Showing posts with label Our Lady. Show all posts
Showing posts with label Our Lady. Show all posts

Tuesday, 5 March 2019

Our Lady Who Turns Her Face to the Wall

Some years ago, my late mother gave me a small statue of Our Lady of Torreciudad.  She sits on top of the chest of drawers by my bed, in the corner of the room.  And she turns her face to the wall.

Or to be more accurate, perhaps, she turns her whole self to the wall.  She does this gradually, over time, so I don't notice it happening, until suddenly, one day, I see that she's facing the wall (or nearly) and turn her back.

The explanation, of course, is simple and natural; the statue has come free of its base, and every time I shut one of the drawers, it shifts a little on its base, with the net result I have described.

But because I am a very simple soul (or a very profound one - you decide) I see meaning in such things. There's a line in CS Lewis somewhere (That Hideous Strength, I rather fancy) about Our Lord doing all things for all people. 

And so I ask myself, why would Our Lady turn her face to the wall?  And the answer, of course, is sin.  So now I have developed the practice of only turning Our Lady back to face the room when I have been to confession: and when she turns to the wall, I know it's time to go again.

And that works pretty well...

Saturday, 8 December 2018

The Epiphany and Our Lady

Here's a Marian post for today's great Feast!

I have blogged before about chant melodies from the Requiem Mass being similar, or identical, to chant melodies used elsewhere. The Tract is very similar to the Tract for Quinquagesima (see here); the Gradual to the Gradual for the Mass of a Confessor not a Bishop (see here).

This week, as I have started to learn the Mass for the Epiphany, I found the Introit strangely familiar.  For it is indeed another example of such re-use: the Introit for the feast of the Epiphany is practically identical to the Introit for the Mass for feasts of Our Lady throughout the year.

Is this just laziness?  Re-cycling melodies rather than composing new ones?  It may be so, but even if so, I am inclined to suspect Providence at work behind the scenes... Or is it deliberate, as I have wondered before (in the post about the Quinquagesima Tract)?

So in this post I think out loud about why the Epiphany and the Feasts of the BVM through the year share the same music for their Introits.

First, let us establish that it is indeed so (with only one or two notes different).  Compare:



So let's look at the texts, and see if there are thematic similarities.

The Epiphany text is:

Ecce advenit dominator Dominus: et regnum in manu ejus, et potestas et imperium.  (Ps 71) Deus, judicium tuum regi da, et justitiam tuam filio regis.

Behold, the Lord the Ruler is come: and a kingdom is in his hand, and power and dominium. (Ps) Give to the king thy judgement, O God, and to the king's son, thy justice.

The text for Feasts of the BVM is:

Salve sancta parens, enixa puerpera Regem, qui caelum terramque regit in saecula saeculorum. (Ps 44) Eructavit cor meum verbum bonum: dico opera mea Regi.

Hail, Holy Mother! Thou in giving birth to thy Child didst bring forth the King who ruleth the heavens and the earth for ever and ever. (Ps) My heart hath uttered a good word: I speak my works to the king.

I am assuming that Salve sancta parens was set to the music of Ecce advenit and not the other way around; though in fact my hypothesis works either way around*. For immediately one sees why the genius who set these words to that chant might think it appropriate. Anyone familiar with the Mass for the Epiphany will immediately be reminded of it, and the kingly theme of its Introit, every time he sings the opening of Our Lady's Mass on her Feasts: which starts by greeting her as the Mother of the King.

And there's more.  The Epiphany is the feast of the showing forth of Christ: to the Magi, of course; but also by the Holy Spirit resting on Him in the form of a dove at His baptism; and also by the first of His miracles, at the wedding feast at Cana.

And consider that great prayer to Our Lady, the Salve Regina (Hail Holy Queen). Right at the heart of it, the actual petition is: Iesum... nobis... ostende (Show unto us... Jesus). So Our Lady is responsible for the desired, continuing, Epiphany, the showing forth of Our Blessed Lord.

What we have lost by disregarding Sacrosanctum Concilium and largely consigning our heritage to history...

Our Lady, Conceived Immaculate, Pray For Us


--

*UPDATE: On consulting my Graduale Triplex, I find that Ecce advenit does indeed predate Salve sancta parens.



Friday, 6 January 2017

A Biblical Defence of Devotion to the Blessed Virgin Mary

The other day on Twitter,  the Holy Father tweeted: Let us entrust the new year to Mary, Mother of God, so that peace and mercy may grow throughout the world.

In response to that, some (I assume) well-meaning but (certainly) ill-informed protestant tweeted:

The Roman Catholic practice of Mary worship is a violation of the 1st Commandment. RCs must repent of this idolatry for the glory of Christ.

I responded: Is it wrong to ask others to pray for us? Our repeated request to Mary is: 'pray for us sinners...'

He did not directly answer my question, but replied:

Hello Ben, we seek to engage in humility and kindness in a way that pleases the Lord. Can you show an Apostolic example of petitioning Mary?

I replied No, but you are making assumptions that I don't share. We are not called to follow the Apostles so much as Christ Himself. He, obeying the commandments, honoured His Mother. So do we.

Receiving no reply to this, I later tweeted him again: You are quite mistaken to think that we worship the Blessed Virgin. We offer the Sacrifice of the Mass to the triune God.

And there the matter rests.

But it does seem to me to illustrate a real problem, a great misunderstanding about Catholicism, held by many sincere protestants. I have blogged very briefly about the fundamental problem before, but in this post I want to take a more protestant-friendly approach, by making a Biblical case for praying to the Blessed Virgin.

The Annunciation:

The Angel Gabriel, sent by the Father, greeted her: Hail, full of grace! The Lord is with thee!

The Visitation:

Elizabeth, inspired by the Holy Ghost to recognise her, greeted her: Blessed art thou amongst women, and blessed is the fruit of thy womb!

These two direct quotations from the Bible form the first half of that most typical of all Marian prayers, the Hail, Mary.

Mary herself, in response to Elizabeth, prophesied that all generations will call me blessed, for He that is mighty has done great things for me.

The Finding in the Temple and the Hidden Life:

At the close of this account, we read that He was subject to them. For the next eighteen years, Our Lord lived subject to His mother and His foster father. The implications of that are many. One is that whatever they asked, He would do in obedience, humility and love. Another is that He honoured his Mother in accordance with the Commandments which the Father gave Moses on Sinai. From these, and because He is truth itself, we can conclude that she was worthy of His obedience and worthy of His honour. The depth of humility in the Incarnation never ceases to amaze; but I cannot imagine that it would include stooping to obey and honour somebody unworthy of either.

The Miracle at Cana:

Here we see clearly the power of His mother's intercession: although His hour is not yet come, Our Lord responds to her request, and sets out on the road to Calvary.

Then comes the line that should put the protestant unease to rest. Mary's command: Do whatever He tells you! Those of us who have sought her intercession, and meditated in her rosary, know that her will is united to His: and her answer is always the same: Do whatever He tells you! That is one reason why there is no spiritual danger in devotion to the Blessed Virgin (along with the fundamental reason, which is that we do not offer her the adoration due to God alone).

The Foot of the Cross:

When Jesus therefore saw his mother, and the disciple standing by, whom he loved, he said to his mother, Woman, behold thy son! Then he said to the disciple, Behold thy mother! And from that hour that disciple took her into his own home. There is the apostolic example which my interlocutor desired. The beloved disciple took the Blessed Virgin into his home; and so do we.

In summary, when we pray to Our Blessed Mother, we draw on the words of Scripture; we fulfill the prophesy that Scripture records; we follow Christ in loving and honouring His blessed Mother; we recognise the power of the Blessed Virgin's intercession, as demonstrated in Scripture; we find again and again that she points straight back to her Son; and we respond to Christ's command to the beloved disciple to take her into our homes.

What we do not do is adore her. She is worthy of the highest honour of any created being: indeed, we recognise in her the woman crowned with stars in the Apocalypse; but Catholicism always distinguishes between the honour it offers to Our Lady (and any of the saints) and the adoration of the Triune God, to whom alone the supreme sacrifice of the Mass is offered.

Tuesday, 2 February 2016

The Feast of the Purification of the Blessed Virgin Mary

One of the joys of tradition is that one does not have to keep inventing new stuff all the time. So without further apology or justification, here is my regular post on today's feast.


Today is the feast of the Purification of the Blessed Virgin Mary, also known as the feast of the Presentation of the Lord. It is also known as Candlemas:




It marks the occasion on which we meditate in particular the fourth Joyful Mystery of the Rosary: that extraordinary visit of the Holy Family to the temple, to be met by the prophet Anna and Simeon, the priest, and to make the required sacrificial offering for a first-born son.

There is so much to meditate on: the humility of Our Lady (of all people) being ritually purified;  the devout Jewishness of the Holy Family; the idea of Our Lady offering God back to God, and being entrusted with God by God; the extraordinary prophecies of Anna and Simeon; the pre-figuring of the replacement of the temple of the Old Covenant with the Temple of the New, in the person of Christ: the locus of the one true redemptive sacrifice.

Today also marks the end of the Christmas season: our cribs will be taken down in the evening, and we will sing the Alma Redemptoris Mater, for the last time. Thereafter, we start singing the Ave Regina Caelorum.  That is sung daily until compline of the Wednesday of Holy Week.




Ave, Regina Caelorum,
Ave, Domina Angelorum:
Salve, radix, salve, porta
Ex qua mundo lux est orta:
Gaude, Virgo gloriosa,
Super omnes speciosa,
Vale, o valde decora,
Et pro nobis Christum exora.

Hail, O Queen of Heaven enthroned.
Hail, by angels mistress owned.
Root of Jesse, Gate of Morn
Whence the world's true light was born:
Glorious Virgin, Joy to thee,
Loveliest whom in heaven they see;
Fairest thou, where all are fair,
Plead with Christ our souls to spare.

Saturday, 2 January 2016

And another thing

I have continued to think about the Holy Father's sermon on the Holy Family, about which I have already posted.

In particular, I have been thinking about the Immaculate Conception, and the difficulty that poses for us, inheritors of Original Sin, to read Our Lady's words accurately.

One of the effects of Original Sin is that our passions are not properly subject to our souls: that is the seat of the will and the intellect. But in Our Lady, preserved from Original Sin and its effects, that is not the case. Her passions are subordinate to her will, that is her capacity to love, and her intellect, her capacity to know.

Further, we know that any turning of the will away from the will of God is a sin: so by definition Our Lady never allowed her will to deviate from the will of God. 

Her intellect was also endowed with those preternatural gifts which the rest of us lost through Adam's sin: knowledge of God, of her relationship to Him and of Her eternal destiny.

It is in that context that we have to read Our Lady's words to her Son, both here in Luke 2, and also, for example, at the Annunciation and at the Wedding Feast in Cana.

It is of course tempting to read Our Lady's words as 'containing a certain reproach,' but is that correct, given her Immaculate status? Certainly, if a normal mother said those words, reading reproach into them would seem completely reasonable; but in this respect (freedom from Original Sin and Actual Sin) she is not a normal mother. 

All I believe we can legitimately read into them is the intellectual question they pose: "How could you (whom I know to be all-good) do this which has caused us such distress?"  - Faith seeking understanding. And it is no defect in her intelligence that means she does not understand all her Son does; it is natural for the human intellect to be unable to fathom the full mysteries of God - indeed, that is what we mean by a mystery.

So just as her words at the Annunciation (unlike the very similar ones of Zachary) do not display any failing in Faith, so her words here do not display any failing in Love; nor do her words at Cana display any failing in Hope.

Indeed, Cana is in some ways my favourite: when Protestants level the charge of Mariolatry at us, I reflect that it is a charge made in ignorance. Anyone who has turned to Our Blessed Mother for counsel or comfort knows that she always ends by telling us the same thing: 'Do whatever He tells you!' The Mother always points to the Son, and to honour her is to draw closer to Him.

As always, I issue the usual disclaimer: I am no trained theologian, and if I have got anything wrong in this post I invite correction. Indeed, as I have mentioned before, one of the delights of blogging is to provoke those wiser, better instructed, or more holy than myself to educate me.



Alma Redemptoris Mater, 
Quæ pervia cæli porta manes, 
Et stella maris, 
Succurre cadenti,
Surgere qui curat, populo: 
Tu quæ genuisti,
Natura mirante, 
Tuum sanctum Genitorem
Virgo prius ac posterius, 
Gabrielis ab ore
Sumens illud Ave, 
Peccatorum miserere.

Thursday, 17 December 2015

Medieval Christmas Poetry (i)

I was about to tweet some links to Christmas Poetry I have posted previously: then I read the first paragraph of a post I wrote about this last year (see below) and recognised the wisdom of my last-year's self.

So shamelessly, I am re-posting the sequence of posts I did at about this time last year.

--

(From Advent 2014):

I have decided to re-post some of the Christmas poetry I have posted in the past. I considered simply re-tweeting links, but realise that many readers come here because they see my latest post displayed in the sidebar of another blog, and so tweeting would not reach them.  I also considered a simple post with lots of links to the poems, but I know how I would react to that - click on one or two at the most.  Whereas drip-feeding them in over the days in the run-up to Christmas seems a more helpful approach.

So, without further ado, still less apology, here we go again: some Medieval Christmas Poetry.

This first poem is from the early thirteenth century; you may recognise some of the lines, as they are quoted in another, much more famous poem quoted below, which has been set as a Christmas Carol. 


Bringing us bliss now, the birds are all singing;
Branches sprout leaves and the grasses are springing.
Of one that is matchless my utterance sings
Chosen as mother by the King of Kings.

Taintless she is, and unspotted by sin,
Descended from Jesse, of kingly kin.
The Lord of mankind from her womb was born,
To save us from sin, who would else be forlorn.

'Hail Mary, full of grace! And may Our Lord
Be with you!' was the Angel Gabriel's word.
The fruit of your womb I declare shall be blest.
You shall carry a child beneath your breast.'

This greeting and word which the angel had brought,
Mary considered and pondered in thought.
She said to the angel, 'How could such thing be?
Of knowledge of man my body is free.'

She was virgin with child and virgin before,
And still virgin yet when her Baby she bore.
Never was maiden a mother but she;
Well might she the bearer of God's Son be!

Blest be the Child, and the Mother, too, blest,
And where her Son suckled, blest the sweet breast!
Praised be the time such child was born,
Who saved us from sin, who would else be forlorn!

[Trans: Brian Stone]


This second verse is from a minstrel manuscript from the early fifteenth century, and clearly draws on the earlier one.  Dew is a long standing literary figure for virginity: here the conception of the Son is seen as enhancing, rather than ending Our Lady's virginity.

I sing of a maiden
That is matchless,
King of all kings
To her son she chose.

He came as still
Where his mother was
As dew in April
That falls on the grass.

He came as still
To his mother's bower
As dew in April
That falls on the flower.

He came as still
Where his mother lay
As dew in April
That falls on the spray.

Mother and maiden
There was never none but she;
Well may such a lady
God's mother be.

(For those who like such things, here is the original:

I syng of a mayden
þat is makeles,
kyng of alle kynges
to here sone che ches.

He came also stylle
þer his moder was
as dew in aprylle,
þat fallyt on þe gras.

He cam also stylle
to his moderes bowr
as dew in aprille,
þat fallyt on þe flour.

He cam also stylle
þer his moder lay
as dew in Aprille,
þat fallyt on þe spray.;

Moder & mayden
was neuer non but che –
wel may swych a lady
Godes moder be.)

Wednesday, 28 October 2015

Lepanto

I was reminded of this the other day.  There was a time when I could recite it word perfect.  I stumble a bit now, but think I can get it back in the repertoire soon.

Anyway, it is a fine piece of verse, and it seems timely to remind people of it. The battle of Lepanto (1571) was between a Christian fleet and the Ottoman fleet. The Christian victory - attributed to Our Lady, through the Rosary - stopped the further incursions of the Ottoman Empire on Christendom. Cervantes, the author of Don Quixote, fought in the battle.

Read it out loud (and I mean loud) -  especially to your children and to your children's children!

Lepanto -  by G. K. Chesterton

White founts falling in the courts of the sun,
And the Soldan of Byzantium is smiling as they run;
There is laughter like the fountains in that face of all men feared,
It stirs the forest darkness, the darkness of his beard,
It curls the blood-red crescent, the crescent of his lips,
For the inmost sea of all the earth is shaken with his ships.
They have dared the white republics up the capes of Italy,
They have dashed the Adriatic round the Lion of the Sea,
And the Pope has cast his arms abroad for agony and loss,
And called the kings of Christendom for swords about the Cross,
The cold queen of England is looking in the glass;
The shadow of the Valois is yawning at the Mass;
From evening isles fantastical rings faint the Spanish gun,
And the Lord upon the Golden Horn is laughing in the sun.

Dim drums throbbing, in the hills half heard,
Where only on a nameless throne a crownless prince has stirred,
Where, risen from a doubtful seat and half attainted stall,
The last knight of Europe takes weapons from the wall,
The last and lingering troubadour to whom the bird has sung,
That once went singing southward when all the world was young,
In that enormous silence, tiny and unafraid,
Comes up along a winding road the noise of the Crusade.
Strong gongs groaning as the guns boom far,
Don John of Austria is going to the war,
Stiff flags straining in the night-blasts cold
In the gloom black-purple, in the glint old-gold,
Torchlight crimson on the copper kettle-drums,
Then the tuckets, then the trumpets, then the cannon, and he comes.
Don John laughing in the brave beard curled,
Spurning of his stirrups like the thrones of all the world,
Holding his head up for a flag of all the free.
Love-light of Spain—hurrah!
Death-light of Africa!
Don John of Austria
Is riding to the sea.

Mahound is in his paradise above the evening star,
(Don John of Austria is going to the war.)
He moves a mighty turban on the timeless houri’s knees,
His turban that is woven of the sunset and the seas.
He shakes the peacock gardens as he rises from his ease,
And he strides among the tree-tops and is taller than the trees,
And his voice through all the garden is a thunder sent to bring
Black Azrael and Ariel and Ammon on the wing.
Giants and the Genii,
Multiplex of wing and eye,
Whose strong obedience broke the sky
When Solomon was king.

They rush in red and purple from the red clouds of the morn,
From temples where the yellow gods shut up their eyes in scorn;
They rise in green robes roaring from the green hells of the sea
Where fallen skies and evil hues and eyeless creatures be;
On them the sea-valves cluster and the grey sea-forests curl,
Splashed with a splendid sickness, the sickness of the pearl;
They swell in sapphire smoke out of the blue cracks of the ground,—
They gather and they wonder and give worship to Mahound.
And he saith, “Break up the mountains where the hermit-folk can hide,
And sift the red and silver sands lest bone of saint abide,
And chase the Giaours flying night and day, not giving rest,
For that which was our trouble comes again out of the west.
We have set the seal of Solomon on all things under sun,
Of knowledge and of sorrow and endurance of things done,
But a noise is in the mountains, in the mountains, and I know
The voice that shook our palaces—four hundred years ago:
It is he that saith not ‘Kismet’; it is he that knows not Fate ;
It is Richard, it is Raymond, it is Godfrey in the gate!
It is he whose loss is laughter when he counts the wager worth,
Put down your feet upon him, that our peace be on the earth.”
For he heard drums groaning and he heard guns jar,
(Don John of Austria is going to the war.)
Sudden and still—hurrah!
Bolt from Iberia!
Don John of Austria
Is gone by Alcalar.

St. Michael’s on his mountain in the sea-roads of the north
(Don John of Austria is girt and going forth.)
Where the grey seas glitter and the sharp tides shift
And the sea folk labour and the red sails lift.
He shakes his lance of iron and he claps his wings of stone;
The noise is gone through Normandy; the noise is gone alone;
The North is full of tangled things and texts and aching eyes
And dead is all the innocence of anger and surprise,
And Christian killeth Christian in a narrow dusty room,
And Christian dreadeth Christ that hath a newer face of doom,
And Christian hateth Mary that God kissed in Galilee,
But Don John of Austria is riding to the sea.
Don John calling through the blast and the eclipse
Crying with the trumpet, with the trumpet of his lips,
Trumpet that sayeth ha!
      Domino gloria!
Don John of Austria
Is shouting to the ships.

King Philip’s in his closet with the Fleece about his neck
(Don John of Austria is armed upon the deck.)
The walls are hung with velvet that, is black and soft as sin,
And little dwarfs creep out of it and little dwarfs creep in.
He holds a crystal phial that has colours like the moon,
He touches, and it tingles, and he trembles very soon,
And his face is as a fungus of a leprous white and grey
Like plants in the high houses that are shuttered from the day,
And death is in the phial, and the end of noble work,
But Don John of Austria has fired upon the Turk.
Don John’s hunting, and his hounds have bayed—
Booms away past Italy the rumour of his raid
Gun upon gun, ha! ha!
Gun upon gun, hurrah!
Don John of Austria
Has loosed the cannonade.

The Pope was in his chapel before day or battle broke,
(Don John of Austria is hidden in the smoke.)
The hidden room in man’s house where God sits all the year,
The secret window whence the world looks small and very dear.
He sees as in a mirror on the monstrous twilight sea
The crescent of his cruel ships whose name is mystery;
They fling great shadows foe-wards, making Cross and Castle dark,
They veil the plumèd lions on the galleys of St. Mark;
And above the ships are palaces of brown, black-bearded chiefs,
And below the ships are prisons, where with multitudinous griefs,
Christian captives sick and sunless, all a labouring race repines
Like a race in sunken cities, like a nation in the mines.
They are lost like slaves that sweat, and in the skies of morning hung
The stair-ways of the tallest gods when tyranny was young.
They are countless, voiceless, hopeless as those fallen or fleeing on
Before the high Kings’ horses in the granite of Babylon.
And many a one grows witless in his quiet room in hell
Where a yellow face looks inward through the lattice of his cell,
And he finds his God forgotten, and he seeks no more a sign—
(But Don John of Austria has burst the battle-line!)
Don John pounding from the slaughter-painted poop,
Purpling all the ocean like a bloody pirate’s sloop,
Scarlet running over on the silvers and the golds,
Breaking of the hatches up and bursting of the holds,
Thronging of the thousands up that labour under sea
White for bliss and blind for sun and stunned for liberty.
Vivat Hispania!
Domino Gloria!
Don John of Austria
Has set his people free!

Cervantes on his galley sets the sword back in the sheath
(Don John of Austria rides homeward with a wreath.)
And he sees across a weary land a straggling road in Spain,
Up which a lean and foolish knight forever rides in vain,
And he smiles, but not as Sultans smile, and settles back the blade....
(But Don John of Austria rides home from the Crusade.)

G. K. Chesterton

The Collected Poems of G. K. Chesterton (1927)

Tuesday, 23 December 2014

Meditation on the Nativity

Meditation on the Nativity

All gods and goddesses, all looked up to
And argued with and threatened. All that fear
Which man shows to the very old and new -
All this, all these have gone. They disappear
In fables coming true.

In acts so simple that we are amazed -
A woman and a child. He trusts, she soothes.
Men see serenity and they are pleased.
Placating prophets talked but here are truths
All men have only praised

Before in dreams. Lost legends here are pressed
Not on to paper but in flesh and blood,
A promise kept. Her modesties divest
Our guilt of shame as she hands him her food
And he smiles on her breast.

Painters' perceptions, visionaries' long
Torments and silence, blossom here and speak.
Listen, our murmurs are a cradle-song,
Look, we are found who seldom dared to seek -
A maid, a child, God young.

Elizabeth Jennings

Tuesday, 16 December 2014

Medieval Poetry (iv)

I think that this will be the last of the medieval poems I post.

This poem exists in various translations - some so different that I wonder if there are two different sources, but that is proving hard to determine.

I use the translation that was made famous by John Rutter: he sets it in his Magnificat.

Of a Rose, a lovely Rose,
Of a Rose is all my song.

Hearken to me both old and young,
How this rose began to spring;
A fairer rose to mine liking,
In all this world ne know I none.

Of a Rose, a lovely Rose,
Of a Rose is all my song.

Five branches of that rose there been,
The which be both fair and sheen;
The rose is called Mary, heaven’s queen.
Out of her bosom a blossom sprang.

Of a Rose, a lovely Rose,
Of a Rose is all my song.

The first branch was of great honour:
That blest Marie should bear the flower;
There came an angel from heaven’s tower,
To break the devil’s bond.

Of a Rose, a lovely Rose,
Of a Rose is all my song.

The second branch was great of might,
That sprang upon Christmas night;
The star shone over Bethlem bright,
That man should see it both day and night.

Of a Rose, a lovely Rose,
Of a Rose is all my song.

The third branch did spring and spread;
Three kinges then the branch gan led,
Unto our Lady in her child-bed;
Into Bethlem that branch sprang right.

Of a Rose, a lovely Rose,
Of a Rose is all my song.

The fourth branch it sprang to hell,
The devil’s power for to fell:
That no soul there-in should dwell,
The branch so blessed fully sprang.

Of a Rose, a lovely Rose,
Of a Rose is all my song.

The fifth branch it was so sweet,
It sprang to heaven, both crop and root,
Therein to dwell and be our bote:
So blessedly it sprang.

Of a Rose, a lovely Rose,
Of a Rose is all my song.

Pray we to her with great honour,
She that bare the blessed flower,
To be our help and our succour,
And to shield us from the fiendes bond.

Of a Rose, a lovely Rose,
Of a Rose is all my song.



Monday, 15 December 2014

The Lost Verse

Browsing my copy of Medieval English Verse (Penguin), I discovered another verse, previously unknown to me, of Of on that is so fayre and bright.

This verse is translated by Brian Stone (his translation of the other verses differs from the version I posted here, but I prefer the version I have quoted, source forgotten...)

Anyway, here is the previously unknown (to me) fifth verse in the Stone translation:

Well he knows he is your Son,
Ventre quem portasti
Your prayers to him he will not shun,
Parvem quem lactasti.
So kindly and so good he is
That he has brought us all to bliss
Superni
And shut for ever the foul abyss
Inferni.

Medieval Christmas Poetry (iii)

In a deft move, designed to thwart my critics who have been yelling 'Old hat!' at my last two Christmas poetry posts, I am pleased - indeed proud - to present a poem new to me, and therefore new to this blog.

It dates from the 13th Century; unfortunately I only have it in a translated version. Nonetheless, it is a pleasing verse: another macaronic poem, like Of on that is so fayre and bright.


Holy Mary, mother mild.
Mater salutaris
Fairest flower of any field,
Vere nuncuparis
With Jesus Christ you were with child;
You drive me from my musings wild
Potente,
Which make me go to death, I know,
Repente.

My thoughts are wild like any roe, 
Luto gratulante
They plunge me in the utmost woe,
Illaque favente.
But if the Christ from me should go,
I know my heart would break in two,
Fervore. 
By night and day I lose my way
Dolore.

Jesu, through your power and might
Omnia fecisti:
The Holy Ghost in Mary alit,
Sicut voluisti.
Since we call him Lord Almighty,
Jesu, bring my thought to Christ
Constanter,
That it shall stay, not go astray
Fraudanter.

Jesus Christ, so high aloft,
Digno tu scadente;
Heaven and earth below you wrought
Victore triumphante;
With your body mankind you bought:
His soul at any cost you sought,
Nec dare,
And gave the blood that was so good
Tam gnare.

Sweetest Lady, flower of all,
Vere consolatrix,
Be my helper lest I fall, 
Cunctis reparatrix.
Gentlest Queen of chosen sway,
Be before me night and day
Precantis!
Give me grace to see the face
Infantis!

That through your sweetest prayers I may,
Tutrix orphanorum,
Leave this world's vexatious way,
Solamen miserorum;
And to you, Lady, may I take
My sins and them thereby foresake
Volente,
And so not miss your heavenly bliss: 
Poscente.


(Trans: Brian Stone)

From the Penguin Medieval Verse - which is well worth buying!

Medieval Christmas Poetry (ii)

Continuing my re-posting of Christmas poetry, (but this time in rather better chronological order than before - at least so far), here is the next (and see the end of this post for exciting novelty!)

My favourite medieval poem for Christmas is this Hymn to the Virgin. The trick of inserting rhyming Latin into rhyming English, whilst making the meaning quite clear, really appeals to me.

This is from about 1300.

Of on that is so fayr and bright
Velut maris stella
Brighter than the day is light
Parens et puella
Ic crie to the, thou see to me,
Levedy, preye thi Sone for me,
Tam pia,
That ic mote come to thee,
Maria.

Al this world was for-lore,

Eva peccatrice
Tyl our Lord was y-bore
De te genetrice
With ave it went away
Thuster nyth and comes the day
Salutis
The well springeth ut of the
Virtutis

Levedy, flour of alle thing

Rosa sine spina
Thu bere Jhesu, hevene king,
Gratia divina
Of alle thu ber'st the pris,
Levedy, quene of paradys
Electa
Mayde milde, moder es
Effecta.

What do you mean, it is not obvious?  OK, here are some clues:


on - one; levedy - lady; thuster - dark; pris - prize.


Velut maris stella - like the star of the sea

Parens et puella - mother and maiden
Eva peccatrice - by Eve's sin

Ask in the comms box if anything else needs elucidating (and correct all my errors…)

This has been set to music often, with varying success… A quick visit to Youtube will give several examples.

Here is Benjamin Britten's:




Regular readers (if such there be) clamouring for novelty will be pleased to know that I have unearthed some new medieval Christmas poems, which will follow in due course. (One rarely has cause (or excuse) to write 'new medieval'; I mean, of course, new to me and to this blog).

UPDATE

I have come across a fifth verse to this poem, here.