F r a n c i s c a n S t u d i e s , NS XVI ( 1 9 5 6 ) , pp. 6 0 - 1 0 1 .
” The C a l e n d a r i n t h e B r e v i o r y o f Sf." F r a n c i s , " F r o n c i scan S t u d i e s ,
NS V I I I ( 1 9 4 8 ) , pp. 2 6 - 4 0 . ; ” The B r e v i a r y o f Sa' n f C T a r e , " FVanci scan
S t u d i e s , NS V I I I ( 1 9 4 8 ) , pp. 3 5 1 - 3 8 7 .
A u r e l i a n Fan D i j k , O . F . M . , "The B r e v i a r y o f S t . C l o r e , " F r a n c i s c a n S t u d i e s NS V I I I ( 1 9 4 8 ) , pp . 4 0 - 6 ; "The Li t ony of t he S a i n t s
i n t h e B r e v i a r y o f t h e Roman C u r i o ond t h e F r i a r s M i n o r b e f o r e Haymo
o f F a v e r s h o m , " F r a n c i s c a n S t u d i e s NS V I I ( 1 9 4 7 ) , pp. 4 2 6 - 4 3 8 .
r e c i t a t i o n of
John B e l e t h
t he c a n o n i c a l
related
in his
hours
i n c h o i r was an i m p o s s i b i l i t y .
Rat? o n a l e di v? norum o f f i ci um^ t h a t
p r o p e r ob s e r v a nc e o f t h e hour s would r e q u i r e o l i t u r g i c a l
containing
the ontip hon or y,
the Legendery,
Mortyrology,
t h e Ol d and New T e s t a m e n t s ,
the Homiliary,
as w e l l
St.
the e a r l y
Francis
that
t h e t i me - c o n s u mi n g c h o i r s e r v i c e
a p o s t o l i c aims d i f f e r e n t
monostic orders .
recite
curia.
10
the s h o r t e r ve rsion of
and a b b r e v i a t i o n s
it
the o f f i c i a l
breviary.
t h e papal
(1240-44)
sh ou l d
Faversham,
11
t o make f u r t h e r changes
By 1280 Pope N i c h o l a s
curia
to
t hen used by t h e Roman
t o Avi gnon
III
declared
Rome.
Wi t h
in t h e n e x t c e n t u r y
become, known in Fr an ce and by t he end o f
t r e c e n t o was r e c o g n i z e d os t h e o f f i c e I O f f i c e o f
c.
his f r i a r s
v e r s i o n t o be used by a I I t h e chur ches o f
the abridged b r e v io r y
V,
t hemsel v es
the o l d e r co nte mp lat iv e
IX o r d e r e d Heymo o f
in t h i s
the tr a n s fe r e n c e of
Church
Such a c o l l e c t i o n
to d e v o t e
t he b r e v i a r y
t he o r d e r
and t h e
b r o t h e r s s h o u l d be f r e e of
in order
of
the Passionary,
But even more i m p o r t a n t
he p r e s c r i b e e f t h e t
Pope G r e g o r y
l a t e r M i n i s t e r General
hi s
f r om t hose o f
Therefore,
In a d d i t i o n
order.
library
t he P s e l t e r i u m ,
as a C o l l e c t a r i u m o f p r a y e r s .
was beyond t h e means o f
was t h e d e s i r e o f
t h e Ser mol ogus,
t he
the e n t i r e
t he
Roman
^
^ C f . DACL,
1009.
’’ Jeon B e l e t h , "
ll^
cc.
649-650;
LTK,
"Johannes B e l e t h , "
1° C f . H e r i b e r t H o l z o p f e l , O . F . M . , The Hi s t o r y o f t he F r a n c i scon
O r d e r t r a n s l a t e d by A . T i b e s o r , O . F . M . and <5. Brinl<monn, 0 . F . aA.
TTeuTopolis, I I I , :
S t . Joseph S e mi n a r y , 1 9 4 8 ) , p . 1 8 3 .
11C f . C a t h o li c
12
Encyclopedia, V I I ,
p.
161 .
C f . Dorn J u l e s Baudot, The Roman B r e v i a r y :
i t s Sources and
Hi s t o r y , ( S t . L o u i s :
B. H e r d e r and Co"77 1^ 0 ^ , p. f f 2 . f f .
237
Ther e
is a r e c i p r o c i t y
between
o r d e r and t h e p o p u l a r d e v o t i o n s
liturgical
p r o p a g a t e d by i t .
Franciscan
emphasis on t he humoni t y o f C h r i s t
l i s h i n g of
new f e a s t s
tions of
the
the Cross.
venerated w it h in
days o f
of
flowers
significantly,
period
t o e n cr oac h upon t h e f e r i a l
of a special
days.
cult.
In a d d i t i o n ,
wer e g i v e n pr ec ede nc e o v e r o t h e r h i g h e r
is e s p ec ially
that
h e r e on e a r t h .
It
the c y c l e
the
was o n l y i n
fe a s ts of
began
saints
ranking f e e s t i v a l s .
A l t h o u g h t h e F r a n c i s c a n s wer e r e s p o n s i b l e f o r
it
were
figures
t h a t abuses s e t in and t he s a n c t o r a I o f f i c e
into
t he c r i b ,
t h e o r d e r Mary Magdal ene end M i c h a e l
the
certain feasts
in the e s t a b ­
p e r i o d o n l y a few s a i n t s
t hose who wer e n e a r C h r i s t
have been t h e o b j e c t
of
the
The c h a r a c t e r i s t i c
t he God-man on e a r t h ,
end t h e s e we r e ,
Archangel
later
life
In t h i s
t he o r d e r ,
f r om t he New Test ament From t he e a r l i e s t
within
i n t h e c a l e n d a r end i n t hose a p p e a l i n g devo­
the myst er ies of
and t h e Way o f
practice
(most n o t a b l y
the
perhaps
introduction
t he T r i n i t y ) ,
i n t h e d e v o t i o n s o f an " e x t r o - I i t u r g 1ca I * n a t u r e
we f i n d a r e l a t i o n s h i p
in s p i r i t
wi th our ma nu scr ip t.
C o m p l e t e l y i n a c c o r d w i t h t h e s p i r i t o f t h e i r f o u n d e r , t he
F r a n c i s c a n s d e v o t e d t h e ms e l v e s c h e i f l y t o t he v e n e r a t i o n of
t h e Redeemer; more p e r t i c u l a r I v , they sought t o b r i n g t he
human s i d e i n C h r i s t home t o t n c p e o p l e , p l a c i n g t h e e a s i l y
I t s h oul d be me n t i o n e d t h a t t he F r a n c i s c a n s d i d a l s o f o l l o w t h e
p o p u l a r t r e n d o f t h e t i m e t o i n t r o d u c e r h y t h m i c and rhymed o f f i c e s .
The mai n composer o f t h e s e was J u l i a n o f S p e i e r , ( d . 12 5 0 ) wno b e f o r e
e n t e r i n g t h e o r d e r was employed as maes t r o de ceppeI la under both
Phi I i p August us ond L o u i s V I I I o f F r a n c e .
H i s most famous rhymed
o f f i c e s e r e t h o s e f o r t h e f e a s t s o f F r a n c i s and An t h o n y , and ne i s
r e p u t e d t o have w r i t t e n p a r t o f t h e o f f i c e f o r t h e f e a s t o f S t . D o m i n i c .
C f . C a t h o I ?c E n c y c l o p e d i a , V I I I , p . 5 5 8 .
233
gr osped and more a p p e a l i n g f e a t u r e s i n t he f o r e g r o u n d .
" C r i b , Cr o ss , S a c r a me n t ”— t ne most e v i d e n t proo s o f t h e d i v i n e
l o v e , were p r e f e r a b l y p l a c e d b e f o r e t h e p e op l e f o r t h e i r v e n e r a ­
t i o n by t h e M i n o r i t e s .
The C h r i s t m e s - c r i b was, i n d e e d , a l r e a d y
known b e f o r e , b u t si n c e t h e b e a u t i f u l c r i b c e l e b r a t i o n whi ch
S t . F r a n c i s had a t G r e c c i o , t h e Or d e r z e a l o u s l y t o o k upon
i t s e l f t he s p r e a d o f t h i s d e v o t i o n , . . . Of g r e a t e r p r a c t i c a l
i mp o r t a n c e was t h e f o s t e r i n g o f the d e v o t i o n t o t h e P a s s i o n o f
J e sus , whi ch l i k e w i s e passed over from t h e f o u n d e r o f t h e O r d e r
to hi s c h i l d r e n .
S a i n t Bon a v e nt u r e composed a s p e c i a l o f f i c e
on t h e Pass i on o f the L o r d , and the p r e a c h e r s and c o n f e s s o r s
were char ged t o l e a d t h e p e o p l e more and more t o t h e Knowledge
and i m i t a t i o n o f t h e s u f f e r i n g S a v i o r . 13
The C o r t o n a
L a u d a r i o 91
t h i s m i s s i o n was
i mp l e me n t e d .
manuscri P+ u n f o l d i n t h e i r
It
i s not d i f f i c u l t
i n which t h e
a lesson.
impression,
at
Their
It
One a f t e r
tender,
human,
t e s t i m o n y o f how
the o t h e r
t h e hymns o f
the
and p i c t u r e s q u e p o e t r y .
the i m a g i n a t i o n t o r e c o n s t r u c t
t he manner
f r i a r must have used t h e hymns t o d r i v e
home
l anguage i s s i m p l e and g r a p h i c enough t o moke i t s
it
t i mes c a p t u r e d
means.
for
itinerant
yet
i s an e x c e l l e n t
is best
c a n n o t be d e n i e d t h a t
t h e most s u b l i m e o f a l l
to
let
o£. c i t .,
p.
181.
the
t h oug ht s w i t h i n h i s
the hymns speak f o r
unstudied be au ty .
^Holzopfel,
t h e composer o f
t h e ms e l v e s
l aude
limited
in t h e i r
239
Loudo XVI I I
MS 39v - 43v
L i u z z i , 330-335
R e fra in
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sto
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cti
do-
da
ri
cu -
lu?
fai-
l an­
cti .
i
ii= i
for
fra-
te .
T he la u d a a p pe a r s in Ma s l 1 but the f o l io c o n t a in in g th e b e g in n in g of th e hvnn h a s been l o s t *
Ar s .
CONTAINS THE REFRAIN WITH THE FIRST THREE STROPHES AN0 FlOR CONTAINS THE REFRAIN WITH ONLY THE
FIRST STROPHE* OUR MANUSCRIPT HAS A STRANGE INTERLOPATION BEGINNING WITH FOLIO 41:RECTA TO 4 3 RECTA.
The TEXT Of THE INTERPOLATED SECTION IS THE SANE AS THAT FOUND IN LAUDA XXXVII IN HONOR OF SAINT
SHOULO BE RED INSTEAD OF BLUE.
Be g in n in g w it h t h i s l a u d a * L i u z z i h a s p u b l is h e d a c y c l e c o n t a in s s e l e c t io n s r e p r e s e n t a t iv e of the
BIRTH AND PASSION OF CH R IS T, UNDER THE T IT L E , U PASS I ONE. NELLE INTONAZIONE DEL LAUPARIO 91 01
Co r to na *
(1 9 3 2 )
I t i s a h ig h l y q u e s t io n a b l e v e r s io n s c o r ed for organ , two f l u t e s , one o b o e ,
TWO TRUMPETS, TWO HARPS, AND STRINGS*
241
C r i s t o 6 not o e t humoneto
per s a l v o r lo ge nt e
k ' e r © p e r d u t o / e descodut o
neI p r i m e r p o r e n t e .
40r
Not o e C r i s t o pe r f o r e a q u i s t o
de nol p e c c o t o r i
k'erom p o r t i t i e d i s p o r t i t i *
dei suol s e r v i d o r i ; *
perchls f o l l e n / t i e non s e r v e n t i
mo d e s s e r v i d o r i
eromo f o c t i , do c u l u i t r a c t !
k*e t u t o r f o l l e n t e .
40v
41r
41R THERE OCCURS
i
AN INTERLOPTIRN
to
the eno op 4 2
10
Lo f r e s c o g i l l i o bi anc o e vermegl o
n o t ' e ’ n q u e s t o mondo
pe r d o r c o n s e g l o de f u g i r p i l l l o
15
de q u e l / g r o n p r o f u n d o ;
degnd v e n i r e p e r no! s o f r i r e
beginning with
w hich c o n tin u e s
5
A
0
m° r f e
v* no I
1„ „ „
0_*
OOnnOSO
quol g i o i o s o e r a gr avos
p r I me romen t e .
a
20
In B e l l e m n a t ' & M s i g n o r beot o
de v I r g i ne pure?
onnuntioto, prefigu ro to
f o do la s c r i p t u r e ;
m e d i e t o r e e r ede mp t or e
25
d i r e c t ’ e verace,
re [ d e ] gr an pace k ’ a cioscum p i e c e , *
ki & ve r o ment e.
Summ'o l egr ecgo summo f o r t e g o ,
Cristo d noto’ n te rra ;
summo f o r t e g o per cui se spreggo
ben o n g n ’ o l t r o g u e r r o / *
de lo n i m i c o s e r p e n t e , o n t i q u o
nostro inqannotore;
de cui v o l o r e doni a t u t t ’ o r e *
a ki I i c o n s e n t e .
43v
7
D lSP A R TITI -
8
S e r v id o r i - ’ S e r v it o r e ’
1*8 REAOS "DEI SERVIDORE"
BOTH READ "RISERVI DOR I *
18
35
FROM DISPARTIRE, TO SEPARATE
T he - t > - mere
ten d s
The VERSION HEREIS THAT
0ANNOSA ~ XIV MEANING 'NOCUMENTO1
27 MS READS
30
"RE GRAN PACE KA CIASCUN PACE*
32
MB HAS
35
f * HAS THE OLD FORM TUTUTTORE.
"GRERRA*
to
in o ic a t e th a t the am e n u e n s is was not so u t h e r n *
OFLlU MA0E FROM
MSS
ARS ANDFlOR
WHICH
242
C h r i s t i s born ond become man
i n o r d e r t o save t h e pe o p l e
who were l o s t s i n c e t h e i r f i r s t
p a r e n t s had f a l l e n .
5
10
15
20
25
30
35
C h r i s t i s born t o
ransom us s i n n e r s
who had d e p a r t e d and were
s e p a r a t e d f r om h i s s e r v a n t s ;
because we f a i l e d you and
d i d not s e r v e you, but had
become d e s e r t e r s , drawn by him
who s t i l l now t r a n s g r e s s e s .
The f r e s h w h i t e and r ed li ly
i s born i n t o t h i s w o r l d
i n o r d e r t o counsel how t o f l e e f r om
s t e a l t h , f r om t h a t g r e a t abyss ;
he de i gn e d t o come t o s u f f e r f o r us
that painful death, th at jo y fu l (death)
whi ch f o r us i n t h e b e g i n n i n g
was most g r i e v o u s .
I n Bet hl ehem t h e b l e s s e d Lord
was born o f t h e pure v i r g i n :
(He was) announced and p r o p h e s i e d
in the s c r i p t u r e s :
t h e m e d i a t o r ond r edeemer ,
u p r i g h t ond t r u e ,
t n e ki n g o f peace who p l e a s e s
everyone o f t r u e u n d e r s t a n d i n g .
Highest joy, g r e a t e s t stre n g t h ,
C h r i s t i s born on e a r t h ;
G r e a t e s t s t r e n g t h , because o f whom
we d i s p a r a g e e v e r y o t h e r b o t t l e
w i t h t ne s e r p e n t enemy,
o ur o l d d e c e i v e r :
Al weys g i v e o f t h i s v o l o r t o
whomever c o n s e n t s t o i t .
la u d a XI X
MS 43v - 4 4 v .
L i u z z i , 3 3 6 -3 3 9
243
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The same t e x t appears i n Magl 1 s u t w it h a d if f e r e n t m e l o d y .
T he p o e tr y alone a p p e a r s in Ar e t ,
ANO F lO R . T h e correct p la c e m e nt of the c l e f m is s in g from th e t m ir o s y s t e m i s oedu ced from
PRECEDING CUSTOS. THERE IS A FLAT TRACED LIGHTLY BEFORE THE " s " 01 t» E SDUAIKE * 8 1* OF
■OESIOERIO* IN
THE FOURTH SYSTEM.
244
G l o r i e ' n c i e l o e poce'n t e r r o .
n a t ’ fc'l n o s t r o s e l v a t o r e .
N at’ S C risto glorioso,
I ’ a I t o D i o m a r a / v e I I i oso;
f a c t ’ S horn d e s i d e r o s o
lo be ni g no c r e a t o r e .
44*
5
De la v e r g e ne s o v r a n e ,
lucente s t e l l a Diana,
de l i e r r a n t i t r a m o n t a n e , *
puer n e t o de la f i o r e .
10
Pac'n t e r r a sta c a n t a t a ,
q l o r ia 'n c ie lo desiderata;
Ta d o n g e l l e c o n s e c r a t e
parturi t ' i ' I* s a l v a t o r e . /
44v
Ne I pr es epe e r a be at o
uei ke i n * c e l o e- contemp I a t o ,
ai santi d e s id e r a to
r egu ar den do e l suo s p l e n d o r e .
15
3
P a r t u r i t o I ’ S cum c a n t o ,
pi eno de lo s p i j ^ i t u s a n t o :
de l i b r a c [ c ] i e
l i f e ' manto
cum g r e n d i s s i m o f e r v o r e .
20
Poi la medre q l o r i o s e ,
s t e l l a c l a f r a j * e luminosa
I ' a l t o sol d e s i d e r o s e *
l a c t a v a * cum gram do I g o r e .
5
F a c te
9
TRAMONTANA -
-
MS reads " f a c c e "
however th r e e
25
o th e r MSS (M a g l1 ,
'STELLA rOLARE* TO THE ERD OF THE X I I I
F i o r , a rd
A r e t ) a l l re a d " f a c t ' e . "
CENT. LITERALLY POLE
STAR,
OR NORTH STAR,
BUT IN POETIC USAGE, STAR OF THE WANDERING.
14
Mazz - " P a r t u r i
16
KE IN - FS READS *KEN IN"
21
8R A c fc ^ l A - THE MS REAOS "GRACIA" BUT IN VIEW OF THE FACT THAT THIS MEANS "EMBERS* THE WORD
IS BETTER WRITTEN WITH THE SECOND " c " ADDED.
24
CLAR[RA] -
25
L'ALTO SOL “ THE MS REAOS "L A T O *.
26
L a c ta v a - Med
ta l" -
L iu - " p a r t u r i t ' a l . "
THE MS READS SIMPLY "C L A ".
alla ta r a
-
'
THE CORRECTION IS L lU $ Z l'S »
allattare.
'
Cf , V o l .
II,
p. 159,
n.6
.
245
G l o r y be i n heaven and peace
on e a r t h .
Born i s o u r s a v i o r .
5
10
Born is t he g l o r i o u s C h r i s t ,
t h e mar vel o us h i g h God.
The beni gn c r e a t o r has
become men by h i s own d e s i r e .
Of t h e s o v e r e i g n v i r g i n ,
t h e s h i n i n g morni ng s t a r ,
g u i d i n g s t a r of the wandering,
The boy i s born o f t h e f l o w e r .
Peace be sung on e a r t h ,
g l o r y i n heaven d e s i r e d .
The c o n s e c r a t e d v i r g i n has
br ou gh t f o r t h t h e s a v i o r .
15
20
25
I n t he manger was t he b l e s s e d one
who i s c o n t e m p l a t e d i n heaven,
d e s i r e d by t h e s a i n t s ,
gazing at his sple ndor.
She gave him b i r t h w i t h a song,
f u l l o f t h e Hol y S p i r i t .
I n h e r arms she ma n t l e d him
with greatest f e r v o r .
Then t h e g l o r i o u s mot h e r ,
t h e c l e a r , luminous s t a r
w i t h g r e a t sweet ness
s u c k l e d t he h i gh d e s i r o u s
sun.
Laudo XX
MS 4 5 r - 4 6 r
L i u z z i , 3 4 0 - 343
246
R e fra in
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4
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per
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MSS Ar e t . ,
and
na r
Ma g l 2 .
la
th e
f ir s t
gensystem
c o n t a in s
te.
no c le f
ano tn e
OCCUR INS AT THE END OF TNE REFRAIN RATHER THAN TNE STROPHE INDICATES TNAT THE REFRAIN WAS
MEANT TO BE REPEATED HERE.
247
45r
S t e l l a nu ov o' n f r a la g e n t e
k ( a p o r u i s t i novemente.
S t e l l a k ’ o p p e r i s t ' a I mundo
quando noqaue* I r e i ocondo,
s t e t t ’ e [ n j / megfo a t u t t o ' I mondo
per e l u m i n a r la g e n t e .
45v
Le t r e Magi I ' o b b e r v e d u t o ,
t o s to I ' e b b e r congnosciuto;
diser:
" N o t ' ^ lo s a l u t o
D i o padre o m n i p o t e n t ^ "
5
10
Ci aschedun col suo reame
s' lo pr ese a s e g u i t a r e
c o * r r i c c ’ o f f e r t e do l o u d a r e ,
lo quo I f o mo I t ' o v e n e n t e . *
46r
Da
Da lala sst teel l laa se
se ccaannssoor roo, *, *
r i t t ’ a r r e ’ Rode c o p i t 3 r o , *
t o i nove 11e l i p o r t d r o
k e * I f e c e r mo l t o d o l e n t e .
Et Erode a l o r d i c f e *
cbe do l o r o s a p e r v o l i o
d u v ’ e * no t o q u e l l o Messi o
e l quo I do r e si f o v e n e n t e .
Dissor:
" N o t ' e re benigno,
quei k ’ e ’ mp e r i o d ’ ogne r egno:
en c i e l n* £ a p p o r i t o ’ n segno
k ’ e l l ' e not o v e r o m e n t e . "
El r e f o mo 11* o d i r o t o ,
c o l l i sa vi c o n t r a s t o t o :
"Da voi me s i o t o s t o * nsegnat o
l o ’ ve pot e s t a r n o s e n t e . "
15
20
25
30
Pousen* mente in uno v i a
[ e t I n una p r o f e t i o ] :
v i d e r k e ’ n Beleem noscea
quei k ’ ol umi no lo g e n t e .
14
AVENENTE - X I I I
15
Cansoro -
16
CAPITARO - FROM'cap I TARE,' TO PRESENT ONESELF
19 -22
21
fro m 'c a n s a r e J me an in s to d e v ia te
T h is e n t i r e
OUV'E -
TUSCAN FOR 'PIACEVOLE'
s tro p h e was added l a t e r .
OUVELLE -
THE MODERN 'I N
It
appears in a n o th e r h an d , crowded in t o th e m a rd in *
QUALSIASI LUOSO.'
248
You o r e o new s t a r who hos
oppeor ed l a t e l y omong t he p e o p l e .
5
10
The s t o r
when t he
s t a y e d in
in order
which oppeor ed t o t he w o r l d
j o y f u l k i n g wos born
tne midst of o i l the world
t o e n l i g h t e n t he p e o p l e .
The t h r e e mogi sow i t ,
t h e y r e c o g n i z e d i t a t once,
soying:
"Born i s t h e s a v i o r ,
God tne o m n i p o t e n t f a t h e r . ”
Each one w i t h h i s r eal m
t hus began t o f o l l o w ,
w i t h r i c h o f f e r i n g s to gi ve
which wos v e r y p l e a s i n g .
15
20
25
30
They
they
They
that
praise
t u r n e d away f r om t he s t o r ,
went t o k i n g H e r o d .
br ought him such news
i t mode him v e r y s o r r o w f u l .
And Herod s a i d t o them
t h a t he wonted t o know f r om them
where t h a t messi oh wos born
who comes os a k i n g .
They s a i d , ” Born i s the beni gn
k i n q who i s t h e emperor o f e v e r y r e a l m .
I n heaven hos a p p e a r e d t he s i g n
t h a t he i s t r u l y b o r n . "
The ki n g wos v e r y a n g r y ,
ond ar gued w i t h t h e wi se men:
''By you I must i m m e d i a t e l y be
shown where t he newborn con b e . "
They
( and
They
born
t h oug ht o f a way
of a pr op ne cy ):
sow t n o t i n Bet hl ehem wos
the one who e n l i g h t e n s t he p e o p l e .
28
C0NTRA8TAT0 - MS REAOS "CONTASTATO.*
31
POUSEN -
FROM *POSUERUNT#
T he f a m il ia r s tor y of th e m a g i before He rod fo llow s h e re Ma t t 2 i 1 - 8 , and i s t r e a t e d f r e e l y in
0 1ALOSUE MANNER.
I t APPEARS TRUNCATED, ENDING WITHOUT RESOLVING THE COMPLICATIONS IN THE PLOT AND AVOIDING THE STORY OF THE INNOCENTS,
Lauda XXI
MS 4 6v - 47v
L i u z z i , 344-347
249
R e fra in
•
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gran
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lu-
i
fo
per
no i
mo
J lV « U
J - ::- - z ^
gno
S I-
re
d?
pe-
na-
re.
The la u d a does h o t a pp ear in ahy o f th e o th e r MSS c o l l a t e d . The l a s t s y l l a b l e o f th e word
• c r u c i a r e " ih t h e s e c o h d system has b ee r c a r r i e d o rd e r th e l a s t r o t e o f the v o c a l i z a t i o h in o rd e r
t o h atc h w it h the ahalo bo us phrase i r th e f i f t h system uhder “ p e h a r e ."
ih th e t h i r d system t h e r e
IS A GUIDE LIRE EHPLOYEO BEFORE THE WORD "BASCIO* IR OROER TO IHSURE ITS CORRECT ALLI6HMEHT WITH
THE MUSIC.
C F . PLATE
111* APPEHOIX, P .
HAS HO ROTE ARO MUST BE SUPPLIED.
111 .
|R THE FIFTH SYSTEM THE SYLLABLE "RE* OF •
a RORE"
250
46»
Pl anqi amo quel c r u d e l b a s c i a r f e ]
ke f e per noi Deo c r u c i a r e .
Venne Judo t r e d i t o r e ,
b o s c i o l i d i e d ’ e gr en d o l o r e ; *
lo quo I f o c i o m n o i / p e r omore
a lui f o s i g n o r di p e n a r e . *
47r
5
Quel f o s i g n o a i J u d e r i :
non cognoscevon suo m i s t e r i , *
I udo I i f e c i v e r i :
per um suo b e s c i o lo f e c e
piliore.
10
Ad Anna p r i n c i p e el menaro;
?nudo n a t o lo s p o l i S r o ,
b a t t ' r l o f o r t e e t s') * I l e g a r o
e t f S r l o +ut t o i n s a n g u i n a r e .
477
Anno s'! I ' e b b e mandato
o Chayfasso* p r e l a t o ,
q u e l l ? k e ' l mandd a P i l a t o / *
per l ui p i u v i t u p e r f a r e .
15
P i l a t o od Arode el mend&e, *
per ke mo I t o el domandSe;
c e r c o mo I t o e no I t r o v d e ;
poi lo fe* r o p r e s e n t a r e .
4
MAZZ READS "SASClO LI DIE DE 6RAN DOLORE."
Cf . Ma t t 2 6 * 4 8 - 4 9 ; Mark 1 4 * 4 4 -4 5
6
Pen are -
7
M is te r i -
11
Cf . J ohn 1 8 *1 3
16
k
17
KE'L MANOO A P il a t o - Cf .
1 9 -2 2
Re f e r r in s
20
the l a s t s y l l a b l e was addeo to the MS l a t e r
fro m the L a t . MINISTERIUM.
In X l l l
c e n t , m e s t ie r o , meaning o f f i c e * w o rk * m i n i s t r y .
C h ayfasso p r e l a t o - C f . John 1 8 * 2 4 ; M a tt 2 6 * 5 7 ; M ark 1 4 t 5 3 ; and Luke 2 2 * 5 4 .
TWO 00 NOT NAME THE HI6HPRIEST BUT ONLY REFER TO NIM BY HIS T IT L E .
to
He r o d ' s
J ohn 1 8 * 2 8 ; Ma t t 2 7 * 2 ; Mark 1 5 * 2 ;
d e s ir e
to
see
Ch r i s t
work a m ir a c l e *
and
Cf .
The l a t t e r
L uke 2 3 * 1 .
L uke 2 3 * 7 - 8 .
■ T h i s i s the s h o r t e s t l a u d a of the e n t ir e m a n u s c r ip t but d is p l a y s in it s few v e r s e s an u n u s u a l ly
IMPRESSIVE KNOWLEDGE OF THE SCRIPTURAL ACCOUNT OF THE STORY HERE TOLD. NO ONE OF TNE FOUR BOSPELS
CONTAINS ALL THE INCIDENTS* AND ALL FOUR ARE DRAWN ON HERE BY TNE POEY.
251
L e t us lament t h a t c r u e l k i s s
by whi ch God was c r u c i f i e d f o r
5
10
us.
The t r a i t o r Judas come;
o k i s s he gave ond g r e a t so r r ow:
What we do out o f love
wos t o him a s i g n o f p a i n .
That wos a s i g n to t h e Jews.
They di d not know h i s purpose,
Judos mode i t known: (?)
By h i s k i s s he caused him t o be s e i z e d .
To Annas t he prince t h e y led him;
t hey s t r i p p e d him naked,
t h e y h i t him har d and t nen t i e d him
and mode him a l l f u l l o f b l o o d .
15
20
Thus Annas hod him se nt
t o Coiphos t he p r i e s t ,
who sent him t o P i l a t e
f o r him t o r e v i le him mor e.
P i l a t e s e n t him to Herod
because he d e s i r e d i t g r e a t l y ;
he se a r c he d much ond ne v e r f ound hi m;
now he mode a s p e c t a c l e o f hi m.
252
Lauda XXI I
MS 47v -51 r
L i u z z i , 3 4 8 -3 5 3
R e fra in
i
i
y|
i
,
i
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i * i
►
________ i____________________ i__________ i
r
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9
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253
i f : r— r-~~-r--- £--!r-i--1
rrv r-------'f TfT'
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po i -
di -
che
d * o 11 * —
on-
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po-
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ten-
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fo
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k’ e
so-
t ru i
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et
y j- jT :..j
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po-
de
■I
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de-
sta-
de-
ro-
■*!'
de
so?
The t e x t app ears ih M
SM
asiI b u t w ith o u t the m u s ic .
The fo rm em ployed ih th e B o s la c a p f ih io a
WHICH WOUIO IK0ICATE THAT THE REFRAIH IS HOT NEAHT TO BE REPEATED. THE PODATUS FIGURE OH THE
WORD "Q U E I* MAS A FLAT TRACED BEFORE I T . BOTH A * 0 0 " AHD A *FA“ CLEF APPEAR IH THE SECOHD
AMD THIRD SYSTEMS BUT THEY ARE HOT IH COMFLICT.
Ben h c r u d e l e e s p i e t o s o
ki non si move a qron d o l o r e
de la pena de I s a l v a t o r e
che di noi f o si a m o r o s o . /
Amoroso verament e
f o di noi cum gram p i e t a n ^ a ,
po i c h e d * e I t ’ o n n i p o t e n t e
d i s c e s e ad n o s t r a s e m b l a n c a . *
Or non f o gr ende d i s i a n g a
per n o i / p r e n d e r huma ni t ade
e t d a r s i in a l t r u i podest ade
quei k * e s o v r ’ ogne poderoso?
Poderoso f e ’ d i s c e s a ,
chi us a me nt e f e * messagi o
ad queI I ' a m o r o s ' a p p r e s a
donna di g r a n d * u m i I t a g g i o :
a n n u n t i o l l e con messaggio
I ’ a n g e l o / G a b r ?eI be a t o
et d i x e :
"Cristo [d] ordinato
i n t e , donna, v e n i r r i n c h i u s o .
R i n c h i u s o q u e s t o cum s e r A ,
puo, ke d ’ om non a i seben9e , *
s p i r i t o s e n t o in t e v e r r i
quei k ’ & in se ongne pot en^a :
e t a g i a q u e s t o per s e n t e n t i a . "
A l t o r d i s s e la d o l g e p o ^ e l l a :
"De I ' a l t o D i o mi t e n g ' a n c e l l a
s i a de me comf i i r e s p o s o . " *
Resposo t a l , concepeo
lesu C r i s t o s a l v a t o r e ;
lo qua I essa p a r t u r i o
f u o r de pena e de d o l o r e .
I n gr an v i l t d / c h o t e l se gnor e
ci venne per noi da r e exempl o:
non ci t r o v d magion ne t empl o
o v ' e i p o t es se a v e r r e p o s o ,
R i p o s o , ^ c a mi n e t f o r t e
ci t r o v o c i a s c u n a d i a .
P i c c i o l f a n t e , 3 v o l s e mor t e
d a r Erode cum f e l l u n i a ?
C r i s t o e l oseppo cum M a r i a
f u g g i & r o i n t e r r a d ’ Egtpito
e t canpdr per t a l r e s p i c t o
de l i mani d e l n i q u i t o s o .
255
He i s v e r y c r u e l and p i t i l e s s
who i s not moved t o g r e a t sorrow
by t h e p a i n o f t he s a v i o r
wno was so l o v i n g t o us.
5
10
15
20
25
30
35
40
T r u l y , w i t h g r e a t compassion
he wos l o v a b l e t o us,
s i n c e f r om h i s hi gh omni pot ence
he descended t o become man.
Now wos t h a t not a g r e a t d e s i r e
to t a k e on humani t y f o r us,
ond t o submi t h i m s e l r t o a u t h o r i t y ,
he who i s po wer f u l above e v e r y o t n e r ?
Being o m n i p o t e n t , he came down t o e a r t h ;
I n s e c r e t ne mode h i s message
to t h a t l o v a b l e , a p p r i z e d
lady o f g r e a t h u m i l i t y .
The b l e s s e d angel G a b r i e l
announced h i s g r e e t i n g
ond s a i d . " C h r i s t hos o r d a i n e d , l a d y ,
t h o t he be e n c l o s e d i n y ou.
Si nce you do not know man, t h i s
w i l l happen by the Hol y S p i r i t
who wi I I be i n you, and wbo
has e v e r y power w i t h i n h i m s e l f .
L e t t h i s be a s i g n : ( o n d j u d g m e n t ) :
Then t h e sweet maiden s a i d ,
"I d e c l a r e m y s e l f t h e hondmoiden o f
Be i t done t o me as you hove s a i d . "
t h e h i g h God;
She answered t h u s , ond she
c o n c e i v e d Jesus C h r i s t t h e S a v i o r ;
whom she brought f o r t h
wit hou t pain or sorrow.
Such a l o r d came h e r e i n g r e a t
l o w l i n e s s t o g i v e us on e x a mp l e .
He d i d n o t f i n d h e r e a mensi on o r t e mpl e
where he c o u l d hove r e s t e d .
R e s t , work ond s t r e n g t h
he 'ound he r e eoch da y .
Wi t l p e r f i d y Herod wonted
t o k i l l t h e l i t t l e bobe:
C h r i s t w i t h Joseph and Mory
f l e d i n t o t he land o f Egypt
ond escaped by such a way
f r om t he hands of t h e w i c k e d o n e .
256
50r
N i q u i t o s o , f a l s ' e r eo
t r o v i ' I popol o i u d e i c o ,
p r e d i c a n d o ' l v e r o Deo
cioscum f e r i s e i e t l a i c o .
Pi g f 3 r d u r i / k ' a c i a i o i ndonaco
d ’ i n t e n d e r que I la gen+e p r a v a :
q u a n t ’ esso p i u m i r a c u l a v a ,
c i a s c u n g l i e r a pi u i n v i d i o s o .
45
50
In v id io s i miscreden+i,
quendo C r i s t o i n i u r i a s t e !
Sa ni c a n do, v o s t r e gen+e
suscitando, I'accusaste
ad Pi l a t o , e t puoi p i g l i a s t e ,
compar andol o dal t r a d i t o r e ,
ke suo m i n i s t r ' e r e f a c + o r e ,
per t or men+ar lo g l o r i o s o .
50v
55
60
G l o r i o s o , f o r t e pene
v ' o r d i n S r , com’ i ’ r i mmenbro,
ke nudo ne le c a t e n e
vi b a t t e r per ongne menbro,
p e r / p i u t o r m e n t i f a r , e s sen br o
dar ad voi e t f a r ve r gonna;
e t l e q a r v ’ e la c o l o n a :
e m p i ' e ke non e d o l o r o s o .
65
Doloroso f l a g e l l a n d o
i n c o r o n e r o di s p i n e ,
v i s , e t corpo sangui nendo
de voi f e r g r a n d i s c i p l i n e ;
cum gram t e mp est a, cum r u i n a
mi f e c e r la cr oce p o r + a r e ,
e t me n S r v ' a d i u s + i + i e r e
ad g u i s a de l edr on o t i o s o .
si r
70
75
D’ om+ ios 'et f o r t e i u d i c i o
f u s t ’ ad mor+e condempneto,
e t messo ad gr ande s u p p l i c i o
nelle cruce’ nchioveIlato;
d ' a c e t o e t di f e l p o t a t o ,
e t cum duo l a d r o n i c r u c i f i x o ;
i n f e r n o ' I s e n t ) enn o b i s s o
e t u + t o ' I mondo t e n e b r o s o . *
8
S E M B L A H f A - XI f l
9
D IS IA H J A - X III
19
Ch r is t o
20
V E N I R R E H C H IU S O -
SEHBLARE -
0131 ARE -
a ordehato
ROT IC E
'S E M B IA R E ,*
80
'SEM B R A R E'
' O E S I DERARE *
reads
"C r is t o
o r o in a t o
*
Cf .
L u k e 1 «31
THE USE OF " V E H I R * AS AH A U X I L I A R Y V E R Y .
'V E R Io fE }'
" 'E S S E r { e ] '
257
45
50
55
60
65
70
75
80
22
SfteENpA -
Wi cked, f a l s e ond e v i l
he f ound t h e Jewi sh p e o p l e ;
eecn phori s. ee end leymen
p r ^ a c m ng the t r u e God.
They were h a r d e r of u n d e r s t a n d i n g
t han t he sword, those depr aved p e o p l e .
The more m i r a c l e s he pe r f o r me d
t he more each o f them was j e a l o u s .
Envi ous and m i s c r e a n t ,
how much you o u t r a g e d C h r i s t !
H e a l i n g , and r a i s i n g your dead
t o l i f e , you r e p o r t e d him
to Pi l a t e , and then you s e i z e d him,
buyi ng him f r om the t r a i t o r ,
who was h i s m i n i s t e r ond s t e w a r d ,
in o r d e r t o t or ment the g l o r i o u s o n e .
G l o r i o u s one, g r e a t p a i n t hey
o r d a i n e d f o r you, as I remember;
nude and i n c n a i n s t hey beat
y o u r e v e r y li mb, i n o r d e r to
t or ment you more, t o make o f
you an exampl e, ond d i s h o n o r you;
And t h e y t i e d you t o a column:
Impious i s he who i s . . n o t s o r r o w f u l .
P ain ful scourging,
t hey crowned you w i t h t h o r n s ,
( y o u r ) f a c e ond body a l l bl ood y ,
t n e y scour ge you s e v e r e l y ;
Wi t n g r e a t a g i t a t i o n , w i t h f u r y
you o r e mode t o c a r r y t h e c r o s s ,
ond you o r e led t o judgment
os i f you were an i o l e t h i e f .
Shameful and b i t t e r j udgment ,
you were condemned t o d e a t h ,
ond put t o g r e a t t o r t u r e by
bei ng n a i l e d t o the c r o s s .
You dr ank o f t h e v i n e g a r ond g a l l
ond w i t h two t h i e v e s you were c r u c i f i e d .
H e l l f e l t i t i n t he ooyss
end a l l t h e w o r l d was i n d a r k n e s s .
X t t l SATERE -
HERE INSTEAD, *P U 0 ,
2 7 -2 8
C f . L uke 1 «38
8 1 -8 4
Cf.
matt
’ SAPERE*
MS READS *P U 0 KE D O . . . . * BUT MAZZ HAS * F 0 0 ' KE D ' E O . . . . *
DE O 'O M . . . . *
2 7 * 4 8 } M a r k 1 5 t 3 6 ; LUKE 2 3 * 2 7 ;
and
J o hn 1 9 t2 9 -3 0
Loudo XXI I I
Ms 5 1 r - 5 3 r
L i u z z i , 354 -
258
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F O U R T H , AND F I F T Y S Y S T E M S .
I N O I C A T E S MUCH U S E .
LtU ZZI
stre-
dr o
in
' "
the
4
cto
aho
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le-
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t h ir d
THE E N T I R E L A S T L I N E I S BLANK AND TH E C O N D I T I O N OF THE F O L I O
S U S O E S T S THE USE OF THE MELODY OF THE SECOND MEMBER OF THE
STROPHE TO S U P P LY WHAT I S M I S S I N S
I N TH E L A S T L I N E .
M U S I C A L AND HAS BEEN EMP LOY E D HERE A L S O .
T H IS
IS
A R B IT R A R Y BUT TNE R E S U L T
IS
*
357
De la c r u d e l mor t e de C r i s t o
on'hom p l ang a amar ement e.
Q u o n d o * i u d e r i C r i s t o pi I l i f t r o ,
d ' o g n e / p a r t e lo c i r c u n d S r o ;
le sue mane s t r e c t o l e g dr o
como l a d r o v i I l a n a m e n t e
Trenta
ke f e c e
Me I 11o
k ’ aver
de nar f o lo mer cat o
Jude, e t f o p o g o t o . *
l i f o r a non e s s e r ne t o
p e c c a t o s* d u r a me n t e .
A lo c o l on na f o s p o l l a t o
per t u t t o * I corpo f lege I l a t o , *
d'ogne p a r t e f o * n / s e n g u i n o t o
commo f a Iso emer ament e.
Po* i I mendr a P I l a t o ;
a ne I c o n s e l l i o a d a m a n d a t o , *
da li l u d e r f o condempnato,
de quel la f a l s a r i a g e n t e .
T u t t i g r i d S r o ’ a l t e voce:
" Moi o’ T f a l s o , moio’ l v e l o c e ! *
s b r i g a t o m e n t e s i a post o en cr oce
ke non t u r b i t u t t a la g e n t e . "
Ne I suo v u l t o l i s p u r t a r o
e la sue barba s^ la p e l S r o ;
f a c e n d o b e f f e , I ’ i mpu t dr o
ke D i o s ’ £ f a c t o f a l s a m e n t e
Poi k e ' n c r o c e f o k i e v e l l a t o ,
da l i / l u d e r i f o d e s i g n e t o :
"Se t u s e ' C r i s t o de D i o mendato,
J
N
^
descende g i u se cur ament e
Lo s a n t o l a t o sangue menao
e t t u t t i noi recompar So*
do lo nemi co k e ’ ngenndo
per uno pomo si v i l m e n t e .
Son l o v on ni lo v a n g e l i s t o
quondo guor dava suo m o i e s t r o , *
v e d ' e l o ’ n croce; m o l t ' e r a t r i s t o
e t d o l o r o s o de la m e n t e . *
For t he c r u e l de a t h o f C h r i s t
l e t e v e r y man weep b i t t e r l y .
When t he Jews s e i z e d Jesus C h r i s t
t h e y s u r r ou nd e d him f r om a l l s i d e s :
They bound h i s hands t i g h t l y ,
v i l l a n o u s l y , as i f he were a t h i e f .
T h i r t y d e n a r i i was t h e b a r g a i n
which Judas made and was p a i d .
B e t t e r t h a t he had not been born
t han t o have s i n n e d so g r i e v o u s l y .
At t he column
( and) a l l hi s
In every p a rt
b i t t e r l y , as
he was s t r i p p e d
body s c o u r g e d .
he was b l o o d - s t a i n e d ,
i f he were an i m p o s t e r .
Then t h e y led him t o Pi l a t e , and
i n t he counci I he was q u e s t i o n e d ;
he was condemned by t h e Jews,
t hose f a l s e and wi c ked p e o p l e .
A l l screamed i n a loud v o i c e ,
" L e t t he i mp o s t e r d i e , l e t him d i e e t once
Q u i c k l y l e t him be p i e c e d on t h e cross
so t h a t he may not d i s t u r b a l l t h e p e o p l e .
They s p a t i n h i s f a c e and
t hey pl u c k e d h i s be a r d;
Mocking him t h e y char ged him
t h a t he f a l s e l y made h i m s e l f God.
A f t e r he was nai led t o t he cross
he was p o i n t e d out by t h e Jews;
" I f you a r e t he C h r i s t s e n t f r om God
come down ( f r o m t h e c r o s s ) s a f e l y . "
The h o l y s i d e poured f o r t h bl ood
and ( t h e r e b y ) redeemed a l l of us
f r om t h e enemy who d e c e i v e d so
b a s e l y by means o f an a p p l e .
S a i n t John t he E v a n g e l i s t
when he looked a t h i s m a s t e r ,
saw him on t h e c r o s s :
He was v e r y
sad and s o r r o w f u l o f mi n d .
261
Li soi compagni I ' a b a n d o n d r o ,
t u t t i fugiSro e Iu1 lasci8ro ,
st ando t o r me n t o f o r t e e t amaro
de lo suo c o r p o / p e r la g e n t e .
53*
Molt'era
quando’ I
cum g r a n
dicendo:
t r i s t a sancta M a ri a ,
suo f i g l i o en c r oc e vedea;
do l o r e f o r t e pi a ng e v a
" T r i s t a , lassa, d o l e n t e ! " *
7 -8
Cf . MATT 2 7 i 35
1 1 -1 2
C f . M a t t 2 7 : 2 8 ; M a r k 1 5 j1 5 ; L u k e 2 3 i2 2 ;
16
&DEMANDAT0 -
20
M o ia - d e f in it e l y Tuscan
C f . M a t t 2 7 : 2 3 ; M a r k 1 5 :1 3 ; L u k e 2 3 :2 1 ;
FROM DEMAMOARE -
and
40
45
J o hn 1 9 :1 -2
'OOMANOARE'
and
J o h n 1 9 :2 6
25
C f . J ohn 1 9 :2 -3 ; L u ke 2 2 :6 3 -6 5 ; M ark 1 4 :6 6 ;
2 9 -3 0
C f . Ma t t 2 7 :4 0 ;
31
Cf .
36
Ma i e s t r o ( s i c ) - Rh y m i n g w i t h e v a n g e l i s t o , ' E v a n g e l i s t a ' a n d ' t r i s t o ' i s n o t an e r r o r h e r e
BUT AN ATTEMPT AT L A T IN IZ IN G .
IT IS STILL A PERFECT RHYME BECAUSE EVEN TODAY SEVERAL ITALIAN
DIALECTS SAY 'MAISTRO' WHICH IS THE PERFECT INTERMEDIATE FORM FOR HASTRO. MAST ETC.
3 5 -4 6
Th
38
T h e •O o "
is
M a r k 1 5 :3 0 ;
and
M a t t 2 7 *2 9 -3 1
L u k e 2 3 :3 7
J o h n 1 9 :3 4
is
c o n t a in e d
is
only
repeateo
in
in
the
the
account
of
m a n u s c r ip t .
Jghn,
1 9 :2 5 -2 6
262
40
45
Hi s companions abandoned him,
t hey a l l f l e d and l e f t him
( t h e r e ) among t h e p e o p l e , w i t h
h i s body in g r e a t and b i t t e r t o r m e n t .
Ver y s a d was h o l y Mary when
she sew her son on t he c r o s s .
Wi th g r e a t sor r ow she wept much
saying:
"Sad, t i r e d , and s o r r o w f u l . "
Lauda XXIV
MS 5 3 r - 55 r
L i u z z i , 358-3 61
263
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Dami c o n f o r t o , D i o , e t o l e g r o n g o ,
et c o r i t d p e rf ecta et omoronga,/
53v
Dami c o n f o r t o , D i o , e t e r d o r e :
a c a r i t a d e lego lo mio c o r e ,
ke non
mi s J * v e t a t o lo t uo amore;
i n me non posse n u l l a r i a i ndi gci anga.
54»
Dami l e t i t i a , gaudi o e t d i p o r t o ,
e nneI mio c o r L e ] de ' p i a n t o di c o n f o r t o
k ' i o s u s p i r i e t c a n t i e t s t i a s' d o c t o ,
k ' i o non perda la t u a f i n ' a m o n g a .
0 gr a n de bene, d i l e c t o di I ' a m a n t i
s o l o g o , ga udi o et d o i c e g o dei s o n c t i ,
ke f a i l i cenni t a l i e t l i s e n b l a n t i
di t u t t o * I mondo f a i f a r r i f i u t o n g o . *
54v
0 gr a n de bene, di q u e l l o di p a r a d i s o ,
r o T u m i n o ' l mio cor del tuo be I v i s o ,
ke me ne s t i a la mente £* I c o r e aceso:
dami f a g I i t o * d ' o g n i a I t r e / d e I e c t o n g o .
Rommentom^lo peno ke p o r t o s t i ,
amor, e quondo a lo c r o c e o n d a s t i :
f u st ? b o t t u t o e t t u t t o e n s a n g u i n o s t i ,
oim4 l a s s o , de to I d o l o r o n g o .
Fosti b a t t u t o e s p o l i o t o e s k i r n i t o ,
e do'tude? f o r t e m e n t e c o l p i t o ,
e d' uno l o n c i o enneI c o r f e r i t o ,
e per i n v i d i o f u £ t a I o r o g a n t i o ,
55*
P i o n q e t e meco, sponse i n a m o r a t e ,
voi ke v i v e t e c a s t e o d o c t r i n o t e ;
v e n i t e , amanti e t vTrgirve b e o t e ; /
de C r i s t o f o c i a m g a u d i o e t i u b i l o n g a .
E f u o c o e t f i o n b a s t i a neI n o s t r o c o r e ,
r e n f r e s k e s e lo rose col I ' a m o r e ;
e t lo s p i r i t u sonct o p o r l i ' n n o i ,
e ' I p a d r e ne conf i r m? pe r p i e t o n g o .
Amen.
SENBLANTI R IF IU T A N J A -
F A G L IT A -
XI It FOR ' S E M B I A N T E 9 , - S I G N S , GESTURES
' R I F I UTARE' -
TO DENY
READS # S A G I I T A * -
THE C O R R E C T IO N
IS
THAT OF M A Z Z .
265
G i v e me c o m f o r t , God, and j o y ,
and p e r f e c t c h a r i t y and l ov e .
5
10
G i v e me c o m f o r t , God, end a r d o r .
Bind my h e a r t t o c h a r i t y ,
( s o) t h a t your love be not r e f u s e d me.
Le t t h e r e be no wi c k e d s i n in me.
Gi v e me j o y , g l a d n e s s , and p l e a s u r e ,
ond i n my h e a r t g i v e t e a r s o f c o m f o r t ;
t h a t I may s i g h , ond s i n g , ond be l e a r n e d ,
so t h a t I may not l ose your e x q u i s i t e l o v e .
0 g r e a t good ond d e l i g h t o f l o v e r s ,
s o l a c e , j o y , ond sweetness o f t h e s a i n t s ,
you who moke such s i gns ond g e s t u r e s
cause (men) to abandon a l l the w o r l d .
15
20
25
30
0 g r e a t good t h a t i s in p a r a d i s e ,
1 l l u mi n e my h e a r t w i t h your b e a u t i f u l f a c e .
L e t my mind ond h e a r t be i n f l a m e d ;
( ond) l e t e v e r y o t h e r d e l i g h t f o i l me.
R e c o i l to me t h e pai n whi ch you bo r e ,
0 l o v e , when you went to t he c r o s s :
You were be at e n ond i n such s u f f e r i n g ,
a l a s , you c o v e r e d e v e r y t h i n g w i t h your b l o o d .
You were s c o u r g e d ,
ond g r a v e l y s t r u c k
and wounded in t h e
Such a r r o g a n c e was
s t r i p p e d , ond mocked,
by t he Jews;
h e a r t with a lance.
wr ought out o f e n v y .
Weep w i t h me, spouses i n l ove,
( ond) you who l i v e i n s t r u c t e d i n c h a s t i t y ;
Come, l o ver s ond b l e s s e d v i r g i n s :
I n C h r i s t l e t us moke j o y and j u b i l a t i o n .
And f i r e ond f l a m e be i n ou r h e a r t ,
l e t t h e r os e be r e f r e s h e d w i t h l ove;
ond l e t t he Hol y S p i r i t speak i n us,
ond t h e F a t h e r c o n f i r m us out o f compossi on.
Amen.
Leude XXV
MS 5 5 r - 57v
LIuzz i
362-365
f
266
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This hymn is found also in Magl1 and the text appears in Aret. , F ior. , and Ars. To preserve the
MODE THE CLEF BEFORE THE WORO "VERACE* HAS BEEN MOVEO FROM THE SECOND TO THE THIRD LINE. THIS
IS ANALOGOUS TO THE ENO OF THE REFRAIN. THE MELODY AT THE END OF THE REFRAIN BEARS A RESEMBLANCE
TO THE LATIN HYMN "VEX ILL A REGIS."
Onne homo od a I to voce
l audi la v e r a c e c r o c e , /
Quanto i di gna da l a u d a r e ,
c o r e no lo p i pe nsa r e ,
lengue no lo p i c o n t a r e ,
la v e r a c e sa nc t a c r o c e .
Quest o legno p r e t i o s o
h di legno v i r t u o s o , *
lo n i mi c o i conf uso
per la f o r $ a de la c r o c e .
Poi ke C r i s t o f o pi I l a t o ,
strectamente fo lig ato ;
d ' ogn e p a r t e f o t o r m e n t a t o
e donat o a la c r o c e .
l e s u C r i s t o r edempt or e
come f a I so b u f a d o r e , *
come l a t r o * e t r e d i t o r e ,
f o donat o a la c r o c e .
Le sue membra d e l i c a t e
fuoro stese e t i r a t e ,
t u t t i quante i n sa n gu in a te
e k i a v e t o i n su la c r o c e .
San l o ann i e v a n g e l i s t a
lo suo c o r e mu l t o er a t r i s t o ,
quando v i d d e ’ l * suo m a i e s t r o
s t a r e i n n u / d o * in s u l l a c r o c e .
La sua medre e d o l e n t e ,
m u l t o t r i s t a la sua ment e:
pi anq e e d o l e amaramente,
st end o a p i e d e de la c r o c e . *
La sua madre cum do l o r e
kiema e d i c e :
" D o ^ e amore,
omi e, f i l l i o e s i g n o r e ,
p e r k e f o s t i post o i n c r u c e ? ”
La sua madre d i c e :
"0 f i l l i o
a u l o r i t o p i i ke g i l l i o
perkfe f o q u e s t o c o n s i l l i o
ke m o r i s s e n e l l a c r o c e ? ”*
268
L e t e v e r y man in a loud v o i c e
p r a i s e t ne t r u e c r o s s .
5
10
How wo r t h y i s i t t o p r a i s e ,
no h e a r t can t h i n k ,
nor tongue can t e l I ,
the t r u e holy cross.
Thi s p r e c i o u s wood
i s a v i r t u o u s wood.
I t has confounded the enemy
by the f o r c e of t h e c r o s s .
A f t e r C h r i s t was s e i z e d
he was t i g h t l y bound.
I n e v e r y p a r t he was t o r m e n t e d ,
and ( t h e n ) g i v e n t o the c r o s s .
15
20
25
30
Jesus C h r i s t , redeemer,
I i k e a f a l s e buffoon,
l i k e a t h i e f and t r a i t o r ,
was g i v e n t o the c r o s s .
H i s d e l i c a t e limbs were
s t r e t c h e d and p u l l e d ,
a l l s t a i n e d w i t h bl ood
and nai led t o the c r o s s .
S a i n t John t h e E v a n g e l i s t ’ s
h e a r t was v e r y sad
when he saw h i s ma s t e r
( t h e r e ) naked upon the c r o s s .
H i s mot her was s o r r o w f u l ,
( and) v e r y sad o f mi nd.
She weeps and moans b i t t e r l y
s t a n d i n g a t t he f o o t o f
the cr os s.
Hi s mot her w i t h sor r ow
c a l l s and sa y s , "Sweet l o v e ,
a l a s , son and l o r d ,
why wer e you c r u c i f i e d ? "
35
H i s mot her soys. " 0 son,
more f r a g r a n t t h a t the l i l y ,
why was t h i s counsel t h a t
you must d i e on t h e c r o s s ? "
269
Dice C r i s t o :
”0 madre mi o,
qu e s t ' § / 1 ’ o b e d i e r ^ o mi o:^
ke se compie i n q u e s t o d i o
k ’ i o mo?o n e l l o c r o c e . "
57b
40
Lo suo f i l l i o lo f o v e l l o :
"Or si compie quest o g u e r r o ;
lo n i mi c o d doto i n t e r r o
per la f o r ^ a de lo c r o c e . "
45
Quest o d i s s e Ysoi o
i n suo ve r o p r o p h e t i c ;
come o g n e l l o si tondeo
e t pon?o s ' i nne I ! o c r o c e . *
50
Quest o p i o n s e Yeremio
quondo keomovo e d i c e o :
"Voi c ’ on do t e per la v i o ,
v e d e t o lo peno de lo c r o c e II*
55
Kiomo e pi ong e duroment e,
e o C r i s t o / t i converte;
per t e st o o b r o c i o o p e r t e
su neI legno de lo c r o c e .
57v
l e s u C r i s t o , lo f r a t e r n o
t u lo c r e s c e e lo gover no
de lo g l o r i a s e mp i t e r n o
per lo v i r t O d e l l o c r o c e . *
7 -8
Both Ar s .
and
X III
F io r .
"Q u e s t o
read
SUFFATORE
e
legno
60
p r e t io s o
16
SUFADORE -
17
lATBO -
'LAORO'
26
VIOOE -
•v id e '
26
STARE INNUDO - THE MANUSCRIPT IS NOT CLEAR HERE ANO
THE CORRECTION EMPLOYED HERE IS THAT OF L lU .
C f. I l l ,
/
eo e
v ir t u o s o . "
s eg no
- BUFFOON
61 and 7 7 .
COULD BE REAO EITHER "STAREn " OR "3 T A R E R I."
2 6 -3 0
The a c c o u n t OF I^ARY LAMENTIN6 a n d moaning a t th e f o o t o f th e c ro s s is in a c c o rd w ith th e
OBSERVATION OF EMIL MSl E , THAT ITALIAN PAINTINGS OF THE PERIOD WERE THE FIRST TO REPRESENT
HER AS LANGUISHING BENEATH THE CROSS. C F . VOL I I ,
P. 158.
3 1 -3 8
Th e s e
Donna
two s t a n z a s c o n t a in
n e l P a r a o is o .
a rem arkable
0 F IG L IO , F IS L I 0 , F IG L lO t
F lG L IO AMOROSO O IG L IO ,
F IG L IO CHI DA CONSISLIO
Al c or MIO ANGUSTIATO?
F i g l i o , o c c h i g io c o n d i
F l G L I O , CO N O ) R E S P O N T I
F i g l i o , p erc he t ' a s c o n o i
Dal p e t t o o ver s e ' l a t t a t o ?
l ik e n e s s
to
the
poem of
J acopone
da
Todi
e n t it l e d
0 S o n , my S o n , mv Son I
O
f l i l i e s , lo v lie s t one.
He l p , co n s ello r i s none
F or my h e a r t d is t r e s s e d .
S o n , w it h s w eet e y e s t h a t s m il e d
where no t h in e answ ers m i l d ?
Wkv dost th o u h id e , m y c h il d
FROM THY M O T H E R S
BREAST.
(
q u o t e d FROM
J a c o p o n e . Po e t a n o
M W Y i t , byT T F lyT "
Un d e r h il l , p p . 2 2 0 -
221
.)
270
C h r i s t soys:
"0 my mo t h e r ,
t h i s i s my o b e d i e n c e :
whi ch is f u l f i l l e d t h i s doy
t h o t I d i e on t h e c r o s s . "
40
Her son speaks t o h e r :
"Now t h i s w a r f o r e i s f u l f i l l e d ,
t h e enemy i s s t r u c k t o e a r t h
by t h e power o f the c r o s s . "
45
Th i s i s what I s o i e s s a i d
in h i s i r u e p r o p h e c y .
" L i k e a lamb was shear ed
he was l a i d upon the c r o s s . "
50
Thi s J e r e m i a s lamented
when he c a l l e d and s a i d ,
"You who poss by t he way
o b s e r v e t n e a n g u i s h o f t he c r o s s . "
55
C o l l ond weep b i t t e r l y
ond be c o n v e r t e d t o C n r i s t .
For you he remai ns w i t h open arms
( t h e r e ) upon t h e wood of the c r o s s .
Jesus C h r i s t , t h e b r o t h e r h o o d
you i n c r e a s e ond gover n
with sempiternal glory
by t h e v i r t u e o f t h e c r o s s .
60
47 -50
C f. I s
5 1 -5 4
C f . J e r e m i a s L a m , 11*18—20
59-62
No t e
a ia s i
the
57 *7
reference
PP. 5 1 -6 6 .
to a f r a t e r n it y
here.
F or
further
o is c u s s io h
of
t h is
Cf .
Ch a p t e r
III,
2 71
Loude XXVI
MS 5 7 v - 6 0 r
L i u z z i , 366-371
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The 1, auda occu rs a ls o in M a g e ** and th e t e x t in A r s .
In th e f i f t h system th e re sho ulo be a "d o "
CLEF S U F F LIID ON THE SECONO LINE JUST BEFORE THE WOROS "PER UNGER.* THERE IS A REDUNDANT CLEF
IN THE SECOND SYSTEM AND THE *F A * CLEF ON THE SIXTH SYSTEM SHOULO BE MOVE0 TO THE FIRST LINE IN
ORDER TO PRESERVE THE MOOE. THIS IS 0E0UCE0 FROM BOTH THE PRECEEDING CUSTOS AND BY THE ANALOGOUS
MELODY ON "FACESTI SURREXIHENTO," THE FORM MAY BE COKHDEREO A COBLA CAPFINIOA EVEN THOUGH THERE
•L IG H T ELABORATIONS OF THE MELOOY OF THE REFRAIN WHEN IT APPEARS AT THE END OF THE STROPHEa THIS
IS CONFIRMED BY THE PLACING OF THE f M N jA T THE END OF THE STROPHE TO INDICATE THAT THE REFRAIN IS
NOT MEANT TO BE REPEATED EACH TIMEa
lesu* Cristo glorioso,
o t e s i a leude e ^ e c h i m e n t o , *
ke per n o i / s u r r e x i m e n t o
facesti victorioso.
V i c t o r i o s o el tergo d i e
f a c e s t i surreximento;
pe r unger le t r e M a r i e
lo t uo c o r p o, a I m o n i me n t o / *
e n dd r cum p r e t i o s ' unguent o:
i'angel dixe:
"Nonn & q u i e ; *
i n G a l i l e e , ke s u r r e x i o ,
voi p r e c e d e d g r a t i o s o . "
G r a t ?o s 1e s s e n d o 1n v i a
e p p a r b e a le Mmagdelene;
n e l l ’ orto dixe:
"Maria"*
poi r a p a r b e i nn a I t r e m e n a . /
A t u t t i schi arfc la s e r e n e ,
che i p&i non* se lassB t o c c a r e
" G i t ’ ad l i a p o s t o l i c o n t a r e ;
d ' a n d a r a l o r so d e s i o s o . "
Desiose lo r contaro*
c i & ke C r i s t o d e c t ' a v e e :
lo l o r d e c t o d e s p r e g g d r o ,
credian o fosse f a n t a s i a .
Poi r e p a r o e ’ n q u e l l a d i e ;
a duo d i s c i p u I i f e * c e n a ; *
a I c a s t e l l o d ’ Emeu, apena
I ' e v i s a r , * l o ’ * f o nascoco.
Ascoso l u i , r e c o r d a r s e
c i o ke r e d i x e * a I cemi no,
quando co I I u i adunSr se
par endo l o r p e l e g r i n o .
D i s s e r : / "Bern f o * I summo d i v i n o
A l i o p o s t o l i f e r conto',
a n c o * non c r e d e t t e r punt o
de c i o ognun e r e pensoso.
Pensosi f r a l o r * essendo,
I ’ apparbe'l
signor verace;
dixe:
"Non a n d e t e temendo
de me, k ’ i o non s o ’ f a I l ac e
Sempre a v i a t e i n f r a voi pace,
e t c e r c a t e la k i a v a d u r e ,
ke le mente a v i a t e pu r e :
di me o g n ' o n s i a c o p i o s o . "
27 4
G l o r i o u s Jesus C h r i s t
to you be p r o i s e and a c c l a m a t i o n ,
who f o r us made a
victorious resu rrection.
5
10 .
15
20
25
30
35
40
You a r o s e v i c t o r i o u s
on t h e t h i rd dev;
to a n o i n t your body t he
t h r e e M a r y ' s went to t he g r a v e
with precious o i n t m e n t .
The a n g e l s a i d , "He I s
not h e r e ,
he a r o s e and wi I I pr ecede you
graciou sly into G a l i l e e .
Bei ng g r a c i o u s a l o n g t h e way
he a p p e a r e d to Ma g d a l e n e ;
i n t h e gar den he s a i d :
"Mary."
Then he r e a p p e a r e d in d i f f e r e n t m e i n .
To a I I he made i t c l e a r t h a t he
di d not a l l o w anyone t o touch h i s f e e t .
"Go t o t he a p o s t l e s and t e l l them
( t h a t ) I am d e s i r o u s t o go t o t hem. "
A n x i o u s l y t h ey t o l d them,
what C h r i s t had s a i d :
They sc or ned t h e i r s a y i n g ,
they b e l i e v e d i t was a f a n t a s y .
Then he r e a p p e a r e d t h a t day;
he had supper wi t h two of t he
d i s c i p l e s i n the town o f Emaus.
They s c a r c e l y n o t i c e d him f o r he was hi dde n
He c o n c e a l e d h i m s e l f .
They remembered
whet he had r e p e a t e d a long t h e way
when t hey j o i n e d h i s company,
a p p e a r i n g t o them as a p i l g r i m .
Tney s a i d , " S u r e l y he was most d i v i n e . "
They r e l a t e d i t t o the a p o s t l e s ,
and even t h e y d i d not b e l i e v e ,
( b u t ) each ponder ed o v e r i t .
Wh i l e pond er i ng among t h emsel v es
the t r u e l o r d a p pe a r e d t o them.
He s a i d , "Do not go about f e a r i n g me,
f o r I am n o t d e c e i t f u l .
Always keep peace among y o u r s e l v e s ,
and s e a r c h f o r t h e lock (so)
t h a t you have pure mi nds.
Let e v e r y man be (made) b o u n t i f u l in me.
275
Copi oso si p a r t i o
p e s c e * pr i me m e n g i a t o .
Thome non v ' e r a , poi r e d i o
e ' I conven+e i f o con +a + o .
"Si no i / m e + t o [ k e ] l i mani el
d i x e , "non ne s e r 3 c r e d e n + e . "
Poi r a p a r b e solamen+e
per lui k ' e r e s' d u b i t o s o :
60r
45
leti,"
50
"Dubituso e in credu lo , vie ne ,
c e r c a le mie f e r u t e ; *
non s i a ' n c r e d u l o ma f e d e l e ,
mai pe r cose non v e d u t e :
k ’ e mogi ur m e r i t o e v i r t u d e
de c r e d e r q u e l l o k ’ £ a b s e n t e
ke de q u e l l o k ’ e ^ r e s e n t e ;
e ’ n c i e l ne f i p i u g a u d i o s o . "
1
55
60
IESU - MS READS IIESU
2
9ECHIMEHT0 - THE LAU0* OCCURS IN MAGL1 IN WHICH THE WORD IS RENDERED AS "SECCHIMENTO*
PROBABLY FROM "GECCHIRE" WHICH HAS THE MEANING OF * 0 1CM I ARE * - TO DECLARE, ACCLAIM.
8
LO TUO COR PO AL MONIMENTO - MS READS "DE LO TUO CORPORAL MONIMENTO."
MADE FROM MSS MAGL1 AND ARS, AND F IT S THE MOLOOY CORRECTLY.
10
THE EMENDATION IS
Q uie - r u s t i c Tuscan
C f . M a tt 2 8 * 6 -7 ; Mark 1 6 * 6 -7 ; ano Luke 2 4 *5 -6
14 -15
Cf . Mark 1 6 * 9 ;
18
NON -
21
CONTARO -
2 1 -2 4
C f . M ark 16 *1 0-11
26 -3 5
The
28
AVISAR -
and
J ohn 2 0 *1 5-16
APPEARS IN THE MARGIN OF THE MANUSCRIPT.
THE MANUSCRIPT READS "CONTARE."
in c id e n t r e l a t e d
28
LO' -
30
Re DIKE -
h ere
is re c o rd e d in Luke 2 4 *1 3 -2 5 .
FROM ' AYYISARE * -
See a ls o
M ark 16*12
HAVING CONNOTATION OF A FACE TOFACEENCOUNTER
'LORD*
*35
ANCO -
37
FRA LOR -
THE MS RE AOS "RO O IK E ."
OLD FORM FOR 'ANCHE* -
ALSO, EVEN
THE MS READS **FA LOR."
THE STORY AS RELATED FROM HERE TO THE END IS TAKEN FROM MARK 1 6 *1 4 ; LUKE 2 1 *3 6 -4 2 ;
ano John 2 0 *1 9 -2 9 .
46
PESCE - MS READS "PES C ET*.
54
F e r u te -
Med f e r u t o -
'f e r it o '
- wound.
276
45
50
55
60
He went owey s a t i s f i e d
a f t e r ha v i n g e a t e n t he f i s h
Thomas was not t h e r e ; then he r e t u r n e d
and was t o l d o f t h e p a c t .
” l f I do not put my hand i n t o h i s s i d e , ”
he s a i d , "I w i l l not b e l i e v e . ”
Then he r e a p p e a r e d s o l e l y f o r
him who was so f u l l o f d o u b t .
" D o u b t i n g and d i s b e l i e v i n g one,
come, sear ch my wounds;
Do not l ack f a i t h because o f t h e
t h i n g s which you have not s e e n .
But b e i i e v e i n them, f o r i t is g r e a t e r
v i r t u e and m e r i t t o b e l i e v e i n t h a t which
i s a b s e n t t han i n t h a t whi ch i s p r e s e n t .
And i n heaven t h e r e wi I I be g r e a t e r r e j o i c i n g . ”
Lauda XXVI I
MS 6 0 r - 6 3 r
L i u z z i , 372-375
277
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In
su- o
i
ser-
mo- ne .
T h e n y h n o c c u r s i n Ma g l 1 , a n d t h e t e x t a l o n e i n F i o r . , A r e t . , a n d A r s .
The words " e l a "
T H E I R C O R R ES P O N D IN G NOTES OCCUR T W I C E , AT TH E ENO OF THE F I R S T S Y S T E M ANO A G A IN AT THE
B E G I N N I N G OF THE S E C O N D .
THE LA T ER V E R S I O N I S TAKEN H ERE TO BE THE CORRECT O R E .
ano
Leudemo la r e s u r r e c t i o n e /
e la m i r a b i l e as c e n s i o n e
de l esu C r i s t o f i l i o l de Di o
c h ’ a l suo padr e se ne g ' o
e ' n c o t a l * di en c i e l s a l i o :
san M a r c o * I d i c e i n su o / s e r mo n e .
Ad ve gge nt e deI I i suoi f r a t i , *
I? a p o s t o l i s a n c t i f i c a t i
n e lla fede f u 3 r c o n f i r m a t i;
a l o r a ’ I d i s s e e comandSne:
" P e r t u t t o * I mondo ve n ' a n d a t e
e ' I mio e v a n g e l i o p r e d i c a t e ,
e neI mio nome b a p t i g a t e
con gr ande b e n e d i c t i o n e .
E non d e b i a t e a v e r peur a;
p r e d i c a t e ad ogne c r e a t u r e .
Ke c r e d e / e t [ n o n ] e v r e paura
a v i r i s a I vat i o n e .
Ki non c r e d e r e s i r a p e r d u t o ,
condempnato e b e t t u t o :
mai non e v i r i ’ l mio e i u t o
e andara’ n perd itio ne.
N e l * mio nome r e s u s c i t a t e
m o r t i ; e i l e ^ r o s i mundate,
e i M n f e r m i si c u r a t e
sanendo l e l o r p e r s o n e .
Ki c r e d e r a non s i r i vano:
a cui voi o o r r e t e mano,
sempre s i r a s a l v o e sano,
e t a v ? r i bon g u i d e r d o n e .
La n o s t r a f e * non se remove,
a v a r e t e l i n g u a nuove;
on g n ’ omo p e r d a / r e la pr ov e ,
l<i f e r i o f f e n s i o n e .
l o vi dar abbo r i k k i doni :
s i r e t e mi ei t e s t i m o n i ,
c a c i a r e t e le demon!
ke danno t e m p t a t i o n e .
279
L e t us p r a i s e t h e r e s u r r e c t i o n
and a d m i r a b l e a s c e n s i o n
o f Jesus C h r i s t , t he son o f God
who on a g l o r i o u s day ascended i n t o
t h e sky and went t o h i s f a t h e r .
S t . Mark t e l l s i t i n h i s d i s c o u r s e .
10
I n t he s i g h t o f t h e i r b r o t h e r s
t h e a p o s t l e s were b l e s s e d
ond c o n f i r m e d i n the f a i t h ;
Then he spoke ond commanded:
" I n t o a l l t he w o r l d , go,
ond pr each my g o s p e l ,
ond in my nome b a p t i z e
w ith great blessing.
15
20
25
30
And you must n o t be a f r a i d ;
Pr each t o e v e r y c r e a t u r e .
He who b e l i e v e s and i s not a f r a i d
w i l l hove s o l v a t i o n .
He who w i l l not be I i eve w i l l be
l o s t , condemned, ond be a t e n :
N e v e r wi I I he have my h e l p
ond he wi I I go i n t o p e r d i t i o n .
I n my nome r a i s e t h e dead
and c l e a n s e t h e l e p e r s ,
ond c u r e the s i ck
healing t h e i r bodies.
He who b e l i e v e s w i l l not be v a i n :
He upon whom you p l a c e your hands
wi I I a l w a y s be s a f e ond sound,
and w i l l r e c e i v e a good r e w o r d .
Our f a i t h w i l l not be shaken,
you w i l l hove new t o n g u e s .
E v e r y man who commits o f f e n c e s
w i l l f o i l the t e s t .
'
*''
j v e you r i c h g i f t s :
You wi I I be my w i t n e s s e s ;
you w i l l chose o u t d e v i l s
who g i v e t e m p t a t i o n s .
280
T o l l o r e t e li serpenti
e veneno e n f r o le g e n t e :
s e l v i f i e n l i mi e i c r e d e n t i
ke del p e c c o t ’ on p e r t i s c i o n e
40
Li onge I i comenci drono a d i r e
ke p r o t o n o gr an s a v e r e
a lesu C h r i s t o nostro s i r e
l a u v ' e la sue m a s c i o n e .
45
Voi de G a l i l e o , o r g u o r d a t e
i n c i e / l o , c o t o i mor avi I I i a t e : *
lesu C r i s t o ne v o ' l suo padr e,
ed £ n o s t r o r e d e m p t i o n e .
62»
50
Al l a t o d r i t + o del suo padre
s ' o s e d d e l * u mo n i t e d e
i nsi eme c o l l o d e i t o d e ,
Di o e t homo, ogni s t a s c i o n e .
I n t e r r a r i m o s i * lo g l o r i o s o ,
la v e r g i n e madre p r e t i o s o ;
sonto M a r i a p i e t o s o ,
k*£ n o s t r o c o n s o l o t i o n e .
55
Li e p o s t o l ? poi n ' e n d o r o ,
per t u t t o * I mondo p r e d i c e r o .
Lo v i t a e t e r n o / e * I regno coro
D i o ne deo per g u i d o r d o n e .
63"
60
Amen .
5
COTAL -
6
St . Mark
7
Ad
LITERALLY "SUCH" HAS BEEN TRANSLATED FnEELY HERE.
is
veggenti
the
patron
delli
suoi
of
the
frati
c it y
-
the
of
Co r t o n a .
MS
r e a o s "Poi
gente
d ic e
a
li
s o o i fr a t i .
"
T he
co r r e c t i o n
IS TAKEN FROM AH.
23
NEL -
40
Ve n e n o -
'
42
Pe r t i s c i o
ne
4 7 -4 8
56
THE MS NAYE "V E L .*
yelero
-
T
* -
yenom
e r o iz io n e
'
t h is
is
anexample
of
h yp e r - c o r r e c t io n
V oi
ON
THE PART OF THE
s c r ib e
oe G a l i l e a , or g u a r d a t e i n c i e l o . . . . - T h e p a s s a g e b e a r s s t r i k i n g li k e n e s s
to the
LITURGY FOR THE FEAST OF THE ASCENSION.
INTROITS " V lR I GALA LAE I , QUID AOMIRAMINI
ASPIC IENTES IN C A E 1 |,Y * ANO AGAIN THE FIRST ANTI PHON OF SECOND VESPERS OF THE FEAST.
" V |R | G ALILA EI, QUIO A S P IC ITIS IN CAELUM?"
RlMASI - XI I I RIMASA - HAVING THE MEANING OF 'PERMANENZA' -
REMAIN
.
281
40
45
50
You w i I I t a k e away t he s e r p e n t s
and venom f r om among t h e p e o p l e :
My b e l i e v e r s w i l l be saved, t h os e
who m e r i t e d p e r d i t i o n because o f s i n .
( ?)
The a n g e l s who have g r e a t
knowl edge began to speak to
Jesus C h r i s t our l o r d , t h e r e
where h i s mansion
is i n he ave n.
Look now, you o f G a l i l e e .
up i n t he sky, ( s e e ) such a m a r v e l :
Jesus C h r i s t goes t o t h e f a t h e r
and i s o u r r e d e e me r .
At t h e r i g h t hand o f t h e f a t h e r
t he humani t y s e a t s h i m s e l f
t o g e t h e r w i t h t he d i v i n i t y ,
God and man a t e v e r y season.
55
60
On e a r t h r emai ned t h e g l o r i o u s
t h e p r e c i o u s v i r g i n mot her ;
Hol y m e r c i f u l Mery
who i s o u r c o n s o l a t i o n .
one,
The a p o s t l e s t hen went away
end pr eached t o a I I t h e w o r l d .
G o d ' g i v e us e t e r n a l l i f e and
t h e deer kingdom f o r a r e w a r d .
Amen.
IT IS WORTH NOTING THAT THf ENTIRE LAUDA (WITH THE EXCEPTION OF THE FIRST S IX LIN ES) IS A NEARLY
PERFECT PARAPHRASE OF THE ACCOUNT OF THE ASCENSION AS FOUND IN THE GOSPEL OF ST. MARK WHICH THE
POET SAYS HE IS QUOTING. C F. MARK 1 6 (1 5 -1 8 .
"GO INTO THE WHOLE WORLD AND PREACH THE GOSPEL TO ALL CREATION. HE THAT BELIEVES AND
IS 8APTIZE0 WILL BE SAVED, HE THAT DOES NOT BELIEVE WILL BE CONDEMED. AND IN THE WAY
OF PROOFS OF THEIR CLAIMS, THE FOLLOWING WILL ACCOMPANY THOSE WHO BELIEVES IN MY NAME
THEY WILL DRIVE OUT OEMONSJ THEY WILL SPEAK IN HEW TONGUES;
THEY WILL TAKE UP SERPENTS
IN THEIR HANDS, ANOIF THEY DRINK SOHETNIN6 DEAOLV, IT WILL
NOT HURT THEM} THEY WILL
LAY THEIR HANDS ON THE SICK AND THESE W ILL RECOVER."
Loudo XXVI I I
MS 6 3 r - 65v
l i u z z i , 376-379
282
R efrain
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S p i r i t u s a n c t o , d o l c e amore,
tu s e ' n o s t r o gui de t o r e .
63v
Lo s p i r i t u s e n c t o e f o c o e r d e n t e . /
lo c o r a l u mi n a e la ment e;
c h ' e l l i & I ' a l t o amor p o t e n t e
lo qua I passa omgne d o ^ o r e .
Li a p o s t o l i ne f u d r r i p i e n i ,
d i s c i p o l i de C r i s t o v e r i ;
per& f u S r f o r t i e f e d e l i
e t u t t e entesaro* le s c r i p t u r e .
64r
N u l l ' o m o puot e bene amare
s e ' n peccato v o le s t a r e :
itu
s e n c t o I ' d per mal e,
pena e do l o r e .
G e t t e r a l n e l l e fornace
Id uve son I ' e r d e n t e b r e s c e *
e I ' e n f e r n a l f o c o penace
ke s e m p r ' a r d e ' I p e c c a t o r e .
Due son l i mat cerbone
k'ebruscian li p e c c a to ri:
e t i v i son l i a c u s a t o r i
Le don s p a v e n t o a t u t t e I ' o r e ,
S p i r i t u s e n c t o be ned ec t o,
guar dane da o u e s t o d e c t o ;
e menane a l d o l c e C r i s t o
lo qua I h n o s t r o r e d e m p t o r e . /
0 b e a t a t r i ni t e d e ,
0 d i v i n e meiestede,
per la t ua gr an p i e t a d e
r empi ene de l t u o a m o r e . *
Lo mondo e f a Iso e d e s l i a l e ;
Set hanes ne f a f a r m a l e ;
lo cor po no v o l e ' n g a n n a r e :
e tu n ' a i u t a , c r e e t o r e .
10
EN TE SA R O -
FOR * | N T E S A * FROM * IN TE N D E R E ' -
16
8RASCE “
FOR ’ B R A SC E* -
18
T h e s ig n
o f th e
nasal
is
L IV E
TO UNDERSTAND
COAL
m is s in g
o v e r th e w o rd s e m fre -
" s e fre *
284
Hol y S p i r i t , sweet
you a r e o u r gui de .
5
10
l ove,
The Hol y S p i r i t i s a b u r n i n g f i r e .
He i I lumines t h e mind and t h e h e a r t ;
He I s the m i g h t y , e x a l t e d love
whi ch surpasses a I I s w e e t n e s s .
The a p o s t l e s , t r u e d i s c i p l e s
o f C h r i s t , were f i l l e d w i t h i t .
T h e r e f o r e , t hey were s t r o n g and f a i t h f u l
and under st ood a l l t he S c r i p t u r e .
No man can love w e l l i f
he wants t o r emai n i n s i n .
The Hol y S p i r i t c o n s i d e r s i t e v i l
end w i l l g i v e him pai n and s a d n e s s .
15
20
25
30
He wi I I t hrow him in t h e f u r n a c e
where t h e r e e r e b u r i n g c o a l s
and t h e i n f e r n a l t o r m e n t i n g f i r e
whi ch al ways burns t he s i n n e r .
Two a r e t h e evi I c o a l s
whi ch burn the s i n n e r s :
And t he a c c u s e r s a r e t h e r e ,
( t h e y ) who a r e d r ea ded a t a I I t i m e s .
0 b l e s s e d Hol y S p i r i t ,
guar d us f r om t h i s ( p l a c e ) :
and lead us t o sweet C h r i s t
who i s our r e d e e me r .
0 BI e s s e d T r i n i t y ,
0 di vi ne maj e s t y .
fr om your g r e a t h o l i n e s s
f i l l us wi th y o u r l o v e .
The w o r l d is f a l s e and d i s l o y a l ;
Sat an makes us do e v i I ;
the body wi shes t o b e t r a y us:
And you h e l p us, 0 c r e a t o r .
24
0ECTO -
FOR
'DETTO'
30
HERE THE M A N U S C R IP T A N T IC IP A T E S THE " l 0
H O N D O * W H IC H
IS
THEN R E PE A TE D
IN
THE N E XT V E R S E .
Lauda XXIX
MS 64v - 68 r
L i u z z i , 380-385
285
S tr o p h e
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S M A G L1 C O N T A IN S T H IS SAJI ETCXT BUT W IT H A D IF F ER ENT ME L O O T .
pi-
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T H E .( E X T ALONE OCCURS A LSO IN F l O R . »
Pis *
I t i s n o t e w o r t h y t h a t t h e P 1* - ! a r r e a r s a t t h e e n o o f t h e s t r o p h e r a t h e r t h a n t h e
Th e r e a r e n u m e r o u s erro rs in t h e h y m n .
Th e w o r o • n o i * a p p e a r s t w ic e * a t t h e e n o o f t h e
F IR S T L IN E ANO THE B E G IN N IN G OF THE S E C O N D . THERE ARE TWO C U S T 0 8 S I6 N S AT THE ENO OF TH E T H IR D
S Y S T E M * ONE IN D IC A T IN G THE P IT C H * D * ANO THE OTHER " C * .
THE F IR S T IS H E LD BY L l U Z Z I TO BE THE
C O RRECT ONE S IN C E I T AGREES W IT H THE C LE F F O L L O W IN G .
IN THE FO LLO W IN G S YS TEM THE WORO " T U * HAS
SEEN ADDED IN A D IF F E R E N T H A N D .
IN ORDER TO P R O VID E A NOTE FOR I T L l U Z Z I D IV ID E S THE C L I V I S F I G ­
URE " e - b " b e t w e e n t h e s y l l a b u s T u a n d c o n o f t h e w o r d c o s p i s t i .
T h e p r e s e n t t r a n s c r ip t io s
h o l d s r a t h e r t h a t t h e p o d a t u s f i g u I F h a n g T T g in t h e m a r g in b e V o n d t h e t e x t b e l o n g s t o t h e f i n a l s t e
OF P E S TEC O S TE w h i c h i s i n c o r r e c t l y w r i t t e n o n t h e n e x t l i n e .
By t r a n s c r ib in g t h e m u s ic t h u s i t i s n o t
N E C ESSAR Y 1 0 GREAK THE C L I V I S F IG U R E AS L l U S I l HAS D O N E . TH E D IS T R IB U T IO N OF
T E X T IS MORE S A T IS F Y IN G
WOBLO BE WJTN A LONG M E L I3 M W H IC H WOULD RESU LT ON THE WORO P E N T E C O S T E .
THE CHANGE WOULD
SB CO SSS R O tO IB E PRESENCE OF THE TWO CUSTOS S IG N S ON THE F A E C E S !N G LIRE .
TRE S ECOND CUSTOS IS TH E N
TH E C O R R E C T IO N .
Ar s . *
and
r e f r a in .
S p i r i t o sancto g l o r i o s o ,
sovr a noi s i a g r a t i o s o . /
Ke con gr an d o l p o r f e } v e n i s t
la p e n t e c o s t e t u c o n p i s t i ;
I i d i s c i p u l i r i npi s t i
del t uo amore g a u d i o s o .
Co M o t ua v i r t d p o t e n t e
del gr an sono* ke f o r e p e n t e
l e s p l e n d o r e venne a r d e n t e
ke f o mot t o p a u r o s o .
A l l o r si f o [ a ] t u t t o a p e r t o
omni l i n g u a par Id c e r t o ; *
ke lo s p i r i t u [ c o n ] c o v e r t o
ciascun fe c e copioso.
T u t t o ' I mondo s ' renfresco
langua hebr eo e f r e n c e s c o
e l a t i n a e gregesca:
ogn'omo e r a t i m o r o s o .
T u t t a gente s ' a s u t i l l i a
de la gr ande m e r a v i l l i a ;
kfe c i a s c u n o s ' a s i m i l l i a
suo l i n g u a g i o p r o p r i o s o . *
Laudiam C r i s t o ve r o me nt e ,
I * a I t o padre o m n i p o t e n t e
de [ l o ] s p i r i t u f e r v e n t e *
ke f a * t o n t o d e l e c t o s o .
Tu s p i r i t u p a r a c l i t o ,
t u ni da pace e t h o b i t o ;
c i o ke t i s i a p l e c i to
a I t uo regno s p a t i o s o .
Gi a n u l l ' o m o s t i e t u r b a t o :
lesu C r i s t o s i a laudato,
sempre s i a g l o r i f i c a t o ,
k& m' e d o ^ e e t amor oso.
De I ' u m a n i t d del s e r v o
tu pred es tl carne e nervo;
come a la f o n t a n o ' I c e r v o
venisti desideroso..
287
G l o r i o u s Hol y S p i r i t ,
be g r e c i o u s t o u s .
5
10
You who came w i t h g r e a t sweetness
f u l f i l i e d the p e n t e c o s t ;
you f i l l e d t h e d i s c i p l e s
w i t h y our j oyous l o v e .
W i t h y o u r power f ul s t r e n g t h
t h e s p l e n d o r come b u r n i n g
i n t he g r e a t sudden sound
which was v e r y f r i g h t f u l .
Then e v e r y t h i n g was open;
you spoke e v e r y longuoge s u r e l y ,
so t h a t t h e unseen s p i r i t mode
everyone r i c h w i t h u n d e r s t a n d i n g .
15
20
25
30
A l l t he w o r l d i s r e f r e s h e d ,
t h e Hebrew and Fr e n c h,
and L a t i n and Gr e e k :
Ever y man was f e a r f u l .
Men’ s minds were sh arpe n ed
by th e g r e a t m i r a c l e ;
( so t h a t ) each u n d e r s t o o d
i n h i s own p r o p e r l onguoge .
L e t us p r a i s e C h r i s t t r u l y ,
t h e h i g n o mn i p o t e n t f a t h e r
of the f e r v e n t s p i r i t
wno mokes such d e l i g h t .
You, H o l y P a r a c l e t e , g i v e
us peace and d w e l l i n g p l a c e ;
( and) w h a t e v e r may be p l e a s i n g
you i n y o u r g r e a t ki ngdom.
Now
May
and
who
35
l e t no man be t r o u b l e d :
Jesus C h r i s t be p r a i s e d ,
may he be g l o r i f i e d , he
i s sweet and l o v i n g t o me.
You t ook f l e s h and n e r v e of
t h e huma ni t y o f t he s e r v a n t .
As a s t a g comes t o t h e f o u n t a i n
so you come, d e s i r o u s .
to
Di nui t i prendo p i e t o d e ;
tu s i g n o r d ' umi I i t e d e ,
per le tuo beni g n?t ode
sempre s e ' di noi g e l o s o . /
Ke do no s t i pace o l mondo
t u , s i g n o r f r e s c h ’ e i ocondo
tu ne quordo del p r o f u n d o
di quel l ogo t e n e b r o s o . *
L i * v ’ i nuI Io I u c e , *
ogne reo v? si conduce,
kl v? code t u t t o cuoce;
giomoi non s t o r i o t i o s o .
AI tuo regno ne conduce
son Mot heo, Morco e t Luco,
son l o h o n n i , quei k ' i duca,
ke per t e e v i r t u o s o :
ke possiom t e c o r e g n o r e ,
c o l l i sonct? t e l o u d o r e ,
e t veder g l o r i f i c e r e /
I ’ omo k ’ e mo' r u i n o s o . *
E g i o i o ke sempre grono
l o ’ n c o r n e t i o n e humeno
per lo ver gene s o vr ona ,
di ke sempre s t o g i o i o s o .
Lo d i v i n i t o d e * puro
p r e s e , homo, i n t e n o t u r o ;
n o s t r o f e d e non si scur o
perkfe s e ’ s' p i e t o s o .
C r i s t o , non t i s i a di sde gno
perche t u s e ’ n o s t r o pegno;
d i n n e p a r t e del t u o r e gn o,
de quel f r u c t o s o v o r o s o .
Di quel c i b o s p i r i t o l e
ke s i r a s e m p i t e r n o I e ,
v i v o pone s u s t o n t i a l e /
cum do l ge o u l o r * p r e t i o s o .
289
40
45
50
Hove compassion on us;
Lord o f numi l i t y ; out o f
your b e n i g n i t y you o r e
al ways z e a l o u s f o r u s .
You gove peace t o t h e w o r l d ,
l o r d , f r e s h and gay;
You gu a r d us f r om t he abyss
of t h a t place of darkness.
Every s i n n e r i s led t h e r e
where t h e r e is no l i g h t ,
(and) he who f a l l s i n is bur ned;
Nevermore w i l l he be i d l e .
S a i n t Ma t t h e w, Mark and Luke,
and S a i n t John who i s t h e l e a d e r ,
t o y o u r kingdom conduct the
one who to you I s v i r t u o u s ;
55
60
65
70
t h a t we may r e i g n w i t h you (and)
p r a i s e you w i t h t h e s a i n t s ,
and see g l o r i f i e d t he
man who i s now i n s i n .
The human i n c a r n a t i o n
by t h e s o v e r e i g n v i r g i n i s
a j o y whi ch al wa y s bear s seed
and by wh i c h (man) i s al ways j o y f u l .
In you, 0 man, t h e pure d i v i n i t y
toon on (human) n a t u r e ;
because you a r e so c o mp a s s i o n a t e
our f o i t n is not o b s c u r e d .
C h r i s t , do not be d i s d a i n f u l ,
because you o r e o u r s e c u r i t y ;
in y o u r Kingdom g i v e us a
shore o f t h a t s a v o r y f r u i t ,
o f t h a t s p i r i t u a l f ood
wni ch w i l l be e v e r l a s t i n g ,
s u b s t a n t i a l , l i v i n g br ead
w i t h sweet p r e c i o u s f r a g r a n c e .
290
Tu + t i i s a n c t i f a i g a u d e r e ;
cum t a n +o amor per maner e,
ke c i a s c u n d ' i suo v o l e r e
di n u l l o bene i n v i d i o s o .
Mu l+o f a n n o gran l a u d o r e ,
f a n t o i tene in g r a n d ’ onore,
come r i c c o c r e a + o r e
d ' o n n i ben d e l i t i o s o .
Li a n g e l i can+an g l o r i a ;
l e s u , d o l g e memori a,
s p i r i + u de v i c t o r i a
t e r r i b i l e e abundoso.*
80
85
Tu, d o l g o r e cum d o l g e g e ,
t u , suave cum p i a q e g a ,
t u , * p o t e n t e per f o r + e c a , /
come s i g n o r pond er oso .
68*
75
90
Gargo de la gr an s p e r a n g a *
a t e , C r i s t o , per p i e + a n c a :
t u n ’ &i f a c + i a t ua sembl anga,
prego ke ne dea r i p o s o .
2
NO!—
9
S0N0 - 'S U 0N 0' X I I I
Cf . Ac t s 2 i 2
12
Cf . Ac t s 2 * 4
22
Cf . Ac t s 2 * 6 - 8
25
Lo
IS REPEATED IN THE MANUSCRIPT
IS
M IS S IN 6
FROM
USAGE
THE
M ANU SC RIPT
BUT
IS
U P P LIE O
FROM M A G L 2 .
26
MASL2 READS " f a " FOR "Fu"e
37
M
S re a d s "com a La f o n a t n l n a l c e rv o "
The f ig u r e s u g g e s ts th e opening l i n e
o f Psalm XL I •
"As THE HIND LONGS FOR THE RUNNING WATERS, SO MY SOUL LONGS FOR YOU,MY GOD,"
46
TENEBROSO - MS READS " te n e b ro b ro s o "
47
MS READS LA V 'A NULLA LUCE.
58
P.UINOSO -
63
0 1V IN IT ADE -
74
A ulor -
86
A ounoso -
fo r
88
PlAGEfA -
FROM X I I I
L a t in is m
for
MAGI2 HAS
"LA OVE NONN Al LUCE.”
*R o v in o s o *
M
S NAS "O IV IT A D E * - CORRECTION BY MAZZ
Cf . V , 5 ;
'ABUNOOSO'
"PLACERE*
291
75
80
85
90
You moke o i l t he s o i n t s r e j o i c e ;
t o o b i d e i n such love t h o t
eoch i n h i s own wi I I i s
envious of n o t h i n g .
Monv moke g r e e t p r o i s e , so much
i s ne h e l d t h e r e i n honor,
os t h e c r e o t o r o f
e v e r y good p l e o s u r e .
The o n g e l s s i n g g l o r i o ;
Jesus, sweet memory,
s p i r i t o f vi c t o r y ,
t e r r i b l e end o b u n d o n t .
You, sweet one w i t h sweet ness,
you, g e n t l e one w i t h compl ecence,
you, p o we r f u l one, w i t h s t r e n g t h ,
( o r e ) l i k e o powerful l o r d .
Moy Gorzo hove g r e o t hope i n you,
C h r i s t , becouse o f your compossion;
You hove mode us i n your l i k e n e s s ,
( ond) I proy t h o t you g i v e us r e s t ,
89
MS BEADS •T O * FOB * T U " .
90
PONOEBOSO -
91
MAGI2 BEADS GABZO CO LA GBAN SPEBANfA. FOB BOTE ON GABZO, C F . V I I ,
The *oe* hebe should be * 01* ■ fo b " o i a . "
SHOULO PBOBABLY BE AO "POOEBOSO”
P . 1 95 ,
N . 41 .
292
Lauda XXX
MS 6 8 r - 69v
L i u z z i , 3 8 6 -3 8 9
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donn’ ol
s a n c t o da s e r v i r e ,
c o r e de t e s e n t i r e .
S p i r i t u di v e r i t o d e ,
e f o nt ana de/boni fade,
per la tuo b e n i g n i t a d e
l a tuo v i a ne f a s e g u i r e .
S p i r i t y de p i e t o d e , *
f lemma o r d e n t e e t c a r i t a d e ,
ben po s t a r e i n s e c u r i t a d e .
ke a t e v o l e o b i d i r e .
De I ' o l t o Di o s e ' donamsnto,
f o n t e v i v a e t ungemento;
s p i r i t u d ’ e n t e n d i me n t o
t u ne degi m a n t e n e r e .
S p i r i t u consi I I i a d o r e ,
d ’ ogne v e r i t a d e s e ’ d o c t o r e ;
ke t e lauda cum bon c o r e
mei non p o r r e o * p e r i r e .
S p i r i t u del s a n c t o t i m o r e ,
ke c o n v e r t ! e! p e c c a t o r i
t u s e • c a s t o e do l ge amore
pit) ke l i n g u a non pd d i r e .
S p i r i t u de s a p i e n g a ,
de f o r t e g a e de s c i e n g a ,
la tuo compognio ke presengo
t u lo degi m a n t e n e r e .
Ei p r o f e t i o m o i s t r a s t i
e t la ve r g e ne o b u n b r a s t i
T u t t o lo s o n t i f i c o s t i
enneI t uo s a n c t o v e n i r e .
Tu m o s t r o s t i a son Fr ances co
el s e r o p h i n c r u c i f i x o ;
l e pi oghe de l e s u C r i s t o
i n lui f o c e s t i r e f l o r i r e .
Li d i s c i p u l i mu n d o s t i .
c o n fo rtasti et In fia m b o s ti; *
ie l o r l i n g u e t u m u t o s t i
per ogne l i n g u a s o v e r e .
Hol y S p i r i t , i n o r d e r t o s e r v e you
g i v e t o our h e a r t f e e l i n g f o r y ou.
S p i r i t of t r u t h ,
and f o u n t a i n o f goodness,
out o f your b e n i g n i t y
make us f o l l o w y our way.
Spi r i t o f pi e t y ,
b u r n i n g f l a m e and c h a r i t y ,
he who w i I Is t o obey you
can t r u l y be s e c u r e .
You a r e t h e g i f t o f t h e hi gh God,
l i v i n g f o u n t and a n o i n t i n g ;
s p i r i t of understanding,
you must m a i n t a i n us.
Spi r 51 of c o u n s e I ,
you a r e a d o c t o r o f e l l t r u t h ;
who p r a i s e s you w i t h a good h e a r t ,
he c o u l d n e v e r p e r i s h .
S p i r i t of holy f e a r ,
you who c o n v e r t s i n n e r s ,
you a r e a love sweet and c h a s t e ,
more t h a n any tongue can t e l I .
S p i r i t of
fortitude
you must
which i s
wisdom, of
and o f knowl edge,
s u s t a i n your company
he r e p r e s e n t .
You t a u g h t t he p r o p h e t s ,
you over shadowed t he v i r g i n :
You s o n c t i f i e d h e r c o m p l e t e l y
in yo ur h o l y comi ng.
You showed S a i n t F r a n c i s
t he c r u c i f i e d se r a ph;
you moke t he wounds of Jesus
C h r i s t bloom a g a i n in h i m.
You c l e a n s e d , c o mf o r t e d
and i n f l a m e d t h e a p o s t l e s ;
you changed t h e i r t ongues
t o know e v e r y l onguoge.
295
L ' a n i m a ke t e s e n t e
ben pd s t a r e a l e g r a m e n t e :
di t e emar non se p e n t e ,
per cui pensa ben f i n ? r e .
De l i i u s t i
p a t r e de l i
I ’ anime f e i
et a g lo ria
40
se' d o ^ o r e ,
peccatori;
s a n c t e e t pure
pervenire.
45
7
Note here th e b e g in n in g of the e n u m e ra tio n o f t h e ^ i f t s
"WHICH W I U NE COHPLETEO IY LINE 2 4 .
18
P o rre a -
36
IN F IA M B A S T I
The MS re a o s p o r r e .
-
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The "A "
M IS S IN G
THE
of
th e h o ly S p i r i t "
is aooed l a t e r * crowded
S IG N
OF
THE
NASAL
OVER
in
above th e t e x t ,
" IN F IA B A S T I
296
40
45
The soul who hear s you
can t r u l y be v e r y g l a d :
He does not r e p e n t o f f o v i n g you
f o r he w i l l come t o a good e n d i n g .
You
and
You
and
a r e t he sweetness o f t h e
t he f a t h e r o f s i n n e r s ;
make s o u l s h o l y and pure
a t t a i n to g l o r y .
just,
Loudo XXXI
MS 7 0 r - 7 2 r
l i u z z i , 390-393
297
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T he LAUDA OCCURS ALSO IN MAGL1 . AND THE TEXT IS CONTAINED IN MAGL2 . ANO F lO R .
IT IS FOUNO LIK E­
WISE IN THE FRAGMENT OF THE PlENFONT MoROAN LIBRARY, NEW YORK.
IN THE THIRO SYSTEM TNE
SYLLABLE "D E * OF *T R IN IT A D E * AND THE CORRESPONDING NOTE HAVE BEEN ADDED LATER AND IN A DIFFERENT
NANO. THE CLEF IS MISSING FROM TNE FOURTH L IN E .
A l t o t r i n i t i beote,
do noi sempre s i ’ o d o r o t o .
Trinitode gloriosa,
uni
mor avi I I i o s o ,
t u se' monno sovoroso
a t u t ’or/desideroto .*
De v o i , m o i e s t a d * e t e r n o ,
de« f a de sempi t e r n o ,
la c i t e d k ' l super ne
kiaramente & l u m in o t a .*
Noi credem senga f o l l a n 9 a /
f e r m e n e n t [ e ] cum s p e r ong o,
t r e pe r s one , una s u s t o n t i o
da li s a n c t i v e n e r o t o .
Li e n i m a I i o c u l a t i *
ke v a n q e l i s t i som c h i e m e t i
lauda T ' o l t a p o t e s t o t e *
cum la voce c o n c o r d a t a .
Abraom en t r i n i t o d e *
i n t e n s e lo d e i t o d e : /
I? onge I i l i f o r m o s t r o s t i
en f i g u r e hu mo n o t o . *
Quando v i d d e t r e f i g u r e
o d o r i un c r e a t o r e ;
e ' m p e r c i d do t e , * s e gno r e ,
lo so f e ’ f o c o n f i r m o t o .
En t u t t e le
s' r e l u c e ' l
come d i c o n
et k v e r i t S
creature
t uo s p l e n d o r e
le s c r i p t u r e ,
provote,
Lo potengo i n cr eondo,
sopi e ngo i n o r d i n o n d o ,
b o n i t d i n gubernondo,
ogne coso t u t t o f i o t o .
Tu podre c e l e s t i o l e ,
per lo g u e r d o r / d ’ ogne mole
el f i l i o l o a t e u g uo l e
mond os t ' o g e n t e i n s e n o t a .
May t h e e x a l t e d Bl e s s e d T r i n i t y
a l ways be ador ed by us .
G I o r i ous T r i n i t y ,
mA r u A 1a h c
_____________
u n i 4v/
_
_
,
manna
.j r .
E t e r n a I ma j e s t y ,
everlasting deity,
t h e c i t y whi ch i s d i v i n e
is c I e a r Iy i I Iumi ned by y o u .
We b e l i e v e w i t h o u t e r r o r ,
f i r m l y , and w i t h hope,
( i n ) t h r e e p e r s ons , one s u b s t a n c e ,
v e n e r a t e d by t he s a i n t s .
The wi s e a n i ma l s ( b y ) whi ch
the e v a n g e l i s t s ere re pr esented,
p r a i s e t h e e x a l t e d power
wi th one voi ce .
Abraham i n T r i n i t y
u n de r s t oo d t h e dei t y :
The a n g e l s were shown t o
him i n human f o r m .
When he saw t he t h r e e f i g u r e s
he a d o r e d one c r e a t o r ;
By you, L o r d , t h e r e f o r e ,
was h i s f a i t n c o n f i r m e d .
In a I I c r e a t u r e s i s
r e f l e c t e d your s p le n d o r ,
as t h e S c r i p t u r e s soy.
And t h o t i s proven t r u e .
E v e r y t h i n g ( t e l l s ) a t a l l t i mes
o f y o u r power i n c r e a t i n g ,
wisdom i n o r d e r i n g , and
goodness i n g o v e r n i n g .
You, c e l e s t i a l F a t h e r ,
sent t o t h i s mod p e op l e
a son equo I t o you to
guar d them f r om a I I evi I .
300
Ne I Io v e r g e n e descese,
stect’e lle i*
novo mese;
puro co r n e di l ei p r e s e ,
p e r noi mo I t o t o r m e n t a t o
40
S p i r i t u s a n c t o , omor iocundo
ke r e m p i s t i t u t t o * I mondo,
t u ne guordo del p r of und o
e t perdone l i p e c c o t o .
Ki t e omo c r e d e sempre
t u t t o * I mondo per n i e n t e ;
o l t ' e f o r t ' £ lo suo ment e,
p i u ke r occo k * £ f i d o t o .
45
50
0 ver oce t r i n i t o d e
f o ' p e r lo t u o / p i e t o d e
ke n o s t r o h u m i l i t a d e
en v i t a e t e r n o s i * e x a l t o t o .
72 r
6
DESIDERATA -
10
lUMIHATA -
15
OCULATI - FOR'OCULATO,' X IV - W I S E , SHREWD
The re fe r e n c e seems t o be th e passage in E z e c h i a l, 1*10, WHICH speaks o f th e a n im a ls which
ARE S T IL L USED IN REPRESENTING THE EVANGELISTS, NAMELY, THE OX, THE LION ANO THE EAGLE.
17
The o r i g i n a l m a n u s c rip t c o n ta in s no a p o s tr o p h ie s .
T h e re fo re ,
in a d d itio n t o in s e r t in g
ONE AFTER THE **L" OF " l 'ALTA " WE SHOULD INSERT ONE AFTER THE "A * OF "lA U D A ." ( t )
17
POTESTATE -
19-22
THE WORO IS REPEATEO AT THE TURK OF THE PAGE
THE
THE
LAST SYLLABLE IS OHMITED IN
MS
THE MS
READS POTESTE.
T h is s tro p h e r e f e r s t o th e o lo te s ta m e n t s to r y o f the th r e e a n g e ls whoappeared
a t th e
door o f A braham 's t e n t , C f . G en esis 18:2.
The symbol o f the th r e e
a n g e ls was used in
THE MIDDLE AGES TO REPRESENT THE T R IN IT Y , AND IS ALMOST CERTAINLY THE MEANING HERE.
FOR REPRESENTATION IN MANUSCRIPT ILLUMINATION, C F . APPENOIX F , P . 132
.
THE UPPER LEFT
HAND MEDALLION CONTAINS
THE FIGURES OF THE THREE ANGELS AT THE TENT OF ABRAHAM. THE
FOLIO IS THE OPENING OF
THE NYMN “ ALTA TRINITA1* BUT THE MELOOY IS NOT THE SAME AS
THAT OF THE CORTONA.
18
TRINITAOE - MS READS TRINIOE
25
DA TE -
40
THESE WORDS ARE REPEATED
STECPELLEI - FOR 'STETTE
C F . 'OTTO'
< OCTO
IT
IN
IN
THE MANUSCRIPT.
IE I ' THE "C T*
HEREI S
AN EXCELLENT EXAMPLE OF HYPERCORRECTION.
IS NOTEWORTHY THAT THE FEAST OF THE BLESSED T R IN ITY WAS ONE OF THOSE WHICH HAO SEEN POPULARIZED
F r ia r s M in o r .
Altho u g h the v o t iv e Mass of th e T r i n i t y da tes back to the s e v e n t h c e n t u r y ,
ANO THE OFFICE WAS COMPOSE 0 BY STEPHEN OF I.I&GE ALREADY IN THE TENTH CENTURY, IT WAS THE FRANCISCANS
WHO SPREAD THE DEVOTION. THROUGH THEIR EFFORTS THE FEAST WAS EXTENOED TO THE ENTIRE CHURCH IN 1334
by Pope J ohn X X I I .
by
the
301
40
45
50
I n t h e v i r g i n he descended.
he s t a y e d i n h e r n i n e montns
and t ook pure f l e s h o f h e r ,
s u f f e r i n g g r e a t l y f o r us.
Hol y S p i r i t , j oyous l o v e ,
you who f i l i e d a l l t h e w o r l d ,
guar d us f r om t h e abyss
and pardon us ( o u r ) s i n s .
He who l oves you al ways b e l i e v e s
( t h a t ) a l l t he w o r l d is as n o t h i n g ;
Hi gh and s t r o n g is h i s mi nd, more
t han t he f o r t r e s s i n whi ch ne has f a i t h .
0 t r u e T r i ni t y ,
o u t o f y o u r compassion
make our l o w l i n e s s be
e x a l t e d in e t e r n a l l i f e .
P A R T
THE
HOMILETIC
III
LAUDE
THE HOMILETIC LAUDE
It
cannot
represents
in t h is
be s a i d t h a t
a homogeneous gr oupi ng
s e ct io n are extremely
a r e sermons on
al
l ove,
of f i g u r e s .
death,
the d e s i g n a t i o n
varied
expressed
The r e ma i n i n g
j udge me nt ,
heaven,
for
in
laude
the f o u r hymns c o n s i d e r e d
In s t y l e
the most
two t r e a t
and h e l l ,
homiletic
of
and c o n t e n t .
Two
i n t e n s e and e mo t i o n ­
the
last
i n t he most
things,
of
realistic
fash i o n .
The f i r s t
its
of
t he e x h o r t a t i o n s
use of f i g u r e s
empl oyi ng sense
the c l o s e s u c c e s s i o n of
or a g a i n ,
savor,
intense
seen,
i mage.
felt,
As t h e
the f i v e
In e f f e c t ,
heard,
t ouched,
laude on
i mages.
warmth,
senses
God and
is n o t e w o r t h y f o r
One i s s t r u c k
such words as t a s t e ,
bitterness,
runs t he gamut o f
to c h a r i t y
smelI,
and c o l d n e s s .
in a t t e m p t i n g
by
and f e e l ;
The poet
t o p r e s e n t an
love become somet hi ng to be
and even s m e l l e d .
love t a k e us t o t h e h e i g h t
of
the a f f e c ­
t i v e e l e me n t
i n our m a n u s c r i p t ,
so do the two hymns on death
and judgment
reach t h e u l t i m a t e
in r e a l i s m .
as g r a p h i c as t he famed mosai cs
the
laude
speak
the r ava ges o f
" Dant esque" manner o f
soul may know; one t o
torture,
language a l mo s t
i n t he b a p t i s t r y o f F l o r e n c e ,
i s s ue g r i m r e mi nde r s o f
i n a l mo s t
In
t he t h r e e f i r e s
one to p u r i f y ,
enlighten.
303
death,
and
which t he
and one t o
304
Yet
entire
t hese f o u r ,
collection,
be en c ou nt e r e d
penitential
like
of
( o r any o f our
The
in
its
of
subject,
the a r t
of
laude
nature of
didactic
indeed,
remind
real­
But never does
depicted
t h e Bl ack D e a t h ,
in compos i t i o n ,
to teach
the
pr o o f
t h e hymns t han perhaps any o t h e r
intent
And whi le they do a t
serve we ll
f r om t h e ti me
p r e s e n t more c o n v i n c i n g
in t h e e n t i r e Co r t o n a m a n u s c r i p t .
skill
in any way
on t he macabre a s p e c t s
the period of
to
later
and even speaks
deat h on the body.
dwell
homi l e t i c
that t h e i r
verse.
dating
they
t he
later o r ig in .
the u t i l i t a r i a n
signed
less a r e
lauda on deat h does,
laude)
in t he hymns of
examples
of
those c o n f r a t e r n i t i e s
t he e f f e c t
These f o u r
of
And s t i l l
the u n i v e r s a l i t y of
so r e a l i s t i c a l l y
or
hymns of
removed from t he e x t r e me r e a I i s m
fratern ities.
of
t he most a f f e c t i v e
i n the hymns of f I age I I a n t i and o t h e r
the Bal ck D e a t h .
istically
it,
are f a r
t he songs o f
us of
admittedly
They a r e so de­
is ev ide nt
t i mes
they are
in every
l i n e of
r e p r e s e n t a h i g h e r degr ee
s i mp l e and v i v i d
illiterate
enough t o
peopl e f o r whom they were
i ntended.
For a l l
his
remai ned c l o s e
m a r k a b l e degr ee
l ack of f i n e s s e
to r e a l i t y
at
t i me s ,
t h e m e d i a e v a l man
and i n doi ng so r e t a i n e d
t h e sense o f
sin.
He u n d o u b t e d l y
1
C f . Example quoted
in V o l .
I,
pp. 6 4 - 6 5 .
to a r e ­
l ea r n ed w e l l
305
the
lesson t a u g h t
in
hi s
ownt he words o f
the s i m p l e songs he sang,
and coul d make
lauda X I I I ,
There seems t o me no g r e a t e r d e c e i t
than t o d e s i r e what is i m p o s s i b l e t o f i n d ;
and i t seems t o me t h e g r e a t e s t f o l ly
t o s t r i v e f o r the u n a t t a i n a b l e as does
t he soul whi ch is o u t s i d e the way.
He
b e l i e v e s t he wo r l d can f i l l him, and he
makes o f i t a new l aw. But t he w o r l d
cannot f o r i t i s i n f e r i o r .
Laudo XXXI I
MS 72 r - 82v
L i u z z i , 3 9 4 -4 0 3
306
R e fra in
J
1 4
J
Trop-
'
*
:::J
po p e r - d e ’ l
J
J -l
• ,
•
tern- po ke
1
:
1
1
ben non t • a-ma
"■ 1 1
2S I
■
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dolg'
*
a
a-
mor,
1 *
* ,
I e-
%
su,
ij.' \ J J
sovr'ogn'a-
a
•
I
a
*
i
mo-
a
re
•
1 •
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— J— —
HjetftT... 1 ----- aJ— - J -----f ----- wh— 5 h
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T
Amor, ki t ' a - ma non
tist a
00so,
A
a
a
> 1
a
a
a
1
a
.
"|
ft.
| 1
1
d '.'v tS *
■4 - . 1 .
[ m
.
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::d;
Ma t u t -
co-
me
*1.- i; « .
ta-
te
sor
A . .J
vi-
pos-
ve
sa
l
^
W"
de -
stre-
4
-
si-
cto
L .-J .. : . . . . . 1
r
de -
pi u
ro-
a-
so
ma-re;
307
*
Ke
tan-
ke
no I
sta
T
se n-
B
per
t i s-
B
se
fc u
cor
te
B
no I
.
sa-
prie
B
pot— l a - r e
fc
3
||l 3
4,
I
I
quant1
T he
la u d
ARE
HE RE
*
occurs
e
in
dolq'
numerous
RECONSTRUCTED
FROM
I
a
m a n u s c r ip t s
THE
MS
ARS.
gu-
.
M any
8521.
1
star
parts
of
lo
the
tex t
tuo
have
been
sa-
vo-
o b l it e r a t e d
r e,
and
308
Troppo p e rd e 'l
t em po k e ben non t ' a m a ,
dolg'am or,
lesu,
s o v r' ogn' amore./
72v
Amor,
ke
t'ama
non
sta
otioso,
t a n t o le par do I ge de t e g u s t a r e ;
ma t u t t a s o r v i v e de si der oso,
come t e possa s t r e c t o pi u a m a r e ; /
73n
ke t a n t o s t a per te
lo co r g i o i o s o ,
ke n o l - s e n t i s s e . n o !
seprie parlare
q u a n t ' e do I g ' a g u s t a r
lo tuo s a v o re .
Savor cui no si t r o v a s i mi I I i anga, •
0 l asso! lo mio cor poco t ' a s a g g i a ;
73v
n u ll'a ltr a
cosa non m 'e c o n s o l a n / g a ,
se t u t t o ' l
mondo a v e s s e e t e non a g i o .
0 d u lg 'a m o r , I esu,
in cui 0
sperange,
t u r e g i ' I m i o c o r ke da t e non c a g g i a ,
ma s e m p r e p i u r i s t r i n g a * I t u o d o l g o r e .
D o l g o r ke t o l l i
f o r g a ad ogni amaro
e t ogni
cosa m uti
in t u a d u l c e 5a;
questo
sanno li
sancti ke 'l
provaro
ke f e c i a r o d o l g e m o r t e
in amarigga;
ma c o n f o r t o l l i
el
dolce
latovare*
j • tj. e ,
1 \ 1f
1
di
l e s u , ke v e n s a r o g n ' e s p r e g g a ,
74 b
tanto/fosti
suave
in
li
10
15
20
Tor c o r e .
C o r c h e t e n o n s e n t e b e n po s t a r t r i s t o ,
lesO,
le tit ia
e t g a u d i o d e la g e n t e :
s o l a 90 non p o t ' e s s a r s e n c a C r i s t o ;
t a u p i n o c h ' e u non t ' a m o ben f e r v e n t e .
Ki f a r
potesse t o t t o ogni a l t r o a quisto,
e t te non a g i a , di
t u t t'd
perdente;
e t senga te s ir e b b e in a m a ro re .
74v
5
25
30
Amaro i n n u l l o core puo te s t a r e
cui
tua d olcega dona c o n d im e n to :
ma t u o s a v o r ,
le s u , non p d /g u s ta r e
ke
lassa te per a l t r o
intendemento.
Non sa ne pud lo cor t e r r e n o amare
35
s'
gran c e le s tia le deIectam ento:
non vede
lume, C r i s t o ,
in tuo splendo re .
75r
S p l e n d o r ke d o n i a t u t t o ' l m o n d o l u c e ,
amor,
I esj,
de l i a n g e I i b e l l e g a ,
c i e l o e t t e r r a per te se conduce
e t splende in t u t t e cose tuo f o r t e g a :
ognunque c re a tu ra *a te s'ad uce,
ma s o l o * I p e c c a t o r e l t u o a m o r s p r e g a ,
et partise de/te,
suo c r e a t o r e ^
40
309
He l oses too much t i m e , who does not
sweet l ove, Jesus, above ev e r y o t h e r
5
10
15
20
25
30
35
40
love you,
love.
Love, he who loves you is not i d l e ,
so sweet i t seems ( t o him) t o t ast e you;
but a t a l l t i mes he l i v e s d e s i r o u s o f
be i ng a b l e t o bi nd h i m s e l f c l o s e r t o l ove;
f o r t he h e a r t i s so j oyous w i t h you
t h a t he who does not f e e l i t cannot say
how sweet i t i s t o t a s t e of your s a v o r .
Savor w i t h whi ch nro o t h e r can compare,
a l a s , my h e a r t t a s t e s of you too l i t t l e ;
no o t h e r t h i n g is c o n s o l a t i o n t o me,
i f I had a l l t h e w o r l d and di d not have y o u .
Sweet l ove, J e sus , in whom 1 hope,
r u l e my h e a r t l e s t i t shoul d f a l l .
But al ways b i n d me c l o s e r t o your l o v e .
Sweetness which m i t i g a t e s e v e r y b i t t e r n e s s
and changes e v e r y t h i n g i n t o your sweet ness;
a l l s a i n t s who e x p e r i e n c e d i t know t h i s ,
t h e y who d i e d a sweet deat h i n t h e i r a n g u i s h ;
but you c o mf or t them w i t h ( y o u r ) sweet e l e c t u a r y ,
o f y o u r s e l f , Jesus, who c o mf o r t e d e v e r y h a r s h n e s s - so sweet you were i n t h e i r h e a r t s .
The h e a r t which does not f e e l you must be v e r y
sad, Jesus, gl a d n e s s and j o y o f a l l mank i nd.
Ther e cannot Be any s o l a c e w i t h o u t C h r i s t .
M i s e r a b l e am I who do not love you f e r v e n t l y .
He who coul d a c q u i r e e v e r y o t h e r t h i n g
and y e t does n o t have you. l oses e v e r y t h i n g ,
and w i t h o u t you he would be in b i t t e r n e s s .
No b i t t e r n e s s can e x i s t i n t he h e a r t
t o whi ch your sweetness g i v e s s p i c e .
He cannot t a s t e your s a v o r , Jesus,
who abandons you f o r o t h e r p u r s u i t s .
N e i t h e r can t he e a r t h - b o u n d h e a r t know
(how) t o love so h e a v e n l y a d e l i g h t :
He does not see the l i g h t , C h r i s t , i n your s p l e n d o r .
0 s p l e n d o r whi ch g i v e s l i g h t t o a l l t h e w o r l d ,
Jesus, l ove, b e aut y of t h e a n g e l s ,
heaven and e a r t h a r e gu i de d by you, and
your s t r e n g t h sh i ne s t hr ough in a l l t h i n g s .
Ever y c r e a t u r e i s br ought t o you, but
t he s i n n e r a l o n e d e s p i s e s your l o v e ,
and s e p a r a t e s h i m s e l f f r om you, hi s c r e a t o r .
310
C r e a t u r a humane, sc ognoscent e
45
s o v r ' o g n ' a I t ra t e r r e n e c r e a t u r a ,
comma t i puoi p a r t i r si per n i e n t e
dal t o * f a c t o r cui tu se' c r e a t u r a ?
Ei [ k e ] t i ch iama cusi emorosamente
che t o r n i a l u i , ma tu pur l i s t e i dura 50
et non Ji cura del tuo s a l v a t o r e .
S a l v a t o r e ke de la vergene n a s c e s t i ,
del tuo amor darne non t i s i a desdegno,
75v
kfe g r a n
segno/d'amor
a lor
ci
desti
quando per noi p e n d e s t i en sul lo l eg no .
Ne I I e tue sa nc t e magnef ci d e s c r i v i s t i
per noi s a l v a r e e t d a r c i lo tuo regno:
lege la tua s c r i p t u r e buon s c r i p t o r e .
76r
S c r i p t i sul s a n c t o I i bro de la v i t a ,
per tua p i e t i l e s u , ne r e p r e s e n t a :
la tua s c r i p t u r e i a non s i a f a l l i t a ,
el nome ke portem de t e non ment a.
La menta n o s t r a f a * di t e c c n d i t e
d u l c i s s i m o l e s u , si ke t e s e n t a /
e t [ s ] t r i c t e m e n t e * t ' ami con a r d o r e .
Ar d or e ke consumi ogni f r e d d u r a ,
[ e t ] purghi e t i l l u m i n i la mente,
o g n ' a l t r a cosa f a i p a r e r obscure
la qua I non vede t e p r e s e n t e m e n t e ;
e t gi amai [ s e non] t e c o amar non cure*
per non ce s s a r I ' a mo r da t e n i e n t e
e t non r e t e mp a r e I* da I tuo c a l o r e .
76/
Ca l o r , s' f a i I ' a n i m a l a n g u i r e
e t s t r u q g e r e lo cor di t e i n f l a m ma t o ,
ke non e l i n g u a k e ' I pot es se d i r e /
ne cor p e n s a r e , se noi I ' 5 p r o v a t o .
Oimfe l a s s o , famme t e s e n t i r e ;
r i s c a l d a lo mio cor di t e g e l a t o ,
ke non consumi in t a n t o f r e d d o r e !
Fr eddi p e c c e t o r i , e l gr ande f uoco
n e l l o i n f e r n o v' & a p a r e c h i a t o ,
se q u e s t o br eve tempo, k ' e si poco,
d' amor lo v o s t r o c o r non e s c a l d a t o :
pero c i a s c u n si s t u d i i n onni luogo
d' amor di C r i s t o e s s a r a b r a c i a t o
e c o n f o r t e t o del suave o d o r e . /
55
60
65
70
75
80
85
311
45
50
55
60
65
70
75
80
85
0 human b e i n g , more u n g r a t e f u l t han
e v e r y o t h e r e a r t h ly c r e a t u r e
how can you l e a v e , f o r n o t h i n g ,
the maker whose c r e a t u r e you ar e?
He c a l l s t o you so l o v i n g l y to r e t u r n
t o him, but you remain hard and
have no c a r e f o r your s a v i o r .
S a v i o r , you who were born of t h e v i r g i n ,
do not d i s d a i n t o g i v e us your l ove,
f o r you gave us a g r e a t s i g n o f love t hen
when you hung on t he cross f o r us.
In your h o l y hands you w r o t e i t i n o r d e r
t o save us and g i v e us your kingdom:
Read the w r i t i n g , good w r i t e r .
W r i t t e n i n the book of l i f e , out of
compassi on, Jesus, r e p r e s e n t us t h e r e .
Your s c r i p t u r e is n e ver i n e r r o r :
do not b e l i e the name we bear o f t h e e .
Our minds have been seasoned w i t h you,
s we e t e s t Jesus, so t h a t t h e y f e e l you
and earnest l y l ove you w i t h a r d o r .
A r d o r which consumes e v e r y c o l d n e s s ,
and p u r i f i e s and e n l i g h t e n s t he mind,
you make e v e r y o t h e r t h i n g seem obscure
which does not see your pr esence ( i n i t ) .
And he wi I I n e v e r t n i n k of l o v i n g anyone
but you.
Never wi I I he cease t o l ove you
and ne i s not t emper ed by your war mt h.
Warmth, you make the soul l a n g u i s h so much
t h a t you m e l t t he h e a r t i n f l a m e d by you,
( a nd) t h e r e is no tongue t h a t c o u l d t e l l , nor
h e a r t whi ch can i magi ne i t un l e s s he has e x p e r i e n c e d
A l a s , wr et ched me, make me f e e l you;
warm my h e a r t whi ch is so f r o z e n t owar ds you
t h a t i t be not consumed i n such c o l d n e s s .
Col d s i n n e r s , t he g r e a t f i r e
i n h e l l i s p r e p a r e d f o r you, i f in
t h i s s h o r t t i m e , whi ch is so b r i e f ,
your h e a r t is not warmed by l o v e .
T h e r e f o r e , each must do h i s utmost a t a I I
t i me s to be embraced by t he love of C h r i s t
and c o mf or t e d by h i s sweet f r a g r a n c e .
it.
312
77*
77v
78ii
Odor t r a p a s s i ogn * au I i mento,
l e s u , ke ben non t ' a m a f a gran t o r t o ;
chi non s e n t e e l t u ' odorament o
od i l l i b p u g e l e n t e od i l l i b m o r t o .
E' f i u me v i v o del de l e c t a me n t o ,
ke l e v i ogni f e t o r e e t dai c o n f o r t o ,
e t f a i t o r n a r e lo mor t o in suo v i g o r e .
V i go r o s a me n t e l i emorosi
bno q u e l l a v i a en t a n t a d o l c e j a ,
95
gust ando que I I i morsel li sevor os i
kb dona C r i s t o a que I I i k ' a n o s u a / c o n t e 5 a;
ke t a n t o sono suave e d e l e c t o s i :
ki bene I ' a s a g i a t u t t o
lo mondo despr ei j a,
e quasi en t e r r a perde suo s e n t o r e .
100
Sentiamoni, 0 p i g r i , 0 n e g l i g e n t ! ,
[ e ] b a s t a ne e l tempo c ' a g i a m o p e r d u t o .
O i ' me l a s s o , quant o siamo s t a t i sc ono s c e nt e ,
c ' a l p i b c o r t e s e non avi amo s e r v i t o
[ c u l u i ] ke ce [ n e ] e n p r o m e t t e c e l e s t i a l e p r e s e n t e .
A cui I ' i m p r o m e t t e gi b no I ' a f a l l u t o ,
e ki lui ama l i s t a n e / b u o n o s e r v i d o r e .
S e r v i r e a t e , lesu mi ' omorosa,
piu [ s u o v ' e ]
ke nul a l t r o d e l e c t o ;
[ non pub saper chi di t e st a o t i o s o
q u a n t ' b do I $e ad amar t e con a f f e c t o : ] *
Gemai el cor e non t r o v a a l t r o r i p o s o
si non se en t e , l e s u , amor p e r f e c t o ,
ke de l i t u o i s e r v i s e ' c o n s o l a t o r e .
78»
90
Con s o l a r e n o n pb t e r r e n a cosa
I ' a m i n a k ' e f a c t a a t ua sembl an 9 a:
p i u ke t u t t o ' I mondo b p r e t i o s a
e nobi le sopre ogni a l t r a s u s t a n t i a ;
e s o l o t u , l e s u , li pbi da r e posa
e r i m p i e r e sua b a s t a n c a ; /
e m p e r c i b ke tu se' s o l o suo m a i u r e .
110
115
120
M a i u r e engano non me pare ke s i a
ke de v o l e r e , q u e l l o ke non se t r o v a ,
[ e t par e s o v r ' o n g n i a l t r a gr an f o l l i a
di quel che non pub e s s e r e f a m e p r o v a ; ] *
125
como [ f a ] I ' a n i m a k ' e f u o r e de la v i a ,
c r e d e k e ' l mondo I ' e m p i a e f a r e ne v o l e lege nova
ma non p o t ’ e s s a r e , k £ ' I mond'e m i n o r e .
105
31 3
90
95
100
105
110
115
120
125
0 f r a g r a n c e which sur passes e v e r y pe r f ume,
Jesus, he who does not love you s i n s g r e a t l y ;
He who does not smel l your f r a g r a n c e ,
i s e i t h e r dead or he is c o r r u p t .
I t is a l i v i n g r i v e r of d e l i g h t which
washes away e v e r y s t enc h and g i v e s c o m f o r t ,
and makes the dead r e t u r n in hi s v i g o r .
V i g o r o u s l y the l o ver s have ( chosen)
t h a t way in so much sweet ness,
tasting those s a v o r y mor sel s whi ch
C h r i s t gi v e s t o t hose he e n l i g h t e n s :
They a r e so sweet and d e l i c a t e t h a t Iv
who t a s t e s them w i l l despi se a l l t he w o r ’ d
and a l mo s t lose h i s senses on e a r t h .
L e t us t a s t e o f i t , 0 l a z y and n e g l i g e n t ,
f o r we have wast ed enough ti me h e r e .
A l a s , how u n g r a t e f u l we have been, who
have not s e r v e d t h a t most c o u r t e o u s one
who promises us h i s c e l e s t i a l g i f t s .
To whom he promi ses i t he never f a i Is ( t o g i v e
and he who loves him remains a good s e r v a n t .
it)
To s e r v e you, J e sus , is my d e l i g h t ,
more sweet-than any o t h e r p l e a s u r e ;
he who is i d l e cannot know how
sweet i t is t o love you w i t h a f f e c t i o n .
Never can the h e a r t f i n d o t h e r repose
i f not in you, Jesus, p e r f e c t l ove,
who a r e the c o n s o l e r of your s e r v a n t s .
No e a r t h l y t h i n g can consol e t he soul
whi ch i s made t o y our l i k e n e s s :
I t is more p r e c i o u s than a l l t he w o r l d ,
and n o b l e r t han any o t h e r s u b s t a n c e ;
and you a l o n e , Jesus, can g i v e i t
r epose and f u l f i l l i t s needs;
because onl y you a r e g r e a t e r t han i t .
Ther e seems t o me no g r e a t e r d e c e i t
t h a n to d e s i r e what is i m p o s s i b l e t o f i n d ,
and i t seems t o me t he g r e a t e s t f o l l y
t o s t r i v e f o r t he u n a t t a i n a b l e , as does
t h e soul which is o u t s i d e the way.
He b e l i e v e s t h e w o r l d f i l l s him, and he mokes o f i t
a new law.
But i t cannot be, f o r t he w o r l d is i n f e r i o r .
314
79r
M i n o r o r e se v o l e el cor e v i I l o n o
l<e del mondo se kiomo c o n t e n t o ;
v o l e r e t o , l e s u , amore sovrano
co mb i er e e' I l o t e r r e n o e n t e n d e m e n t o : /
ma se lo suo p o l o t o f o s s e sano
a g u s t e r e si [ a ] gr an d e I e c t e m e n t o ,
s o v r ' o g n * a I t ro s i r e s t e lo m e g l o r e .
130
135
Me q l o r e cosa de t e , [amor l e s u , ]
n u l l a mente non po d e s i d e r e r e :
e mpe r i c o dovarebbe e l core con t e co l a i s u
T ma i ] sempre col la mente c o n v e r s e r e ;
[ e t ] onn? c r e a t u r a de quegi u
140
p e r lo t uo amore, [ e ] n i e n t e r e p u t a r e ,
e t sol o t e pensare, do l ce s e g n o r e . *
79v
80r
S i g n o r e . ke t e v o l e da r e la mente pura
non te dea dare a ! t r a / c o m p a g n i a :
spesse f i a d e per la t r oppo cura
la mente da t e se desvega e si d i s v i a .
D o l c e ' e [ o d ] amare lo c r e a t u r e
ma’ I c r e a t o r e p i u d o l c ' e ke mai s i a :
e mpe r c i o se dee temer cum gran t r e m o r e .
145
Tremore e g i l o s i a p o r t a la mente
150
ki ben t ’ ama, e ' m p e r i c o ke non t e d e s p i a c i a ,
p a r t e s e da t u t t o * I ' a l t r e gent e
e s o l o t e , l e s u, ei suo c o r e o b r o c i a :
[ e t ] onni c r e a t u r e e per n i e n t e
en ver so lo b e l l e c o / d i tuo f o c c i o ,
155
t u ke d ’ ogne b e l l e c o s e ’ f o c t o r e .
Fame s o l o t e , l e s u , per p e n s a r e *
ed o g n ' o l t r o p e n s i e r o dal mio c o r e scoci o?
en t u t t o quest o mondo i o non posso t r o v o r e
c r e a t u r e ke me s o t i s f o c i o .
160
0 dul ce l e s u , fomme t o amore
e donome g r a t i a k e ’ I mio amore t e p i a c i o
t u ke d ' o g n e g r a t i a s e ' d a t o r e .
80v
Dame t a n t o amor, l e s u , de t e ke me bo s t i
ad amore quanto i o / s o ’ t e n u t o :
per lo gr ande pr eco ke per me pogest i
pe r me do voi s i a r e c o n u s c i u t o .
0 d u l c e c r e a t o r e , quant o m’ o b l i g a s t i
od amare p i u k ' e o non o p u t u t o
ne non posso, senca voi c o n f o r t o t o r e .
165
170
31 5
130
135
140
145
150
155
160
165
170
The v i l e h e a r t which d e c l a r e s i t s e l f c o n t e n t
w i t h t he wo r l d , wants t o d i m i n i s h i t s e l f ;
t o want you, Jesus, sovereign l ove, ( i s )
t o change the e a r t h l y u n d e r s t a n d i n g :
But
were hi s p a l a t e h e a l t h y enough
t o t a s t e of such d e l i g h t , above e v e r y
o t h e r you would s a t i s f y him b e s t .
No b e t t e r t h i n g t han you,
Jesus, can man d e s i r e :
T h e r e f o r e the h e a r t shoul d al ways
m e n t a l l y commune w i t h you in the h e i g h t s ;
and e v e r y c r e a t u r e he r e below, f o r
love of y o u - i s r e p u t e d as n o t h i n g ,
and o n l y t h i n k s o f you, sweet l o r d .
Lor d, he who wants to g i v e you a pure mind
must not be g i v e n t o o t h e r company:
O f t e n t i m e s because o f too much wor r y the
mind is sever ed f r om you and led a s t r a y .
I t is sweet t o love a c r e a t u r e , but b e t t e r
s t i II t o love t he s we e t e s t c r e a t o r who i s .
T h e r e f o r e we must t r e m b l e w i t h g r e a t f e a r .
The mind which l oves you w e l l l i v e s in
f e a r , Jeal ous o f d i s p l e a s i n g you e v e r ,
it flie s
f r om a l l manki nd, and embraces
you a l o n e , sweet Jesus, in i t s h e a r t .
And e v e r y o t h e r c r e a t u r e count s f o r n o t h i n g
in compari son w i t h t he beaut y of your f a c e ,
you, who of a l l be aut y a r e t he maker .
Make me t h i n k of you o n l y , Jesus, and
ex pe l from my h e a r t e v e r y o t h e r t h o u g h t ;
in a l l t h i s wo r l d I cannot f i n d
a ( c r e a t u r e which s a t i f i e s me.
0 sweet Jesus, make me love you and g i v e
me t h e gr a c e t h a t my love may p l e a s e you,
you, who o f a l l g r a c e s a r e t n e g i v e r .
G i v e me so much love f o r you, Jesus,
t h a t I may love you as I am l o v e d .
May the g r e a t p r i c e which you have pai d
f o r me be f u l l y a p p r e c i a t e d by me.
0 sweet c r e a t o r , you have o b l i g e d me to
l ove you so much more t han I e v e r c o ul d
or e v e r can w i t h o u t you, 0 c o m f o r t e r .
316
81r
81v
C o n f o r t o lo mio core ke per t e l anguesce
ke sencg t e non v o l e a l t r o c o n f o r t o .
Oi
l asso, p i g de gi uno endebe I es ce, *
el cor e ke tu non pasci e l v i v e m o r t o ;
ma se de lo t u o / e m o r e o s a g i a s s e , r e v i v i s c e ,
ed o r me a i u t e * , amore, en quest o p o r t o ,
t u ke se* sopra ogne a l t r o a i t a t o r e .
A i t a m e , amore, c h ' e 1 non p e r i sea;
amore d o l g e , ke per amore i o t ' ado ma ndo ;
pr &got e ke * I t uo amore non me f a l l e s c e ,
180
r ece ve I? mi ei s u s p i r i ke i o t e mando:
se t u v o I i ke i o per t e l anguesca,
f a * ke me p i a c i a , k ' i o vo I I i o m o r i r e amando
per lo tuo a m o r e , / 0 do I ge r edempt or e .
Redemptore, quest o £ n\i o v o l e r e
d ' a m a r t e e de s e r v i r e quant o i o p o t e s s e :
0 dulce C r i s t o , debia te piacere
k e ' I mio cor e del t uo amore s ’ empi sse;
quel la o r a f a i lame veder e
ke t u , l e s u , i I mio core t e g n e s s e ,
e de me f o s s e c i b o p a s c i t o r e .
82«
82v
175
Pesceme, 0 pane c e l e s t i a l e ,
e d ' o g n ' a l t r a cosa fame e n f a s t i d i r e ;
0 c i b o de v i t a s e mpr e* e t e r n a l e ,
ke b e n / t ' assegg i a ma i o non pS m o r i r e
famme qu est o dono s ^ e t i a l
k ' i ' t e [ d o l g e ] * l e s u , posse s e n t i r e
e t per p i e t e n g a , 0 l a r g o d o n a t o r e ,
Doname del tuo amore d e s i d e r a t o ;
del t u o do I ce amore famene a s e g i a r e ;
desopra ogne a l t r o c i b o e d e l i c a t o ,
e t u t t o ' l mondo voI I i o d e g i u n a r e .
La lengua ke I ' a s a g g i a in lo p a l a t o
I a c t e / e t me I I e f * l i d i s t i I I a re
e r e n o v a r e lo mente cum f e r v o r e .
F e r v e n t e amore !e d a i , l e s u ,
ki c a n t a lo d e l e c t o di si grande a l t e g a :
e f f i n e ki v i v e in t e r r a de quo giO
t u r e g i la suo v i t a en gr an n e c t e g a ;
so l og o l i da! de t e , l e s u ,
e poi l i doni g i o i a de la tua cont ega
e r egna t e c o t u t t e I ' o r e .
190
195
200
205
210
Comf or t my h e a r t which l a ngui she s f o r you,
which w i t n o u t you wants no o t h e r c o m f o r t .
A l a s , more f a s t i n g weakens me, and t he h e a r t
whi ch you do n o t n o u r i s h i s l i v i n g i n d e a t h .
But i f i t t a s t e s y our l ov e , I t r e v i v e s ,
so now h e l p me, l o v e , t o t h i s p o r t o f r e s t ,
you who o r e above e v e r y o t h e r h e l p e r .
H e l p me, l o v e , so t h a t I may not p e r i s h ;
sweet l ove, I ask you ( t h i s ) out o f l o v e .
I pr ay you t h a t y our love ne v e r f o i l s me,
and you r e c e i v e my s i ghs t h a t I send you.
I f you wont me t o l a n g u i s h f o r you,
moke i t p l e a s e me t o wont t o d i e l o v i n g
you, l ov e , 0 sweet r e de e me r .
Redeemer, t h i s i s my w i l l , t o l ove
you and s e r v e you os much os I con:
0 sweet C h r i s t , i t must p l e a s e you t h a t
my h e o r t be f i l l e d w i t h your l ove;
Now moke me see t h a t you, dear
J e s u s , h o l d my h e o r t — and must be
to me a g i v e r o f n o u r i s h m e n t .
Feed me, 0 c e l e s t i a l b r e a d , and
moke me weary o f e v e r y o t h e r t h i n g .
0 f o o d o f e t e r n a l l i f e , he who
t a s t e s o f you w i l l n e v e r d i e .
G i v e me t h i s s p e c i a l g i f t , t h a t
1 con f e e l you, sweet J e sus .
Out o f compassion ( b e ) a g r e a t g i v e r .
G i v e me your d e s i r e d l ove;
Moke me t a s t e o f your sweet l o v e .
I t i s more d e l i c a t e than any o t h e r f o o d .
From a l l o t h e r w o r l d l y f o od I wont t o f a s t .
The tongue whi ch t a s t e s you on i t s p a l a t e
has mi Ik and honey d i s t i l i e d t h e r e
and has t he mind renewed w i t h f e r v o r ,
J e sus , g i v e t o them a f e r v e n t love
t o s i n g t he d e l i g h t o f such g r e a t h e i g h t :
And os long os he l i v e s he r e on e a r t h
r e g u l a t e his l i f e with gr ea t p r o p r i e t y .
G i v e them s o l a c e o f y o u r s e l f , J e s u s , and
t h e n g i v e them t he j o y o f your knowl edge
i n o r d e r t o r e i g n w i t n you a t e v e r y h o u r .
31 3
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DOES
THE
so,
OF
TH E
C A P F IN IO A
R E F R A IN ,
S+omme a l l e g r o e t l a t i o s o /
quest o mondo d e l e c t a n d o :
ma ' I i u d i c i o r i menbr ando
s t o d o l e n t e e paur oso.
Pauroso £ di f a Manga
quest o/ mondo pi en d ’ e r r o r e :
signor, f e i t e
penitentia
ke s ' a p r o c c i a ' I g r a n d ' e r r o r e :
k e ' I n i mi c o a r & ’ l v a l o r e ;
ci.6 f i e a la f i n e del mondo, /
ke ci ascum s i r a remondo*
d ' e s t o di l e c t o f e t o r o s o .
Fetoroso* foco et m a r + i r i o
g i u de l o ' n f e r n o s a l i r a ;
un a l t r o del p u r g a t o r i o ,
lo t e r g o da c i e l v e r r a :
lo pri mo l i dampnati a r d a r a ,
I ' a l t r o purgar& ke f i e s a l v a t o
e t per lo t e r g o f i e p u r q a t o
t u t t o ' I mondo l u m i n o s o . /
Luminosi spl endfenti
a n g e l i da c i e l v e r r ^ n o ;
le c o r p o r a de la g e n t e
t u t t e quant e r i f a r a n n o :
a l t r i cum tube sonando
d i r a n n o ai m o r t i : " S u r r e x i t e !
d i n a n g i al i u d i c e v e n i t e
di r e n d e r r a s c i o n d ’ o g n ' o t i o s o
0 [ t i o ] s a me n t e s u s c i t a t i
se r anno quasi in un momento
in duo p a r t i r a u n a t i , *
per a u d i r lo p a r l a m e n t o .
Quei c ' a n d r a n a dannamento
s t a r a n in t e r r a a man s i n i s t r a
le i u s t i s t a r a n n o a d e x t r a
cum t i / m o r mar aveI I i o s o .
M a r a v e l l i o s o con f e r v e n g a
quando v e r r £ a i u d i c a r e
con a n g e l i c a sequenga,
C r i s t o s t e r £ in su n e l l ' a i r e :
non f i e si i u s t o ke t r e m a r e
non f a c i a quando d a r i s e n t e n t i
k? no l i a v a r a f a c t 1u b i d i e n t i a
duvraro benessar e t i m o r o s o .
322
I am happy and c o m f o r t a b l e
d e l i g h t i n g in this world:
But remembering t h e judgement
I become s o r r o w f u l and a f r a i d .
5
10
15
20
25
30
35
40
F e a r f u l ( i t ) is of f a i l u r e ,
t h i s wor Id f u I I o f e r r o r :
Do penance, s i r , f o r g r e a t
e r r o r i s a p p r o a c h i n g , and
the enemy wi I I have power
which w i l l be at t h e end of the w o r l d .
Then each wi I I be c l e a n s e d
of t h i s f e t i d d e l i g h t .
F e t i d f i r e and t o r t u r e wi I I
ascend from the i n f e r n o below;
and a n o t h e r from p u r g a t o r y , end
a t h i r d from heaven w i l l come:
The f i r s t wi I I burn the damned,
the o t h e r wi I I p u r i f y t h a t hemay
and t h e t h i r d wi I I p u r i f y and
enlighten a l l
the w o r l d .
be saved,
B r i g h t and s h i n i n g an ge l s
wi I I come f r om he ave n;
They w i l l renew a g a i n
the bodi e s o f a l l t he p e o p l e .
O t h e r s , sounding t r u m p e t s ,
wi I I say to the de a d :
"Arise!
come b e f o r e the j u d g e and r ender
an account o f your i d l e n e s s . "
You ar ouse t he i d l e ones and
i n a moment they wi I I f i n d
t h e i r two p a r t s r e u n i t e d
in o r d e r to hear t h e j udgement .
Those who w i l l go t o damnation
wi I I be in t h e e a r t h at t he l e f t hand,
and t h e j u s t w i l l be on the r i g h t
wi th t e r r i b l e f e a r .
A mi r a c le o f f e r v o r (he wi I I
work) when he wi I I come t o judge
w i t h t h e a n g e l s f o I lowing him.
C h r i s t w i l l be up i n t he c l o u d s .
He does not make t h e j u s t t r e m b l e w i t h
f e a r when he w i l l g i v e s e n t e n c e :
Those who wi I I not have been o b e d i e n t ,
t hey w i l l have to be f e a r f u l .
323
Ti morosa pi e+anqa
la corona f i e a v e d e r e ,
la c r o c e , i c h i o v i e t la l a n c i a ,
co* ' i pa t i gran m a r t i r e ,
I ' a c e t o e ' I f e l e k ' e b b e a bere
che i f o / d a t o co I I a s p o n g i a ,
quando in cr oce f e c e pugna
per noi m i s e r i c o r d i o s o .
86»
Mi s e r i c o r d i o s o non g i d ,
ma s i r a c i a s c u n m e r i t a t o ,
secundo ke s e r v i t o a v a r d
la u ' I bene e ' l male f i e r e t r o v a + o .
Chiamar& quel dal d i r i c t o l a t o :
"Del mio padre b e n e d e c t i ,
voi ke s e t e puri e t n e c + i ,
v e n i t e a regno d e l i t i o s o . "
7
F a it e -
Cf .
11
RENO RO O -
13
MS
31
R auhati
RE A D S
IV , 3.
L IT E R A L L Y A E -C IE A R S E D
'F E T O S O '
-
f r o h
' raurare*
45
50
55
60
324
45
50
55
60
Wi +h f e a r f u l compassion
t he crown w i l l be seen
t he c r os s, t he nai Is and the l a n c e ,
w i t h the s u f f e r i n g s o f the g r e a t m a r y t r ;
the v i n e g a r and ga II which ne had t o d r i n k ,
whi ch were g i v e n t o him on a sponge,
when on the cross he f o u g h t the f i g h t
out of mercy f o r u s .
Not o n l y w i l l he be m e r c i f u l , ( b u t )
each one w i l l r e c e i v e hi s rewar d
a c c o r d i n g t o the way he wi I I have
served,
t h e r e where good and evi I is r e w a r d e d .
He wi I I c a l l to t hose a t h i s r i g h t
s i d e , " Bl e s s e d of my f a t h e r ,
you who a r e pure and c l e a n ,
come t o the d e l i g h t f u l ki ngdom. "
Lauda XXXIV
MS 8 5 v - 8 8 v
L u i z z i , 409-413
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C A F F I N I DA W I T H
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AT
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END
Oi m£ l a s s o , e f r e d d o lo mio c o r e , /
ke non s o s p i r i t a n t o per amore
ke tu mor i sse?
M o r i r e d o v a r e s t i , f a Iso sc onosc ent e
vi I l ano, c i e c o , p i g r o e n e g l i g e n t e , /
ke per amor non v i v e f e r v e n t e
si ke I angu i s e e .
L a n g u i s c i r i p e n s a n d o la t u a n o i a ,
kfe de I ' a mo r e l esu t ' e t o l t a g i o i a ;
pr ego, cor mio, la mia v i t a c r o i a *
pi
non segui sse .
Secjuita I ' a mo r ke po v a l e r e
pi u ke t u t t o ' I mondo a p o s s e d e r e : /
s o t i l l i a t e , cor mi o, a ben v i d e r e
o r non f a i I i sse .
F a l l i r , cor mio, spesso t e r e t r o v o
se de I ' a mo r [ mi o3 lo d e s i d e r i o t r o v o
s' t u d e ' pensar lui e s s e r pena provo
o r no ' n d ' o s c i s s e . *
U s c i r ne c o n v e r r e a d ' e n t r ' a la gent e
e r e s t r e q n a r t u t t o e n e l l a mente;
de t u t o ' l mondo non p a r l a r e n i e n t e
e t n o ' nde udi s s e .
Odi e i n t e n d e , be I mio c o r e ;
a c o n c i a t e * a gaudere de I ' a m o r e ;
v o r r e a ke/ Deo pensar e a t u t t e I ' o r e
ma i o non f e n i s s e .
Fi ne pon a la tua sconosceni j a,
a la t ua gr an p i g r i t i a e t n i g l i g e n t i a
v o r r e a ke de I ' a mo r e obedi enga
non t e p a r t i s s e .
P a r t e t e da ogne ent endement o
ke non t e
dar se non per dement o:
f a r a t t e s t a r e I ' a m o r e de se c o n t e n t o ,
se I ' obed i s e e .
327
A l a s , wr e t c he d me!
My h e o r t is c o l d .
Why do you not si g h so much out o f love
t ha t you di e?
5
10
15
You shoul d d i e , f a l s e , u n g r a t e f u l
v i l e one— b l i n d
andn e g l i g e n t .
Why do you not l i v e so f e r v e n t l y
t h a t you langui sh?
and
Langui sh ponder i ng your w e a r i n e s s , because
Jesus has t a ken f r om you t he joy o f l o v e .
I beg o f you, my h e a r t , do not f o I low anymore
th is crueI l i f e .
F o l l o w the love which can have more v a l u e
t han t h e possessi on o f a l l t he w o r l d :
Become a c u t e , my h e a r t , i n o r d e r t o see w e l l
t h a t you do not f a i I now.
O f t e n I f i n d you f a i l i n g , my h e a r t ,
whenever 1 f i n d the d e s i r e of l o v e .
I e x p e r i e n c e pai n i f you must wo r r y about
May i t now l eave me.
20
25
30
35
it.
We had b e t t e r go out among the peopl e
and keep e v e r y t h i n g in our mi nds;
Do not speak a n y t h i n g about t he w o r l d and
you wi I I not hear of i t .
Hear and u n d e r s t a n d , 0 my b e a u t i f u l h e a r t ;
prepare y o u r s e l f to
e n j o y l ove;
I s h ou l d l i k e to t h i n k of God a t a l l t i m e s .
May i t n e ver e n d .
Put an end t o your i n g r a t i t u d e ,
t o y o u ^ g r e a t l a z i n e s s and n e g l i g e n c e :
I sh ou l d want nevermore t o p a r t
fr om t h e obe d i e nc e o f l o v e .
D e p a r t from a l l u n d e r s t a n d i n g whi ch
can g i v e you o n l y da mnat i on:
Love wi I I make you remai n c o n t e n t ,
i f you obey i t .
so
323
Obedesce e s t a ' a p a r e c h i a t o
a l grand'amore, l e s i d e s i d e r a t o :
se v i e n e / n o n s i a pi u da te c a c i a t o ,
e ' non f u g i s s e .
88*
Fuge, c.or mi o, ke se* messo en c a c i a ;
la carne e ' l mondo e ' l d i a v o l o t e mena cci a:
ma p o r g a t e I ' a mo r l e s u li b r a c c i a ,
ke non per i sse .
P e r i r e p o t a r e s t i si non se' def eso
d a l gr ande amore l es u da cui se' a t e s o :
v 8 l t a a b r a c c i a r e e s t a en c r o c e d e s t e s o ,
s ' a lui v e n i s s e .
88v
V i e n n e , cor mi o, andiamone a la c r o c e :
sospi ra e pi ange et lassa s i / g r a n d e boce
ke f enda el polmone e n f i n e a la f o c e
e t r a n s m o r t i sse .
T r a n s m o r t i s c i , cu or e, e v a ' g r i d a n d o ;
e pure amore amore amore amando,
ke no l ' 3 i puremente amato v a ' d o l o r a n d o ,
e p a r t u r i see
(?)
10
1 8-19
Cnoi
T he
a
- X III
m e a n in g is
25
A C O N C IATE
33
MS REAOS KE
-
40
, 45
50
55
f o r 'C ruoa*
very
FROM
obscure
and
A C C O N C I ARE -
translation
XI I I
-
do ubtful.
here
'A O A T T A R E ,
NON TE FODARA SE NONE PERDEMENTO.
A C CO M O O AR E1
THE CORRECTION IS L l U Z Z l ' S
32?
Be o b e d i e n t and r emai n p r e p a r e d f o r
( t h a t ) g r e a t l ove, t he d e s i r e d Jesus:
I f he comes you must no l onger chase him away,
and do not f l y from hi m.
40
45
50
55
F l y , my h e a r t , which is sent on t he hunt :
The f l e s h , the wo r l d and the d e v i l menace you:
But p u r i f y y o u r s e l f and embrace t he love of Jesus
t h a t you do not p e r i s h .
You c o ul d p e r i s h i f you do not d e f e n d y o u r s e l f
w i t h the g r e a t love of Jesus, by which he a w a i t s you .
He wants t o embrace you and is
l y i n g on the cr oss
i f you come t o hi m.
Come, my h e a r t , l e t us go to t h e c r o s s :
Si gh and weep, and e m i t such a
loud cr y t h a t
i t may c l e a v e your lungs even t o t he mo u t h - and be s t u n n e d .
Swoon, my h e a r t , and go s h o u t i n g a l o u d ;
and go l o v i n g , l ove, l ove, l o v e - because you have not loved p u r e l y .
Now s u f f e r and g i v e b i r t h .
Lauda XXXV
MS 8 8 v - 9 0 r
L i uz z i , 4 1 5-417
330
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AND T E X T BOTH OCCUR IN MAGL1 * AND THE TEXT ALONE IN MSS MaGL2 * F l O R . . A R E T .,
r s . , and P is .
The MISPLACED CLEF ON THE FIFTH SYSTEM OF THE MANUSCRIPT IS CORRECTED
BY MEANS OF ANALOGY WITH THE SAME MELODY IN THE REFRAIN.
THE CLEFS ON THE FIFTH AND
SIXTH SYSTEMS SHOULD BE ON THE FOURTH LINE RATHER THAN THE THIRD.
THE WORD *VOLE* OF
THE OPENING LINE CONTAINS ONLY ONE NOTE. LlU ZZI BELIEVES THAT THE FINAL " E * WAS DROPPED
IN SINGING - HENCE IT IS INDICATED IN BRACKETS HERE. MISSING NOTES HAVE BEEN SUPPLIEO
BY ANALOGY.
i
HE M E L O D Y
331
Ch i v o l [ e ] lo mondo d e s p r e g g a r e
sempre la mor+e dee p e n s a r e . ?
89*
La mor +e e
runpe mure
el la £ [ n e l
le n e u n f o j
89v
Tu++a ge nt e cum t r e m o r e
v i v e sempre cun gr an t i m o r e ,
e m p e r c i i ke son s e c u r i
dl passar per ques+o ma r e .
f e r a * e dura e f o r + e ,
e passa p o r + e ;
si comune sor + e
ne pd c a m p a r e . /
10
Papa coI Io * nper ador i ,
c a r d i n a l i e gran s i g n o r i ,
i us+i e+ sanc+i e+ p e cca +o r i
f a la mor+e r a g u a l l i a r e .
La morte v i e n e come f u r o r e ,
spogl a l*omo come l a d r o n e ,
s a + o l l i e+ f r e s c h i f a d e g i u n i *
e la peI Ie remu +ar e
90f<
Non r e c e v e donamen+e,
le r e c h e g e / & per n i e n +e:
ami ci non v o l e ne pa r e n+ i
quando v i e n e a l s e p a r a r e .
Con+ra l i e i non v a l e f o r + e g g a ,
se pi e nga rie b e l l e g g a
+ u r r e n£ pal aggo ne gr endegga ;
+u++e le f a a b a n d o n a r e .
A I ’ omo k ' & r i c c o e bene a s c i a + o *
a I ’ u s u r i e r i l<e ma I f o na + o,
mol+o e amaro ques+o dec+a+o,
ki non se v o l e e m e n d a r e . /
' f ie r a ' - W
15
20
25
30
3
F era -
17
S a t c l l i e t f r e s c h i fa d e g i u n i - T he l i t e r a l m e a n i n g see ms to b e * t h a t whether
a
HAN BE BIG AND ROTUND OR SMALLAND DELI CATE , DEATH STRIKES THE SAME BLOW TO ALL
il d
be as t
WITHOUT EXCEFTION.
27
ASCIATO -
FROM X t l l , ASCIARE “
TO BE SAD, SORROWFUL
IN ALL THOSE WORDS WHICH CONTAIN A DOUBLE ”z" SOUND, THUS ’ 5 5 ' , ONLY THE SECOND ' C '
GIVEN A SEOILLA IN THE MANUSCRIPT* THUSt
'C ;'
IS
332
He who wants to d e s p i s e the w o r l d
must al ways t h i n k o f d e a t h .
5
10
Dea t h is f i e r c e , i s ha r d ,
and s t r o n g .
I t br eaks w a l l s
and passes t h r o ugh d o o r s .
I t is
a common f a t e which no man e x c a p e s .
A l l men I i ve a I ways in
g r e a t f e a r and t r e m b l i n g
s i n c e they a r e c e r t a i n of
passi ng t hrough t h i s s e a .
The pope and t he e mpe r o r s ,
c a r d i n a l s and g r e a t l o r d s ,
j u s t and s a i n t s and s i n n e r s ,
a r e a l l made e qual i n d e a t h .
15
20
25
30
Deat h comes w i t h f u r y and
despoi Is man l i k e a t h i e f .
I t s t r i k e s g r e a t and sma l l a l i k e
and causes t h e s k i n to change.
I t a c c e p t s no g i f t ( w h a t s o e v e r ) ,
and c o n s i d e r s r i c h e s as n o t h i n g .
N e i t h e r f r i e n d s nor r e l a t i v e s does
want when the s e p a r a t i o n comes.
it
A g a i n s t I t t h e r e i s no
s t r e n g t h , nor b e aut y nor wisdom;
no t o w e r , nor p a l a c e nor g r a n d e u r .
I t causes a l l t o be abandoned.
To t h e
to t he
and t o
t h i s is
man who i s r i c h and w e l l o f f
u s e r e r who was i I I f a t e d ,
him who does not want t o r e f o r m ,
a ve r y b i t t e r s a y i n g .
P A R T
THE
LAUDE
IV
TO THE S A I N T S
THE LAUDE TO THE SAINTS
Unlike
so r i c h
a very
fourteenth
i n hymns t o
limited
Testament
that
are,
the
widely
life
is
of
diffused
If
iaude.
the o n l y
saints
It
i n Lauda X V I ,
is t h e r e f o r e a l l
is
fiqures
that
Scripture
a seemi ngl y
in
exception
i n t e r r u p t e d account
of A l e x a n d r i a whose c u l t
was
the M i d d l e Ages,
or John t he E v a n g e l i s t
whereas those
l eg en d.
the
from the New
single
the hymns honor i ng such c e l e b r a t e d
as John the B a p t i s t
only
chosen t o be honored
w i t h one e x c e p t i o n ,
Saint Catherine
in
It
one g e n e r a l i z a t i o n may be made r e g a r d i n g
this:
popular
such
the Cor t ona codex c o n t a i n s
or F r a n c i s c a n s a i n t s .
whi ch i s met f i r s t
of
I a uda r i o m a n u s c r i p t s which a r e
the s a i n t s ,
number of
more s i g n i f i c a n t
t he c o l l e c t i o n
century
to the o t h e r
biblical
I aude
it
figures
a d he r e c l o s e l y
saints
The two hymns t o F r a n c i s
these
to
lean heavi ly upon
exhibit
a fam iliarity
V e n e r a t i o n o f C a t h e r i n e began e a r l y in t he Ea s t but her
c u l t was not i n t r o d u c e d i n t o t he West u n t i I t he e l e v e n t h c e n t u r y .
P r a c t i c a l l y n o t h i n g is known o f he r l i f e w i t h c e r t a i n t y , but
t h e r e have been h i g h l y f a n c i f u l and u n r e l i a b l e legends which
were t o a g r e a t e x t e n t r e s p o n s i b l e f o r he r ex t r eme p o p u l a r i t y
i n the M i d d l e Age s.
The degr ee o f ner v e n e r a t i o n i s a t t e s t e d
by the f r e q u e n c y w i t h whi ch she appear s i n m e d i a e v a l i c o n o g r a p h y .
She may be f ound i n the p e r i p h e r y o f n a t i v i t y scenes n e a r l y as
o f t e n as such w e l l loved me di a e v a l f i g u r e s as F r a n c i s and D o m i n i c .
dria,
C f . S c h r e i b e r , D i e Leqende des he i I i qe Ca t h e r i ne von A l e x a n ­
(1931);
LTK. ” Kat har i n a , " VI , cc . o 5 - 5 l " .
334
335
with
t he h i s t o r i c a l
and one o f
the
account s
of h i s l i f e , whi le t h a t to C a t h e r i n e ,
2
two t o Magdal ene
a r e u n m i s t a k a b l y i n d e b t e d t o t he
famous Leqenda Aur ea of
de V a r a g i n e .
not
Hi s
inspirational
of
h i s day.
That
t h i r t e e n t h - c e n t u r y Domi ni can ,
primary objec t
the c o m p o s i t i o n o f
of
the
tales
reliable
he succeeded
degr ee to which some of
t he
in t h e Legenda was un do ubt e dl y
biography
adaptable
in
Jacobus
but
rather
to the needs o f
this
is
legends have
vividly
inspired
the d i f f u s i o n
the s i mp l e
attested
peopl e
by t he
l a t e r mediaeval
2
Magdal ene, t o o, was a p o p u l a r s u b j e c t of both legend and
p a i n t i n g in the M i d d l e Ages, and was most o f t e n r e p r e s e n t e d as a
penitent.
The e x t e n t o f her p o p u l a r i t y is i n d i c a t e d by an i n c i ­
dent r e c o r d e d i n t he Vi ta of M a r g a r e t o f C or t o na w r i t t e n by he r
c o n f e s s o r , Fr a Gi unta~
TCf . Act a SS. # Feb. I l l , pp. 3 0 2 - 3 6 3 ) .
Tormented by her past l i f e o f s i n , M a r g a r e t asked C h r i s t one day
i n p r a y e r i f Magdal ene were among the v i r g i n s i n he a v e n.
Fra
G i u n t a r e l a t e s t h a t Our Lord a s s ur e d h e r , " Ex c e pt f o r Mary the
V i r g i n , and C a t h e r i n e t he m a r t y r , t h e r e is none among the v i r g i n s
h i g h e r than M a g d a l e n e . "
Whet her o r not the i n c i d e n t is a u t h e n t i c
is of I i t t l e r e l e v a n c e h e r e .
I f i t is s i mp l y t h e c r e a t i o n o f Fr a
G i u n t a i t is a l l t he more s i g n i f i c a n t o f t he me d i a e v a l v i e w p o i n t
on t he s u b j e c t .
Cf . LTK, " M a r i a M a g d a l e n a , " V I I , c . 39; and DACL,
" L a z a r e , " VI I I 2 cc# 2(51(5-2086 .
3
The d a t e of V a r a g i n e ' s b i r t h is not known w i t h c e r t a i n t y but
i t is b e l i e v e d to be e i t h e r 1228 o r 1 2 3 0 .
He e n t e r e d t he D o mi n i ­
can Or der in 12 44, and a f t e r p r o v i n g h i m s e l f a s u c c e s s f u l p r e a c h e r
was a p p o i n t e d i n 1267 as ma s t e r o f a l l Domi ni can houses i n Lombardy,
I n 1288 he was named D i f i n i t o r o f the p r o v i n c e and in 1292 became
t h e A r c h b i s h o p of Genoa.
In the cour se of hi s busy l i f e he w r o t e
much- - a C h r o n i c l e f o r the C i t y o f Genoa, an
Ecclesiastical History,
Sermons, and E u l o g i e s on the V i r g i n .
But perhaps hi s best known
work i s the Leqenda Aurea .
I t is b e l i e v e d t o have been c o mp l e t e d
ar ound 1 255 wh i le Re was s t i l l a young p r o f e s s o r of t h e o l o g y .
In
i t he never ment i ons Thomas A q u i n a s , who by t h i s t i me was becoming
one o f t he l i g h t s o f t h e o r d e r .
He f a i Is t o me nt i on t he Domi ni can
pope, A l e x a n d e r IV, who ascended t he papal t h r o n e in 1 2 5 4 .
He does
w r i t e o f P e t e r M a r t y r o f Ver ona , c a l l i n g him " t h e new. "
Peter's
de at h o c c u r r e d i n 1 2 5 2 .
C f . LTK, "Jacobus da V o r a g i n e , " V, 8 4 9 - 5 0 .
336
art
and
lite ra tu re .
introductory
that
to
remarks
understand
centuries
recourse
two
degree
m anuscript
which
are
many o f
The
lessons
Ra t i o n a I e
other
works
obviously
this
are
the
is
not
of
m ight
As
hymns
of
to
of
its
intended
type
to
the
has
been
science
of
re lig io n ."^
An e x a m in a t io n
reveals
that
same a p o c r y p h a l
^Published
of
by
certain
several
tales
Edouard
5C f. DACL. "Jea n
B e l e t h , " V, c . 1 0 0 9 .
of
found
of
the
in
>
O f. Leqende D orec, ed. T.
A c a d e m i q u e D i d i e r Pe r r i n e t c . ,
I M ,
4
prayers,
contained
chapters o f
the
p ro b a b ly knew
c
B eleth.'
But t h i s and
to
monks,
whereas
Varagine
The Go I d e n L e g e n d
"the
the
Rouveyre,
B eleth,"
section.
Jean
as
have
Cortona
firs t
the
the
Aurea.
the
already
of
must
Leqenda
(1902),
Varagine
laity.
described
one
in
his
Leqenda
devotional
to
professor
in
and
century
compare
the
the
Iaude
lyrical
out
ba s-reliefs
the
those
of
of
sixteenth,
were a d dressed
reach
points
and
and
d i v i n o r u r n o f f i c i urn o f
what
6
and
eleventh
learned
Roze
e d itio n
B ible,
true
be s a i d
a
M.
sculpture
purely
the
at
the
great
B.
th irtee nth
attem pt
uscript
the
the M arian
Leqenda A u re a .
the
French
the
breviary
which
to
sources,
To a g r e a t
as
J.
the
between
to
L'abbe
laiciza tion
Iaude
hymns
the
the
deWyzewa,
1902), p.
in ,it
relate
1902),
P aris:
xvi .
the
Man­
Leqenda Aurea .
649-650;
an
Cortona
contained
(P aris:
cc.
of
of
was
LTK,
In
p.
the
xxi.
"Johannes
L ib ra irie
337
case
of
alm ost
since
the
com plete
different
at
the
longer
and
the
Iaude
to
of
of
of
Lauda
the
the
w ith
the
known
to
beyond
author
legend
becomes
us
her
from
relie d
sister
the
to
upon
tra d itio n
which
of
tim e
addressed
hymn
the
is
m atter,
western
Mary
there
subject
XXXIX,
latter
ascension,
Magdalene
period
of
of
altered,
of
the
of
M artha.
S crip ture
no
hymn
sought
in
Varagine.
contained
a fanciful
the
to
Whoever
rem arkable
subject.
histo rical
order.
Franeescana.
p ro clivity
however,
The
between
which
the
he
the
blending
author
of
the
these
case
the
legendary
hymns
to
of
facts
found
of
w ith
Lauda
w ith
in
two
author
life
shared
fami l i a r i t y
The lo w e r
ta tions of th is
C h r is t and th a t
known a r t i s t .
Their
In
and
manner a m u ltitu d e
pa ra lle ls
7
is
Franciscan
fid e lity
a charm ing
draw
a
the
for
come down
case
penitent
A lexandria
leqend
follow ing
w ell
situation
amazing
sources
a
has
Magda lane,
the
lauda
texts
early
in
of
of
in
the
the
of
his
of
fact
fic tio n .
The
an
the
point
inspiration
upon
V ita
again
Mary
speaks
is
C atherine
The a u t h o r
accounts,
identifying
Thus
S aint
reliance
M agdalene.
Gospel
But
to
no a u t h o r i t a t i v e
S lig h tly
Mary
lauda
the
C hrist
various
and
those
displayed
sources
of
Francis
in
a
the
the
relate
oldest
tendency
to
that
of
Francis—
painters
of
the
XXXVI I I may
events
poet
St.
revealed
of
of
have
the
been
life
of
he
period.^
betrays
Saint
c h u rc h a t A s s i s i is one o f th e e a r l i e s t r e p r e s e n ­
tendency to draw p a r a l le ls between the l i f e o f
of Francis.
The w o rk a lo n g th e nave is by an un ­
3 38
Anthony
of
it
appear
does
famous
The
of
the
work
the
B o lla ndists,
feast
the
Leqenda
of
acquainted
Cortona
to
all
in
knew
Anthony.
in
1689
that
and
11
it
the
between
hymn
and
based
But
the
saints
the
source.
lauda
to
above
m entioned
at
least
one
to
do
the
not
two
rely'
of
Johns,
upon
A ntiquissim i .
is
the
Acta
work
SS'*^
8
of
under
The B o lla n d is t s
in
only
this
between
Anthony
from
that
the
other
he was
in
the
more.
Archangel,
8
well
author
not
than
and
the
the
if
for
these
contained
sources,
source
published
that
evident
that
office
indicates
legends,
1888
legend,
rhythm ic
to M ichael
any
•
was
is
these
most
one e x is t e d .
likeness
S aint
the
but
an o id e r
his
It
the
knew
hymns
older
V ita
the
Upon
had
Varagine,
legends,
va I de a n t i q u o .
discovered.
Julian
by
source
published
they
told
m ediaeval
P r ? ma s e u V? t a A n t i q u i s s i ma
MS,
The
St.
w ith
J sim i l a r it y
the
though
was
not
biographical
anonymo
published
legend
is
L e q e n d a P r i ma s e u
(d .1 2 5 0 ),
auctpre
was
firs t
the
story
other
im portant
version
the
of
being
V ita
this
Their
several
S peier9
title
used
by
them
of
A nthony's
in
second most
Julian
the
Padua.
12
and
scripture.
✓
K e r v a I, L e o n d e , S a n c t i ? A n t o n i ? de P a du a v i t a e d u a e q u a r u m
a I t e r a h u cusqu e i nedi ta~
( Pa r i T :
L i bra i r i e F i s c h b a c h e r, 1904) .
9C f.
^Cf.
p.
237,
note
12.
not e .11, p . 366 .
10June
III,
p.
^ C f . not e 12,
198-202.
p. 3 6 7 .
3 39
The
poet
of
the
very
the
Leqenda Aurea
lengthy
only
inform ation
relative
the
apostles.
various
Lauda XLIV,
belong
under
fact
the
m anuscript
of
the
attest
an
that
codex
to
the
uncultured
w ell-ordered
to
Amore
the
the
the
not
good
13
taste
person.
one
and
good
the
collection
13C f. Appendix
c a I I 5g r a p h y .
w hich
to
B,
the
Plate
at
what
scribe,
of
VII,
p. 115
But
was
Rather
hymn
saved
his
by
de finition
in
view
the
does
obviously
is
is
th is
upon
needed
appended
once
displaced
of
by
Ia uda r i o
amanuensis
clim ax
not
who was
the
he
suffered
were
understand.
the
the
does
it
called
which
S a in ts."
fo llow
seem ingly
reason
for
the
po sitio n
in
martyrdom
pa r a ,
to
The d e s ig n
this
W ith
of
of
sen^a
d iffic u lt
The a p o s t l e s
instances
"Laude
its
to
manner
do Ice
two hymns
later,
is
a few
the
heading
accident.
entire
in
Iaude
to
end
it
not
otherw ise
no m e re
gem o f
work.
for
of
difference
in
a
Lauda XVI
MS 3 6 v - 38 r
L i u z z i , 322-325
340
R e fra in
■I
don-5e l -
Ver-ge-ne
la
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T he hymn occurs i n Mm l 1 , and the t e x t i s fo uno i n Maol 2 , Ar e t . , and A r s .
UNNECESSARY * 0 0 * CLEF ON THE THIRO SYSTEM ANO THE WORD “ oONjELLA" HAS BEEN AODEO LATER.
341
Ver gene d o n g e l l o
Katarina mortire
da D i o emote,
beata.
Tu f o s t i b e a t a da f a n t i n o , *
per ke f o ' n t e la g r a t i a d i v i n a .
Note f o s t i en t e r r a a l e x a n d r i n e ,
in omgni s c i e n t i a c o l l a u d a t a .
37v
F i I I i a f o de re e de r o i n o *
la b e a t a sa nt a K a t e r i n a ,
de l i e r r a n t i qram m e d i c i n e ,
d i s p u t o n d o da l o r v e n e r a t e .
5
10
Stendo nel p e l a c ^ o g r e t i o s e *
t u t t a f o s t i de D i o amoroso;
cum gr an v o l u n t i d e s i d e r o s o
a l esd di l e c t o d i s p o n s e t e . *
Quel amor t e f e c e i ocundor e
lo quo! tu ^ r e d e s t i per omore;
per l ui sopi o spender e donore;
kfe de s£ t e f e c e r e n f i o m m a t o .
15
Un c r u d e l t i r o n n o pi en d ' e r r o r e *
per f la t e r r a mond& e l bond! t o r e
20
ke c i o s c un v e n i s s e a f o l l i honors,
g i o non f o s s e i n si longo c o n t r o t o : *
38k
ke v e n i s s o r a do ! lo t r i b u t e
al suo Di o k ' e r o sordo e muto;
a n u l l ’ om per se po da r e o i u t o
e q u e s t ' e lo v e r t o p r o v o t o .
E l o ' mp e r o d o r e s o c r * f i c o n d o ,
t u t t a I ' o l t r o cjente s e q u i t o n d o ,
lo K a t e r i n a udi o m e t t e r lo bondo
e 1m o n t e n e n t e * f o mor eveI I i o t o .
1
OONJEILA -
3
FANTINA - MED DIMINUTIVE OF ’ FANTE'
7
Cf .
9 -1 0
Cf . L a ,
C aesar
L a.
25
30
A00E0 LATER IN ANOTHER HAND ANO CROWDED IN ABOVE THE TEXT.
p.
7B9. " C a t h e r i n a Co s t i
p.
790.
f il ia
..
.
f u it ."
s a p ie n t e r plu b im a o is p u t a s s e t ,
stupefactus
. ."
T he account soe s on to r e l a t e the co n v er s a ­
t i o n between C a t h e r i n e ano the e m p e r o r .
I m p r e s s e d by the youn 6 g i r l ’ s w is d o m he ca ll s i n
FIFTY OF HIS SAGES FROM 01FFEREHT PROVINCES. C F . P . 7 9 ) .
" A d OUCTI SUNT IGITUR DE D I V ERSIS PR0VINCI IS L 0RAT0RES, QUI OMNES MORTALES IN OMNI MUNDANA SAPIENT IA EXCELLEBANT.
Qu i b u s i n t e r r o g a n t i b u s , cur de tah r e m o t i s p a r t i b u s e v o c a t i f u i s s e n t , C aesar r e s p o n o i t s
EST APUD NOS QUAEDAM PUELLA SENSU ET PRUDENTIA INCOMPARAB111S, QUAE OMNES SAPIENTES
CONFUTAT ET De OS OMNES DAEMONES ESSE AFFIRMAT."
non
"C umque
r e s is
v a lu it
de
f il l i
in c a r n atio h e
ad hoc respon oe re
.
342
V i r g i n damsel , b e l o v e d o f God,
b l e s s e d mor +yr , C a t h e r i n e .
You were b l e s s e d f r om chi Idhood
because d i v i n e gr a c e was i n you.
You were born in A l e x a n d r i a ,
renowned i n ev e r y s c i e n c e . <
5
She was t he d a u g h t e r o f a k i ng and queen,
t he b l e s s e d ho l y C a t h e r i n e .
To t he e r r a n t ( she was) a g r e a t c u r a t i v e ;
she was v e n e r a t e d by them f o r he r arguments
10
D w e l l i n g g r a c i o u s l y in a palace
you were a l l l o v a b l e t o God;
w i t h a g r e a t w i l l a n x i o us t o be
b e t h r o t n e d t o sweet J e s u s .
15
That love whi ch you embraced out
o f l ove made you j o y o u s .
For him she knew how t o spend and g i v e ;
so t h a t he r e k i n d l e d you w i t h h i m s e l f .
A c r u e l despot f u l l o f e r r o r
sent a town c r i e r thr ough t he land
t h a t ev e r y on e shoul d come t o honor him
i f not f r om too f a r away:
20
t h a t t h ey shoul d come t o g i v e t r i b u t e
t o hi s god who was d e a f and dumb.
No man can h e l p h i m s e l f ,
and t h i s i s the proven t r u t h .
25
And t he emperor s a c r i f i c i n g ,
ng,,
a I I t he o t h e r peopl e , oI
- l owi
.......3
C a t h e r i n e l i s t e n e d t o the p r o c l a m a t i o n
and i m m e d i a t e l y was a s t o n i s h e d .
30
11
STANOO NEL PALA9J0 GR ATI OS A - C f . U , P. 7 9 0 . "CATHERINA CUM ESSET ANNORUM OECEM ET
0CT0 ET IR PALATtO D I V I T I I S ET PUERIS PLENO SOLA REMANS ISSE T . . . ”
13-14
Cf . L a , p . 7 9 2 . ” . . . E go me C h r i s t o sponsam t r a o i d i , i l l e oulceoo
EJUS AMORE NEC BLANOMENTA NEC T0RMENTA ME POTERUNT REVOCARE.”
1 9 -2 4
The account of the emporor SUMMONING HIS SUBJECTS to o f f e r s a c r i f i c e to the io o l s i s
RELATED IN LA , P. 7 8 9 -7 9 8 . ” CUM AUTEM MAXENTIUS IMPERATOR OMNES TAM 0 IV I T E 3 QUAM PAUPERES
ao A l e x a n d r i a n c o n v o c a re y , u t y o o l i s i f m o l a r e n t , e t c h r i s t i a n o s immolare n o l e n t e s
PUN I RET.”
22
C0NTRATA- X I I I
TRAINING.
CONTRAOA.
28
T he
30
Ma n t e n e n t e - XI I t HAS the
THE SIGN OF THE NASAL.
A lthough
word
the
' gente'
s to r y
of
is
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THE USE OF THE " I ” HERE INDICATES THAT THE SCRIBE WAS OF TUSCAN
w r itt en
Ca t h e r in e ' s
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m e a n in g
m a r g in
of
'
of
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mart yroom was
the m a n u s c r i p t .
.
popular
The
manuscript
and ha o
reaos
in s p ir e d
mantente,
o m it t in g
much m e d i a e v a l
343
ICONOGRAPNY OUR HYMN ENOS WITHOUT T E LLING US ANYTHING OF HER SUFFERING AND DEATH.
THIS CAUSES THE LAUDA TO HAVE SOMETHING OF AN INTERRUFTEO ANO UNFINISHED QUALITY.
Lauda XVI I
MS 3 8 v - 3 9 v
L i uzz i , 3 2 6 - 3 2 9
34 4
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The p o e t r y a l o n e i s found i n M a g l 2 ,
F i o r • * A r s . « and Ar e t .
T here i s an e r a s u r e on the word No h i n a t a ,
Altho ug h p a r t i a l l y v i s i b l e
THE NOTE HAS NOT BEEN TRANSCRIBED HERE SINCE IT DOES NOT OCCUR IN THE ANALOGOUS PHRASE ON
THE FOURTH SYSTEM.
IN THE FIFTH SYSTEM THE SCRIBE FORGOT TO COPY THE CLEF ANO BEOAN TO
RECORD THE HELODY A THIRD TOO LOW,
IT HAS BEEN ERASED AND CORRECTEO,
345
38v
39)1
P e c c o t r i c e nomi not o,
Modol eno do D i o omoto.
Mogdoleno decto s t e s t i *
dot c o s t e i neI quo I n o s c e s t i :
Mor t o per s o r o r e / o v e s t i *
nel v o n g e l i o osai l o d o t o .
Lo 59 o r o f o tuo f r a t e l l o ,
s o n f o , i u s t o , buono e be N o ;
C r i s t o amd senga r i b e l l o *
poi k ’ a lui f o s t i t o r n o t o .
5
10
F o s t i pi eno de p e c c a t o ; *
g i s t i o C r i s t o re be o t o :
nel c o n v i t o M a* t r o v o t o ,
de Symon ke t ' d s p r e s c i o t o .
And os t i d e n t r o cum t i m o r e ;
plangesti cum gram d o l o r e ;
o o s c i o s t ’ i p i e i cum gr on d' a mo r e
per la g r a t i a k ’ i i t r o v a t o
39v
I n t e i fl ume d e v e n t o t o *
per l o v o r lo t uo p e c c o t o ,
scudo s o l d o I ' i i t r o v a t o
de t u t t o c i d ke s e ' o c u s o t a .
F o n t ' & a t e r per ben l o v o r e ,
padre s onct o a p e r d o n o r e ,
omico s o l d o o d i s p o n s o r e , *
ne lo v i t o k ' d i t r o v o t o .
3
STESTO - MS RE AOS ITECTI
5
Cf . L ure 1 0 : 3 8 - 3 9
7-8
15
20
25
J ohn 1 1 : 1 - 2
Mary i s here i d e n t i f i e d as the s i s t e r of L azarus ano Ma r t h a , ano as the
Mary who a n o i n t e d Ch r i s t ,
i n i d e n t i f y i n g her w i t h the p e n i t e n t the l a u d a i s fo ll ow ­
i n g THE common w est ern t r a o i t i o n i n c o n t r a s t t o the e a s t e r n church w h i c h v e n e r a t e s her
as another d i s c i p l e , g i v i n g her the t i t l e " a p o s t o la a p o s t o l o r u m . "
same
7:36-38;
26:6;
14x3
11-18
Lure:
19
IN TE
FIUME . . . .
MS REAOS " l l l l l E * BUT MAZZ EOITS IT " 8 * I N T E ® . . . " - BETT NEAOS
" L i n T E A , " REMEMBERING THAT MARY HAD WASHED CHRIST'S FEET WITH HER TEARS ANO DRIED THEM
WITH HER HAIR* M
S ARET REAOS "EN TE E FIUME," AND IS THE SOURCE OF THE CORRECTION
26
OlSPONSARE -
M att
and M ark
i
X I V , 01SPOSARE -
'SPOSARE,' -
TO ESPOUSE
Ma gda l e n e , c o l l e d o s i n n e r ,
(you o r e ) b e l o v e d fef God.
You were c o l l e d Mogdal ene
fr om t h e c o u n t r y i n which you were b o r n .
You had o s i s t e r M a r t h a , who i s
h i g h l y p r o i s e d i n t he G o s p e l .
Lo z ar us was yo ur b r o t h e r ,
h o l y , j u s t , good and handsome.
He l oved C h r i s t w i t h o u t r e b e l l i o n ,
s i n c e you r e t u r n e d t o hi m.
You were f u l l o f s i n ; you went
t o f i n d C h r i s t , the b l e s s e d k i n g .
You f ound him a t t h e banquet o f Simon
who d i s d a i n e d you.
You
You
and
for
went i n s i d e w i t h f e o r .
wept w i t h g r e a t sadness
you k i s s e d ( h i s ) f e e t w i t h
t he g r ac e you have f o u n d .
love
I n you ( i t ) has become a r i v e r
t o wash away yo ur s i n .
You f ound i n nim a s t o u t s h i e l d
a g a i n s t a l l o f whi ch you were a c c u s e d .
He i s f o r you a f o u n t t o wash w e l l ,
a h o l y f a t n e r t o pardon you,
a c o n s t a n t f r i e n d t o espouse you
i n t he l i f e whi ch you have f o u n d .
Lauda XXXVI
MS 9 0 v - 9 3 r
L i u z z i , 417- 421
347
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fourtn s y s t e m of
THE HANUSCRIFT BUT IS HERE DETERMINED FROM THE CU3T0S AT THE ENO OF TNE TNIRO SYSTEM.
TNERE IS NO NOTE FOR TNE SYLLABLE " L I O * OF V I L L I O BUT IT IS OERIVEN BY ANALOGY WITH THE
SAME MELODY IN THE FOIRTH SYSTEM.
Louder v o 1 1 i o per omore
10 p r i m e r f r o t e m i n o r e .
Son F r on c e s c o , amor d i l e c t o ,
C h r i s t o t ’ e n e l suo c ospe ct o
perhd ke f o s t i / b e n p e r f e c t ©
e suo d i r i c t o s e r v i d o r e .
T u t t o e l mondo o b o n d o n o s t i ,
noveI I ' o r d i n e p l o n t o s t i ,
pace i n t e r r a o n n u n t i a s t i
como f e c e el s e l v o t o r e .
I n t u t t e coso lo s e g u i s t i ,
v it a d ’ opostoli fo c e s ti,
mu l t a a e n t e c o n v e r t i s t i
o l u da r e el suo gr a n nome.
Tre ordine p l a n t o s t i , *
11 m i n o r i in prime v o c e s t i ,
e puoi l i donni r e s e r v o s t i ,
li continenti a p e r f e c t io n e . /
S' f o s t i pi eno de c a r i t o d e *
ke i nsi gnov? a I ' o n i m o l i
come d o v e s s a r o l oudore
l o suo dol ge c r e o t o r e .
Tonto f o s t i omico a Deo
ke le o e s t i e t ' u b i d i & n o ;
I ’ u c i e l l i in mono a t e v e n i & n o *
a u d i r e lo t u o sermone.
P e r lo mondo g i s t i p r e d i c o n d o
e t sempre pace o n u n t i o n d o ,
f e d e de C r i s t o c onf i r mondo
e t confondendo onni e r r o r e .
En S a c a c i n i o t u p o s s o s t i , *
senze t i m o r e c i p r e d i c a s t i ;
lo m e r t i r i o d e s i d e r o s t i
fervere me nte per a r d o r e . /
M o r t l r i o esso f u p e r d e s i d e r i o , *
t o n t o m o r t i f i c o s t i a Deo;
n u l l o mol e t e sapea reo
de p e t i r e per lo suo nome.
Out o f love I wont t o p r o i s e
the f i r s t f r i o r minor.
S o i n t F r a n c i s , d e l i g h t f u l l ove,
C h r i s t has you b e f o r e nim end
because o f t h a t you were c o m p l e t e l y
p e r f e c t , and were h i s honest s e r v a n t .
You abandoned a l l t h e w o r l d ,
you founded a new o r d e r ,
and you announced peace on
e e r t n as d i d the s a v i o r .
I n a l l t h i n g s you f o l l o w e d hi m,
you l i v e d t n e l i f e o f an a p o s t l e ,
you c o n v e r t e d many pe opl e
t o t he p r a i s e of h i s g r e a t name.
T h r e e o r d e r s you e s t a b l i s h e d .
The mi nors you c o l l e d f i r s t ,
and t hen t he ge nt l eme n you
s e t o p a r t , t he t r u l y c o n t i n e n t o n e s .
You were so f u l l o f c h a r i t y
t h a t you t a u g h t t h e a n i m a l s
how t n e y hod t o p r a i s e
t h e i r sweet c r e a t o r .
You were
t h a t the
The b i r d s
in o r d e r
so much t h e f r i e n d o f God
be a s t s obeyed y ou.
come i n t o your hands
t o h e ar y o u r sermon.
You pr eached t h r o u g h o u t t h e w o r l d
ol woys announci ng peace, and
confi rmi ng the f o i t h of C h r i s t
and c o n f o u n d i n g e v e r y e r r o r .
You passed among t he S a r a c e n s .
W i t h o u t f e a r you pr eached t h e r e .
You d e s i r e d mar t yr dom v e r y
f e r v e n t l y , out of a r d o r .
You were a m a r t y r o f d e s i r e ,
so much you were m o r t i f i e d f o r God.
No e v i l Knew you g u i l t y ,
so os t o s u f f e r f o r h i s name.
350
Oe I suo omore s t a v i i ocundo,
d i s p r e g o v i t u t t o * I mondo;
d' o no c t e ondavl e t o r n o
per t r o v o r e lo tuo s e o n o r e .
40
Per le s e l v e e l g ' o c o r e ndo ,
ad a I t a voce i va d i c e n d o :
"0 s i r e , s ' a t e m' e r e n do
k ' i o languesco del t uo a mo r e . "
92v
Del suo omore t a n t o l a n g u i s t i ,
en cr oce e l l ' a r i lo v e d e s t i : *
c u l l i suoi si g n i / r e m o n i st i ,
t o n t o e l p o r t o s t i in c o r e .
45
50
S ' * p r e n d e s t i C r i s t o a I ’ emo
ke pi oghe en t e si r e n o v o r o ;
s ' l l o t u o cor po si t r o v f i r o
s ' commo I ’ eboe e l s o l v o t o r e .
En v i t a t ua s e n t i f i c o s t i *
55
molti miroculi mostrosti;
quendo del mondo t r e p o s e s t i
L e ] i n c i e l o n ’ opor va gr ande s p l e n d o r e .
C e I i e t r o n i se ne mutSro
per I ’ o l t i segni ke i n t e t r o v d r o :
t u t t o lo c o r t e o p o r e c h i d r o
per t e r e c e v o r ad o n o r e .
93*
C r i s t o c u l l i ange I i t u t t i qu on t i
l o / s ua mod r e co I 11 s o n c t i
venor o per t e con d o l g i c o n t i
menor t ene cun gr ande n o n o r e .
60
e j
F o c e s t i lo c o r t e r o l e g r e r e ,
do lcissim i versi contore,
d e v a n t e I * a I t o moi e s t od e
r eddendo laude cun amor e.
15
Clear
19-24
Alludes t o Fran cis * love f o r and power over
Leo M, V t l l , RELATES the story of the wolf
a llu sio n
to the
th ree
65
70
o r d e rs ,
LAMB. ( 6 ) ; THE PREACHING TO THE BIRDS
ANO C X I V , THE INCIDENT OF HIS SPECIAL
FlOR. . X V I , SILENCING THE BIRDS, X X I ,
a n im a ls . Cf. C e l . I* xxvm, xxix; Bon.
Gu b b iq , ( i l l ; the
i n c i o e n t of the l i t t l e
of
( 8 ) } TOTHE FISH ( 8 ) ; SPENV l T , CXI 1 1 , THE LARRS,
CONCERN FOR THEANIMALS ON CHRISTMAS DAY; ACTUS
TAMING THE WOLF
25
The p r e a c h in g t o the b i r o s , C f .
Boh. Leg. M . , v i i i ,
8; C el j., xxi
31-38
Recounts F r a n c i s ' d e s i r e f o r m a rty rd o m , and th e i n c i o e n t of h i s s o jo u r n among the
Saracens.
C f. C e l.
xx; 8on Leg M . , i x , 4 - 9 ; ano A ctus F i o r . , x x i v .
and A c tu s F i o r . ,
x v i.
351
40
45
50
H i s l ove mode you m e r r y .
You d e s p i s e d a l l t h e w o r l d
and day and n i g h t you went ar ound
in o r d e r to f i n d your Lord.
Through t he woods you went s e a r c h i n g ,
c o l l i n g out and s a y i n g :
"0 L o r d , I s u r r e n d e r m y s e l f t o you
because I l a n g u i s h in your l o v e . ' 1
You l a n gu i s he d so much in h i s love
t h a t you saw him i n e c s t a s y on the c r o s s .
You r emai ned ( h e r e ) w i t h hi s marks,
so much you a l r e a d y bore them i n y our h e a r t
You t ook C h r i s t t o love so much
t h a t t h e wounds were renewed I n yo u.
And t h ey were f ound i n your body
j u s t os our s a v i o r hod them.
55
60
65
70
You were s a n c t i f i e d i n your l i f e
and you wr ought many m i r a c l e s .
When you passed f r om t h i s w o r l d
g r e a t s p l e n d o r oppeor ed i n h e a v e n .
Sk i e s and t h r o ne s were changed f o r
t h e h i gh marks t h ey found i n y o u .
They p r e p a r e d a l l t he c o u r t
i n o r d e r t o r e c e i v e you i n h o n o r .
C h r i s t w i t h t he a n g e l s , and
h i s mot her w i t h a l l the s a i n t s
came f o r you w i t h sweet songs
t o lead you t h e r e w i t h g r e a t h o n o r .
You made t h e c o u r t me r r y ,
s i n g i n g t h e s w e e t e s t ver ses
b e f o r e t he h i g h m a j e s t y ,
r e n d e r i n g l aude w i t h l o v e .
35
MS HEADS 'MART I H10 ESSO FA'
48
MS HAS 'EN CROCE E l l ' A R I 10 VEOESTl'
51
MS CONTAINS ' F I ' FOR 'S i'
55
flEFERS TO HIS MIRACLES,
Cf . Ce I
I.
Ill»
CH. X X I I I , X X IV ; BON LE6 M . .
X*» 7 .
Lauda XXXVI I
MS 9 3 1— 96 r
l i u z z i , 422-426
352
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Tne hynn appears i n Ma g i '! w h il e Mss Magl2 , A r s . , F i o r . , and Ar e t . co n ta in the poetry .
Ver se s 8 t o 43 are the sane which appear as the in t e r p o l a t io n i n Lauda X V l l l , C f .
The n a r u s c r ip t c o n t a in s no note for the s yl l ab le " l i * of "Qu e l l i ."
re.
Sio l a u d a t o san F r a n c e s c o , *
q u e l f l i ] c ' o p e r v e en c r o c e f i x o
como r e d e m p t o r e . /
A C ris to fo configuroto,
de la pi oghe f o s i g n o t o ,
empe r c i d k ’ oveo p o r t a t o
s c r i p t o i n cor e lu suo a m o r e /
M o l t i messi ovea mandati
1a d i v i n a nnaiestade
e ie g e n t e p r e d i c a t e
como d i c on o le s c r i p t u r e .
E n t r a l i q u a l i non f o t r o v o t o
nuI Io p r i v i I eg i o t o
d' or me nove c o r e d o t o
c a v a l i e r ! a t o n t ’ onore.
A lo V e r n a , a I monte s o n c t o ,
s t o v o ' l sonct o cun gr a n p i o n t o ,
lo quo I p i o n t o l i t o r n a i n c a nt o
e l oeropnyn c o n s o l o t o r e .
Per d i v i n o s p i r a me n t o
f o l l i d o /t o intendimento
de s o l v e r e do perdement o
molti k' er o n peccotori .
Quondo f o do D i o mondoto
son Fr a n c e s c o lo b e o t o ,
lo mondo k ' e r o e n t e n e b r o t o
r e c e v e t t e gr ande s p l e n d o r e .
A laude de lo t r i n i t o d e *
o r d i n e t r e do I uI p l o n t o t e
per lo mondo d e l o t o t e
f a n o f r u c t o cun a l o r e .
Li po v a r i f r a t i mi n o r i
de C r i s t o sono s e g u i t a t o r e
de lo g e n t e son d o c t o r !
p r e d i c o n d o sengo e r r o r e . /
L ’ o l t r e sono le p r e t i o s e
morgarite gretiose,
v e r g e n i * donne r e n c h i u s e
per amore de l s o i v o t o r e .
3e p r a i s e d , S a i n t F r a n c i s ,
who appear ed t o us c r u c i f i e d
l i k e our r e d e e me r .
He was c o n f i g u r e d t o C h r i s t ,
and- mar ked w i t h h i s wounds,
because he had born h i s love
w r i t t e n in h i s h e a r t .
Many messengers t he
d i v i n e m a j e s t y had s e n t ,
t o pr each t o the p e op l e
as t he S c r i p t u r e s a y s .
Among them was not f ound
any such p r f v i ledged k n i g h t
equi p pe d w i t h new weapons
f o r such an honor ( as t h i s ) .
At La Ve r na , the h o l y mount ai n
t h e s a i n t r emai ned weepi ng much;
( t h i s ) weeping t h e s e r a p h i c
c o u n s e l o r t u r n e d t o song.
By d i v i n e i n s p i r a t i o n
he was g i v e n t o u n d e r s t a n d
how t o save f r om p e r d i t i o n
t he many who were s i n n e r s .
When he was sent f r om God,
th a t blessed S a in t Fr a n c is ,
t h e w o r l d , whi ch was i n dar kness
received a greet l i g h t .
To t h e p r a i s e o f the T r i n i t y
t h r e e o r d e r s were founded by him
Throughout t he w o r l d t hey grew
and ( a l w a y s ) bore f r a g r a n t f r u i t
The poor F r i a r s Mi n o r
ere fo llo w e rs of C h r i s t ,
and t o a I I men t e a c h e r s ,
preaching wi th ou t e r r o r .
The o t h e r s a r e t h e p r e c i o u s
and g r a c i o u s p e a r l s , the
v i r g i n ladies c l o i s t e r e d
f o r t he love o f t h e s a v i o r .
35 5
E li f r o t i c o n t i n e n t i
coniugoti p e n i t e n t i
st ando a I mondo* sont a me nt e
per s e r v i r e a I c r e e t o r e .
40
San Fr an ces co g l o r i o s o ,
t u t t o se* d e s i d e r o s o ;
de Di o f o s t i copi oso
amoroso cun d o ^ o r e .
45
Per la [ t u e ] vi r t u d e sa nct o
a Di o d a t a t u t t a q u a n t a ,
uest a d o l g e laude cant o
I t e , Francesco, f r a n c o c o r e . /
50
3
96v
[ A ] n g e l o per p u r i t a d e ,
a p o s t o l o per p o v e r t a d e ,
m a r t i r o per v o l u t a d e ,
f o s t i per lo g r a n d ' a r d o r e .
55
Mostcd la t u a s a n c t i t a d e
e t la pura f i d e l i t a d e
I ' u c e l l i da t e p r e d i c o t e *
st ando q u e t i e t s e c u r e .
Penitentio predicesti,
novo r e g u l o p o r t o s t i ,
lo possi one r e n o v e I I a s t i ,
c l o r o s t e l l o de I ' o l b o r e .
60
M o l t i enf er me tu s o n o s t i , *
c i e k i e t r o t r o c t i t u se n o . s t i ,
mor t i p i u r e s u s c i t o s t i
dond’ o l o r v i t * e t v i g o r e . /
96*
E i n t e r r a e in more e t i n onne
sonct o se* ve r o e t p r o v o t o ; *
lo t uo nome & i n v o c e t o
s e n i t a d'ogne b e l d o r e .
Donne, p a d r e , e n donomento*
lo t uo r i c o r d o m e n t o ,
ke lo n o s t r o i n t e n de me n t o
te seguisco, g u id o to r e .
65
loto
70
75
And t he c o n t i n e n t b r o t h e r s ,
and t he m a r r i e d p e n i t e n t s ,
be i ng s a i n t l y i n the w o r l d
in orde r to serve the c r e a t o r .
Glorious Saint Francis,
you a r e a l l d e s i r o u s ;
You a r e f i l l e d w i t h God and
l ovable wi t h sweetness.
Because o f yo ur h o l y v i r t u e
you g i v e t o God e v e r y t h i n g )
t h i s sweet l auda s i ngs of
you, F r a n c i s , f r a n k h e a r t .
Because o f your g r e a t a r d o r
you were an a n g e l of p u r i t y ,
an a p o s t l e o f p o v e r t y , and
a martyr of d e s ire .
You showed yo ur
and ( y o u r ) pure
You pr eached t o
(and t hey wer e)
sanctity
fid elity.
t he bi rds
q u i e t and s e c u r e .
You pr eached p e n i t e n c e ,
end br ought a new r u l e .
You renewed t he p a s s i o n ,
c l e a r s t a r o f t he dawn.
You h e e l e d many s i c k , and
t he b l i n d end f e e b l e you c u r e d .
Even t he dead you r a i s e d t o l i f e
g i v i n g them v i t a l i t y and v i g o r .
On l and, and se a, and ev er ywher e
you a r e proven t r u l y h o l y *
Your name is i n v o k e d , the
h e a l t h of every boldness.
Gi v e us, f a t h e r , a g i f t
f o r your remembrance,
so t n e t ou r u n d e r s t a n d i n g
f o l l o w you, o u r l e a d e r .
3 57
0 l u c e r n e , s o l e e t l uce,
t u ne gover no e ne conduce:
si s i o n o s t r o p o r t o e t f o c e *
o r e , sempre e t t u t t e I ' o r e .
1-8
Cue ar
XVI I ,
28-43
These t h r e e s t r o p h e s c o n t a i n a most b e a u t i f u l ano re m a rk a nle a l l u s i o n
t o th e o i v i s i o n
OF THE ORCER INTO THREE PARTS, EACH OF THEM HERE RECEIVING ONE STROPHE TO DESCRIBE I T .
Mo st not able i s the r e f e r e n c e to the t h i r o or oe r .
38
MS READS
42
MS IS
52
MS READS
58—
69
The
and
64-67
r efciience
t o the s t i g m a t a .
C f . Cji
p a r t i i , c h i x ; EUin Lejs
AND COM S I OR AT I ONS < £ TH£ HOLY STIGMATA.
NGLO FOR 'ANGELO'
i n c i d e n t o f the p re a c h in g
Actus F i o r . , x y i .
R e f e r s t o the m i r a c l e s
and Actus F i o r . , x x v .
MS r e a o s
69
MS READS
PROVATOThe
'v ie
FOCE -
for
to the b i r d s .
of F r a n c i s .
C f.
C f . Cm.
C e l j_,
pt h i ,
~
xxi; Bon
Leg, M . ,
v iii,
8;
c h . x x i v ; Bon U 6 M . , x v ,
""
7;
'v it'
SANCTO SAVERE ET PROVATO WHICH HAS BEEN CHANGED TO "SANCTO SE' VERO ET
AS I T READS IN M
S ARS,
reference
ter T m r y
78
'VERDONE' WHICH HAS BEEN CHANGED TO 'VERGINE'
MISSING THE SIGN ON THE NASAL OVER 'MONDO'
67
72-75
M., xi 11 j Trium Soc*
t o F r a n c i s here as ' p a d r e ' m ig h t i n o i c a t e t h a t the hymn belonged t o a
Ce r t a i n l y i s i s of F r a n c i s c a n o r i g i n .
o r g a n iz a t io n .
HERE HAS BEEN TRANSLATED FREELY.
LITERALLY IT WOULO READ "MOUTH*.
3 58
0 lamp, sun, and l i g h t ,
you gover n us and lead u s .
Thus may you be o u r h a r b o r and s o u r c e .
now, a l w a y s , end f o r e v e r .
Lauda XXXViI I
MS 961— iOOv
L i u z z i , 425-433
359
R efrain
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Music and t e x t f o r t h i s hymn occur in M a g i1 , w h i l e t h e t e x t alone o ccu rs in M ag l2 , F i o r . , A r s . ,
and A r e t .
F o r m a l l y the l a u o a i s one o f the most b a la n c e d and b e a u t i f u l o f the e n t i r e m a n u s c r i p t ,
employing th e C o b la C a p f i n i o a .
The "d o " c l e f of the e i g h t h system i s i n c o r r e c t , ano the n i n t h
SYSTEM SHOULD HAVE A *F A * CLEF ON THE SECOND L IN E .
THE LAST SYSTEM OF THE MANUSCRIPT HAS NO
clef.
Co r r e c t i o n s are s u p p l i e d from the cu st os and from analogy to p r e c e d i n g m e l o d y .
The " s o l "
ON THE SECONO THREE NOTE GROUPS OF THE WORO "CORRAGIO* HAS BEEN ERASEO BUT IS SUPPLIED IN THIS
TRANSCRIPTION ON THE BASIS OF ANALOGY TO THE FIGURES ON "ETAGIO" AND HUMAGIO."
Ci oscun ke f e d e se nt e
v e g n ’ a / l a u d o r sovent e
I ' o l t o s e n t’ Antonio* beeto.
Ci oscun l a u d e r e e t amare
lo dea de buon c o r e g i o ,
ke de ben f a r / s & f o r g o r e *
v o l s e [ ’ n] p i c c o l o * e t a g i o .
T u t t ' o r e pensar e f o r m o r e
com'a Di o f a r e humagio
potesse, d ’ Ulisbono
si p a r t e , se consuone*
la l e g e n d o , / la unde f o n a t o .
Lassd r i c h e g o [ e t ] grondego
k ’ er a de gr ande v a l o r e ,
e prese aspr ege ke spregga
v o n o g lo ri** e baldore:
v o l s e bassega k ' e n v e g a
de s a I i r a g r a n d ’ a I t o r e .
Per t a l e v i a v o l s e g i r e
ad a I t o D i o s e r v i r e :
monoco devenne r e g u l e t o .
Facendo v i t a compi t a
di bon f a c t i o r d i n a t i ,
ebbe a u d i t a b o n d i t e *
ke s e t t e mi n o r i -fi~o +1
da g e n t e e / n i t a f a I I i t a
f d r morti e d i c o l l e t i
p r e d i c a n d o la c r o c e ;
udendo q u e l l e voce
de m a r t i r i o f o i n a m o r a t o .
Fo t a l e i n t e n g a p a r t e n g a ;
di v e n n e f r o t e m i n o r e ,
e t p r o v i d e n g a l ar ghega
d ’ essare p r e d i c a t o r e .
La mi s c r e d e n ga f e l l e n g a
c o n f o n d e r * e ogne e r r o r e ,
la L i n ] t e r r a pagana
a la l e g e * C h r i s t i a n a
[ v o l s e ] i n n e f l ] g o r e * per e s s o r e
3 62
L e t o i l t he f o i t h f u I
f r e q u e n t l y come to p r o i s e
the j o l t e d Soint Anthony.
5
10
15
20
25
30
35
Ever yone o f good h e o r t
must p r o i s e ond love him,
who os o l i t t l e c h i l d wonted
t o f o r c e h i m s e l f t o do good,
ond ol woys t o t n i n k ond d e v i s e
how he mi ght do homoge t o God.
He l e f t L i s b o n , t h e r e
where he wos bo r n —
i f t h e legend be t r u e .
He l e f t r i c h e s ond g r a n d e u r
whi ch were o f g r e a t v a l u e
ond took on g r e a t s e v e r i t y
d e s p i s i n g v a i n g l o r y and b o l d n e s s .
I n s t e o d he wonted t h a t h u m i l i t y
whi ch a s p i r e s t o r i s e t o h e a v e n .
By such a way he wanted t o go
i n o r d e r t o s e r v e t he hi gh God.
( So) he become a r e g u l a r monk.
Leading a l i f e f i l l e d w i t h
many good deeds ( i t happened t h a t )
he heord i t p r o c l a i m e d
t h a t seven F r i o r s Mi n o r were
s t r u c k down by t h e p e o p l e ,
were d e o d - - b e h e a d e d (by t hem) ,
f o r pr e a c h i n g the c r o s s .
H e a r i n g t h e c o l l o f martyrdom
he become
enamoured o f i t .
That i n mind— he l e f t ;
he become o F r i a r M i n o r ,
ond i n t h e g e n e r o s i t y of
p rov i de nc e , o g r ea t preacher
t o confound u n b e l i e f , d e c i e t ,
f a i l u r e , ond e v e r y e r r o r .
Th e r e i n t he pagan c o u n t r y he
wonted t o exo 11 t he low o f
C h r i s t , i n o r d e r t o be t o r m e n t e d .
363
98v
Con q u e l l o d i s s u l r e c o m p i r e , *
mbsser se, I n t r S r o in n a v e ;
a I nostro s i r e piacere
non f o [ a l o r g r a v e ] ; / *
fa llo revenire, cu rrire
i n C i c i l i e suave;
a p o r t o l l o i n Romagna
per f a r e di lui magna
t u t t a la c h i e s a [ e t ] gr ande [ i l ]
40
45
chiercato.*
Ben f o d i r i c t u r a e a l t u r a
avesse i n D i o pot enge:
50
con omi l i t a d e pu r a , mi s u r a
e bb’ e gr ande obedi enga
d ’ amar e, d u r a , o s s c u r a ;
e per f o r t e e s t i n e n c a
tene sempre o c u l t o [ t a ] *
55
la s c i e n c e p r e s c i a t e
s' f i n e ke de p r e d i c a r e f o n e * f o r g a t o .
99*
Grande
lumera e s p i e r a
fone
la
a
qente/hum ena,
cum pura c n i e r a manera
di s c i e n t i a f o n t a n e .
Molt'a riv e ra , [ . . . ] *
f e * si t o r n a r e d ' e r r o r i
qr andi e t v?o p r e d i c a n d o
la q e n t e ; a r c h a t e s t e m e n t i
f o de I ’ e p o s t o l i c o c h i a m a t o .
I n gr ande amore di c o r e
Di o I ’ ebbe omn?poten+e,
ke*I fece doctore, v ic to r e ,
del f a r o p r o v i d e n t e ;
e d i e | i k ie r o r e splendore
de v e d e r e verement e
la somma d e i t e d e
n e l l a grande i n f e r t a d e
de la q u a l e passd el g l o r i f i c a t o . /
99v
Buono commencare s p e r a r e
f a l aude e ’ I la f i n i t e :
p e r s e v e r a r e f a dare
q i o i e comp?ute e t g r a d i t a
rosse r e c r e a r e f o r ma r e
de l u i k*d ben s e r v i t e ,
ci oS bon compimento,
lasu en q u e l l o convent o
l i u v ’ 5 c i a s c u n o ben m e r i t e t o .
60
65
70
75
80
364
40
'45
50
55
60
65
70
75
80
W! th t he d e s i r e t o f u l f i l l Go d ’ s
pl on t hey moved ond e n t e r e d o s h i p
To p l e o s e o u r l o r d was
not d i f f i c u l t f o r them.
Thot d e s i r e couses him to r un
ond r e t u r n t o sweet S i c i l y .
I t br ought him t o Romagna
in o r d e r t o e n l o r g e a l l the church
ond do g r e o t t h i n g s f o r the c l e r g y
U p r i g h t n e s s and e x o l t e d t hought s
hod t h e i r power i n God:
In pu r e humi I i t y ond w i t h
m o d e r a t i o n , he was v e r y o b e d i e n t
t o b i t t e r n e s s , h o r d s h i p and obscur
And by a s t r o n g a b s t i n e n c e he
hod al ways c o n c e a l e d h i s knowledge
which was so est eemed t h a t
he was f o r c e d t o pr e a c h i t .
ty .
A g r e o t l i g h t and spher e was
he t o t h e human r a c e ,
i n a pur e , c l e a r manner,
the f o u n t o f k n o w l e d g e .
Many t o t h e b o n k ( . . . . . )
you br ought bock f r om gr eot e r r o r ,
going and p r e a c h i n g t o the p e o p l e .
You we.re on a r k o f t he t e st a me nt
by ( v i r t u e o f ) t he a p o s t o l i c c a l l .
Wi t h a g r e o t love o f h e a r t d i d
t he o mn i p o t e n t God h o l d him,
he who made him a v i c t o r , a
t e a c h e r ond a p r o v i d e r of t h e
lighthouse.
He gave him g r e o t
s p l e n d o r t o see c l e a r l y
t ne h i gh godhead a m i d s t a l l
t he q r e o t i n f i d e l i t y through which
the g l o r i f i e d one passed h e r e .
Wi t h hope he b e gi n s a good
song ond has f i n i s h e d i t :
By perseveri ng he causes them to
g i v e f u l l and p l e a s a n t j o y .
Moy he be a b l e t o r e c r e a t e ond
d e p i c t them, t h e one who hos
s e r v e d w e l l , t h o t i s t o soy.
May he come t o a good end t h e r e
in t h o t assembl y wher e each one i s
meri t o r i ous .
365
Sempre a l e g r o n g o con donga
f o c c i o lo padovono,
k ’ e [ n ] t a l e orange o l e g r o n g o
abbe do D i o so vr eno ;
ke dee po sso nj e guordenge
di q u e l l o h u m i l i e t p i a n o .
Non v o l s e ke f o l l i s s e
di c i d ke p r e d i s s e
ke Paduo/ne s t a r e b b e [ * n ] a l t o
85
90
stato.*
Preghi om loudondo cont ando
lo s o n c t i s s i m o A n t o n i o ;
do D i o pregondo scusando
noi a t u t t i p e r d o n i ,
e t sempre st ondo or ondo
c ' i n p e t r i quel gran dono:
di p a r o d i s o ' l r egno,
s' ke c i o s c u n s i o degno
e s s e r cu I lui ocompagni ot o .
95
100
Si o g l o r i o t e l audat o
I ’ o l t i s s i m o moiesto;
ringrotiato o rro [te j,
ke del mond'e po de st o ,
de lo be ot a o r n a t a
v i r g o n o t o con f e s t o .
Lui cum g r o n / d i humi I i t a n g o
dimendiom perdonango
ke ol i u d i c i o s i o d a l d i r i c t o
105
110
loto.
Amen.
3
MS IS HISSING THE SIGN OF THE NASAL OVEN 'A T O N I O '.
6
MS READS "SO FORfANE*
7
MS HAS "VOLSE PICCOLO*
11
MS HAS "S0NSUHA" FOR 'CONSUONA'
16
MS RE AOS "V ANA6L0R IRI *
24
MS READS "HANOI TAT A"
36
MS HAS "CONFOROIERO"
38
MS, "ET l a l e g e "
39
^ m m -im e ',
p l i e d FROM MAGL^,
The word " v o l s e "
i s h i s s i n g f r o h our MS but i s sup­
40
COHPIRE -
43
MS, NON FO DI LOIT 6DU.
48
T he
55
MS HAS "OCULTA."
57
MS, "s o n e " f o r ' f o n e '
62
Th e h a n u s c r i p t i s h u t i l a t e o
here.
I t i s l i k e l y fr oh
o f the poeh t h a t th e l i n e s h o u ld r e a o ' M o l t ' a P o r t o '
' COMP I ERE' -
e heno atio n hade
TO ACCOHPLISH, FULFILL, COHPLETE
here
THE CORRECTION IS FROH MAZZ.
is
take n
froh
MS Magl 2 .
both th e . rhyhe
I riv e ra '.
and
the
thought
“
366
85
90
95
100
105
May t h e Paduans al ways
make j o y and d a n c i n g ,
t h a t I n such honor he r e c e i v e d
so much happi ness f r om God;
( I t ) i s power and p r o t e c t i o n
f o r t h e humble and t h e meek
He di d not want t o f a i I In
t h a t which was f o r t o l d , t h a t
Padua mi gh t remai n a h i g h s t a t e .
L e t us pr a y , p r a i s i n g by s i n g i n g
t o t he most h i g h S a i n t Ant hony;
by p r a y i n g God t o excuse us
and al ways r e m a i n i n g i n p r a y e r ,
(he) obtains th at grea t g i f t f o r
us, t h e kingdom o f p a r a d i s e ,
so t h a t each one may be wor t hy
t o be accompani ed by hi m.
May t h e h i g h e s t m a j e s t y
be p r a i s e d and g l o r i f i e d ;
may he be t h a nk e d and honored
who i s t h e power o f t h e w o r l d ,
o f t h e b l e s s e d ador ned one,
v irg in -b o rn with great f e a s t .
And w i t h humi I i t y we asn
pardon o f him, t n a t a t the
judgement we may be on t he r i g h t
hand.
Amen.
93
T he
correction
is
suggested
by
Ma z z ,
T he t e x t of t h i s hyhn i s remarkable for i t s accurate ac count of the e v e n t s
An t h o n y ' s l i f e .
The author b e tr a y s a f a m i l i a r i t y w i t h the f a c t s about the s a i n t .
E ven m o r e , i t i s p o s s i b l e to d e t e r m i n e to some e x t e n t ju s t w h ic h s ou rce s were known
to h i m .
At the t i m e the I o l l a n o i s t s c o m p i l e d t h e i r V i t a of S t . An th o n y for the
Ac t a SS the o l d e s t and most a u t h e n t i c of the lege n os of the s a i n t ' s l i f e ha d hot y e t
been d i s c o v e r e d .
I t was only i n 1886 that the C a p u c h in f r i a r , H i l a r y of P a r i s d i s ­
c ov e r e d i n h i s m o n a s te r y in L ucerne the a n c i e n t copy of what i s now known t o be the
L e s e n d a Pr i m a . or as i t i s o f t e n c a l l e o , the V i t a A n t i q u i s s i m a .
I t had b e en c o p i e d
IN A WOMAN'S NANO— ACCOROING TO FATHER RAPHAEL HuBER, PROBABLY A POOR CLARE.
Cf .
S n Anth on y o^ P adua , Ooctqr of_ the Un i v e r s a l Ch u r c h .
M il w a u k e e * Bruce P u b l . C o . ,
1 9 4 6 . ) p. 1 4 2 .
T he m a n u s c r i p t d i s c o v e r e d by F a th e r H i l a r y c o n t a i n e o also a legend
OF THE LIFE OF S T . FRANCIS.
BETWEEN THE TWO LEGENDS WAS AN INSCRIPTION IN OLO
German
d e c l a r i n g th a t the l e g e n d of S t . F r a n c i s had been t r a n s c r i b e d by a c e r t a i n
El s f e c k
von Am u e r t , w h i l e th a t of S t . Anth on y was c o p i e d by a Ka t h e r i n e von
PURCHLAUSEN WHO WAS THEN IN HER SIXTY-SEVENTH YEAR.
BOTH WORKS WERE F IN IS H ED , SO THE
EXPLANATION GOES ON, ON THE EVE OF THE FEAST OF S T . BARTHOLOMEW IN 1 3 3 7 .
IT CONCIUOES
WITH A LITTLE PRAYER ENDING WITH AN INVOCATION OF FRANCIS ANO CLARE.
IT IS ON THIS
BASIS TNAT HUBER CLAIMS THE TWO COPYISTS WERE POOR CLARES. CF. CD. C I T . , P . 1 0 1 .
B c t h V i n c e n t o f Be a u v a i s ano J u l i a n of S p i r e s draw upon t h i s olo l e g e n d for t h e i r works
(S pec u lu m H i s t o r i a l e . and the L i v e s and L i t u r g i c a l Of f i c e s of S t . F r a n c i s ano S .
An t h o n y , r e s p e c t i v e l y ) Huber argues th a t the Le ge nd a would had had t o e x i s t be7 ore the
YEM
N ate OF J u l i a n ' s d e at h .
of
T he c h r o n i c l e r P o l a n o i n o remarks i n
Ma r c h i a T a r v e s i n a ( w r i t t e n arouno 1 2 6 0 ) t h a t
h is
the
L i b e r Ch r o n ic a r u m Be
s a in t
actually
liv e d
f a c t is
as he
is
in
367
OEPICTEO IN HIS LEGEN D-MIH I CH PRESUMABLY IS THIS VlTA ANTIQUISSIMA.
C f. HUBER,
102 ano 129. The r h y th m ic o f f i c e of J u l i a n of S p i r e was based on t h i s l e s e n d and
THAT OFFICE WAS ALREADY IN USE IN 12 49 . HUBER EXPLAINS THAT THE AUTHOR OF THE LE GENOA
WAS UNDOUBTEDLY ASKEO TO WRITE THE WORK SOON AFTER THE SAINT 'S CANONIZATION IN 12 31 .
The a c tu a l a u t h o r s h ip of the work i s much d e bat ed ano not of much r e le va n c e h e r e .
F or f u l l o i s c u s s i o n , C f . , Hu b e r , p . 1 0 4 - 7 .
Th i s le n g t h y d i g r e s s i o n of the ea rly s ou r ce s for the l i f e of Anth on y i s
IS IMPORTANT HERE, FOR OUR LAUOA SHOWS A STRIKING FID ELITY BOTH TO THE CONTENT MATTER ANO
TO THt ORDER OF PRESENTATION OB THE FACTS AS THEY ARE UNFOLOED IN THE VlTA ANT I QU ISS IMA.
Sin c e the work of J u l i a n of S p i r e s was seem ingly i n d e b t e d to the p r e v i o u s l y m e n tio ne d
WORK, IT IS NOT CLEAR WHICH OF THE TWO VERSIONS WAS THE ONE FOLLOWED BY THE POET OF
OUR HYMN. F o r PURPOSES OF COMPARISON THE THREE WILL BE SET UP IN COLUMNS BELOW THE
LAUOA ON THE LEFT, THE VlTA ANTIQUISSIMA IN THE CENTER AND THE WORK OF JULIAN ON THE
rig h t.
The e d i t i o n o f the V i t a A n t i q u i s s i m a used f o r t h i s purpose i s t h a t o f K e r v a l
ENTITLED SANCTII A h T O N I I . FOR JULIAN CF., ACTA SS, JUNE I I I , 196-20 9 , UNOER THE TITLE
A u ctq re Anonymo v a ld e a n ti quo.
L au de XXXVI11
Ma n u s c r i p t 91
10
21
24
32
of
the
Cortona
o ' U l i s b o n a se parte
Not e the s tr a n g e s p e l l i n g
L is b o n h e r e — u l i s b o n a —
PROBABLY COPIED FROM THE
La t in source.
Monaco
deve nn e
V i t a An t i q u i s s i m a
Ed i t i o n
of
regulato
E88E AUOITA B AN DI T A KE SETTE
FRATE MINORI DA GENTE ENITA
F ALL IT A FOR MORTI E 0 1COLL AT I
OlVENNE FRATE MINORE
De m a r t i r i o f o
inamorato
Ker v a l
S p e a k s of th e s a i n t b e i n g born in
L i s b o n w h ic h he o b v i o u s l y never
SAW SINCE HE SAYS OF I T , " | N
EXTREMIS MUNDI FINIBUS S l T A . . . "
He SPELLS THE WORD ULYXBONA, AND
INOULSES IN A LITTLE ETYMOLOGIZ­
ING.
J u l i a n of S p i r e s
E d . Ac ta SS.
The i n c i d e n t i s r e l a t e d i n
ALMOST IDENTICAL WORDING.
" I N EXTREMIS TERRAE F I N I ­
BUS SlTA EST."
L is b o n i s s p e l l e d here
Ul y s b o n a .
(27) "SPRETIS MUNDI OBLE CT AT I OH I (198 - PAR 2)
RELATEO
BUS, SE TRANSTULIT ET CAHONICI REGU- THE SAME INCIDENT IN LIKE
LARIS HABITUM H IM IL I DEVOTIONS
MANNER.
SUSCEPIT.
(29 )
Post ha ec autem , quum r e l i QUIAS SANCTORUM MARTYRUM, FRATRUM
VIDELICET MlNORUM. • • A MAROCCHIO
OE PORT ASSET
(30 )
Mora bantur
(198 - PAR 3) RECOUNTS THE
STORY OF THE R ETURN OF THE
RELICS OF THE FRANCISCAN
PROTO-MARTYRS TO COIMBRA
where Anthony th en w a s .
eo tempore
(198 Co l i m b r i a , in
events
LOCO QUI SANCTUS An t o n IJS APPELLATUR,
FRATRES DE OROINE MlNORUM, LITTERAS
QUI DEM NESCIENTES, SEO ViRTUTEM L I T TERAE OPERIBUS EDOCENTES.
non
30
o£
longe
au te m ,
a c iv it a t e
(30 )
B ib s b x t o b e IN CORBB SUOt * 0
SI ME SANCTORUM MARTYRUM SORUM
CORONAE PART ICIPEM FORE DIGNARETUR
Al t i s s i m u s . "
(198 -
par
4)
are
na r r at e o
PAR 5)
T he
same
here.
3 68
LAUOE XXXVII I OF THlE Cow TOW*
MANUSCRIPT 91
40
46
Con q u e l l o o i s s u i r e comp i w e ,
MlisSARSE, I NTr CRO IN NAVE $
AL NOSTWO SI WE PIACEWE
NON FO A LOW SNAYE;
FALLO REVENIRE, CUWWIWE
IN C l C I L I A SUAVE)
A p o w to llo
i n Romagna
V i t a An t i q u i s s i m a
Ed it io n
(33)
of
SENSIM 131 tun
Kewval
J u lia n
o f S p ire s
Eo. A c t a S S .
et
pew
in c w e m e n t a
ZELUS F I 0 E I EUM ENIXIUS PEWUWGEBAT ET
MAWTYWI I S I T I S IN COROE ILLIUS ACCEWSA
QUIESCEWE EUM NULLATENUS PERMITTEBAT.
UNOE FACTUM EST UT, JUXTA PWOMISSUM SATA
S IP I L IC E N T IA , TEWWAM SAWWACENOWUM
FESTINU3 ADIWET, SE 0 QUAE SUNT HOM|NI $ COGNOSCENS ALTISSIMUS IN FACIEM
El WESTITIT AC INTENTATO 6WAVI MONBO
PEW TOTUM H IENIS SPATIUM, ACWIUS FLA­
KE LL AVI T .
SlCQUE FACTU3 EST.-UT,
QUUM OE PWOPOSI TO SUO NIHIL PROSPENE ACTUM CERNERET, PWO WECUPEWANOA
SALTEH CORPORIS SANITATE AD NATALE
SOLUM COMPULSUS REMEAWET. Q U I , QUUM
NAVIGANOO IN F IN I0 U 3 H I SPAN IAE A P P L ICARE DISPONERET, IN S lC IL IA E PART I BUS
VENTOWUM PULSU SE POSITUM CEREBAT.
(1 9 8 - 5 )
CMQUE NAVIGANOO
AD REDEUMOUN IN H I SPAN I AM
ITER ARRIFERET, CONTIGIT UT
IN PARTES S l C I L I A E VENTIS
NON SECUN0E3 FLANTIBUS AP PLICARET ET SIC PENITUS A
PROPOSI TO SE FRAUOATUM C0NSPICERET.
( 3 5 ) DENIQUE VOCTA IN PARTEM FWATWE
GRATIANO, QUI TUNC IN ROMAN I OLA
MINI STEW I UN RRATRUM GEWEBAT, 3 U P I LI CARE COEPIT SERVUS DEI ANTONIUS
QUATENU3 SUSCEPTUM SE A MINISTWO
GENERALI IN ROHAN I 01 AM DUCERET ET
OEOUCTUM 01 SCI PLINAE S P IR IT U A L S
WUDIMENTIS INFORMAWET.
(198 - 5 )
4 9 - 7 5 SCATTEWED THWOUGHOUT
THIS POWTION OF THE LAUOA
THENE AWE SEVEWAL ALLUSIONS
TO HIS SUCCESSFUL MINISTWY
AS A PREACHER.
(42f f )
Al l of Ch a p t e r X deals w i t h
An t h o n y ' s a p o s t o l i c work as a p r e a c h e r .
The e n t i r e ch apt er i s e n t i t l e o , De
FAHA EJUS 1 2 EFFICACI A PR AE DI CTI ON I S
Ejus.
Ch a p t e r I I de ­
HIS STUPENDOUS
GIFT OF PREACHING.
65
(42 )
ALTISSIMUS UT A SUMMO PONTIFICE
ET UN I VERSA OAROINALIUM MULTI TUOI NE
AR DENT I SS IMA OEVOTIONE AUDI RETUR PRAEDICATIO I L L I U S . NEHPE ENIM TALIA ET
TAM PROFUNDA DE SCRIPTURI3 FACUNOO
ERUCTABAT ELOQUIO UT AB IPSO DOMINO
PAPA, FAMILIAR I QUA OlAN PRAEROG AT I VA, ■
A r b a T e s t a m e n t i VOCARETUR.
( 20 0 - 1 9 )
Quam profunda
VERO DE SACRIS ELOQIIS
ERUCTARET, SUNMUS IPSE
Romae S e d i s Po n t i f e e
TESTAPATUR, A QUO VIR
3ANCTUS Arca T e s t a m e n t i ,
PECUllAAl QUODAN NOMINE,
VOCASATUR,
Ancha TESTAMENTI
(200-8)
scribes
IT IS ESPECIALLY SIGNIFICANT THAT NONE OF THE THREE WORKS UNDER CONSIDERATION HERE SPEAK
OF THE MOST ACTIVE YEARS OF ANTHONY'S APOSTOLATE IN ANY BUT THE HOST GENERAL TERMS. NOTHING IS
SAIO OF HIS VIGOROUS PREACHING IN MANY OF THE CITIES OF NORTHERN ITALY (WITH THE EXCEPTION OF
P adda ) and i n F r a n c e .
Re g a r d i n g t h i s l a c u n a F ath er Huber R a i s e s the q u e s t i o n " were th e s e y e a r s , for
SOME REASON OR OTHER, SEPARATED FROM THE ORIGINAL MANUSCRIPT (NOW LOST) SO THAT A> COPYIST WAS
NEVER ABt£ TO TRANSCRIBE THEM ( i F EVER WRITTEN) OR DIO THE AUTHOR PURPOSELY AVOID WRITIH6 ABOUT
THEM BECAUSE, AS SOME CRITICS MAINTAIN (ALTHOUGH FALSELY, IT SEEMS . • • ) , OR SOME MISUNDERSTANDING
between A n t h o n y and B r o t h e r E l i a s , w h o , a t t h e tim e o f o u r S a i n t ' s f e r v e n t a c t i v i t i e s , was v i c a r g e n e r a l o f t h e O r d e r , 1 2 2 1 - 1 2 2 7 , o r because t h e Legenqa P r i h a was p u b l i s h e d j u s t a t t h e t i m e when
E l i a s was m i n i s t e r g e n e r a l , 1 2 3 2 - 1 2 3 9 7 " C f . H u b e r , o p . c m ; . , p . 1 0 9 .
Lauda XXXIX
.
MS 1 0 0 v - 1 1 0 v
Li uzz i , 4 3 4 - 4 4 3
Refrain
If
I
Ma-
gda-
1
V.
le-
na
1
s trT j>
r
f
pre
'
~
oeg-
"
^
^
Ben
e
7 S
de-
%
k&
I
per
;-
f oe
;i
'
»>'
;i
^
ca-
d'es-
1
tri-
re.
noi
y
*
sa-
re
1,1
ce
..........
pre-ga-re
"
lau- da-ta,
1.
no-
■ 11
mi-
9jL^
na-
1
ta,
. ..___________ .
'
P z r.:j? .
J . ; . .. J ,J j j J j + j a t
set— ’ vi-
su
per
‘
1 ,
pec-
3 3 5
A
Di-o
gna
r
l au - da­
%
ZE
9«
1 "*
■!
I
da
■n
^ . . p .- y . — j .
sem-
de- gna
Cri-
re
sto
jr : .- : 3 b f .
fo
vol-
ben
me-
se
se-
‘■
ri-
. a
s
ta-
qui-
' 1
ta,
to-
re.
The la u o a a p p e a r s i n n o o t h e r m a n u s c r i p t k n o w n . The t e x t a l o n e i s f o u n o in p a r t in MS A r e t .
From t h e s t a n d p o i n t o f s c r i p t t h i s i s th e m o s t p e r f e c t example i n t h e e n t i r e m a n u s c r i p t .
T he a r ra n g e m e n t i s c l e a r and l e g i b l e , ano ther e are no m i s t a k e s IN THE LAUDA VERSE c o n t a i n e d
UNDER THE MUSIC.
370
Magda l ena degne do l o u d o r e ,
sempre degge D i o per noi p r e g a r e .
101«
Bene d degna d ' e s s o r e l o u d e t a ,
k e / f o e p e c c a t r i c e nominate:
p e r s e r v i r e f o ben m e r i t o t e ,
I esu C r i s t o v o l s e s e q u i t a r e .
5
Con mo I t a humi l i t a d e lo s e g u ' o
. e t cum p e r f e c t a f e d e senga r i o :
uando C r i s t o p r e d i c a r e o u d ' o ,
el suo amore prese ad i m f l e m m e r e . / 10
a
ioiv
Lo suo p e c c a t o p i a n s e * cum do l o r e
e del mondo v o l s e u s c i r e d ' e r r o r e ,
e t a C r i s t o cun v e r a c e amore
i n suoi man! si v o l s e commendore.
M o l t o de spr eggd la suo gr ondecge
15
p e r c i d ke se vedeo i n t o n t o oosseggo:
lo suo corpo mol t o lo d i s p r e g g e ,
ke non se cr edea p i e t d t r o v a r e .
Simon p h a r i s e o f e c e c o n v i t o , *
a lesu C r i s t o f e c e uno gr ande c o n v i t o ;
angi k e ' I mengi ar e f o s s e co mp i t o ,
Ma g d a l e n e andava per c e r c a r e /
102a
d i C r i s t o a c u i avea lo suo amore da t o ;
e t t a n t o lo c e r c d i n oqne l a t o
k e ' n ca s e de Simon I ’ abbe t r o v a t o :
25
cum t i m o r e pr e s e a d u b i t a r e .
Tant e h u m i l i t e d e i n l i e i obunda*
ke a [ l o ] c r i m a r e * pr e s e pe r v e r gogne;
uando C r i s t o a mens© se s o g i o r n o ,
e r i e t r o * se M i pose a g e n u k i o r e .
30
3
A li p i e i de C r i s t o s ' i m c h i n b e
e t molto dolcementele bascidne;
de l a g r i me t u t t i l i bagnde,
c o l l i c e p e l l i presele a s ch iu g o re. * /
>02v
E l p h a r i s e o gr ande i n v i d i a a v e a *
di c i o k ’ a Magdal ena f o r vedee:
v e r s o o u e l l i ke t o t t o sapea
con f a I s o p e n s i e r i c r e d e a p a r l a r e .
35
20
371
Ma g d a l e n e , wor t hy o f p r a i s e ,
s h ou l d al ways pray t o God f o r us.
5
10
She who was c e l l e d a s i n n e r
is r e a l l y wo r t h y t o be p r a i s e d .
She m e r i t e d w e l l t o s e r v e Jesus
C h r i s t whom she wi shed t o f o l l o w .
Wi t h much h u m i l i t y she f o l l o w e d him,
ond w i t h a p e r f e c t and g u i l t l e s s f a i t h .
When she hear d C h r i s t p r e a c h i n g
she become i n f l a m e d w i t h h i s l o v e .
She
ond
ond
She
15
20
25
30
wept ( f o r ) he r s i n s in g r e o t sor r ow
wonted t o leave t h i s w o r l d o f e r r o r ,
t o go t o C h r i s t w i t h t r u e l o v e .
wonted t o commend h e r s e l f i n t o h i s hands
She d e s p i s e d h e r g r e a t n e s s ( b e c a u s e ) she
c o u l d see i n h e r s e l f so much baseness;
She d i s d a i n e d her body so much t h o t
she c o u l d not hope t o f i n d compassi on.
Simon t he P h a r i s e e hod a banquet ,
f o r C h r i s t he h e l d a g r e o t f e o s t : But b e f o r e t he meal was f i n i s h e d
Magdal ene went o u t in sear ch
f o r C h r i s t t o whom she hod g i v e n her love;
She looked so d i l i g e n t l y f o r him e v e r y wh e r e
t h o t she f ound him in t ne house o f Simon.
I n f e a r she was s e i z e d w i t h d o u b t .
H u m i l i t y abounded in h e r so g r e a t l y
t h a t she was s e i z e d w i t h t e a r s of shame.
W h i l e C h r i s t r emai ned a t t h e t a b l e
she k n e l t ond bent down behi nd hi m.
At the f e e t o f C h r i s t she bend down
ond ( t h e n ) v e r y s w e e t l y k i s s e d them;
Wi t h her t e a r s she bot ned them ond
w i t h he r h a i r she d r i e d them.
35
The p h a r i s e e was v e r y j e a l o u s
a t what he sow Magdal ene do.
W i t h f a l s e t h o u g h t s he spoke m e n t a l l y
t o him who knows a l l t h i n g s .
372
"Se q u e s t ! d pr op he t s copi oso
d! s c i e n t i a non s i r i a c o i t o s o ,
se sapesse c i & c ' d en l i e ! nascoso,
no la d i g n e r e b b e de g u a r d a r e .
se sapesse com'e p e c c o t r i c e
c ' a v e d' ogne v i t i o i n se r a d i c e ;
poi r e c e v e d e l l a m e r e t r i c e
t u t t o suo s e r v i t i o per ben f a r e . ” /
1o3b
C r i s t o lo r e p r e s e et f e I i r esposo
” F a l s o p e n s i e r o e i n t e nascoso;
ben cognosco e t so ke l i e k i u s o
v o l o n t a di vene a d o p e r a r e .
40
45
50
Duo d e b i t o r i non possono u b e d i r e *
a I c r e d i t o r e ke t i e n e de l o r o e v e r e :
per p i e t a d e v o l s e p r o v e d e r e ,
a ciascuno volse perdonare.
L ' u n dovea c i n q u a n t a v e r e me n t e ,
I ' a l t r o c i n q u e c e p t o v e r a me n t e ;
dimendo t e , perke se* p r e s e n t e :
quel d p i d degno de l u i a mo r e ? " /
103v
" Est i mo q u e l l o c ’ o me d p a r u t o :
non quel ke p?u p i c c i o l o dono e ’ v u t o ,
me oue I I i ke ma i ur e I ' d r e c e v u t o ,
q u e l l ? d pi u degno de m e r i t a r e . ”
C r i s t o li rispose et f e ' i vedere:
"Bene a I i u d i c a t o cum s e v e r e ,
perkd s i a d a t o man a v e r e
non dea pero la f e d e menemere.
104r
Poi ke ne I t u o a l b e r g o f u i venut o,
non me d e s t i b a s c i o nd s a l u t o :
ouest a r ende t u t t o lo t r i b u t e ; /
de s e r v i r e non si po s a t i a r e . "
Lo s e r v i r e f a c e con amore,
s t a v e d u b i t o s a cum t e mo r e ;
eve* I cor e a f f l i c t o de d o l o r e
ke suo tempo seppe me I p o r t e r e .
55
60
65
70
" I f t h i s man i s a f u l l - f l e d g e d p r o p h e t
he woul d not be d e s i r o u s o f kn o wl e d g e .
I f he knew what i s h i d d e n i n h e r he
would not condescend t o look a t h e r .
I f he knew what a s i n n e r she i s , and
t n a t she has t h e r o o t s o f a l l v i c e i n h e r ,
(he would know t h a t ) now he r e c e i v e s f r om
a p r o s t i t u t e a l l her s e r v i c e s as good deeds.
C h r i s t answered and r e p r i ma n d e d him:
" F a l s e t hought s e r e h i dde n i n you;
I f u l l y r e c o g n i z e ond I know t h a t ?n
he r i s e n c l o s e d t he d e s i r e t o do w e l l .
Two d e b t o r s c a nnot comply w i t h t he
c r e d i t o r who h o l d s t h e i r goods.
Out o f compassion ( f o r them) he wants
t o p r o v i d e ond t o pardon each o f them.
The one r e a l l y owed f i f t y , ond
t he o t h e r oct uo I ly f i v e nu n d r e d .
I ask you, s i n c e you a r e h e r e ,
whi ch i s more w o r t h y o f l ove?"
I j u d g e , os i t seemed t o me, not
t h o t one who was g i v e n t he s m a l l e r g i f t ,
( b u t ) t h e one who has r e c e i v e d mor e.
Thot one i s most wo r t h y o f m e r i t . "
C h r i s t answered him ond mode him see:
"You hove j udged w i t h r e a l wisdom;
because one i s g i v e n l es s i t s h o u l d
not, t h e r e f o r e , dimin ish his f a i t h .
Si nc e I came i n t o yo ur house you
gave me n e i t h e r k i s s n o r g r e e t i n g .
She r e n d e r s e v e r y t r i b u t e ( t o me):
She cannot s e r v e me s u f f i c i e n t l y . "
(Though) she was d o u b t f u l o u t o f f e a r ,
she r e n d e r s he r s e r v i c e w i t h l o v e .
Her h e a r t was a f f l i c t e d w i t h sadness,
she i l l knew how t o b i d e her t i m e .
374
Tent o S ne I f i n o amore na s c o s a *
ke gi & unque non cur a d ' a l t r a cosa;
sopr a quel t e s a u r o se r i p o s a
ke per nol se l essd I n c r o c i a r e .
104v
S'! f o f er ma e t f o r t e ne I suo amore
c ' e v e * I cor e a p r e s o / d e I ’ e r d o r e ;
C r i s t o cognoscendo lo suo f e r v o r e
con seco la [ f e ] ce m e n g i e r e .
S' ke sua d f s c i p o l a la f e c e ,
comme la s c r i p t u r e e l co nt a e t d i c e :
poi r i mase a p o s t o l a i n sua vece
per lo suo v a n g e l i o p r e d i c a r e .
Ben s e g u ' o a p o s t o l i c a v i t a ;
in c i d f o la sua g r a t i a c u m p it e :
quel la Ke de C r i s t o f o f i u r i t a
con seco la v o l s e c o mp a g n a r e . *
105*
80
85
90
La ver gene madre p r e t i o s e
f o / d e Medel ene s' emorose,
ke con seco a g u i s e de sua sposa
ne I suo amore la v o l s e c o n s e r v a r e .
Quendo C r i s t o f o p e s s i o n e t o , *
co Ii disci poll era raunate:
M a r i a Magdal ena i n q u e l l o s t a t o
I esu C r i s t o ando a v i s l t a r e .
Magda lene avea seco p o r t a t o
un onguent o [ m o l t o ] d e l i c o t o ;
unse Tesu C r i s t o d 'o g n e l a t o :
Giuda f a Iso pr ese a mor mor a r e .
105v
75
95
100
Disse:
”Quest o & gr ande pe r d ement o/
ke se f a de q u e s t o p r e t i u s o unguent o:
me I I i o ve nda r e d e n a r i t r e c e n t o ,
105
e t d a r l o a l i pover i per l o r o c o n s o l e r e . "
Quest o f o ' I p r i n c i p i o e la c a s c i o n e
perkfe I uda f e c e t r a d i s c i o n e ,
e t a g u i s a d ’ un v i l e s c h i a v o n e
vendeo C r i s t o e f e c e i o t o r m e n t a r e .
110
So g r e a t was t he love hi dden i n her
t h a t she no l o n g e r ca r e d f o r a n y t h i n g e l s e
She r e s t s o v e r t h o t t r e a s u r e who
a l l o w e d h i m s e l f t o be c r u c i f i e d f o r us .
She was so f i r m ond s t r o n g i n h e r love
t h o t her h e a r t o v e r f l o w e d w i t h a r d o r .
C h r i s t , r e c o g n i z i n g ( w e l l ) her f e r v o r
i n v i t e d he r t o e a t w i t h hi m.
C o n s e q u e n t l y , he
os the S c r i p t u r e
I n hi s s t e a d she
a p o s t le in order
mode h e r h i s d i s c i p l e
r e l a t e s and soys:
r emai ned os on
t o pr each t h e G o s p e l .
She f o l l o w e d w e l l the a p o s t o l i c l i f e ;
( a n d ) i n t h i s h e r g r a c e was p e r f e c t e d :
She who was t h e f l o w e r o f C h r i s t
he wonted t o have os a componi on.
The p r e c i o u s v i r g i n mot her
was so enamoured o f Magdal ene
t h o t she wonted t o keep he r w i t h
h e r in t h e manner o f o spouse.
When C h r i s t was c r u c i f i e d she
was in t h e company o f t h e a p o s t l e s :
I n t h o t c o n d i t i o n , he went
t o v i s i t Mary M o g d e l e n e .
Magdal ene hod b r o u g h t w i t h her
a v e r y d e l i c a t e o i n t m e n t ; ( ond)
she a n o i n t e d C h r i s t on e v e r y s i d e :
D e c e i t f u l Judas began t o murmur.
He s a i d :
" T h i s i s a g r e o t w a s t e , what
she does w i t h t h i s p r e c i o u s o i n t m e n t .
I t i s b e t t e r t o s e l l i t f o r t h r e e hundred
d e n a r i i ond g i v e i t f o r r e l i e f o f t h e poor
T h i s was the b e g i n n i n g ond t he
r eason why Judos made h i s b e t r a y a l ,
ond s o l d Jesus l i k e an o b j e c t s t o v e ,
ond caused him t o be t o r t u r e d .
376
106ft
Era pr eso de q u e l l o unguento
ke Magdal ena f e c e cum g i a c h i m e n f o . *
C r i s t o s o f f i r i o per not t or ment o
e t m o n o i n cr oce per no i / r i comparare .
Puo? ke C r i s t o f u e s e p e l i t o , *
Ma gda l e n e , c ' a v e e M cor f e r i t o
del d o l o r e ke C r i s t o evee p e t i t o ,
unqua non potea r e q u i a r e .
C o l l e M a r i a ando a lo s e p u l c r o
ove l e s u C r i s t o e r a s e p u l t o ,
con unguent o p r e t i o s o m o l t o
p e r l e sue pi aghe ilgnare e t c u r a r e .
107v
Quando guer dBr o v e r s o * I monumento,
v i d d a r o I ' a n g e l o c h i e r o pi 0. k * a r g e n t o ,
u n d * e l l ebbaro/grande pavento.
L * a n g e l o pr e s e a l o r o a f e v e l l e r e :
" D i ^ n i e n t e gi B non d u b i t e [ t e ] ; *
l esu C r i s t o ke voi domendate,
s u s c i t a t ' B per c e r t o lo s e p i e t e ,
e t i o so* qui per c i d d e n u n t i a r e . "
115
120
125
130
Unde gr ande c o n f o r t o a l o r f o da t o
quando v i d d a r o lo l a p i d e l e v a t o :
c i o ke I ' a n g e l o B d i n u n t i e t o ,
perke mor t o lo cr edean t r o v e r e .
107ft
Sol a se p a r t ' o la Magdal ena
quel la k ' e r a del suo amore s ' * / p i e n a :
s ' la s t r e n g e cum f o r t e c a t e n a ,
ke* I suo c o r e non pot ea p a s s a r e .
Del suo amore andava ce r cendo
e t t u t t o r a g i a pi engendo e l agr i ma ndo;
de l e s u andava di mendando*
k i unque per v i a pot ea t r o v e r e .
Poi ke C r i s t o f o r e s u r r e x i t o *
a I t e r g o d i e , st come a v e t e u d i t o ,
a la Magdal ena f o a p p a r i t o
i n un o r t o , per l i e ? c o n s o l a r e . /
135
140
145
3 77
He was p r e o c c u p i e d w i t h t h a t a n o i n t i n g
whi ch Magdal ene made w i t h such p r o d i g a l i t y .
C h r i s t s u f f e r e d f o r us t o r m e n t (f ond
de at h on t ne cr os s t o ransom us.
115
120
125
130
Then when C h r i s t was b u r i e d
M a g d a l e n e ' s h e a r t was so wounded
by t he sorr ow whi ch C h r i s t had s u f f e r e d
t n a t she c o u l d never mor e f i n d pe a c e .
Wi t h the two Marys she went t o the
s e p u l c h r e where Jesus was b u r i e d ,
w i t h much p r e c i o u s o i n t m e n t t o
a n o i n t and cor e f o r h i s wounds.
When t hey looked t owar ds the monument,
t hey sow t h e a n g e l b r i g h t e r t han s i l v e r ,
whereupon t h e y were v e r y much a f r a i d .
The a ngel began t o speok t o them.
"Do not doubt a n y t h i n g anymore.
C h r i s t Jesus, whom you seek is
risen.
You must c e r t a i n l y know
i t , ond I am h e r e t o announce i t .
I t was a g r e o t c o mf o r t t o them
when they sow t he s t o n e t o k e n owoy;
(ond when t hey he a r d ) whot t he an gel hod
announced, f o r t h ey b e l i e v e d him t o be de ad.
135
140
145
Magdal ene d e p o r t e d a l o n e , she
whose h e a r t was so f u l l o f l ove:
Wi t h s t r o n g c h a i n s ( s o r r o w ) bound h e r so
t i g h t l y t h o t h e r h e a r t c o u l d not b e a t .
She went s e a r c h i n g f o r he r l ove,
weepi ng ond c r y i n g a l l t h e t i m e .
She went a s k i n g f o r Jesus, of
e v e r y on e she met a l o n g t he way.
Inasmuch os C h r i s t hod a r i s e n
on t he t h i r d day, os you have
h e a r d , he a p pe a r e d t o Magdal ene
in t h e garden t o c o n s o l e h e r .
378
108 R
Quando venne e l d i e de I ’ oscensi one
C r i s t o s ' l i f e c e p r o mi s s l o n e
de lo suo o l t i s s i m o mosci one;
i n v i t a e t e r n o semprs deo r e g n a r e ,
150
Magdal ene s ' f o d i p a r t i t e *
sengo o l c u n o r e t e g n o de suo v i t a :
quasi com' a gui so di r e m i t a
ne I d e s e r t o ondd ad obi t o r e .
l u n q o tempo s t e c t e i n g r a n torment©
a I freddo et a I caldo et a I vento;
g i i non l i ri mosi v e n t i m e n t o ,
i n pace v o l s e to I peno p o r t a r e .
Non poreo c r e a t u r e humane;
t u t t o e r a pi lose commo l ano,
e t gi o c e o pur en t e r r a p i a n o :
o l t r o o l b e r g o g i i non f e c e f o r e .
Andava poscendo per !a land©*
k& id non ovea o l t r o v i v o n d o :
per m i s e r i c o r d i o D i o l i mendo*
o n g e l i c o c i b o per g u s t o r e .
Che s a b b o t o do vesper o i n n o n t i ,
per l i tempi c 1i s o f f e r t i t o n t i ,
l i onge I i l a por t evono cum gran cont i
a s e n t i r e lo ciolge* g l o r i a r e . /
108V
1 60
165
170
F i n a l u n i d ' k e 1 I s o l e nosce
de q u e l l o c i b o goudi oso posce:
[ k e j be ne d e c t o l e s u ke noi s' losce
cosi d o l g e f r u c t o s o v o r o r e .
M o l t o f o de gr ande o b s t i n e n t i o
ke t r e n t o anni f e c e p e n i t e n g i o ;
c o n t r a 11 v i t i i mi se suo pot enga ,
n u l l o in ver l i e ! potere* durore.
109n
155
R i s t o r i lo suo c o r r e c t ? o n e
cum i e i u n i o e t o r a t i o n e ;
a q u e s t o per a s p r e c t i o n e
p r i v i l e g i o li de’ /de ve rgenitode.
175
180
150
When t he doy o f the as c e n s i o n
came C h r i s t mode he r a promise
o f h i s h i g h e s t mansi on;
I n e t e r n a l l i f e she would r e i g n .
So Magdal ene d e p o r t e d w i t h o u t
r e t a i n i n g a n y t h i n g o f her ( p o s t )
Al most i n t he manner o f a h e r m i t
she went t o the d e s e r t t o l i v e .
life:
155
i t ed
by t he c o l d and t he hea
I n peace sfie wonted t o bear tli e p a i n .
160
165
170
She di d not seem l i k e a human b e i n g ;
She was a l l cover ed w i t h h a i r l i k e w o o l ,
end lay on t h e e a r t h e n f l o o r , f o r
she b u i l t no o t h e r l o d g i n g .
She went br owsi ng t hr ough the land
because she hod not o t h e r f o o d .
Out of h i s mercy God s e n t ner
a n g e l i c f ood f o r he r t o t a s t e .
( From) Sunday a f t e r v e s p e r s , f o r
t he t i me she hod s u f f e r e d so much,
t h e a n g e l s , w i t h sweet songs, br ought
h e r t o h e a r t he sweetness o f g l o r y .
U n t i l Monday a t t h e s u n r i s e
she e a t s t h o t j oyous f o od
( w h i c h ) t h e b l e s s e d Jesus has
l e f t f o r us t o t a s t e such sweet f r u i t .
175
She p r a c t i c e d g r e o t a b s t i n e n c e
ond f o r t h i r t y y e a r s d i d penance;
a g a i n s t h e r v i c e s she put her s t r e n g t h ,
( a n d ) n o t h i n g c o u l d p r e v a i l a g a i n s t he r
She r e f r e s h e d h e r p u r i t y
w i t h p r a y e r ond f o s t i n g :
Because o f t h i s s e v e r i t y she
was g i v e n t h e p r i v i l e g e o f v i r g i n i t y .
380
S' ke f o ben p u r i f i c a t o
i n se ogne v i t i o de p e c c a t o :
t u t t o l i e r a primo pe r d o n o t o
da c u l u i cui e la t e r r a e ' l mar e.
185
S' como da D i o f o mandato
un omo c ’ avea or dene s a c r a t o ;
a Di o er a r e n d u t o e t commendato:*
t r o v & la Magdal ena cus' s t a r e .
109v
190
" S c o n i u r o t e per D i o e t s ' t e d i c o , *
si t u se* phantasma o n i m i c o ,
ke tu t e p a r t i e t non s t e a pi u con m e c o ; /
[ . . . . 3 degime par I a r e .
Per l o nome d e l l a donna m i a *
non t e vo I I i o d i r e k * i o s i e :
M a r i a femena cum t a n t a vi M a n i a
Magdal ena mi s o l Mono ki amor e.
195
Prego t e per D i o k * e mi v e n i s t i
ke t u m’ e r e c h i el corpo e * I sangue de C r i s t o ,
e ' I I i b r o de la f e d e ke c r e d e s t i
e la s t o l a ke l essd la m e d r e . "
11 Or
"Soro m i e , t u se' pr es* a I p o r t o
d i / g u s t a r e suave cum d i p o r t o ,
e t i o si t ’ a r e c o q u e l l o c o n f o r t o
ke' I t u o cor e i pr eso a d e s i a r e . * '
205
I n suo mano f o c o f e s s * a t t a n t o ,
e t con m o l t e l o gr i me de p i a n t o
puo* r e c e v e ? I c o r p o e* I sangue s a n c t o ;
o l l o r a f i n e non d i e pi 5 d e mo r a r e .
210
De [ l a ] Magdal ene pongo f i n e
k * e f u o r e del d e s e r t o e t de la s p i n e ,
n e l l a e t e r n a l e g l o r i a senga f i n e ,
e t pe r r e s t o r o d ’ ogne suo p e n a r e . /
110v
A V e r d e l a i * f o ' I suo cor po p o r t a t o ;
i ne f o n e composto e c o n s a c r a t o .
l esu c o n s e n t o , k * e s i g n o r b e o t o ,
ben f i n i r e ke f e * q u e s t o t r o v e r e .
*
215
200
381
185
190
Thus e v e r y v i c e o f s i n was
r e a l l y p u r i f i e d in h e r .
A l l was f o r g i v e n he r i m m e d i a t e l y
by him whose a r e t h e lend and s e a .
Thus was se nt f r om God a
man who hod h o l y o r d e r s ;
he gave and commi t t ed h i m s e l f t o
God, ( a nd) f ound Magdal ene t h e r e .
"I beq o f you f o r God’ s soke, and I ask
you i f you o r e on enemy o r a g h o s t ;
go away and do not r emai n w i t h me.
You must t e l l me ( t h i s ) .
195
200
205
210
I n t h e nome o f my lady I do
not wont t o t e I I you who I am:
Ma r y , t h e woman o f g r e a t s i n j
t hey u s u a l l y c o l l me Ma g d a l e n e .
I beg you. who hove come t o me f r om God,
t h a t you b r i n g me t he body and bl ood o f C h r i s t ,
and t h e book o f t h e f a i t h which you b e l i e v e d
and t he s t o l e whi ch n i s mot her l e f t . ”
"My s i s t e r , you o r e n e a r t o t h a t p o r t
( wh e r e ) you ( w i l l ) t a s t e sweet c o n s o l a t i o n ,
and so 1 b r i n g t o you t h a t c o mf o r t
whi ch yo ur h e o r t so d e s i r e s . "
I n h i s hends she c o n f e s s e d t o much
and wept many, many t e a r s .
Then sne r e c e i v e s t he h o l y body and b l o o d .
(Now) she no l o nge r hod to d w e l l h e r e .
I speak no more o f Magdal ene who
i s o u t o f t he d e s e r t and t h e t h o r n s ,
and i n e t e r n a l g l o r y w i t h o u t end.
( wh e r e ) she i s r ewor ded f o r a l l ne r t o r m e n t .
215
To V e r d e l o i he r body was c a r r i e d ;
i t was p r e p a r e d t h e r e and c o n s e c r a t e d .
J esus, who i s our b l e s s e d L o r d , a l l o w e d
a happy e n di ng t o h e r who had f ound hi m.
3R2
T he
tex t
Martha
of
the
*
la u d
L azarus
and
follow s
the
Se t h i n y .
of
t r a o it io n
it
of
represents
id e n t if y in g
a
c u r io u s
Mary
the
b l e n d in g
of
Mary
p e n it e n t
w it h
fac t
f ic t io n
ano
*
the
s is t e r
of
a o k e r in s
CLOSELY TO THE GOSPEL ACCOUNTS OF MAOSALENE BUT BEYOND THE POINT OF THE SCRIPTURAL RECORO* THE POET
HAD TO SEEK HIS SOURCE ELSEWHERE. HE SEEKS TO HAVE TURNED TO THE LE6EHBA AUREA OF VORAGINE, FOR THE
TWO ACCOUNTS RUN PARALLEL IN THEIR VERSION OF THE LIFE OF MA6 0ALENE AFTER THE ASCENSION.
11
PlANSE -
'PIANGE'
1 9 -2 6
CF .
7s36
2 7 -3 4
L uke
28
MS READS 'CRIMARE' FOR'LACRIMARE'
30
0ERIETRO - NED USAGE
34
JkSCHIUGARE - FOR 'ASCIUGARE' - TO
3 6 -5 0
Luke
7 :3 9
5 1 -6 6
Luke
7 :4 0 -5 0
75
MS
90
MS REAOS 'CONSECO LACE IMAG IN ARE' - THE CORRECTION IS FROM MAZZ
F o r r e f e r e n c e t o h e r p r e a c h i n g t h e g o s p e l * C f . La* p . 409
NB
L uke
7 :3 7 -3 8
HAS
FOR ' 0 1 DIETRO'
DRY
'N A S C O S O '
F rom
here
to
the
end
the
n u m b e r in g
95
The
9 8 -115
M att 2 6 :6 -1 3 1
112
MEANING OF "GIACHIMSNTO" NOT CERTAIN.
BEEN TRANSLATED FREELY.
115-143
la st
Ma t t
s ylla b le
Ma r k
2 8 :1 - 1 2 ;
127
MS
has
136
MS
repeats
141
MS
reads
143-146
JOHN 2 0 :1 4 -1 8
151-158
On
' d u b it a '
the
Mark
for
' s i'
' o im a n o o '
Ma g d a l e n e ' s
' p a s s io n a t a '
of
l if e
was
of
aoded
16 3-1 64
LANDA On
X III
Ma g d a l e n e
-
to
in
the
the
L iu z z i
m a n u s c r ip t
t r a n s c r ip t io n
l a t e r
is
in c o r r e c t
.
1 4 : 3 - 8 1 John 1 2 : 1 - 8
1 6 :1 - 8 ;
L uke
PERHAPS FROM 'GECCHI RE * -
2 4 :1 - 1 2 ;
TO DECLARE.
IT
HAS HERE
2 0 :1 -1 3
J ohn
' d u b it a t e '
in
for
in
the
t u r n in g
of
the
page
' d im a n o a n o o '
the
desert
*
Cf «*
CONTEMPLATI ONI S AVIOA ASPERRIMUM EREMUH
XXX ANNOS INCOGNITA MANS I T . "
163
verses
k*»
p
41 3.
.
" in t e r e a
beata
P E T I I T ET IN LOCOANGELICIS
M a r i a M a g d a l e n a su p e r n a e
MAN I BUSPRAEPARAT0
FOR UNCULTIVATED LANO
b r o w s in g
for
her
food
*
c f
.*
^ a.
p
.
413
" in
quo
q u id e m
loco
n e c aq u a r u m fl u e n t a
NEC ARHORUM NEC HERBARUM ERANT SOLATIA, UT EX HOC MAN IFESTARETUR* QUODREOEMTOR NOSTER
NON TERRENIS REFECT I ON I BUS* SED TANTUM COELESTIBUS EPULIS OISPOSUERAT SATIARE."
165-17 4
PER
IPSAM
On t h e h e a v e n l y fo o d w h ic h was brought t o Ma g d a l e n e .
Cf . * U . p . 413 "Q u a l ib e t a u t e m d ie
SEPTEM HORIS BANONICIS AB ANGEL IS IN AETHERA ELEVABANTUR ET COLESTIUM AGMINUM GLORIOSOS
CONCENTUS ETIAM CORPORALIBUS AURIBUS AIOIEBAT* UNOE DIEBUS SINGULIS HIS SUAVIS3IMIS OAPIBUS
SATIATA ET INDE PER EOSDEM ANGELOS AD LOCUM PROPRIUM REVOCATA CORPORALIBUS ALIMENTIS
NULLATENUS INDIGEBAT."
170
189
191-194
MS READS 'DONCORE' FOR 'DOLCE'
MS READS *ERRA NENOUTO ET E COMMENDATo'
HOW GOO SENT A PRIEST TO NER. C f . L A , ? . 4 1 3 . " D lE IGITUR QUA0AM DOMINUS PRAEDICTI SACERDOTIS
OCOLOS APERUIT ET CORPOREIS OCULIS EVIDENTER ADSPEXIT* QUAD TER ANGEL I AO PRAEDICTUM LOCUM* IN
QUO BEATA MARIA MORABATUR* DISCEDEBANT ET EAM IN AETHERA SUBLEVABANT ET POST HORAE SPATIUM AO
EUNDEM LOCUM CUM D I V I N I S LAUDIBUS REVOCABANT."
383
194
Lacuna in the manuscript here
1 9 6 -2 0 6
Magdalene and the priest. C f . , La, p. 4 1 3 f f . " I nvocato
ISITUR SALVATOR IS NOMINE EXCLAHAVIT: ADJURO TE PER DOMINUM, UT, SI HOMO ES VEL ALIQUA
RATIONAL IS CREATURA, QUAE IN ILLA SPELUNCA HABITAS, MIHI RESPONDEAS ET TUI EOISSERAS
VERITATEM. CUMQUE HOC TERTIO REPETIISSET, BEATA MARIA MAGDALENA El RESPONOITS ACCEDE
PROPI US ET OMNIUM, QUAE DESIDERAT ANIMA TUA, SCIRE POTERIS VERI TATEM. CUMQUE ILLE
TREMENS USQUE AO MEDI I SPATII TERMINUM APPROPINQUASSET, AIT ADftIM MEMINISTI EX EVANGEL10
de Maria illa famosa peccatrice, quae pedes salvatoris Lacrymis lavit , capillis tersit
ET SUORUM DELICTORUM VENIAM PROMERUIT? QUI SACERDOS! MEMINI ET PLUS QUAM TRIGINTA
ANNORUH EVOLATA SUNT CURRICULA, QUOD HOC FACTUM ETI AM SANCTA CREDIT ET CONFITETUR
ECCLESIA. Ego, INQUIT, SUM ILLA, QUAEPER TRIGINTA ANNORUM SPATIUM OMNIBUS HOMINIBUS
IGNOTA PERANSI ET SICUT TIBI HER ICERNERE FERHISSUM EST, SlC SINGULIS DIEBUS ANGELICIS
MANI BUS IN AETHERA SUBLEVATA COELESTIUM AGMINUM OULCISSIMAM JUBILATIOMEM SEPTENIS
VICI BUS PER SINSULOS DIES CORPOREIS AURIBUS AUOIRE PROMERUI."
215
Verdelai - This undoubtedly means vezelay, which at this time was a very famous pilgrimage
CENTER TO WHICH LAR6E NUMBERS WERE ATTRACTEO BY THE FACT THAT THE BONES OF MAGDALENE WERE
REPUTED TO HAVE BEEN TAKEN THERE*
The conversation between
Lauda XL
•
110 v - 11 4 v
Li u z z I , 4 4 4 - 4 4 7
384
R e fra in
a ha
~7^ 1r ‘ f"
—
L 'a i-
San-
;l
11
' pre-
to
'
• '
cto
, *i
«i niv ^
r ^ ^ ■Fr-ffr?
— ..I ,,- I. ■ r - . ......... T J
ce a rc h a n - ge- Io-
* • ■ ' * *
M i-
, *i
n
c h e l,
ia u -
V
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di
c ia -
«
. A
scun
^
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lu-cen
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te,
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seen-
te .
n
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!
■
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rP
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.:. .. /1, -if-t- Vj i --' 1.4
i .-y*. v-f ZZB
- ~
(rn
a — -- j — f —■J—•
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w
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1
1
I
c ia -
\
►
scun
li
fW
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1 ”
fa -
f] ' _'
[
c ia 'c u m
gram r e -
,
ve-
ren-
fa ,
a a
r- ■r '.-C. ■r ' r />'' f~r fr'-p- ~t
1
n
fV
£
I
T
k’ el-
----- 1----------- r~— ; ^ t ^
l ’ £ mi - n i -
stro
de
• . • (V
-C5n»
per
T
I *a— n i -
I
me r e -
I
ce-
per
ni
I ’ om-
------1---------po-
B^dJ 1
—
fe n-
fa .
*1
--------
-------------- -— T
de
la
gen-
+e.
laud* i s s o t f o u n o i n a n y o f t h e m a n u s c n i f t s c o l l a t e d .
The p r e s e n t t r a n s c r i p t i o
ISSUE WITH LlUZZI'S CLAIM THAT THE NYMN IS IN THE FORM OF COBLA CAPFINIDA. THERE IS
INSUFFICIENT LIKENESS BETWEEN THE REFRAIN AND THE LAST TWO LINES OF THE STROPHE TO
SUBSTANTIATE HIS CLAIMS.
T h is
n
ta k e s
385
11"
11v
L ’ a l t o pr ence a r c h a n q e l o l u c e n t e ,
sancto M i c h e l , l a u d i / c i a s c u n s c e n + e . *
Soven+e lo l audl amo, e t ubi denga
c i a s c u n l i f a c i a cum gram r e v e r e n g a ,
k ’ e l l ’ i m i n i s t r o d e / I ' omnipo+enge
per I ' a n i m e r e c e p e r * da la g e n t e .
5
La gen+e c r i s + i a n a l i e commissa
per g u a r d a r e+ [ p e r ] condur p a c e ' n f r a e s s a ;
ma la s u p e r b i e i n f r a noi si e messa*
ke* I suo c o n t r a r i o i venu+o a n i e n + o .
10
112«
N i e n t e * guasi neI p a c i f i c e r e
t a n t ' e / d i s c o r d i a : v i l n e perdonare;
p e r i a la f i n e non p o r i campare
quei ke de pace non s i ra v o l e n + e .
V o l e n t e sempr * essendo QueI beni gno
15
che I n c i e l ne combat+e col gram mn I igno
ke no I segui de mi I l e n c o * ( ? ) , f o degno
d ’ a v e r honor e+ g l o r i a p o t e n + e .
Potentemen+e v i t ’ i ki s e r v i r e
v i I I ' a l + o s i g n o r e ’ n pace s o f r i r e ,
k * e dal n i m i c o non lassa l a i d i r e
e+ a la f i n e lo f a s+ ar e g e u d e n t e . /
H 2v
Gauden+e s + a r p i cum gram s c i g u r a n c a
c h i ' n ques+o mondo i pace e+ c o n s o i a n g a ;
sanc+o M i c h e l I ’ a i + a a la b i l a n g a .
25
F o l l e c h i ’ m s o f p e r b i a ] * r es+a f e r v e n t e .
2
SCENTE -
6
RECE PER -
9
M
S READS • N e s s a " f o r 'M e s s a '
11
M
S HAS A CAPITAL V INSTEAD OF N ON 'NlE NTE '
15
M
S IS MISSIN6 THE SI6N OF THE NASAL ON 'SEMPBE',
17
26
20
FOR ' SC I ENTE '
FOR ' RICEVERE '
M i l l e n c o - T h is word i s n o t c l e a r ,
L i u z z i subgests t h a t
'T ALENTO '.
I t HAS BEEN TRANSLATED THUS IN THIS VERSION,
F or the word ' s o p e r b i a '
A VERY SHALL SCRIPT,
the
MS
has
only
the
'
so'
and
the
i t m ight be meant t o
'
p e r b ia '
is
ne
added l a t e r
in
-
386
Le t each person p r a i s e S a i n t M i c h a e l ,
t h e e x a l t e d p r i n c e , and s h i n i n g a r c h a n g e l .
5
O f t e n l e t us p r a i s e him, and l e t e v e r y o n e
ooey him w i t h g r e a t r e v e r e n c e , ( f o r )
he is t h e m i n i s t e r o f t he o mn i p o t e n t
t o r e c e i v e t he s o u l s o f the p e o p l e .
The C h r i s t i a n peopl e a r e e n t r u s t e d t o hi m,
t o guar d them and b r i n g peace among them;
but t h e p r i d e among us i s so g r e a t
t h a t h i s o p p o s i t i o n has come t o n o t h i n g .
Al most n o t h i n g ( i s he a b l e ) t o r e c o n c i l e ,
so g r e a t is t h e d i s c o r d :
He wants t o pardon us;
but a t the end he who w? I I not want peace
w i l l not be a b l e t o l i v e ( anymor e)
15
W i l l i n g al ways t o be t h a t beni gn one
who i n heaven f i g h t s t h e d e a d l y one
who d i d not f o l l o w him ( w i l l i n g l y ) , ?
He was wor t hy to have honor and g r e a t g l o r y .
20
He who wants t o s u f f e r p e a c e f u l l y i n o r d e r
t o s e r v e the e x a l t e d l o r d , has a s t r o n g l i f e ;
f o r he does not l e t t he enemy s o i l him,
and a t the end he causes him t o be happy.
25
He can be happy i n g r e a t s e c u r i t y , who
has peace and c o n s o l a t i o n i n t h i s w o r l d ;
S t . Mi c h a e l h e l p s him t o t h e b a l a n c e .
F o o l i s h is he wno p e r s i s t s i n bei ng pr ou d.
I T IS SIGNIFICANT THAT MICHAEL THE AHCHANGEL WAS PANTICULARLT POPULAR IN THE Ml DOLE AGES AND
THAT THE SHRINE OEOICATEO TO HIM ON MOUNT SARGANS WAS A PILGRIMAGE CENTER AT ABOUT THE TINE
THAT THE LAUOA WOUL0 HAVE BEEN WRITTEN, IT IS NOTEWORTHY, TOO, THAT MlCHASL WAS ALWAYS HELO
IN A SPECIAL PLACE OF HONOR WITHIN THE FRANCISCAN 0R0ER, (CF. WlLLEBROROUS LAMPEN, "DE S. P.
F r a n c i s c i C u l t u Angelqrum e t S a n c to ru m ," Archiyum Fra nciscanum H i s t o r i c u m XX, 1927) and was
GREATLY L 0 T I 0 BY FRANCIS HIMSELF.
YEARLY, BEFORE THE FEAST OF THE GREAT ARCHANGEL, FRANCIS
UNDERTOOK A FORTY DAY FAST IN HIS HONOR.
I T WAS DURING THE COURSE OF THIS FAST, IN THE YEAR
1 2 25 , THAT THE SAINT RECEIVEO THE STIGMATA.
Al s o , one of
MICHAELMAS.
the
two ann ual
chapters
h e ld
by
the
Fr i a r s
was
d esig nated
to
be
co nv ene d
on
Lauda XLI
MS 1 1 2 v - 1 14v
L i u z z i , 448-452
337
Refrain
• m
Fa­
c i a-
mo
a u-
r ~ V
col-
la
ver-
san-
~
^ =
1—ne
ge -
ct;
3
1 mag-
1-------------------------glure,
9
V
b
*1
£
de
buon
<i
co-
.
1-------------
re,
•
•
Mi
J . .. J . j
i
per
S tr o p h e
*i
Per
J'
cum
a-
mor
cum
dob
j- - j • •-pr-- :
' del
mor
: 1 •j,:::
ti-
ere-
del
mor
t [ I ],
>
j
l
a-
to-
•
ere-
~frr:
1
ca n-
i
i.fU -i.fii
a-
ge
a
re.
. a ►
to­
re
J — :.
e
I
re-
I
ve-
ren-
ge,
j|
388
fc
Jj- j
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f c"
e-
fc
il.
i-ff: _
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xu l-
ton-
J. j
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cum
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r:.
do-
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re
i
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H
-1
■■ z
1
t t = J.....w.z :. -J____ p_____J - .~wz.::::::.:J":.. .:. -.....- .------------------- 4 --------------J —
--------------- I .. .............. .. 'I
m =
per
d i-
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t 'i
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t - 0 ---------------- r * ^ L . ------------------ 1-------------- ------------------1— ^ - 2 ------------H r ---------- 1—
— 2>— w - 9 ----------- p ------ ■■■ “ 1 1
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tft?
j r
f T
r
■ P f ----------...............
1............ ....... 1 ............
A.
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fo r
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p i-o gen90
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_______________ I------------------------ 1 ,1............>;_______ I
.
.
: : - ^ E=r: J : z z iijz iz z
|
cum
gran-
1
d is -
s i-
v—'
mo
%
*
t=^_
f : ■ --fzfy* i y
f
I
fe i—
vo-
re.
both t e x t a h 0 melody a re c o n t a i n e r in MS M a r l 1 * w h i l e t h e t e x t a l o n e occurs i n M a r l 2 * F i o r . *
The s e v e n t h and e i g h t h s t s t e h s o f th e m a n u s c r ip t each have tw o c l e f s b ut th e y
Ar s . , and A r e t .
ARE M E R E L Y
REDUNOANT*
NOT C O N T R A D IC T O R Y *
38?
Faciemo leude a t u t t ' i s a n c t i
co I la v e r g e n e ma gg i ur e ,
de b u o n / c o r e , cum d o l 5 e c e n t [ i 3 ,
pe r amor del c r e e t o r e .
113«
Per amor del c r e e t o r e
cum t i m o r e r e v e r e n j a ,
e x u l t a n d o cum b a l d o r e
p e r / d i v i n e pr ov l de nga
t u t t ' i s a n c t i per amore,
i n t e n d i o m cum e x c e l l e n g e
de f a r f e s t a a l o r pi agenpe
cum g r a n d i s s l m o f e r v o r e . /
n3v
5
10
F e r v e n t i s s imo segnore
ke li s a n c t i di r i m f l a m m a t i
e t de g l o r i a e t d ' o n o r e
t u li S i ' n c i e l e n c o r o n e t i ,
c o n s t ! t u i s t i r edempt or e
nei p e r p e t u i i m p e r i e t i ,
vivendo d e i f i c a t i
con t e c o , a I t o * m p e r a d o r e .
114«
15
20
Rer f i l i o l , de gr ande i m p e r i o ,
ke r e g e t e t u t t o ' I mondo
pe r v i r t i i del gram m i a t e r i o
de lo s ^ i r i t o i ocundo,
a voi si f a c i a m p r e g h e r o
ke m a n d i e t e * pace el mondo
[ e n t r ' a la ge nt e c r i s t i a n a ] *
ke non v i v a i n t a n t o e r r o r e . /
n4v
T u t t a g e n t e d i c a n eve
a la v e r g e n [ s u e ] medre del
k ' e l l ' d ingemgnosa k i a v e
ke li s e r r e t u t t ; q u e n t i s
e l l ' e p o r t o l o r suave,
e l l ' d s t e l l a de I ' i r r a n t i ;
t u t t a la c e l e s t i a l c o r t e *
la r e s g u e r d ' a t u t t e I ' o r e .
25
sancti,
30
35
26
MS READS 'MADI ATE' WITHOUT THE SIGN OF THE NASAL.
27
T h is e r t i r e v e r s e i s n i s s i n s fro m the o r i s i h a l m a h u s c r ip t b ut has been aooeo l a t e r
THE MARGIN. HOWEVER, THE RHYME IS INCORRECT.
35
The
MS READS 'C0RTE CELESTI ALE* WHICH BREAKS THE RHYME SCHEME.
o r ig in
Roman
of
church
.
the
f e a s t
Co p ie s
of
of
All
Be d e ' s
S a in t s
is
obscure
hartyrology
and
d a t in g
l it t l e
from
the
is
L IUZZI INVERTS THE TWO WORDS.
known
e ig h t h
ir
of
it s
century
in t r o d u c t io n
c o n t a in
in t o
under
the
November
FIRST THE ENTRY, "NATALE SANCTI CAESARII ET FESTIVITAS OMNIUM SAiiCTORUM. • . *
AND I T IS CERTAIN
THAT ALCUIN CELEBRAVEC THE FEAST. C F . BUTLER'S LIVES OF THE SA IN T S. EDITED AND REVISED BY HERBERT
Th u r s t o n ,
S. J .
and
Oo h a l o
At t w a t e r .
( new Y o r k s
P .J .
Ke n n e d y
and
S ons,
1 9 5 6 ),
vol
iv
,
p
.
234.
390
W i t h a good h e o r t ond sweet
songs, l e t us p r a i s e
a l l the s a i n t s , with
t he supreme v i r g i n .
10
15
20
25
30
35
*
For t he love o f t h e c r e a t o r ,
( prompted by) f e a r and r e v e r e n c e ,
( o u t ) w i t h j o y end b o l d n e s s ,
we i n t e n d w i t n e x c e l l e n c e
ond t hr ough d i v i n e p r o v i d e n c e
t o moke a f e a s t f o r the p l e a s u r e
a l l the s a i n t s , w i t h
greatest fe rv o r .
Most f e r v e n t l or d
who I n f l a m e d t he s a i n t s
w i t h g l o r y and ho no r , you
hove crowned them i n he ave n.
You c r e a t e d a redeemer
i n the e v e r l a s t i n g e mpi r e
to l i v e g o d l i k e w i t h
you, e x a l t e d e m p e r o r .
Ki ng ( and) son of t he g r e a t e m p i r e ,
you who r u l e t he whol e w o r l d
by v i r t u e o f t he g r e a t m y s t e r y
o f t he j o y f u l s p i r i t .
L e t us pray t o you t h a t
you send peace t o t he w o r l d
(among the C h r i s t i a n p e op l e )
t h a t t hey may not l i v e i n such e r r o r .
L e t a l l manki nd soy " h a i l " t o
t h e v i r g i n , mot her o f t h e s a i n t s ,
f o r she i s t he i n g e n i o u s key
whi ch e n c l o s e s them ( a l l ) .
She i s t h e i r sweet h a r b o r ,
she i s t he s t a r o f t r a v e l e r s .
A l l the c e l e s t i a l cour t
looks a t her a t a l l t i m e s .
L o udo XL I I
MS 11 4 v - 1 1 6 v
L i uzz i , 4 5 4 - 4 5 6
3?1
R e fra in
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T h i s l a u d a i s not f o un o i n any of the other m a n u s c r i p t s
THE LAST NOTE OF THE REFRAIN OOES NOT EN0 ON THE TONIC.
- J. "3
r i-
O'
so
collated.
I t i s worth n o t i n g t h a t
ALSO THE LAST SYLLABLE OF THE WORO
"tOVANN l" HAS HO NOTE.
IN THE PRESENT TRANSCRIPTION THIS SYLLABLE HAS BEEN ELIOED WITH
THE NEXT WORD. F r OM THIS LAUDA TO THE END OF THE MANUSCRIPT THE STAVES ARE BLACK INSTEAD
OF RED AND THE RED VERTICAL LINES OF THE PREVIOUS FOLIOS HO LONGER OCCUR TO SET OFF THE
MARGINS.
392
Son l ovonni ol mond’ S n o t o :
o g n ’ om l oudi Di o p i e t o s o . /
D i o per sua gron c o r t e s i o
G o b r i e l cum pr ophe t ?a
mondo o son ^ o c n o r i o
k'ovareo f i l i o l grotioso.
115)1
V e c h i o v e c h i o mogl e av e a ;
El i s o b e t non doveo
o v e r f i l i o l , [ o n l * d ’ e? poteo
per n o t u r o e s s e r * / d o l o r o s o .
115v
10
D u b i t S , f o f a c t o muto
e ne I noscer f o o b s o l u t o :
de s p i r i t u sonct o empi ut o
perfecto d e lo tio s o .*
Elisabeth b ' ngravidoto,
qua I sei m e i s i * f e * ’ I p o r t a t o :
poi f o C r i s t o o n u n t i o t o
do quel an gel d i g n i t o s o .
15
En c o n t e n e n t e lo sovrano
ver gene M a r i o di ono
per l i monti t o s t ’ ondava:
ven'ol porto copioso.
20
Per m l r o c o l embe pregne
I ' uno a M a l t r a si v i e n e ;
en c o r p o / o v i e n o l i v i v ' e n s e g n e ,
cum s e l u t o d e l e c t o s o .
116*
25
Quel s o l u t o a l o r f o t o n t o
p i e n o de s p i r i t u sonct o
ke l o ha n ni neI suo c a n t o
e x u l t d , f o gaudioso.
30
Prophet S la v e k i o r e l l e
k ' a v e o ’ n corpo M a l t a s t e l l e :
"Benedicte tu, p o l g e l l o ,
pi ena del sol l umi no [ s o ] ! " *
9
MS
10
•E S S E *'
14
D C L A T IO S O
16
Me i s i
34
T he
HAS
I
'D E
-
u s t
IS
POTEA*
NE AA LV
-
I L E E S I BLE
M E A N IN G
NOT
C L E A N . HA S
BEEN T A A N S L A T E B HE RE
'mese'
s y lla b le
of
' l u m in o s o '
i s mi s s i n g
in
the
MS.
AS
'O E L E C T O S O '
393
5+ . John is bor n i n t o the w o r l d .
Let e v e r y man p r a i s e the m e r c i f u l
God in h i s g r e a t ki ndness
sent G a b r i e l t o S a i n t
Zachar y wi th t he prophecy
t h a t he woul d have a g r a c i o u s
5
God.
son.
The o l d man had an o l d w i f e .
E l i z a b e t h shoul d not have a
son.
Because o f t h i s he coul d
by n a t u r e be v e r y s o r r o w f u l .
10
He do u b t e d :
He was s t r u c k dumb
end in t h e b i r t h he was a b s o l v e d ,
by t h e h o l y s p i r i t was f u l f i l l e d
(th is ) perfect d e lig h t.
15
E l i z a b e t h became pr egnant
and c a r r i e d him s i x mont hs.
Then was C h r i s t announced
by t h a t no bl e a n g e l .
Immediately the sovereign
v i r g i n Mary, morni ng s t a r .
went q u i c k l y t h r o ugh t he h i l l s
to t h a t r i c n c h i l d b i r t h .
20
The
one
They
the
25
two p r e g n a n t by a m i r a c l e came t o t h e o t n e r ;
had i n t h e i r bodi es
l i v i n g s i g n s w i t h joyous g r e e t i n g s .
That s a l u t a t i o n t hen was so
f u l l of t h e H o l y S p i r i t
t h a t John in h i s song
e x u l t e d and was j o y o u s .
30
The o l d lady p r o p h e s i e d , she
who had i n ner body t h e e x a l t e d s t a r ,
" Bl e s s e d a r e you, v i r g i n ,
f u l l of t h e s n i n i n g s u n . "
T he
lauda
WAS
INTRODUCED
is
ONLY
MAY
FERHAFS
ONE
r ea lly
BE
a
IN
OF
hymn
THE
THE
for
the
feast
TH IR TE E N TH
OLDEST
HYMN S
of
the
CENTURY
FOR
V is it a t io n .
AND
THAT
O R IG IN A T E D
FEAST.
Th is
is
W IT H
THE
s io n if ic a n t
,
F R A N C IS C A N S .
for
the
THE
feast
LAUDA
Lauda XL I I I
Mj 1 l 6 r - 1 1 7 v
L i uzz i , 4 5 6 - 4 5 3
3<M
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om
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T he LAUDA OCCURS i n M a g i 1 , and th e t e x t alone is fo und in Ma g l 2 , F i O R ., AND A lls . L lU Z Z I CALLS
THE FORM AH AB C»CE BUT THE PRESENT VERSION TAKES ISSUE WITH THIS DESIGNATION ON THE BASIS
THAT THERE IS INSUFFICIENT LIKENESS BETWEEN THE TWO " C * MEMBERS; THAT IS, BETWEEN THE FIRST AND
THIRD SYSTEMS OF THE STROPHE.
Ogn'om c e n t ! novel c a n t o /
a sen l o v e n n i , a u l e n t e f i o r e .
0 lovenni, fres c*aurora,
m o l t ' e r i ger^one a l o r e
quando C r i s t o cum gr an cure
epostolo * te fece e p a s t o r e . /
0 G i o v a n n i , amore d? l e c t o ,
C r i s t o a t e se f e c e l e c t o
quando l i d o r m i s t ' i n su I pect o
n e l l a cena de I ’ amor e.
Quando e r a v a t e a cena
del t r a d i m e n t o e r a mena:
c i a s c u n evee gran pene
de t e k ' e r ' c o n s o l a d o r e .
F a c e s t i vi ta b e a t a
cum Gi o v a n ni q u e l l e f i a t e
de quel la f o n t e s a c r a t a
ke no I p o t e r i c o n t a r c o r e .
De quel ben ke sempre ebunda
t r a i e s t i manna i ocunda:
com*I mar qe ct a f u o r I ' o n d a ,
f a c e s t i de l g r a n d ' a r d o r e . /
S' f o r t e m e n t e p a r l e s t i
del t h e s a u r o ke c e r c a s t i ,
ke n u l l ' o m c o t a i p a s t i
t r o v o de t a n t o s a p o r e .
Delectoso ev ang elisto,
ke c o r a l * amor f o q u e s t o
quel t e demost r o C r i s t o
st ando neI cr ude I d o l o r e !
Lo v e r i t a q u e s t o d i c e :
1a sue madre, t u* la f e c e ;
a l i e * t e l a s s i ' n sue vece
en s u l l a cena de la m o r t e .
T he MS
C oral -
uses
'
the
c o ii a l e '
a b b r e v ia tio n
-
XI11
had
'
a p l ' o'
the
for
m e a n in g
'
of
apostolo.
’ from
'
the
heart'
L e t e v e r y men s i n g a new song
t o S t . John, f r a g r a n t f l o w e r .
0 John, f r e s h dawn, you
were v e r y young t hen
when C h r i s t w i t h g r e a t c a r e
made you an a p o s t l e and sh e p h e r d .
0 John, d e l i g h t f u l l o v e , C h r i s t
made h i m s e l f a bed f o r you
when you s l e p t on h i s b r e a s t
a t the supper o f l o v e .
When you were a t supper
t h e r e was f e a r o f t r e a s o n .
Ever yone wno wi s hed t o comf or t
you s u f f e r e d g r e a t l y .
Of t h a t sacr ed f o u n t a i n
wni ch no tongue can t e l l
you made l i f e b l e s s e d
w i t h John t h a t t i m e .
Of t h a t f o od whi ch abounds
you drew j oyous manna.
As t he sea c a s t s out waves so
d i d you ( c a s t o u t ) g r e a t f e r v o r .
So f o r c e f u l l y you spoke of
t h e t r e a s u r e wni ch you sought
t h a t no man e v e r f ound i n
t h o s e meal s g r e e t r e l i s h .
J o y f u l e v a n g e l i s t , what
a f f e c t i o n a t e l ove was t h i s
wni ch C h r i s t showed t o you
w h i l e s u f f e r i n g so much.
T hi s i s the r e a l t r u t h :
He made h i s mot her y o u r s .
To her he l e f t you i n h i s
s t e a d a t t he supper o f d e a t h .
Lauda XLI V
MS 117 v - 1 2 0 v
L i u z z i , 259-263
397
R e fra in
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mor,
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9a
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sahe
melody
lionet
oceuss
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spir-
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but
ri-
w it h
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tu
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text
re-
gna-
re,
398
118(1
Amor d o l 5e se n 50 p o r e /
s e ' t u , C i s t o , per omore.
Amor, seri 5« comi 0010090
s e ' tu podre in se mb ian 90,
i n t r i n i t d pe r 0010090
f i l l i o et s p ir itu reg o o re ./
118 v
Tu omore ke c o n i u n g i ,
cui p i u omi spesso p u n g i :
omni p i o g o , poi ke I ' u n g i ,
s e n 9o unguento f o i s o l d o r e .
10
D o lc e omore, tu se* speme;
ke bene ome sempre teme,
nosce e t c r e s c e del tu o seme
ke bon f r u c t o fo g r o n o r e .
Amor, t u non obondoni
ke t ' o f e n d e , s' perdoni
e di g l o r i o e n c o r o n i *
ki si so humi I i o r e .
119(1
Amor, g r a n d e , d o l c ’ e f i n o ,
in c re a to /s e ' c 'vin o :
t u f a i lu sorophyno
di tuo g l o r i o in flo m m ore
Cberubin e t li o l t r i c b o r i,
o p o s t o l i , gron p r e d i c o t o r i ,
m o r tir i et co n fe sso ri,
v ir g e n e , fo i iocundore.
P o tr io r c h e e t prophete
t u l i t r o i e s t i de lo r e t e ;
di t e , omor, ov^en gron s e t e ,
moi non si c r e d i o n s o t f e r e .
15
20
25
30
Or son c o n s o l o t i en t u t t o
de t e , g e u d i o cum d i s d u c t o : *
t u se* co n to seo^a l u c t o , *
c i e l o e te rr a foi c a n to re ./
119v
D o lc e omore, di t e nasce
lo speranpo c ’ omo posce,
unde 0 1 p e c c o t o r t u losce
p i e t a n 9a e d im e n d o r e .
35
A sweet love w i t h o u t eque !
you or e , 0 C h r i s t , w o r t h , o f
Love, w i t h o u t b e g i n n i n g , yo.
or e l i k e the f o t h e r ; out o f
love r e i g n i n g i n t h e T - i n i t y
w i t h the son and t h e s p i r i t .
You ( o r e a) love whi ch u n i t « > ,
whi ch o f t e n wounds hire whom
Then you a n o i n t e v e r y wound * r j
moke i t heoI w i t h o u t o i n t m e n t .
Sweet l ove, you or e no^e,*
he who r e a l l y loves you e l w e , » *
(He i s ) born ond grows f r © » , o. r
whi ch al ways produces good
Love, you do not abandon the onwho o f f e n d s you,
( b u t ) peroon «'
so t h a t you crown him w i t h g' or
who knows how t o humble h
0 l o v e r , q r e o t , sweet and f«*r : *
you a r e t he d i v i n e u n c r e e » * i or +
You cause the ser a phi m to
e
i n f l a m e d w i t h your 9 l o r , .
You moke hoppy the cherubi m
ond the o t h e r c h o i r s ; epos t - g r e a t preachers, m o r t i s ,
c o n f e s s o r s and v i r g i n s .
P a t r i a r c h s and pr ophet s vOV
drew away from the s n a r e .
They e x p e r i e n c e d g r e a t
r.*
you, love ond cout d neve*- re
•>
Now they o r e con so ed •>>■ , o .
e v e r y t h i n g , you ‘ o ✓ w i t h *0 -ac r .
You or e a song w i t h o u t mourn' og.
you make heaven and e e - t h %' n . .
Sweet l o v e , o f you : s b©r«,
th e hope which n o u r i s h e s wan.
For t h a t reason you bequeat h
( y o u r ) compassion f or t h e as*
399
A sweet love w i t h o u t equal
you a r e , 0 C h r i s t , wo r t h y of
5
10
love.
Love, w i t h o u t b e g i n n i n g , you
a r e l i k e the f a t h e r ; o u t of
love r e i g n i n g in t h e T r i n i t y
w i t h the son and t he s p i r i t .
You ( o r e o) love whi ch u n i t e s ,
which o f t e n wounds him whom he l o v e s :
Then you a n o i n t e v e r y wound and
make i t heal w i t h o u t o i n t m e n t .
Sweet l ov e , you o r e hope;
he who r e o l l y loves you al ways f e a r s .
(He i s ) born and grows from yo ur seed
whi ch al ways produces good f r u i t .
15
20
25
30
Love, you do not abandon the one
who o f f e n d s you, ( b u t ) pardon him
so t h a t you crown him w i t h g l o r y
who knows how to humble h i m s e l f .
0 l o v e r , g r e a t , sweet and r e f i n e d ,
you or e t h e d i v i n e u n c r e a t e d one:
You cause the ser aphi m t o be
i n f l a m e d w i t h your g l o r y .
You moke happy the cherubi m
ond the o t h e r c h o i r s ; a p o s t l e s ,
grea t preachers, m ar tyrs,
c o n f e s s o r s ond v i r g i n s .
P a t r i a r c h s ond pr ophet s you
drew away f r om the s n a r e .
They e x p e r i e n c e d g r e a t t h i r s t f o r
you, love ond coul d ne v e r be s a t i a t e d .
Now t hey o r e co nso l ed by you i n
e v e r y t h i n g , you j o y w i t n s o l a c e .
You or e a song w i t n o u t mour ni ng,
you moke heaven ond e a r t h s i n g .
35
Sweet l ove, o f you i s born
the hope wni cn n o u r i s h e s man.
For t h a t reason you bequeath us
( y o u r ) compassion f o r t h e a s k i n g .
40 0
Poi k e ' n c i e l o lo i n t e n d ! ,
tu c o r t e s e ke t ' o r e n d i ,
tu medesmo s] te s p e n d i ,
ki t e [ s o ] * t h e s a u r i g e r e .
Tu, omore, se* c o n c o r d i o ;
t u s e ' pace, non d i s c o r d i o ;
per la tuo m i s e r i c o r d i a
ne v e n i s t i a v i s i t o r e .
N e l l o cr o c e lo m o s t r o s t i
ke per noi t ' u m i l i o s t i ;
*
• *
| •
I
•
t
*
45
'f
50
Ki de t e , amor, ben penso
giemoi non t e f o r i o f f e n s e ;
t u se* f r u t u o s o menso
o v ' i d ’ ogne g l o r i o r e .
Amor d o i g e , t o n t o n'ome
k ’ o l t o regno ben ne k i o m i ,
s a t i a n d o d' ogn e fame
[ t o n t o ] * s» d o lg e a g u s t o r e .
Amor p i e n de c a r i t a d e ,
tu v e r o c e m e i e s t o d e ,
I n cui uno dei tode
sempre dovem v e n e r o r e .
Amor, ben fo digno coso
k e ' n t a l e emenga d e l e c t o s o
d eito fa c e s ti/p o s a
s o v r 1o g n * a I t r o d ' o n o r e r e .
Q u e l l e v e rg e n e b e e to
poi ke f o inamo rato
sempre s t e c t e t e m o r a t a ;
t u lo v o l e s t e ob um br ar e.
Amor gr an de f o r mi su ra
di cui nu bia c r e a t u r e
po ut e e v e r e in s£ n o t u r o ,
di t e amor si sa s c u s o r e .
55
60
65
401
40
45
50
51 nee in heaven you un de rst an d him,
you k i n d one who s u r r e n d e r y o u r s e l f ,
you do so much f o r him who Knows
now t o t r e a s u r e y o u .
You, love, o r e c o n c o rd ;
you a r e peace, not d i s c o r d ;
Out o f your mercy
you come to v i s i t u s .
You showed i t on th e cross (when)
you h u m i l i a t e d y o u r s e l f f o r u s .
You d i d not I ook a t our e v i l s ,
(but)
l e t y o u r s e l f be c r u c i f i e d .
He who t h i n k s w e l l o f you, lov e,
w ! I I nevermore o f f e n d you.
You o r e a f r u i t f u l t a b l e where
t h e r e is e v e r y g l o r y .
55
60
65
70
Swee+ lo ve , you love us so much
t h a t you c o l l us t o your kingdom;
you s a t i s f y our e v e r y hunger, so
sweet ore you t o t a s t e .
0 love, f u l l of c h a r i t y ,
you ( o r e ) t r u e m a j e s t y ,
in whom we must a lw ay s
v e n e r a t e t h e godhead.
Lo ve , i t s u r e l y was a worthy a c t
t h a t in such a d e l i g h t f u l love
you mode th e godhead repose
t o honor above any o t h e r .
That b l e s s e d v i r g i n
a f t e r she wos enamoured
alw ay s remained f e a r f u l :
You wonted t o overshadow h e r .
Love , g r e a t
o f which no
know how t o
fr om l o v i n g
beyond measure,
c r e a t u r e con
excuse i t s e l f
you.
402
Do lye omore omoroso
cum do I c o r e so voroso,
di t ’ e G a r c o * goud ioso ;
s o v r 'o g n ’ o l t r o se' d ’ a m a r e ./
17
M
S B E A D S ’ E DI CORONE'
32
DI30UCT0 - X I I I
33
LllCTO “ FOB 1L U T T O ', MOURNING
42
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58
MS IS SiSSiNS THE WORD 'TANTO* WHICHL l U Z I l
77
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75
HAVING THE MEANING
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and
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been s u p p l ie d
by
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SUPPLIES.
195.
121b t o 1 2 2 v , i n c l u s i v e l y a b e b l a n k .
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the
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403
75
Sweet l o v in g lo ve ,
w i t h savory sw ee tn es s,
because of you G a r z o i s jo yo u s;
You a r e a love above e v e r y o t h e r .
Lauda XLV
MS 1 23 r— 1 31 v
L i u z z i , 464-474
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406
123r
123v
124*
124*
B enedict! e llo u d e ti
sempre s i a t e a t u t t e
l*o re,
sancti a p o s to li beati
s e r v i del n o s t r o s e g n o r e .
S a n c t i a p o s t o l i , voi laudamo/
de bon c o r e n o c t e e t d i a
e t a voi recomandamo
t u t t a n o stra conpagnia.
M e n t e n e t e n * en t a I v i a
ke potie m p e r s e v e r a r e
a s e r v i r e ed a la u d a re
C r is t o nostro redem ptore. /
S e r v i f o s t e de t esd Cr i s t o
e s e q u i s t e i l suo v i a g i o ,
p e r r e v e r e quel d o l g ’ e q u i s t o
lo qua I non trove* p a r a g g i o .
T u t t i cum fermo c o r a g i o
vo' pregam cum r e v e r e n g e
ke n ’ a i t i e t i ' a 1a s e n t e n t i a *
ki non andiemo en q u e l l o a r d o r e .
Voi chiemem per e v o c a t i
n o ct e e di ogni s t e s c i o n e ,
apostoli g l o r i f i c a t i
p i e n i de consoI a t i o n e ;
per la s a nc ta pe s s io n e
ke d a l mundo r e c e v e s t e ,
e ’ l l a sancta g l o r i a / g e s t e •
a r e c e v a r grand * o n o r e .
Nui evemo f i r m e speranga
ke per v o s t r a p r e g a r i a
C r i s t o ne d i a r i p o s a n g a
cu I I i s a n c t i i n compagnie;
e la vi r g i ne M a r i a
en p r e s e n t e s t i e cum vo?
a p r e g a r e Dio p e r noi
e per ogni p e c c a t o r e .
125*
Sancto P i e t r o , Deo t ’ i tnesso
ke possa s i g n o r i q i [ a r e } ,
lu suo popolo t * a commesso
ki puoi a s c i o g l a r e e l i g a r e :
o r t e p l a c i a p e rd o n a re
t u t t o ’ I nostro afendemento/
per q u e l l o s a n c t o to r m e n t o
ke p a t i s t ? per suo am ore.
5
10
15
20
25
30
35
40
407
Moy the b l e s s e d a p o s t l e s ,
t h e s e r v a n t s o f our l o r d ,
be b l e s s e d end p r a i s e d
at all time.
5
15
20
25
30
35
40
H o l y a p o s t l e s , w i t h good
h e a r t we p r a i s e you n i g h t and day
and we recommend to you
a l l our company.
Keep us i n sucn a way
t h a t we moy p e r s e v e r e
and se rv e and p r a i s e
C h r i s t our r e d e e m e r .
You were s e r v a n t s o f Jesus C h r i s t
and f o l l o w e d h i s way ( o f l i f e ) ,
i n o r d e r t o hove t h a t sweet g a i n
l i k e unto which no o t h e r con be f o u n d .
We a I I pr ay t o you w i t h s t ro n g
h e a r t and w i t h r e v e r e n c e ,
so t h a t you moy a i d us, t h a t we go not
i n t o t h o t f i r e a t t h e ju d g e m e n t.
We c o l l on you, our ad voc ate s
n i g h t and day and i n e v e r y season,
you g l o r i f i e d a p o s t l e s
f u l l of c o n s o la tio n ;
By t h e h o l y s u f f e r i n g s t h o t
you r e c e i v e d fr o m t h e w o r l d ,
you went t o r e c e i v e b l e s s e d
and g r e a t honor and g l o r y .
We hove a f i r m hope
t h o t by y o u r p r a y e r s
C h r i s t moy g i v e us r e s t
to g e th e r w ith the s a in t s ;
and t h o t t h e v i r g i n Mary may
be p r e s e n t w i t h you
t o pray t o God f o r us,
and f o r e v e r y s i n n e r .
S o i n t P e t e r , God chose you to
r u l e as l o r d o v e r u s .
and he hos e n t r u s t e d t o you h i s
whom you con a b s o l v e o r b i n d .
Now moy i t p l e a s e you t o
pordon us a l l o u r o f f e n c e s ,
by t h o t h o l y t o r m e n t which
you s u f f e r e d f o r h i s l o v e .
pe o p le
Per la f e d e p r e d i c a r e
f u s t i e ' I la c r u c e c l a v e t o ,
g i i non ce v o l e s t ? s t a r e
commo C r i s t o d i o be ato ;
1‘
’ x fu stI vo Itato
tuo place mento
f e c i a r t e m o r i r e cum t o rm e n to
quel la g e n t e p i e n d ' e r r o r e .
Sancto Paul o s i e lau da to
ke a Deo t e c o n v e r t i s t i ,
da l u i f u s t i i l l u m i n e to
'lo r e ke1 I / s e n t i s t i ;
a l i sue p e r a v o l e c r e d e s t i ,
comen^asti a p r e d i c a r e ,
or t e p i a c i a I
ke no d i a deI
Multa gente c o n v e rtio
1 ‘
‘•
L
"eta
e tornd a
ed a sue lege d i r i t t e ;
q u e lle gente m a le d ic te
per i n v i d i a te p ? q l $ r o ,
la tu a t e s t a de c o T l& ro
cum g r e n d is s im o f u r o r e .
Te laudamo t u t t a v i a
s a n t ’ Andrea seqnor b e a t o ,
b e n e d i e t a ' s i a la d i a
ke da Dio fu st? k i a m a n t o .
Tosto f u s t i a p a r e k i a t o ,
o b e d i s t i I I suo comando,
de l u i v i s t i p r e d i c e n d o *
e mos tr an do suo v a l o r e ,
Dai paqani f u s t i p i g l a t o ,
se rv o de D i o v e r a luce,
e da lo ro f u s t i l i g a t o
e m o r i s t i in s u l l a c r u c e .
Ti laudamo ed a I t a voce
e pregdnti umilimente
ke pe r noi devotamente
preghi C r i s t o s a l v a t o r e .
For p r e a c h i n g th e f a i t h
you were n a i l e d t o the c r o s s ;
you d i d not wont t o be ( c r u c i f i e d )
t h e r e as (was) C h r i s t th e b l e s s e d God;
you were t u r n e d w i t h yo ur head downward
Decouse i t was yo ur w i s h .
They caused you t o d i e i n g r e a t t o r m e n t ,
those pe o p le f u l l o f e r r o r .
Moy you be p r o i s e d , S a i n t P a u l ,
you who were c o n v e r t e d t o God;
you were e n l i g h t e n e d byhim
a t the hour when you h e ar d him.
You b e l i e v e d in h i s p a r a b l e s
and you began to p r e a c h .
Now may i t p l e a s e you t o pray to him
t h a t he g i v e us h i s s w e e t n e s s .
You c o n v e r t e d many people
by y o u r b l e s s e d to ng u e, and
t u r n e d (them) to th e h i g h God
and h i s t r u e low;
Thot cu rsed pe ople
out o f
- -•- - J
(and)
w ith the g r e a t e s t f u r y .
We p r a i s e you s t i l l S a i n t
Andrew, b l e s s e d l o r d .
B le s s e d be th e doy when
you were c a l l e d by God.
You were p r e p a r e d and
im m e d i a t e l y f o l l o w e d h i s command
and you went p r e a c h i n g ab o u t him
and showing h i s w o r t h .
By t h e pagans you were s e i z e d ,
s e r v a n t o f God, t h e t r u e l i g h t ;
and by them you were bound
and you d i e d on t h e c r o s s .
We p r a i s e you in a loud v o i c e
and humbly beg you t h a t
you p r a y d e v o u t l y f o r us
to C h r i s t our s a v i o r .
AX)
126»
Sancto lacobo be nigno
f i g i o l o / d e Cebedeo,
di v i r t u d e ben s e ' dig no
f r o t e de l f i g l o l o de Deo;
c o l l o p r e d i c a r e tuo
c o n v e r t i s t i m u lt a g e n t e ,
a p o s t o l o de D i o f e r v e n t e ,
de la f e d e a m a i s t r a d o r e .
Per lo tuo a m a is tr a m e n t o
l i pagani t e p i g l d r o ,
f r a lo r f e c ia r o s t a t u t o
ed in si em e s ’ a c o r d d r o :
lu tu o capo t e mugdro
si commo s c r i p t o se c r e d e ;
per6 t e kiamam mer^ede
l<e tu s i a n o s t r o a i t a t o r e ! /
127«
127»
Son lo vo n ni e v a n g e l i s t o
t e laudamo n o ct e e d i e .
N o s t r o segnor lesu C r i s t o
quando' I la croc e pendea,
la suo modre v i r g o p i e
a te I a rocomandone,
in tuo g u o r d io la lassone
ke I ' o i t o s s e ol suo d o l o r e .
Lo tu o corpo d e l i c o t o ,
i u s t o sa nc to e b e n iq n o ,
do lu i f o do c i e l o k io m a to
en p e r c i S ke n ’ era degno
de r e c e v a r e oueI regno
d u v ' § lo co eo o l e g r o n 5 o;
or t e p i a c i a / p e r p i e t o n j a
d 'e s s a r nostro ovocotore.
Sancto Tomosso, a Deo s i r v i s t i
n o c t ' e di ogni s t a s c i o n e ,
i l i a suo morte p l o n g i s t i
cum gr an de d e v o t i o n e ;
de la suo r e s u r r e c t i o n e
fortem ente d u b if a s t i:
f i n k ' e l l a t o no i c e r c e s t i
non ne f o s t i c r e d e t o r e . *
85
90
95
100
105
110
115
120
Benign S a i n t James,
the son o f Zebedee*
in v i r t u e you a r e a r e a l l y wo rthy
b r o t h e r o f the son o f God:
By yo ur p r e a c h i n g you
c o n v e r t e d many p e o p l e ,
you f e r v e n t a p o s t l e o f C h r i s t
( an d) t e a c h e r o f th e f a i t h .
Because o f your t e a c h i n
the pagans s e i z e d you,
among th em selves t h e y made a
compact and t o g e t h e r t h e y a g r e e d :
They cut o f f yo ur head;
as i t is w r i t t e n so we b e l i e v e .
T h e r e f o r e we ask yo ur mercy
so t h o t you be our h e l p e r .
S t . John t h e e v a n g e l i s t
we p r a i s e you n i g h t and d a y.
Our Lord Jesus C h r i s t
when he hung upon t h e cross
commended t o you h i s
h o ly v i r g i n m o t h e r .
In y o u r c a r e he l e f t h e r , t h o t
you shou ld h e l p h e r in he r s o r r o w .
Your d e l i c a t e body, (s o)
j u s t , h o l y , and b e n ig n ,
was c a l l e d to heaven by him
because i t was w o rt h y
to r e c e i v e t h o t kingdom where
t h e r e is j o y and h a p p i n e s s ;
Now moy i t pl e a s e you out of
compassion to be ou r a d v o c a t e .
H oly Thomas, you s e r v e d God
n i g h t ond day ond a t a l l t i m e ;
you wept o v e r h i s d e a t h
with greot d e vo tio n .
You do ub te d hi s
resu rrectio n g r e a tly ;
u n t i l you se a r c h e d n i s s i d e
you were n o t a b e l i e v e r .
Mo I to g e n t e c o n v e r t i s t i
o lo sonct o f e d e puro,
I ' i d o l e coder f o c e s t e
k * e r e n post e n e l l e mura.
Un pogon se m o s s ' a l o r o ,
del c o l / t e l l o t e pe r c os s e ;
o l o r I ' o n i m o se mosse
e di D i o pr ese s e n t o r e .
Soncto l ocobo Al pheo,
opostolo g lo rio s o ,
p r e d i c o r e di M e l t o D e o *
mo I t o f o s t i goloroso; •
lu tuo p o r l o r e g r o t i o s o
dei pogoni f e * grande o q u i s t o
e t o r n o r o lesu C r i s t o
n o s t r o podre e g u i d o t o r e .
Mossese cum gron tempest©
un pogono a g n o d i o t o ( ? ) , *
d ' u n bost one su n n e l l o t e s t a
f o r t e m e n t e t ’ fc v i r g o t o ; *
lu t uo corpo d i l l g o t o /
cadde mor t o e n c o n t e n e n t e :
i o O ^ t o l o de Deo s e r v e n t e
i
Soncto F i l i p p o b i e t o ,
de bon cor e nu? t e laudamo;
o p o s t o l o da D i o ki emot o
o t e ne racomondamo;
i n tuo s t o r i o trovomo
>er e s c r i t t o c e r t a me n t e
<e de la pogano gent e
?o s t i gr on c o n v e r t i t o r e .
Per la f e d e c o m p e t t i s t i
n o t t ' e d^ ogne s t a s c i o n e ,
e per esso s u f f e r i s t i
f o r t e pena e p a s s i o n e ; /
l i pogoni s e n 90 r o s c i o n e
s u l l o c r o c e t e legfcro:
menu e pei t a n t o t i r o r o
ke m o r i s t i i nn e me r o r e .
4 13
125
130
135
140
145
150
155
160
You c o n v e r t e d many people
t o the pure ond h o l y f o i t h ;
t o i d o l s which hod oeen p l a c e d
on th e wo I I you caused t o f o i l .
Then o pagan moved, ond w i t h
o k n i f e s t r u c k you:
Then y o u r soul l e f t (y ou r body)
and went to l i v e w i t h God.
S o i n t James A l p h e u s ,
g io rio us op ostle,
you were very d e s i r o u s to
prea ch o f the h i g h God.
Your g r a c io u s speech
c o n v e r t e d many pagans
t o t u r n to Jesus C h r i s t
o u r f a t h e r ond g u i d e .
A pagan in ambush r a i s e d a big clu b ond
w ith a great f u r y struck
you f o r c e f u l l y on t h e head.
Your d e l i c a t e body
f e I I dead e t on ce:
A p o s t l e , s e r v a n t of God,
p r a y t o our c r e a t o r ( f o r u s ) .
B l e s s e d S o in t P h i l i p ,
w i t h qood h e a r t we p r a i s e you;
a p o s t l e c a l l e d by God, to
you we recommend o u r s e l v e s ;
i n yo ur s t o r y we f i n d
i t tr u ly w ritte n th at
you mode g r e a t c o n v e r s i o n s
omong t h e pagan p e o p l e .
You f o u g h t f o r th e f o i t h .
n i q h t ond day ond a t a l l t i m e ;
and you s u f f e r e d g r e o t pa in
ond to rm en t f o r i t .
Wi t h o u t reason th e pagans
t i e d you to the c r o s s :
They s t r e t c h e d o u t y o u r hands ond
f e e t so t h o t you d i e d in b i t t e r n e s s .
4 14
Ti laudamo, s a n c t o M e th e o,
en f r a l i e l t r i avenge I i s 1 1 : *
de C r i s t o f i g l o l o de Oeo
mu 11’ e v a n g e I i s ' f e c e s t i ;
cu I la t u a manu s c r i v i s t i
le sua s a n c t a p a s s i o n s ,
la qua I d£ compuntione
ad ogne suo s e r v i d o r e .
129*
Oe lo f i d e p r e d i c a v i
ai pogani c o n f o r t o :
uando la m i s s e / c a n t a v i
e c o l t e l l o fust? m orto.
Or n ' e i u t ’ a q u e l l o p o r t o
ke donnet? non siamo,
a t e ne rocomandomo
ke s i a n o s t r o d e f e n s o r e .
3
sen B ar to l o m e o ,
senpr e t e volem l a u d a r e :
per omore de I* a I to Deo
te lo s s a s ti s c o r t e c a r e .
Non t e p o t e r o tu rb or e,
a p o s t o l o di Deo b e a t o ;
da l o r f u s t i d e c o l l e t o
cum g r a n d is s im o ru m or e.
165
170
175
180
M i s & r
130s
Per la tu a morte dog lose
lesi) C r i s t o s' t * e d a t a
q u elle g lo ria/g eu d io so
ki avea d e s i d e r a t o .
L ’ enima t u o g l o r i f i c o t o
a t u t t o r e sta presente
innont? i I suo v i s o p l a g e n t e *
a vedere lu suo s p l e n d o r s .
San Simone i u s t o e so n to
d i n o n t i ' o D io g l o r i f i c o t o ,
te laudamo cum d u l c e c a n t o ,
s a nc to a p o s t o l o b e a t o .
Tu o n d a s t i in omni l o t o
p r e d ic e n d o per lo mondo,
I * i d o l e c a c i a n d o a fu n d o ,
a l o r fe ce n do d i s i n o r e . /
185
190
195
200
We p r a i s e you S o i n t Matthew
among t h e o t h e r e v a n g e l i s t s :
Thus you wr ote many Gospels
o f C h r i s t th e Son o f Gcd;
W i t h yo ur hand you wr ote
h i s ho ly passion
which g i v e s compunction
to each o f h i s s e r v a n t s .
You preached the c o m f o r t o f
th e f a i t h to th e pagans:
Whi le you sang th e mass
you were k i l l e d w i t h a k n i f e .
Now h e l p us t o t h o t p o rt
t h o t we be not domned.
We recommend o u r s e l v e s to you
t h o t you be o u r d e f e n d e r .
S o i n t Bartholomew, S i r ,
we always wont to p r o i s e (y ou)
Out o f love f o r t h e high God
you l e t y o u r s e l f be f l a y e d .
They c o ul d not d i s t u r b you,
b l e s s e d a p o s t l e o f God;
You were beheaded by them
w i t h the g r e a t e s t c l a m o r .
For your s o r r o w f u l death
Jesus C h r i s t thus gave
you t h o t joyous g l o r y
which he nod d e s i r e d .
l o r i f i e d soul is
times p r e s e n t
before his ap pealing face
t o gaze a t h i s s p l e n d o r .
S a i n t Simon, j u s t and h o l y ,
ond g l o r i f i e d b e f o r e God,
we p r o i s e you w i t h sweet song
h o l y end b l e s s e d a p o s t l e .
You went e v er y p l a c e
p r e a c h i n g th r o u g h o u t th e w o r ld
c a s t i n g down i d o l s and
making them d i s h o n o r e d .
416
130v
Insieme se co nco rder o
quei pogoni o g n o d i o t i
q u o t r o ©g u ti o p o r e c h i d r o
lungi e g r o s s i e s m i s u r o t i ; *
menu e p i e i . t e f u d r o c l o v a t i
s u l l o cr oc e s t r e c t o m e n f e ,
l es u C r i s t o omnspotente
si f o tuo c o n s o l o t o r e .
205
210
Sonto o p o s t o l o Todeo,
t e loudemo d t v o t a m e n t e ;
I udo f u lu nume t u o ,
ben sapem veracamente
ke pe r quel f o l s o f r e u d u l e n t e
]
131«
f u s t i ki o m a to Ta deo /
do ogne p r e d i c o t o r e .
Senpre v i s t i pr ed ic o n d o
per la f i d e o r d i t o m e n t e ,
la s c r i p t u r e demostrondo
e n f r o lo pogono g e n t e ;
do l o r f u s t i c e r t o m e n t e
preso e f e r i t o e m or to :
prega Dio n o s t r o c o n f o r t o
ke ne s i o p r e d o n a t o r e .
131v
A p o s t o l o s o nc to M o th io
sempre s i a do nui l o u d o to :
tu se* 'n q u e l l o compagnia
f r o g l i a p o s t o li kiomato.
lude pe r lo suo peccoto
si s e / v o l s e d e s p e r o r e ,
a D io non v o l s e t o r n o r e
perke g l e f o t r o d i t o r e .
E t u , o p o s t o l o Mo th io
ke d' am or f u s t i p e r f e c t o ,
en q u e l ' o l t o compagnia
i n suo combio f u s t i e l e c t o .
Sempre s t o i ' n n a n t ’ el c o sp e ct o
del f i g l o i o di D i o b e a t o :
t e clomamo pe r ov oc o to
e nostro d e fen d etore.
215
‘
220
225
230
235
240
To g e th e r th e y p l o t t e d ,
thos e angry poqons;
t he y p r e p a r e d f o u r s h a r p nai Is,
long, broad— immense;
They nai led yo ur hands and f e e t
down t i g h t l y t o the c r o s s .
The o m n i p o t e n t Jesus C h r i s t
was your c o n s o l e r .
S a i n t Thaddeus, a p o s t l e ,
we p r a i s e you d e v o u t l y ;
We know t r u l y t h a t
Jude was your name, ( b u t )
because o f t h o t f r a u d u l e n t f a l s e
you were c o l l e d Thaddeus
oy e v e r y p r e a c h e r .
You always went p r e a c h i n g
b r a v e l y f o r th e f o i t h ;
proving the S c r ip tu r e
among the pagan p e o p l e ;
T r u l y , by them you were
to k e n and wounded and k i l l e d :
Pray to God, o u r c o m f o r t ,
t h a t he be to us a f o r g i v e r .
Moy the a p o s t l e S o i n t M a t t h i a s
always be p r a i s e d by us:
You ore c a l l e d i n t n o t high
company among the a p o s t l e s .
Judos, because o f h i s s i n ,
wonted t o d e s p a i r , and
d i d not wont t o r e t u r n to God
because he b e t r a y e d h i m .
And you, a p o s t l e M a t t h i o s ,
who were p e r f e c t e d in love,
were e l e c t e d i n h i s p l a c e
in t h o t e x a l t e d company.
You ore always b e f o r e th e f a c e
o f t h e son o f t h e B le s s e d God:
We ca I I on you os on a d v o c a t e
ond our d e f e n d e r .
4 18
16
MS BEADS "TROWS*
19
A IT IA T I
19
MS BEADS SENTETIA, WITHOUT THE SIGN OF THE NASAL
27
GESTE -
75
DE LUI V I S T I PBEDICANDO - THIS * V I S T I * IS REALLV ' G I S T I * .
THE INTERCHANGE OF * B , *
" O , * AND a G* IS FREQUENT THROUGHT EARLY ITALIAN ARC f.UITE CURRENT IN CERTAIN OIALECTS
TOOAY, INCLUDING TUSCAN.
100
AITATORE -
123 -4
I n TH LOWER MARGIN OF THE MANUSCRIPT IS WRITTEN IN A VERY TINY HAND A VARIANT OF THESE
TWO L IN E S .
IT REAOS - *F I N K ' l L LATU TU C IR C A S Tl/ FEB TRARE HOI I'OGNUNQUE ORBABE."
136
*01
136
GLOBOSO SHOULD PROBABLY BEAD 'GOLOSO.*
1 42
AGNADIATO - NOT CLEAR AS TO MEANING. L lU ZZ I SUGGESTS THAT THE IS MEANT TO BE * AGUAI TAT I ' .
IT IS THIS WHICH HAS BEEN FOLLOWED IN THE PRESENT TRANSLATION.
144
MS REAOS "VIROATO* FOR 'V IR GATO .'
166
MS IS MISSING THE SIGN OF THE NASAL OVER "EVAG ELI.*
196
MS REAOS "PLAGENTE,* WITHOUT THE FIRST NASAL SIGN.
196
DINANTI - MED USAGE FOB OAVAHTI
2 06
AGUTI -
208
MS READS *SMISU8URASTI*
21 8
The
FROM " A I T A " ,
XI 11 FOB 'AIUTO*
FOB GISTI
CF. SUPRA, N . 1 9 .
L'ALTO OlO * HAS BEEN ADDED LATER.
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e n t ir e
verse
has
been o m i t t e o
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132a
132v
Selutiom d ivotem ente/
I ’ o l t a v e r g e n e * be ota
e t d i c i [ a ] m o : * Ave, M a r i e ,
sempre s i a da nui l o u d e t a .
S o l u t i e l l e du lce me nte
e t cum/gram s o l e n n i t o t e ,
ki sopem ve ra c e m e n te *
ke per la suo u m i I i t o d e
la d i v i n a m o ie s ta d e
f o di [ Ie i ]* i nnomoreto . /
5
10
The t e x t of the lauda is i n t e r r u p t e d here by th e
t a b le o f contents w ith i n c i p i t s .
I t o c c u p ie s t h e
p o r t i o n o f th e m a n u s c r i p t from pages 133 r e c t a to 137
recta.
Tne lauda t e x t is a g a i n resumed on page
137 v e r s a .
137»
L ' e n g e l mend& per messaggio
a la v e r g i n e p o l g e l l o :
quel ch an t d di buon c o r e q g i o ,
pessd d e n t r o a le sua c e l l o
a c o n t i a r l i la n o v e l l a
che da D io l i e r a m an d at e .
L f angel d is s e :
"Ave, M a r i e ,
s e t e p i e n a de v e r t u t e ,
Dominus con t e c o s i a
de cui vengono le s a l u t e ;
t u c t e g r a t i e ad em piu te
in t e , v e rg en e s a l u t e t a .
Sempre si o benedecta
so pra on gn ’ e l t r e mu I i e r e ,
che s e ' ve rg en e d e r i t e
senga ve ru na p e n s i e r i :
D i o me manda per c o r r i e r e
che p e r lui s t i a a p a r a c b i a t e
La Vergene peurose
quando I ' a n g e l o u d io p e r l a r e ,
c h ’ e r a ho ne sta e verg ogn os a,
in comengi t u c t a a t r e m e r e ,
ve rgogn av ese co I l u i de s t o r e
che con homo [non e r a ] u s a t a .
15
20
25
30
Let us d e v o u t l y g r e e t th e •
e x a lt e d blessed v i r g i n
and l e t us s a y :
”Hot I Me ry,
may you always be p r a i s e d by u s . ”
L e t us g r e e t h e r s w e e t l y
and w i t h g r e e t s o l e m n i t y ,
( o f ) whom we know t r u l y
t h a t because o f he r h u m i l i t y
the d iv in e majesty
was i n love w i t h n e r .
The an ge l was se n t as a messenger
t o th e sweet v i r g i n damsel:
He sang w i t h good courage
( a s ) he passed i n s i d e h e r c e l l
t o t e l l ner the news t h o t he
hod been s e n t t o he r from God.
'
* 1
ii I Mory,
virtu e
The Lord be wi th you to
whom come t h e s e g r e e t i n g s ;
A l l g r a c e i s f u l f i l l e d in
you, v i r g i n ( t h u s ) g r e e t e d .
yo j
May you alway s be b l e s s e d
above e v e r y o t h e r woman,
you who a r e the r i g h t f u l v i r g i n
w i t h o u t any w o r r y w h a t s o e v e r :
God s e n t me os a messenger so ( t h o t )
you moy be p r e p a r e d f o r h i m . ”
J
The
she
fo r
ond
She
she
v i r g i n was a f r o i d when
h e ar d t h *
1
she was
began t o t r e m b l e a l l o v e r ;
was ashamed to be w
was not accustomed
or)
men.
423
L ’ angelo d isse :
"Or t ' a s c i g u r a ,
n i e n t e non d u b i t e r e ;
n u l l a cosa a Dio £ dura
se in chuor la se pon di f e r e .
Ben t i puoi o s c i e g u r a r e , *
to I n o v e l l a t ’ d a s e g n a t a . "
La p o l g e l l a con amore
humelmente respondeo:
" A n c i l l e so' del mio s i g n o r e ,
ci& che p i e c e o l u i s'! s u e . "
A l o r a la vergene M a r i a
di les u f o i n g r a v i de[ t o ] .
2
MS READS "VERVEGENE."
3
MS. READS "ET DICIMO"
7
MS MISSING NAS At. SIGNOVERMEN ACEMEKt E « *
10
LEI
39
- NOT IN THE
MS,
BUT
40
45
ADDED BY L lU Z Z I .
ASCIEGUMRE “ FOR ASS I CURARE •
OF THE MIODLE AGES.
*»**
35
THE FORM HAS BEEN FOUNO IN PERUGIAN DOCUMENTS
The angel s a i d , "Now calm
y o u r s e l f , ond do n o t f e o r a n y t h i n g
n o t h i n g is hard f o r God i f in
h i s h e a r t he t>*uly wants to do i t .
You con s u r e l y be a s s u r e d by t h e
news t h o t I hove t o l d y o u . "
The damsel responded
humbly, ond w i t h l o v e :
"I am th e handmaid o f my Lord,
moy h i s p l e a s u r e be d o n e ."
Then th e V i r g i n Mary
c o n c e iv e d Je s u s .