G.M. Dreves, Analecta Hymnica BV468 .E86

Vol. I. Cantiones Bohemicae. Leiche, Lieder und Rufe des 13, 14, und 15 Jahrhunderts. Leiche to Mary, Dorothy of Cappadocia. pp. 78-81 Latin followed by German verse translation.

Vol II. Das Hymnar der Abtei Moissac. Carmina scholarium Campensium. Cantiones Vissegradenses. 141 poems from Hymnarius Moissiacensis, followed by melodies and ms. page. Carmina scholarium Campensia: 27 poems, some to saints Martin, Katherine, Andreas, Nicholas. Cantiones Vissegradenses: 41 poems, some to saints Anna, Dorothy, James, Elisabeth. 30 (p. 163) to a new bishop,

Jam consurgunt pueri,

Surgunt et majores,

Qui nostri episcopi

Diligunt honores.

Commonplaces of classical and medieval heroic panegyric include

Mater ejus merito

Debet congaudere,

Quod tam probum filium

Meruit habere. (p. 163)

He is also

Cum sua progenie

Largus et benignus.

And his flock is urged to adore his footsteps:

Et ejus vestigia

Pedum adorate.

Vol. III Konrads von Haimburg und seiner Nachamer, Alberts on Prag und Ulrichs von Wessobrunn, Reimgebete und Leslieder. Carthusian poet Konrad 14th century. 70 poems by Konrad, the first 11 to Mary, the rest to saints generally, and specifically to John the Baptist, Peter, Paul, Andreas, James, Thomas, Philip, Mathew, Simon, Jude, Mathias, Barnabas, Luke, Stephen, Clement, Lawrence, Sebastian, Florian, Vincent, Thomas Becket, George, Christopher, Colommanus (monomartyr Austriae), Maurice, Dionysius (of Athens) with description of his tortures, and a personal ending

Memor esto, quaeso, mei

Meque tuis precibus

Juva in conspectu Dei,

Ut in bonis actibus

Fide speque confirmatus,

Caritate fervidus,

A terrenis elevatus,

Supernorum avidus,

Nunc gustando, Dionysi,

Coeli fruar gaudiis,

Tandem tecum paradisi

Satier deliciis. (pp. 72-73)

Konrad seems to be aware of possibilities of name Dionysius. See poems to St. Denis (Jahrtau II 314-315 AH VIII 119). One on the transfer of his relics (Jahrt II 315) by Emperor Arnulf to church of St. Emmeram. See also AH XIII 105 ff., AH IV 126.

More saints: John and Paul in 43; Achatius, Gregory, Ambrose, Augustine, Jerome, Martin (story of the tree of Diana), Nicolas (now in trochees), Benedict, Antonius, Paul (primus eremicola; still in trochees), Basil, Alex, Katherine (again the poem ends with personal prayer for assistance from the saint). Next Agnes, Margaret, Dorothy, Barbara, Lucy, Caecilia, Agatha (these also with personal request at end), Ursula, Christina, who has Romanus-like accomplishments:

Felix, quam nec viperae

Ladere quiverunt,

Incantantem propere

Sed interemerunt,

Suscitas hunc hominem

Cunctis improvise,

Fundunt lac, non sanguinem

Mamillae praecisae.

Lingua dum praeciditur,

Famen non truncatur,

Qua dum judex jacitur,

Mox monoculatur. (p. 97).

Now to Anna, Elisabeth, Mary Magdalena (final 2). Albert of Prague: 30 poems (pp. 105-68). 7 is on saint Erasmus, from Diocletian's time, able to draw serpent from statue. Lengthier than usual request for intercession. pp. 124-26 to saint Leonhart, taught by saint Remy. King and queen enter a grove in which queen eats poisonous fruit and dies, to be revived by Leonhard, who then receives much of the nemus as a reward from the king. He makes it into claustrum. Albert connects with those cured by Leonhard.

poem 10 on Wenceslas. poem on Agatha, whose breasts Quintianus tore out:

Tunc iratus Quintianus,

Ira furens ut insanus,

Jussit diutissime

Contorqueri tuas mammas

Dehinc et abscindi mammas

O vir impiisime,

Non confusus es, dixisti,

Amputare, quod suxisti

Solus tu in femina.

Me habere mammas gratas,

Integras, scias, sacratas

Domino in anima. (p. 131)

Two poems on Saint Agnes. In the first her nudity is hidden by angelically provided (p. 132) Densitate capillorum Saint Apollonia (cf. Milton's similar early description of Eve), who endured (136-37) excussionem dentium.

Saint Barabara (137-139); Saint Caecilia, Clara, Dorothy (with interpretation of her name as anagram for divine qualities. Juliana. Katherine (poem concludes with Katherine taking her place among the saints, many of whom are named, then request for intercession pp. 149-150). Lucia (33 6-line stanzas), with play on lux, lucebat early in the poem. Famous through Sicily. Maximian and Diocletian towards the end of the poem also. Margarita, Antiochiaque nata, her enemy Olibrium, in two poems (152-56).

Saint Scholastica, with letters of name as anagram (without the h). Ursula, with rex Angliae, Pope Cyriacus, prince of the Huns Julius at Cologne, Cordula (159-160). Anna, Elisabeth. Hedwig, decus Silesiae, in iambics and trochaics. Mary Magdalene in 47 6-lne stanzas. Udalricus Wessofontanus pp. 171-198 46 poems, most on the usual saints.

vol IV Liturgical Hymns from Breviaries, Antiphons, Processionals. Liturgical poetry divides into four kinds: Hymns, Sequences, Tropes, Rhymed Offices (p. 5). Hymn is liturgical song which is neither a hymn for Mass nor an interpretation of a liturgical text (trope).

vol V Liturgical Rhymed Offices. 100 poems, many to saints. 14 kinds of verse forms (pp. 13-15), according to Tybinus. Historiae Rhythmicae the medieval term for Offices concluded with Psalms and reading. vespers, matins, nocturn, lauds.

vol VI Ulrich Stocklins von Rottach (Udalricus Wessofontanus) 1438-1443 Remigebete und Leselieder. Orationes Rhythmicae. historical incidents, acrostics, alphabetic poems. 24 (pp. 71-87), Centinomium Beatae Virginis, 183 8-line stanzas, hexasyllabic lines. A dream vision opening like Apocalypse of Golias?

25 (pp. 88-109) 10 stanzas begin with Ave, then 10 with Salve, then 10 with Gaude, then the pattern is repeated. Next come 15 poems in abecedarium, 20 letters, followed by 7 more in the same form. The volume finishes with a series of rosarium-poems.

vol. V (Die Ottoenzeit), fasc. III, ed. Karl Strecker, Norbert Fickermann, and Gabriel Silagi, with Bernhard Bischoff, 1937-1979, as In Praise of the Cross, by Carus Scotus, in the trochaic septenarius of Venantius Fortunatus' "Pange, lingua" (2.2), 39 lines long, begininning:

Arbor alta, crux beata, virtus orbis unica,

sola digna, salve, lecta ferre mundi pignera..

Vol. 7 Prosarium Lemovicense, Die Prosen der Abtei St. Martial at Limoges, from troparia of 10th, 11th, 12^th centuries. remarkable number of "a"-rhymes in prose.

AH 22 more on saints, with Jerome pp. 123-129, with the first rhythmic, the second strophic? the third Sapphic, the fourth and fifth rhythmic, the sixth rhythmic and iambic, the seventh rhythmic, and there are 3 more.

AH 23 Liturgical Hymns, then saints. some Sapphics (p. 179 to Gabriel, and elsewhere -- p. 41 ) apparently reflection of Renaissance, but the form was used at the beginning also. Elegiacs (pp. 82-83, on all saints). pp. 13-16 on the Nativity looks Sapphic, but seems rhythmic?

Vol 24 Historiae Rhythmicae Series Quarta. 100 poems. De Corona Spinea pp. 30-34 with specific geographical references. This one resembles the transfer-of-courtoisie passage in Chretien:

Hierusalem

atque Bisantium

Divae liquit

coronae pretium,

Ut Gallorum

fiat praesidium.

Fert magistra

mundi Parisius

Sertum lauro

sophiae dignius.

Venice also in this responsoria to in 2 Nocturno. In Laudibus Antiphonae offers play on Paris:

Crucifixi spolia,

Crux, corona, clavi,

Transeunt a sedibus,

Quas foedabant pravi.

Ecce, fit Parisius

Paradisi risus,

Ubi viror oritur

Junci pulchri visus,

In quo sua messuit

serta paradisus. (p. 33)

poem 40, p. 127, Stabat mater anxiata, part of large section on tribulations of Mary.

Augustinus Hipponensis: SANCTI AURELII AUGUSTINI HIPPONENSIS EPISCOPI Sermones inediti. SERMONES ADMIXTIS QUIBUSDAM DUBIIS. (G,S)* SERMO XXV. De verbis Evangelii Matth. XII, vers 41-50. Ecce plus quam Jonas hic, etc.

Quandiu tibi moras facio! Quandiu te suspendo! Beneficium est, ut cito vincaris. Attende, inspice, lege. Video te nolle. Da codicem. Ego lego: Haec eo loquente ad turbas. Quis hoc dicit? Evangelista, cui si non credis, nihil Christus dixit. Si nihil Christus dixit, Quae est mater mea? Christus non dixit. Si autem, Quae est mater mea? Christus dixit, verum est [Col. 0937] quod Evangelista scripsit. Vide, quid ante dixit. Haec eo loquente ad turbas, mater ejus et fratres ejus foris stabant, volentes loqui cum eo. Nondum aliquid nuntius ille nuntiavit, quem potes dicere fuisse mentitum. Quid nuntiaverit vide, quid Evangelista praemiserit attende. Haec Domino loquente ad turbas, mater ejus, et fratres ejus foris stabant. Quis hoc dicit? Evangelista, cui credis, Dominum dixisse; Quae est mater mea? Sed si haec dicta non credis, ut illa, Dominus ergo non dixit: Quae est mater mea? Sed vere Dominus dixit: Quae est mater mea? Crede ergo ei qui dixit, Dominum dixisse: Quae est mater mea? Qui enim dixit, Dominum dixisse: Quae est mater mea? ipse dixit: Haec eo loquente, foris stabat mater ejus. Quare ergo negavit matrem suam? Absit! Intellige. Non negavit, sed aliquid, quod faciebat, matri praeposuit. Postrema sola ^{[(a) 1Kb]} causa est quaerere, quare Dominus dixerit: Quae est mater mea? Prima causa est videre, quod habuerit, de quo diceret: Quae est mater mea? Habuit, foris stabat, loqui cum eo volebat. Dic mihi, unde scis? Evangelista dicit, cui si non credidero, nihil Dominus dicit. Ergo habuit matrem; sed quid est: Quae est mater mea? Ad ista, quae ego facio, Quae est mater mea? Si dicas alicui periclitanti, et patrem habenti: Liberet te pater tuus; quem scit ille non esse idoneum liberando filio suo, nonne respondet tibi summa pietate, integra veritate: Quid est pater meus? Ad hoc quod volo, ad hoc quod mihi nunc opus esse sentio, quid est pater meus? Ad illud ergo, quod agebat Christus, quod vinctos solvebat, caecas mentes illuminabat, interiores homines aedificabat, templum spirituale sibi fabricabat, quae est mater ejus? Sed si putas ideo Christum non habuisse matrem in terra, quia dixit: Quae est mater mea? nec Discipuli ejus habuerunt patres in terra, quia dixit eis ipse Dominus: Ne vobis dicatis patrem in terra. Domini verba sunt: Ne vobis dicatis patrem; unus est enim Pater vester Deus (Id. XXIII, 9). Non patres non habebant, sed ubi venturum est ad regenerationem, quaeratur pater regenerationis, non damnetur pater generationis, sed ei praeponatur pater regenerationis.

VII. Ecce illud magis attendite, charissimi fratres mei, illud

several entries in Migne for mater gloriosa also

Several also In Festo Mariae Nivis poems 63-100 on saints: Agrippina, Anno, Ansanus, Aspren, Caloyrus, Donatus (3), Eleutherius, Pontian, Anastasius, Evasius, Firmina, Fortunatus, Caius, Anthes (at Salerno), Galganus, Geminianus, Guido of Aquensium, Herculanus, Januarius (2 Benevento), Imerius, and other local ones.

AH 25 Saints Achatius to Eric.

AH 26 3 Reimofficien, Saints Eskillus to Margaret.

pp. 95-120 Saint Jerome.

3 Poems on Saint Jodocus, pp. 142-147, the first two of which are laid out, as usual, for times of the day.

vol 43, no. 32, published later in Monumenta Germaniae Historica Poetae Latini Medii Aevi

AH 40 poem 3, in nativitate domini

opens with verb for becoming human (classical precedent?

alliteration, virgae virgo par patris ... summo spatio suavi stillicidio se ... gigas germine virgo virum...flumina fluunt are these also plays upon etymologies?

paradoxes also abound

1a. Vergente mundi vespere

Sol nascitur in sidere

Dum verbum humanatur.

Nature-topos in stanza 2a:

Mirabilis est unio

Carnis cum Dei filio;

Obstupeat natura.

pp. 150-152, poems on Benedict;

p. 151 poem 166, on Saint Benedict, puer-senex:

3a. In aetate iuvenili

Sensu vivens cum senili

Cuncta vicit vitia.

but also compared to morning-star:

3b. Et ut stella matutina

Vita lucens et doctrina

Plenus fulsit gratia.

also compared to Elisha, David. poem includes a self-conscious author:

8a. Tuos servans hostis ira,

Benedicte, nova mira

Quae nunc cupit nostra lyra

Dulci cantu promere. p. 152

Augustine was flos doctorum as well as stella matutina (p. 143), as well as

...amoris philomena,

Sol refulgens, luna plena,

Tus ardens et os aureum (p. 144)

pp. 157-158 poem 174, on St. Brigid, opening with biblical flowers (Campi flos et lilium),

offering nature and prima genitura, ending with Mary. see poem 170, p. 154, (15th century MS) on Saint Bernard, which opens with Bernard as a flower:

Clarae vallis lilium

Claram in triclinium

Sumpsit Deus hodie.

Play on Clairvaux

pp. 186-189, poems 211-213, on St. Francis.

poem 211, 13th-14th century MS: stanzas 5a and 5b offer same word in different cases, each of previous hymn (vexilla regis prodeunt) and alliteration:

Tu pusilli pastor gregis, Vita vitam imitatus

Tu vexilla summi regis Morte mortem aemulatus

Proferens insignia, Exprimis vestigia.

much play on funes; paradox of vulnus sine vulnere

AH 41 The poems of Christan von Lilienfeld -- also wrote Zebedides. 14th century. 158 pages.

pp. 114-116, 2 poems to Mary, rosa speciosa ... flos vernalis ... flos virginitatis ... stella matutina. The first poem consists of long strings of appositional phrases

she also combines opposites. as

Spes reorum, pes claudorum.

Lux caecorum, os mutorum (p. 114)

She is also fons vitalis ... fons iucunditatis (p. 114)

AH 42 Maria as Flos humani generis (p. 97), flos humani generis. Amedeus Lausan., Homil., CLXXXVIII. then (p. 98), a bit more self-consciousness on the part of the poet about naming, then outdoing instead of fulfilling the category:

9a. Fons hortorum appellaris 9b. Tu pigmentis suavior

Et es stella dicta maris Cunctis rosis gratior

Atque portus salutaris, Omnique luce clarior,

Luna sine nubilo; Deum gestans gremio.

p. 99 she is Fons hortorum nobilis, but also Sol eclipsim nesciens, Luna solem pariens, as well as Viola purpurea, Vernans rosa.

50-line Planctus animae contritae et compatientis, versibus paractericis, Flere volo begins every line, and

ends every other. pp. 165-66.

p. 157 De ss. Scholastica, Dorotheam aliis, provides compendium of hagiographic topoi. Afra, linea Emendationis (p. 158)?

versis ludentiubs, pp. 166-167; leonine verses on death, pp. 170-171.

AH 53 Liturgical prose

AH 54 second part (pp. 143- 437) sequentiae rhythmicae et rigmatae, including some attributed to Adam of Saint-Victor.

pp. 204-209 on the crown of thorns. The first poem never uses spina, only diadema, but see AH VIII.16 for full version. The second (p. 205) subjects spina to annominatio, and does the same for fruit, flower, and crown . The third (p. 206) uses a diminished vocabulary, avoiding flower, annominatio, using spina only once, crown twice. The fourth (pp. 207-208) makes use of spina, diadema, corona, annominatio, apostrophe both to the crown and to Sion filia, and is the longest, (20 tercets). The fifth (pp. 208-209), Swedish, from 15th-century ms., relies heavily on annominatio, for spinis, spinam, spineti spinas, spinea, spinae, and for immundum, immundis, mundum, mundavit (all in stanza 3), as well as alliteration.

One particularly popular sequence (pp. 234-235) on the Holy Spirit, variously attributed to King Robert II of France (d. 1031), Hermannus Contractus (1054), Stephen Langton , Archbishop of Canterbury (1228), and Pope Innocent III (1198-1216). Dreves finds most evidence for Innocent (p. 238). It offers rhyme, heavily reliant on -ium, meter, tercets, apostrophe, antitheses:

4. In labore requies,

In aestu temperies,

In fletu solacium.

7. Lava, quod est sordidum, 8. Flecte, quod est rigidum,

Riga, quod est aridum, Fove, quod est frigidum,*

Sana, quod est saucium; Rege, quod est devium

· · in second stanza the spirit was apostrophized as Dulce refrigerium.

· ·

in labore requies can be found among many other antitheses in Migne Vol. 83 [OPERA OMNIA S. ISIDORI.] AD S. ISIDORI HISPALENSIS OPERA APPENDICES. Auctor incertus: APPENDIX XXI. LIBER DE NUMERIS, De quo in Isidorianis, cap. 63, n. 10 et seqq. (C,G,S)*

Anima quid est? et si est aliqua res, unde animae fiant? Quid ipsa est, quod nomen ejus, quem usum in rebus conditis. Vivit, an non? si vivit, quid confert universitatis affectibus? beatamne vitam ducit, an miseram? Quid ergo anima est? Coelum non est, neque terra, neque aer, neque ignis, non aqua, non Deus, non sidera, non de anima patris neque matris venit, ut multi aestimant. Non visus, non auditus, non odoratus, non gustus, vel alia caetera, quae memorare longum est, quae sunt in coelo, sive in terra, quod anima non est. Unde ergo anima ex Deo data est, ex nihilo facta, et a Deo creata, ut ipse Dominus per Isaiam dicit: Omnem flatum ego feci, id est, omnem animam; et in Psalmo similiter ait: Qui finxit sigillatim corda eorum, id est, animas, quia corda hominum [Col. 1296B] candelabra animarum sunt. Quid itaque est anima, breviter dicendum est, quod Deus tacuit in suis Scripturis. Anima vero est vita rationabilis, et sensibilis, vivificans spiritualiter, et invisibiliter, et mirabiliter omnia viscera ac membra totius corporis intus et foris, jussu sui Creatoris, et miro modo ministrans quinque corporis sensibus, quia 400 per oculos videt, per aures audit, per nares odorat, per gustum discernit sapores, per tactum tota membra regit; quae quadrimoda ratione spiritualiter subsistit, id est, sensu, sapientia, cogitatione, voluntate. Sensus pertinet ad vitam, sapientia ad intelligendum, cogitatio ad consilium, voluntas ad defensionem. Anima etenim dum una res est, multas species et ornamenta ita in se habet. Quae dum spirat spiritus est, dum sentit sensus est, dum sapit animus est, dum intelligit mens est, dum recte discernit ratio est, dum consentit voluntas est, dum recordatur memoria est, dum membra vegetat anima est, dum bene vivit imaginem Dei habet, dum bene ornata Deo et angelis placita, [Col. 1296C] dum virtutibus bonis plena Trinitatis est cathedra. Ornamenta vero animae haec sunt. Per auditum credit, per desiderium quaerit, per sapientiam invenit, per orationem petit, per gratiam accipit, per humilitatem custodit, per misericordiam occurrit, per benignitatem indulget, per doctrinam acquirit, per poenitentiam componit, per exemplum pulchra, per scientiam lucida, per zelum bonum libera, per mansuetudinem plana, per prudentiam cauta, et clara, per simplicitatem sincera, per stabilitatem sobria, per justitiam recta, per patientiam longanima, per obedientiam parata, per actionem munda, per spem tensa, per abstinentiam temperata, per castitatem sancta, per gaudium spirituale laeta, per confessionem aperta, per martyrium ornata, per unitatem catholica, per concordiam pacifica, per dilectionem proximi larga, per charitatem Dei perfecta. Haec sunt ornamenta animae. Necessitates corporis istae sunt: in fame cibus, in siti potus, in labore requies, in fatigatione somnus, in delectatione, [Col. 1296D] et taedio carmen, in dolore salus, in imbecillitate virtus, in tunore refugium, in tenebris lumen, in bello pax, et alia multa, quae modo causa brevitatis longum est dicere. Sicut sine his itaque necessitatibus caro humana non potest feliciter vivere, ita anima sine suo necessario non potest in corpore perfecte stare. Cibus namque animae est praeceptum divinum, potus ejus oratio pura, balneum ejus jejunium legitimum, vestimentum ejus eleemosyna de propria substantia, organum ejus laudatio Dei assidua, requies ejus perfecta paupertas, salus ejus corporis infirmitas, refugium ejus pura poenitentia, pax ejus charitas plena. O homo, quicunque es, his duabus substantiis, ut praediximus, constitutus, id est, corpore et anima, imitare Christum et sanctos Patres, qui te praecesserunt; disce humilitatem a Christo, devotionem ex Petro, charitatem ex Joanne, obedientiam de Abraham, hospitalitatem de Lot, longanimitatem de Isaac, tolerantiam de Jacob, patientiam de Job, castimoniam [Col. 1297A] de Joseph, mansuetudinem de Moyse, constantiam de Josue, benignitatem de Samuel, misericordiam de David, abstinentiam de Daniel, eleemosynam de Tobia, theoricam ex Heli, actualem ex Paulo, poenitentiam lacrymosam ex Maria Magdalene, puram confessionem ex latrone, martyrium de Stephano, largitatem de Laurentio.

pp. 239-244 three poems, attributed to Adam of Saint-Victor, on Pentecost.

pp. 323-328, three poems attributed to Adam of Saint-Victor on

assumption of Mary. poem 204 heavy with apostrophic appositions,

involved with -i- sounds.

vol. 55 Commune Sanctorum

typical antitheses in poem 4, p. 7, MSS from 1363 and later, introduced with musical matter, then adds Verbum dei, martyrdom, with list of saints and places:

5. O quam mira haec sophia 6. Roma necat Petrum cruce,

Et quam nova caeli via! Paulum ense, et sic duce

Vincit, qui occiditur. Christo mundus vincitur.

poem 7 (pp. 11-12) contains allegorizations of figures of Matthew, Mark, Luke, and John, MSS 12th, 13th, later centuries. xxxa scheme for the first

six stanzas, then some variety.

poem 93, pp. 111-112 13th and 14th century MSS; after 8 3-line stanzas, each of which ends with "O Bernarde",

the poem finishes with four 4-line stanzas, the first of which is:

Ministrantium Filium,

Propinantem Spiritum

Cernis, Patrem luminum,

O Bernarde;

poem 156 pp. 177-178 on William the Great, the ermit -- French author, because of biblical references and the words divinisas and mina (Mone).

pp. 151-163 poems on Frances of Assisi

poem 131 contains 8 3-line stanzas xxa , then 4 f-line stanzas, with xxxa

Here is what I have found on the basis of scanning one collection of Latin hymns in pursuit of aaax:

ed. F.J. Mone, Lateinische Hymen des Mittelalters, Freiburg, 1854.

Ave maris stella,

veri dei cella,

gratiarumm mella

dans coelestis ros:

maris felix sportuus,

voluptatis hortus,

in quo est exortus

deitatis flos.

stella tu serena,

solis luce plena,

dudlcis et amoena

tu sanctorum dos. (pp. 220-225 for the whole poem)

However, the poem changes the x rhyme every twelve lines, and uses only one-syllable words for the x rhyme. It is 348 lines long, and the editor cites 12th-century Latin and 13th-century German analogues. Next trip to the Widener I'll look up the editions he cites.

Another poem on Mary uses the scheme in tercets, aax, with the same x for the entire 57 lines. The first 6 lines:

Gaude stella clara maris,

qua sub nato principaris

santctorum collegio.

Gaude mater singularis,

quae semper verbo probaris

miro privilegio. pp. 198-199 for the whole poem

Another poem on Mary in tercets (pp. 136-138) uses the same x (-itur) for 114 lines, then, for the last two tercets uses -ibus for the x.

Another poem to Mary, in five-line stanzas, aaaaa, goes on for 55 lines in monorhyme, and in the last two stanzas gives bbbba.

Yet another poem to Mary offers aaax, but changes the x every 8 lines; the first 8 lines:

Salve mater speciosa,

jam in coelis gloriosa,

te laudamus pretiosa

per bissena gaudia.

Quorum primum habuisti,

quando Christum concepisti,

Gabrielem audivisti:

"ave plena gratia!" pp. 170-171 for the whole poem

a 64-line poem follows the aaax pattern from l. 17 on, picking up the previous stanzas a; sample stanzas:

Dominuus te procreavit

et ornatam coronavit,

coronoatam ordinavit

suo dilecto filio. 20

Tecum qui inhabitavit,

requievit et cubavit,

carnem sumptam immolavit

crucifixus pro populo. pp. 90-91 for the whole poem

For the first 36 lines, a poem on Christ's nativity preserves the same x, then shifts for 3 stanzas to a different x, then returns to the original x, with a problematic final stanza. Sample:

Castitatis in tenorem

plasma gignit plasmatorem, 10

virgo parit amatorem,

lactat patrem filia.

Argumentum geniturae

hujus nescit jus naturae,

suae legis facto jure 15

stupet de potentia.

Coelum terris inclinatur,

homo-deus adunatur,

adunato famulatur

coelestis familia. 20 pp. 85-86 for the whole poem

p. 425 of Jahrtausend I: De Vanitater Mundi -- 10 8-line stanzas fourth and stanzas:

Dic, ubi Salomon,

olim tam nobilis,

Vel ubi Samson est,

dux invincibilis,

Vel pulcher Absalon,

vultu mirabilis,

Vel dulcis Ionathas,

Multum amabilis?

Quo Caesar abiit,

celsus imperio,

Vel Dives splendidus,

totus in prandio?

Dic, ubi Tullius

clarus eloquio,

Vel Aristoteles,

summus ingenio?

Jahrtausend I pp. 324-327 Ad Singula Membra Christi Patientis Rhythmus by Arnulf of Lowen.

Jahrt II pp. 37-38 Boy Bishop, with refrain (AH xx.136)

p. 38 Eselfest, festum asinorum, 7 five-line stanzas, with fifth line a refrain, Hez, sir asne, hez!

Jahrt II pp. 466-467 (AH XLVI, 349) Planctus Animae Damnatae 15th century. Dreves finds it folk-like, engraved on a tomb or written under a picture.

Jahrt 465-66 De Die Iudicii Rhythmus -- much alliteration, annominatio. part of a larger poem

Jahrt I Adam of Saint-Victor Migne 196.1423ff. AH VII, VIII ?

On the trinity, Profitantes unitatem PL 178 910 ff.

terms of logic play significant role: difference, relative and substantive, simplex, triplex, minor efficacia

apposition or schesis onomaton providing plurality in unity:

Pater, proles, sacrum flamen

Deus unus; sed hi tamen

Habent quaedam propria;

Una virtus, unum numen,

Unus splendor, unum lumen,

Hoc una, quod alia.

effective, final, formal, material causation:

Nil in Deo praeter Deum

Nulla causa prater eum,

Qui causat causalia;

Effectiva vel formalis

Causa Deus et finalis,

Sed nunquam materia.

Jahrt II on the trinity p. 181 AH xxiv.13 trinitas ... aequalitas ... unitas ... identitas ... pluralitas see also AH v.19ff.

pp. 181-182, also given as ah xxiv.13 pluralitas ... simplici ... simplicitas ... multiplici

p. 188 AH IX.13, 13th, 14th century, pares, pari, as well as amor. sixth stanza:

Amor natum humanavit,

Per quem pater reparavit

Jahrt I p. 260 Adam of StV -- annominatio in poem on Christ's birth:

Creatura creatorem,

Creaturae pretium.

later in same poem (p. 261) stanza 12 explicates stanza 11:

11. Frondis, floris, nucis, roris 12. Frons est Christus protegendo,

Pietati salvatoris Flos dulcore, nux pascendo,

Congruunt mysteria: Ros caelesti gratia.

Consider Adam as competitor of Alanus, avatar of Donne, in using mathematical, logical terms to represent the unrepresentable.

Jahr II 254 (AH X.87) 14th century Franciscan Breviary. Mary as snow.

Jahr II 262-3 (AH II.45?) 10th century hymnal of Moissac Stumpf Reime strophes 5 and 9 dependent on Venantius Fortunatus; heavy with p's:

Malum quod Eva et coluber

Pomo patrarunt pariter,

Hoc sola totum pepulit,

Dum virgo Christum peperit.

Many Mary poems should share material with poems on Christ's nativity, and with poems on trinity.

Joseph Szoverffy, Hymns of the Holy Cross, Brookline 1976, Traditio 10 (1954) 275-322.

JS Annalen der lateinischen Hymendichtung, Berlin 1964-65, 2 vols. reviewed by Dronke, Journal of Theological Studies 2d series 17 (1966) 496-502.

JS "Klassische Anspielungen und antike Elemente in mittelalterlichen Hymen, Archiv fur Kulturgeschichte 44 (1962) 148-192.

JS, "Hymns" in New Catholic Encyclopedia, NY 1967 vol. 7 pp. 287-96.

Wilhelm Breuer, Die lateinsiche Eucharistiedichtung etc., supplement to MJ 2, 1970.

Franz Wellner, Samtliche Sequenzen von Adam von Saint-Viktor, Munich 1955.

A.S. Walpole, Early Latin Hymns, Cambridge 1922. 5th-century Sedulius' hymn, A solis ortu cardine, 23 4-line stanzas, iambic dimeters, alphabetic, Christ as man and god. Extracts were used in offices of the church

(a-g at Christmas, HILN at Epiphany, KM sometimes too, and others p. 150) "This poem, which is distinguished by a clear and simple style free from all discordant artifice or verbiage, and at times rising into real poetry...(149-150)" Walpole indicates allusions to Biblical passages, other poems by Sedulius himself as well as other early Christian writers.

On Venantius Fortunatus (p. 164) "between his best and his worst work there is a very wide gulf." Some short pieces are frivolous, his royal panegyric exaggerated and obsequious -- but his Christian hymns are "models of what Christian hymns should be. (165)"

Ennodius (473-521) "a man of marked ability and rhetorical power, but no poet." Imitated Ambrose, but his poems were "too artificial, antithetical and difficult to come into general use." (159)

language as treasure-trove and prison house.

Flavius (d. 591) 36-line rhythmical hymn contains interesting sonic problems set and solved: in l. 21, lavator toris accubat, 6 of the 8 syllables are "ah"; all substantive words in l. 29 alliterate carnis ac cordis carcere; in l. 17, the first of Christ speaking to Peter, each word contains an i, permitte Simon ablui. l. 28, quae sorde tergunt saecula seems to echo Ambrose's l. 31 of amre Christi: tersisse mundi pulverem, which Walpole indicates Ambrose had used in an exegesis of Psalm 118.2.8.

poetry distinguished from history -- remarks on Venantius Fortunatus and Gregory of by Judith George, Marc Reydellet and others, including recent Speculum:

George, p. 128-129: "The implication in Gregory is rather that the Jews took three days to think the matter over and came to a studied and rational conclusion. The poet gives the more dramatic impression -- that the threat of violence certainly hastened the Jew's decision, and that Avitus had to be summoned to rescue them from a lynch-mob (ll. 83-84). Gregory's account ... is more simplistic and two-dimensional, a hagiographic approach which ignores other chains of causation. In contrast, Fortunatus' account is vivid and

dramatic, amplifying the religious reasoning, but also adding the political and secular elements of civil and religious alienation, to give what one might argue to be a more subtle and perceptive version of cause and effect In an important sense, the poet's version tells us more than the historian's."

Marc Reydellet offers approximately the same perception when he says, "...si on considère l'analyse de la mentalité de l'èpoque, c'est Fortunat qui est l'historien et Gregoire le poète," as quoted by Niklaus Staubach, "Germanisches Konigtum und lateinische Literatur vom funften bis zum siebten Jahrhundert,"

Fruhmittelalterliche Studien 17 (1983), p. 47. See also C. Carozzi, "Le Clovis de Grégoire de Tours,"

Le Moyen Age 98 (1992), pp. 169-185.

Paradoxes, comparisons, topoi, rhythms, rhymes, allusions to bible, classical literature, earlier hymns.

Martha Bayless, Parody in the Middle Ages, Ann Arbor 1996 PA8030.P35.B39

Helga Schueppert, Kirchenkritik in der lateinischen Lyrik des 12. und 13. Jahrhunderts, Munich, 1972.

Dietz-Ruediger Moser, "Lachkultur des mittelalters etc." Euphorion 84 (1990) 89-111, and Gurevich in Euphorion 85 (1991) 423-429, with more Moser, 430-437.