Rubrics. The responsories, as a rule, are said after each lesson of Matins. When the Te Deum is said after the ninth lesson, there are only eight responsories. At the end of the third, sixth and eighth lesson the Gloria Patri with a repetition of part of the responsory is said. It is said in the second responsory in offices of three lessons only. In Passiontide the Gloria Patri is not said, but the responsory is repeated ab initio. In the Requiem Office Gloria Patri is replaced by "requiem aeternam." In the Sundays of Advent, Sundays after Septuagesima until Palm Sunday, and in the triduum before Easter, there are nine responsories recited.

Perhaps an explanation of the rubric may not be useless. The asterisk (*) indicates the part which should be repeated first after the verse and immediately after the Gloria Patri. The Gloria Patri should be said to include the word sancto, and sicut erat should not be said. Some responsories have two or three asterisks, and then the repetitions should be made from one asterisk to another and not as far as the verse ending. Examples may be seen in the responsories for the first Sunday of Advent and in the Libera nos of the Requiem Office. The responsories of the Requiem Office—which is almost the only Office which missionary priests have an opportunity of reciting in choir—are highly praised for their beauty of thought and expression. They were compiled by Maurice de Sully (circa 1196), Bishop of Paris.

Symbolism of the Rubric. The responsories are placed after the lessons, the old writers on liturgy say, to excite attention and devotion, to thank God for the instruction given in the lessons, to make us realise and practise what has been read and to teach us that "Blessed are they who hear the word of God and keep it." Again, those writers knew why the chanter said only one verse and the worshippers replied in chorus—to show that all their souls were united and free from schism.

Te Deum (Title XXXI.). Author. In the Breviary prior to the reform of Pius X., this hymn was printed under the words "Hymnus SS. Ambrosii et Augustini." However, "no one thinks now of attributing this canto to either St. Ambrose or St. Augustine" (Battifol, op. cit., p. 110). Formerly, it was piously believed to have been composed and sung by these saints on the evening of Augustine's baptism. The question of the authorship of this hymn has led to much study and much controversy. Some scholars attribute it to St. Hilary, others to Sisebut, a Benedictine; others to Nicetas, Bishop of Treves, in the year 527. To-day, the opinion of the learned Benedictine, Dom. Morin—who follows the readings of the Irish manuscripts—that the hymn was written by Nicetas of Remesiana (circa 400 A.D.), is the most probable. This opinion has been criticised by several Continental scholars (V. Cath. Encly., art. "Te Deum").

Rubrics. The Te Deum is always said at the end of Matins, unless in
Matins of Feast of Holy Innocents, of Sundays of Advent, and from
Septuagesima to Palm Sunday, and ferias outside Eastertide (from Low
Sunday to Ascension Day).

The Structure of the Hymn. In this wonderful composition, there are probably two hymns connected, and followed by a set of versicles and. responses, which might be used with any similar hymn. It is probable that the first hymn (Te Deum … Paraclitum Spiritum), lines 1 to 13 of Te Deum are older than the second part, which was written probably as a sequel to the early hymn. The rhythm of the hymn is very beautiful, being free from abruptness and monotony. Students of poetry may note that seven lines have the exact hexameter ending, if scanned accentually, as voce proclamant; Deus sabbaoth, etc. Seven have two dactyls, as laudabilis numerus, laudat exercitus; one ends with spondees, apostolorum chorus. The other six lines have a less regular ending.

This hymn of praise to the Blessed Trinity is divided into two parts and seems to be modelled on the lines of the Psalm 148, Laudate Dominum de coelis (see Sunday Lauds I.). The verses 1 to 6 of the hymn, like the opening verses of the psalm, record the worship and adoration of the angels. The second part of the hymn records the worship of human beings living or dead—Apostles, Prophets, Martyrs. The second hymn, Tu Rex gloriae Christi, etc., is a prayer to Christ, the God Incarnate, the Redeemer now in Glory, to aid His servants and to aid them to be of the number of His saints in everlasting glory.

The third part of the hymn, vv. 22-29 (Salvum fac … in aeternum) is considered by scholars to be simply versicles, responses and prayers; the verses 22-23 (Salvum fac… usque in aeternum). being the versicle, and verses 24-25 (Per singulos dies… saeculi), verse 2 of Psalm 144 being the response before the beautiful verses of prayer "Dignare Domine die isto sine peccato nos custodire," etc. "Vouchsafe, O Lord, to keep us this day from sin; O Lord, have mercy on us," etc., etc.

This hymn has a special interest for Irish priests, as the Irish recensions of it, found in the Bangor Antiphoner (to be seen in the Library of Trinity College, Dublin) are of the greatest value to scholars engaged in critical study. They date from the tenth century, and give Nicetas as the author. The wording in the old Irish Antiphoner differs in some verses from the text given in our Breviary. Thus, in verse 6, the Bangor text has, universa before the word terra; again, in verse 18, the Breviary reads "Tu ad deteram Dei sedes," Bangor, and probably more correctly, reads sedens. Verses 26-29, "Dignare Domine… confundar in aeternum" are not found in the Irish book. Those who wish to study these old Irish MSS. may receive great help from Warren's Bangor Antiphoner (II., pp.83-91) and light comes too from Julian's Dictionary of Hymnology (pp. 1120-1121).

SOME TEXTS AND INTENTIONS WHICH MAY HELP TOWARDS THE WORTHY RECITATION
OF MATINS (vide pages 4, 120).