‘The Hymn of St. Patrick’—that is, the Hymn composed in his honour by St. Sechnall, to which reference is made in this extract from the Book of Armagh—is another very singular and interesting literary monument of our early Celtic Church. It has been published with valuable notes and scholia by the late Dr. Todd in the first volume of the Liber Hymnorum.[97] This curious Latin hymn, which is justly regarded both on internal and external evidence, as the genuine composition of St. Sechnall, or Secundinus, owed its origin to a singular circumstance. The following is Colgan’s account taken from the Preface to the Hymn, as given by a very old but unknown authority:—
Secundinus (in Irish Sechnall), the son of Restitutus, a Lombard of Italy by his wife Darerca, a sister of St. Patrick, was the author of this Hymn. It was composed at Dunshaughlin, county Meath, which in Irish is called Domnach-Sechnaill, from the name of its founder. It was written in the time of Laeghaire Mac Neil, then king of Ireland; and it must have been written before the year A.D. 447, when, according to the Four Masters, “Secundinus, the son of Patrick’s sister, yielded his spirit on the 27th of November, in the seventy-fifth year of his age.” The object of the writer was to give due praise to Patrick, also to offer it as a kind of apology for having offended the Saint. For, on one occasion, Sechnall was reported to have said that Patrick would be perfect if he had insisted more strongly in his preaching on the duty of alms-giving for works of charity; for then more property and more land would have been devoted to pious uses for the good of the Church. This remark was carried to the ears of Patrick, and moreover was probably misrepresented. St. Patrick was much displeased with his nephew, and said it was “for sake of charity he forbore to preach charity;” that is, in order that the holy men who were to arise after him might benefit by the oblations of the faithful, which he left untouched for that purpose. Then Sechnall sorrowed much for the rash judgment of which he had been guilty, and humbly asked pardon of the Saint, who readily granted it. But in order fully to atone for his sin, Sechnall composed this hymn in honour of Patrick.
It consists of twenty-three stanzas, the stanzas beginning with a letter of the alphabet in regular order from the first to the last. Each stanza consists of four strophes or lines, each line of fifteen syllables. So that it was written in what the grammarians call trochaic tetrameter catalectic. In Irish prosody, however, regard is had in measuring the feet rather to the accent or beat of the verse than to the length of the syllables.
When the hymn was composed Sechnall asked permission to read for Patrick a hymn, which he had composed in praise of a certain holy man, who was still alive. Patrick readily granted this request, for he said he would gladly wish to hear the praises of any of God’s household.
Then Sechnall read the poem, suppressing the first line only, which contains Patrick’s own name as the subject of the eulogy. Patrick listened attentively until Sechnall came to the line in which the subject of the poem is described as ‘greatest in the kingdom of heaven’—maximus in regno cælorum. “How can that be said of any man?” said Patrick. “The superlative is there put for the positive,” replied Sechnall; “it only means very great.” Patrick appeared to be pleased with the poem, whereupon Sechnall insinuated that Patrick himself was the subject of the poem; and, according to the Bardic custom he asked for a reward for his poem. When Patrick, however, learned that the poem was about himself he was not well pleased, but knowing Sechnall meant well in writing it, he did not wish to grieve him by a refusal. So he answered that Sechnall might expect that our Saviour in His mercy would give the glory of heaven to all who recited the hymn piously every day both morning and evening. “I am content,” said Sechnall, “with that reward; but as the hymn is long and difficult to be remembered, I wish you would obtain the same reward for whomsoever recites even a part of it.” Then Patrick said that whoever faithfully recites the last three verses of the hymn morning and evening shall obtain the same reward, and Sechnall said, “Deo gratias,” and was content.
It was only natural that this hymn, having such a promise of salvation, though written in Latin, should become very popular, and be recited in the monasteries and churches of Ireland as one of the four “Honours of St. Patrick.” It bears intrinsic evidence both in style and language that it was written during the lifetime of St. Patrick. He is represented in the hymn as still keeping all God’s commandments, and as one who will possess the joys of heaven, and will reign with the apostles as saint and judge over Israel.[98]
Of Sechnall himself little is known. All the authorities agree in saying that he was the son of Patrick’s sister Darerca, whom others call Lupait, and sometimes Liemania. It is said that she was taken captive at the same time as St. Patrick himself, and was carried with him by the captors to Ireland, and there sold as a slave in the district called Conailli Muirtheimne, which is better known as the patrimony of the greatest of Erin’s ancient warriors, the heroic Cuchullin. It included the territory around Dundalk, and stretched northward to the modern barony of Mourne, with its unrivalled mountain scenery.
All the authorities say that Sechnall’s father was Restitutus, ‘a Longobard of Leatha;’ or, as some writers add, ‘Armoric Leatha.’ Now the Lombards known to history did not conquer the territory, which bears their name, until the middle of the sixth century. This difficulty is met by assuming that ‘Leatha’ means Brittany in France, and although we have no historical evidence that a colony of the Longobardi ever dwelt there, still a Roman soldier of the Longobardic race might have been living there, and might have been married to one of the sisters of St. Patrick.
The word Armorica, as it is in Latin, and Airmoric in Celtic, really signifies any western land bordering on the sea; and it is quite possible that in this sense the word should have been applied to Ayrshire or Wigtown in Scotland. Others have suggested that the word Lungbaird, as it is in our earliest native authorities, means nothing more than a ‘long-bearded’ man of Leatha, or Amorica, which is by no means improbable. This would also help to explain why Eochaidh O’Flanagan, an old poet of the eleventh century, calls St. Sechnall by the surname Ua Baird, or O’Ward, as if the tribe name was really that of Bardi, whom some authorities describe as an ancient race of Gaul or Saxony, from whom the Longobardi derived their origin.[99] Later authorities, knowing nothing of any Longobardi except those of Northern Italy, would readily enough fall into the anachronism of placing them there in the time of St. Patrick.
Sechnall with Auxilius and Iserninus were disciples of St. Patrick from the beginning, and seem to have accompanied him on his arrival in Ireland. The Annals of Ulster, however, mark their arrival in Ireland as ‘Bishops’ to aid Patrick in the year A.D. 439. This seems to be the date of their episcopal consecration, which they received either in France or in Britain, for St. Patrick alone would be unwilling to consecrate them contrary to the canons. Sechnall seems to have been placed temporarily over the Church of Armagh, founded A.D. 445, and hence he is sometimes called Archbishop of that See.