AUTHORSHIP OF THE DIES IRÆ.
O'BRIEN. [1]
[Footnote 1: Rev. John O'Brien, A.M., Prof. of Sacred Liturgy in Mount
St. Mary's College, Emmettsburg, Md.]
The authorship of the "Dies Iræ" seems the most difficult to settle. This much, however, is certain: that he who has the strongest claims to it is Latino Orsini, generally styled Frangipani, whom his maternal uncle, Pope Nicholas III. (Gætano Orsini), raised to the cardinalate in 1278. He was more generally known by the name of Cardinal Malabranca, and was, at first, a member of the Order of St. Dominic. (See Dublin Review, Vol. XX., 1846; Gavantus, Thesaur. Sacr. Rit., p. 490.)
As this sacred hymn is conceded to be one of the grandest that has ever been written, it is but natural to expect that the number of authors claiming it would be very large. Some even have attributed it to Pope Gregory the Great, who lived as far back as the year 604. St. Bernard, too, is mentioned in connection with it, and so are several others; but as it is hardly necessary to mention all, we shall only say that, after Cardinal Orsini, the claims to it on the part of Thomas de Celano, of the Order of Franciscans Minor, are the greatest. There is very little reason for attributing it to Father Humbert, the fifth general of the Dominicans in 1273; and hardly any at all for accrediting it to Augustinus de Biella, of the Order of Augustinian Eremites. A very widely circulated opinion is that the "Dies Iræ," as it now stands, is but an improved form of a Sequence which was long in use before the age of any of those authors whom we have cited. Gavantus gives us, at page 490 of his "Thesaurus of Sacred Rites," a few stanzas of this ancient sequence. [1]
[Footnote 1: We subjoin this Latin stanza: Cum recordor moriturus,
Quid post mortem sum futurus
Terror terret me venturus,
Queru expecto non securus.]
* * * * *
To repeat what learned critics of every denomination under heaven have said in praise of this marvellous hymn, would indeed be a difficult task. One of its greatest encomiums is, that there is hardly a language in Europe into which it has not been translated; it has even found its way into Greek and Hebrew—into the former, through an English missionary of Syria, named Hildner; and into the latter, by Splieth, a celebrated Orientalist. Mozart avowed his extreme admiration of it, and so did Dr. Johnson, Sir Walter Scott, and Jeremy Taylor, besides hosts of others. The encomium passed upon it by Schaff is thus given in his own words: "This marvellous hymn is the acknowledged master-piece of Latin poetry and the most sublime of all uninspired hymns. The secret of its irresistible power lies in the awful grandeur of the theme, the intense earnestness and pathos of the poet, the simple majesty and solemn music of its language, the stately metre, the triple rhyme, and the vocal assonances, chosen in striking adaptation—all combining to produce an overwhelming effect, as if we heard the final crash of the universe, the commotion of the opening graves, the trumpet of the archangel summoning the quick and the dead, and saw the King 'of tremendous majesty' seated on the throne of justice and mercy, and ready to dispense everlasting life, or everlasting woe." (See "Latin Hymns," Vol. I. p. 392, by Prof. March, of Lafayette College, Pa.)
The music of this hymn formed a chief part in the fame of Mozart; and it is said, and not without reason, that it contributed in no small degree to hasten his death, for so excited did he become over its awe- enkindling sentiments while writing his celebrated "Mass of Requiem," that a sort of minor paralysis seized his whole frame, so
Terret dies me terroris,
Dies irae, ac furoris,
Dies luctus, ac moeroris,
Dies ultrix peccatoris,
Dies irae, dies illa, etc, etc.
that he was heard to say: "I am certain that I am writing this Requiem for myself. It will be my funeral service." He never lived to finish it; the credit of having done so belongs to Sussmayer, a man of great musical attainments, and a most intimate friend of the Mozart family.— Dublin Review, Vol. I., May, 1836.
The allusion to the sibyl in the third line of the first stanza, "Teste David cum Sybilla," [1] has given rise to a good deal of anxious inquiry; and so very strange did it sound to French ears at its introduction into the sacred hymnology of the Church, that the Parisian rituals substituted in its place the line, Crucis expandens vexilla. The difficulty is, however, easily overcome if we bear in mind that many of the early Fathers held that Almighty God made use of these sibyls to promulgate His truths in just the same way as He did of Balaam of old, and many others like him. The great St. Augustine has written much on this subject in his "City of God;" and the reader may form some idea of the estimation in which these sibyls were held, when he is told that the world-renowned Michael Angelo made them the subject of one of his greatest paintings…. In the opinions of the ablest critics it was the Erythrean sibyl who uttered the celebrated prediction about the advent of our Divine Lord and His final coming at the last day to judge the living and the dead…. The part of the sibyl's response which referred particularly to the Day of Judgment was written (as an acrostic) on the letters of Soter, or Saviour. It is given as follows in the translation of the "City of God" of St. Augustine:
[Footnote 1: As David and Sibyls say.]
"Sounding, the archangel's trumpet shall peal down from heaven,
Over the wicked who groan in their guilt and their manifold sorrows,
Trembling, the earth shall be opened, revealing chaos and hell.
Every king before God shall stand on that day to be judged;
Rivers of fire and of brimstone shall fall from the heavens."