![]() ![]() ![]() ![]() Rivos cruoris torridi contacta vestis obstruit, fletu rigante supplicis arent fluenta sanguinis. Quarta die iam fetidus vitam recepit lazarus mortisque liber vinculis factus superstes est sibi. Petrus per undas ambulat christi levatus dextera: natura quam negaverat fides paravit semitam. Orat salutem servulo flexus genu centurio, credentis ardor plurimus extinxit ignes febrium. Novum genus potentiae: aquae rubescunt hydriae vinumque iussa fundere mutavit unda originem. Miraculis dedit fidem habere se deum patrem, infirma sanans corpora et suscitans cadavera. Lavacra puri gurgitis caelestis agnus attigit, peccata quae non detulit nos abluendo sustulit. Katerva matrum personat conlisa deflens pignora, quorum tyrannus milia christo sacravit victimam. Ibant magi, qua venerant stellam sequentes praeviam, lumen requirunt lumine, deum fatentur munere. Hostis herodes impie, christum venire quid times? non eripit mortalia, qui regna dat caelestia. Gaudet chorus caelestium et angeli canunt deum, palamque fit pastoribus pastor, creator omnium. Foeno iacere pertulit, praesepe non abhorruit, parvoque lacte pastus est per quem nec ales esurit. Enixa est puerpera quem gabriel praedixerat, quem matris alvo gestiens clausus ioannes senserat. Domus pudici pectoris templum repente fit dei intacta nesciens virum verbo concepit filium. Clausae parentis viscera caelestis intrat gratia venter puellae baiulat secreta quae non noverat. Beatus auctor saeculi servile corpus induit, ut carne carnem liberans non perderet quod condidit. Complete modern translations into English can be found in Walsh & Husch (2012) and Springer (2013) the literal translation is a paraphrase of these.Ī solis ortus cardine ad usque terrae limitem christum canamus principem, natum maria virgine. Since it was written, there have been many translations of the two hymns extracted from the text, A solis ortus cardine and Hostis Herodes impie, including Anglo-Saxon translations, Martin Luther's German translation and John Dryden's versification. An almost syllabic version is in use in the modern Catholic liturgy.īelow is the text of A solis ortus cardine with the eleven verses translated into English by John Mason Neale in the nineteenth century. Its numerous embellishments were later simplified, though most of them survive, even in Luther's versions. Their early-church melody dates to the 5th century, beginning in the Dorian mode and ending in the Phrygian mode. In the Catholic Liturgy of the Hours, the eight verse A solis ortus cardine and the five verse Hostis Herodes impie appear in the Latin original. The German-language Book of Hours also gives a translation of the verses 1, 2, 6 and 7 by Sedulius, plus a doxology, as "Vom hellen Tor der Sonnenbahn". Luther's translation of this hymn into German, as "Was fürchtst du, Feind Herodes, sehr", has long fallen out of use. These verses narrate the story of Herod the Great and the Three Kings, along with the Baptism of Christ and the miracle at the wedding at Cana. Verses 8, 9, 11 and 13 of Sedulius' poem were also used, with an added doxology, as " Hostis Herodes impie." ("O Herod, you impious foe."), a hymn for the Epiphany. It was also set by Bach in his chorale cantata Christum wir sollen loben schon and his chorale prelude BWV 611. ![]() Luther translated the first seven verses into the hymn " Christum wir sollen loben schon", which long remained the main German Protestant Christmas hymn until the new Evangelisches Gesangbuch of the 1990s, in which it did not appear. Polyphony of this kind became less common during the reign of Edward VI, when the English Reformation resulted in choirs being disbanded and organs dismantled. In early Tudor England, the Latin hymn was sung in three parts as a faburden with two voices added, one above and one below the plainchant. In 1589, Palestrina set the odd verses (A,C,E,G) in Hymni totius anni secundum Sanctae Romanae Ecclesiae consuetudinem, necnon hymni religionum, a collection of hymns composed for the Vatican liturgical practice was for the even verses to be sung in Gregorian plainchant.Ī four-part setting of A solis ortus cardine, with the plainchant in the tenor, is annotated at the bottom of two pages from an early sixteenth century collection of madrigals and hymns in the Royal Library of Henry VIII (MS Royal Appendix 58). They write of the striking contrast between the grandeur and omnipotence of the Word of God (the second person in the Trinity) and the vulnerable humanity of the child in whom the Word became flesh. The first seven verses, with a doxology verse by a different writer, were used from the early Middle Ages onwards as a Christmas hymn. Early Tudor faburden of 2nd verse of A solis ortus cardine ![]()
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