EARLY LATIN HYMNS

Early sacred song in the Western Church is characterized by noble simplicity and clearness in form, as well as by a more practical Christianity; fine qualities which go to make the old Latin hymns more accessible and serviceable to us than the old Greek hymns.

The fourth century witnessed a remarkable activity in Latin hymnody. The Western Church was far more active in the hymnological field than the Eastern Church. One of the founders of Latin hymnody was St. Hilary, the good bishop of Poitiers, great scholar, and great defender of the Christian faith. During his exile (356-360) in Phrygia, St. Hilary came in touch with Arian hymn singing. When he was permitted to return to Gaul, he brought with him a great enthusiasm for hymn singing. He edited the first hymn book of the Western Church, and introduced singing of orthodox hymns among his people. He died in 368 A. D.

But the great author and leader of Latin hymnody is, undoubtedly, St. Ambrose, the admirable and amiable bishop of Milan. He was born in 340 and died on Good Friday, 397. St. Ambrose has been called the father of Latin church song, because of his great work in hymnody and church music. The first stanza of one of his beautiful hymns is here quoted.

O Jesus, Lord of heavenly grace,

Thou Brightness of Thy Father’s face,

Thou Fountain of eternal light,

Whose beams disperse the shades of night.

Prudentius (Aurelius Prudentius Clemens) is a prominent Latin hymn writer of this period. He was born in Spain, 348 A. D. Prudentius has been called “the first great Christian poet.” With him the Latin, the language of a stern and hard people, is, as it were, tempered by faith. He, like most of the early Latin hymnists, sings the praises of the faith, hope and love of the Christian Church. The subjective, with its “I,” “me” and “mine,” so characteristic of modern hymnody, had no place in the hymns of Prudentius. He received high honors from the Roman emperor, but in old age he preferred to devote himself quietly to religious literary work. He died about 410 A. D. We quote the first stanza of a beautiful Christmas hymn, Corde natus ex Parentis, from Prudentius, the translation by Neale.

Of the Father’s love begotten,

Ere the worlds began to be,

He is Alpha and Omega,

He the source, the ending He,

Of the things that are, that have been,

And that future years shall see,

Evermore and evermore.

St. Patrick (fifth century), called the Apostle of Ireland, wrote several hymns for his people. Coelius Sedulius, of the fifth century, wrote several great Latin hymns, among which we refer to one that has been sung quite extensively, namely, A solis ortus cardine—From lands that see the sun arise.

Gregory the Great (545-604) and Venantius Fortunatus (530-609) mark a period of transition in the hymn singing of the Western Church. It was at this time, about 600 A. D., that the Ambrosian church song was superseded by the Gregorian. Here it was that congregational song in the Western Church was abandoned and that part of public worship given over to the priests and the monks. The only part the congregation took was in a few responses. Gregory the Great was a man of unusual ability. He was pope from 590 until his death in 604. He was a zealous missionary to Britain, great as a champion against the heretics, and great as a preacher, but his best service to the Church is undoubtedly his liturgical and musical contribution. He strove to make public worship worthy of Him to whom it was rendered. It must be borne in mind that good congregational singing was something which presented great and perplexing problems in those days. The Gregorian chants, still in use, after a lapse of more than a dozen centuries, show the Gregorian style and indicate how Gregory changed the melodious and flowing hymns of St. Ambrose into the more severe and solemn style of the new period. But we have several hymns from Gregory’s pen which indicate that he was not without the Ambrosian spirit. Take, for example, his beautiful hymn,

O Christ, our King, Creator, Lord,

Saviour of all who trust Thy word,

To them who seek Thee ever near,

Now to our praises bend Thine ear.

Venantius Fortunatus, the troubadour, holds a very important place in early Latin hymnody. He wrote one of the greatest hymns of the Western Church, namely, Vexilla Regis—The royal banners forward go, the Cross shines forth in mystic glow. We quote the first stanza of another great hymn by Fortunatus, a grand Easter hymn.

Welcome, happy morning! age to age shall say;

Hell today is vanquished; heaven is won today.

Lo! the Dead is living, God for evermore!

Him their true Creator, all His works adore.

Welcome, happy morning! age to age shall say.

Simplicity, depth, fervor, divine sentiment, full-hearted confession, are some of the outstanding characteristics of the early Latin hymns. They are, on the whole, Scriptural, pure, and devotional. The key-note in these venerable old hymns consists of the main points of Christianity, the protection and care of the Father, the redemption of Christ, the sanctification of the Holy Spirit, strains of thanksgiving and praise, invocation of God’s support against the devil, the flesh and the world.

SECTION IV
MEDIAEVAL CHRISTIAN HYMNODY
A. D. 600-1520

When the Western Church passed into the mediaeval era of its history, about 600 A. D., we find church song in a new and different situation. During the ancient era of the Christian Church, it may be said that church song was, for the most part, a song of the people of God, a congregational song. Attempts had been made before this time, it is true, to suppress congregational song, but they had proven more or less unsuccessful. During the Middle Ages, however, the Church was successful in definitely transferring church song from the people to the clergy and a well trained clerical choir. Latin was the liturgical language of the entire Western Church, wherefore the mediaeval church hymns were written in that language. The Carolingian age, productive in so many respects, also produced a number of very beautiful hymns, resembling the best productions of the Ambrosian era of hymnody. Charlemagne was not only a zealous promoter but also a practiser of sacred poesy. In the ninth century Notker Balbulus of St. Gall monastery produced hymns called Sequences, which differed in their metrical structure from the older hymns. These Sequences had three or six lines in each verse, while the verses of the older hymns had four lines each. In a subsequent chapter we shall speak more fully of the Sequences and their remarkable birthplace.

Passing over into the mediaeval Church, we find that our church hymnody had three different sources in the time before the Reformation. One source was the Latin church hymnody. The second source consisted of the German songs, called Leisen. The third source was the religious folk-song of the common people.