Full Text for Luther's Use of Medieval Latin Hymns (Text)

(!!nurnrbtu IDlJtnlngtrul jlnut41y Continuing Lehre und Wehre (Vol. LXXVI) Magazin fuer Ev.-Luth. Homiletik (Vol. LIV) Theol. Quarterly (1897-1920)-Theol. Monthly (Vol. X) Vol. II April, 1931 No.4 CONTENTS Page ENGELDER, TH.: 1st der Papst der Antichrist? ........ 241 KRETZMANN, P. E.: "Hielt er's nicht fuer einen Raub," Phil. 2, 6 . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 244 ENGELDER, TH.: Zurueck ZLl Luther I. . . . . . . . . . . . . . . . . .. 258 KRETZMANN, P. E.: Luther's Use of Medieval Hymns.. 260 WENGER, F.: Studie ueber die Eisenacher Epistel des Sonntags Misericordias Domini... . . . . . . . . . . . . . . . . . . . . .. 273 Dispositionen ueber die von der Synodalkonferenz ange- nommene Serie alttestamentlicher Texte............... 283 Theological Observer. - Kirchlich-Zeitgeschichtliches. . . . .. 294 Book Review. - Literatur ................................. 312 Ein Prediger muss nicht allein weiden, alBa daBs er die Schafe unterweiBe, wie sie rechte Christen Bollen seill, sondern auch daneben den Woelien wehren, dass Bie die Schafe nich t angreifen und mit falscher Lehre veduehren und Irrtum ein· tuehren. - Luther. Es ist kein Ding, das die Leute mehr bei der Kirche behaelt denn die gute rredigt. - dpologieJ Art. 2.9. If the trumpet give an uncertain Bound, who shall prepare himself to the battle? 1 Cor. 4,8. Published for the Ev. Luth. Synod of Missouri, Ohio, and Other States CONCORDIA PUBLISHING HOUSE, St. Louis, Mo. ARCHIVES 260 Luther's Use of Medieval Latin Hymns. ®lJnobe, ber f eHge ~lJnefen, aum erf±en IDeale ~ifitaiion in meiner ®emeinbe. \Bei foldjer ®eIegenljei± lJfIegie er audj bie \Bi6Hoiljef beil 6etreffenben ljSaftoril in Wugenfdjein au neljmen. IDeit ber SDurdjmufte" rung ber meinigen roar er 6alb fertig, benn fie 6eftanb roegen ber SDiirf" tigfeit meiner ~erlji±ltniffe auil nur roenigen \Bi±nben. SDann roanbte er fidj mit ernfiem ®efidjie au mir unb fragie midj in 6arfdjem ~on: ,Sja6en ®ie benn gar feine ljSrebigt6iidjer?' SDurdj bie Wrt unb ~eif e, roie biefe {Yrage an midj geridjte± rourbe, faft erfdjrecH, aniroorte±e idj Ueinlaui: ,;;sdj lja6e roeiter feine ljSrebigien, ag bie in Euiljeril ~erfen eniljaIien finb.' ljSIOi2fidj ljeiierte fidj fein ®efidjt aUf; rooljlroolIenb fIo\Jfie er mit aUf bie ®djuIter unb fagie: ,Eie6er SjolJlJe, bail freu± midj gana ungemein. SDie ftubieren unb lJrebigen ®ie nur redj± fleif3ig. SDa£l ift bail \Befte, roail @:lie tun fOnnen fiir fidj unb fib: ;;sljre ®emeinbe.' SDiefeil ~ori lja6e idj mir gemerf± unb audj 6efoIgt." ~ lj. @j n g eI b e r. Luther's Use of Medieval Latin Hymns. Luther possessed a versatile genius of surprising fertility. His university training had been almost entirely in the field of the humanities and in philosophy, and he had taken up theology only while acting as instructor at the universities of Wittenberg and of Erfurt; and yet he became one of the most profound theologians of the entire Ohristian era. He was no philologian, and yet he was able, chiefly on the basis of the most intensive form of home training, to present some of the most thorough linguistic discussions, in Greek and Hebrew as well as in Latin and German, which the period of the Reformation produced. He was no dugmatician in the present sense of the term; yet some of the clearest doctrinal expositions that have ever been printed issued from his pen. He was no political economist, and yet his statements pertaining to problems of this kind have not been excelled to this day. He was no trained educator, and yet his educational classics have given him a place in the front ranks of the foremost educators of all times. But one of the most amazing features of Luther's versatility is his work in the field of liturgics, and in particular in the subsidiary fields of Ohristian hymnology and music. No sooner had he realized that for the sake of his objectives he would require a church service in the vernacular than he set out to make a thorough study of the field. He had not been in sympathy with the precocious and abortive at- tempts of Oarlstadt to eradicate the ancient form of worship, nor was he iconoclastically inclined when he felt that the time had come to make the change. With characteristic conservatism he retained the general form and order of service to which the congregations had been Luther's Use of Medieval Latin Hymns. 261 accustomed for centuries, making only such changes as were demanded by the principles of the Reformation. His method of procedure is ably set forth in his writings Von Ordnung Gottesdiensts in der Ge- meine and Das Taufbuechlein verdeutscht, of the end of April, 1523; in his Ordnung eines gemeinen Kastens der Gemeine zu Leisnigk, of the beginning of July, 1523; in his Formula Missae et Communionis, of December 4, 1523; and in his Deutsche Messe und Ordnung des Gottesdienstes, of 1526. (Op. St. Louis Ed., X, 220.2136.954.226.) Luther soon found that he needed German hymns for the ser- vices which he intended to have conducted chiefly in the vernacular. Fortunately he had an extensive knowledge of the entire Latin field, the classical as well as the medieval; and he was, of course, thoroughly familiar with the Roman order of service, as contained in the various missals, breviaries, and other service books, which he had used for more than fifteen years. He was somewhat diffident at first about attempting any work in this field himself, and he tried to get some of his friends interested in the field. A letter dating from the end of 1523 or the beginning of 1524 (St. Louis Ed., XXla, No. 696; Aurifaber, II, 238b; De Wette, II, 590) and addressed to his friend Georg Spalatin contains the following request: "1 have the intention, according to the example of the prophets and of the old Fathers of the Ohurch, to prepare German psalms for the people in order that the Word of God may remain in the midst of the people also by means of singing. We are therefore making a search for poets everywhere; and since you have received the gift that you are thoroughly familiar with the German language and know how to express yourself in a pleasing way and since by manifold use you have developed this gift, therefore 1 pray you to cooperate with us in this matter and to undertake to put some psalms into verse, as you have my example therefor. But 1 should not like to have new words used and such as are employed only at court, so that, in agreement with the capacity of the people, the very simplest and most common words be sung, which still would be chaste and fitting, then also that the meaning be clear and that it express the sense of the psalms as nearly as pos- sible. A certain amount of freedom must be employed: the sense must be retained, although the words may have to be dismissed or other, similar words be substituted. 1 do not possess the gift to prepare something on this order, much as 1 should like to. For that reason 1 want to try it out, whether you are a Heman, an Asaph, or a J eduthun. The same request 1 should like to address to Johann Dolzig, who also has a rich and pleasing treasure of words, yet with this understanding, that you do this when you have leisure, which, as 1 surmise, is not often the case." The results of this appeal were not very encouraging as far as Spalatin and Dolzig were concerned; but the seed had been sown, and 262 Luther's Use of Medieval Latin Hymns. the fruit matured in a surprisingly short time. Even in 1523 two sheets in quarto form appeared, one with a hymn by Luther, Nun freut euch, liebe Ohristen g'mein (Dear Ohristians, One and All, Rejoice), and one by Paul Speratus, Es ist das Heil uns kommen her (Salvation unto Us has Oome). But the year 1524 witnessed the beginning of modern German hymnology, since in that year was pub- lished the so-called AchtZiederbuch, bearing the title: Enchiridion, heisset a·uch: eUich christlicher Lieder, Lobgesang und Psalm en, dem reinen Wort Gottes gemaess, aus der H eiligen S chrift durch man- cherlei Hochgelehrter gemacht, in der Kirche zu singen, wie es denn zum Teil bereits in Wittenberg in Uebung ist, Wittenberg 1524, con- cerning which Wackernagel and others insist that it was printed in Nuernberg. This was followed, within the next twenty odd years, by the following original hymn-books of the period: Enchiridion oder eyn H andbuechlein eynem yetzlichen Ohristen fast nuetzlich bey sich zu haben, zttr steten Ybung und trachtung geistlicher Ge- sange und Psalmen. Rechtschaffen und hmstl-ich vertheutschet. MOOOOOXXIIII. Gedruckt Ztt Erffordt zum schwarzen Horne bey del' Kremer Brucken. MDiiij. (Oontains twenty-five hymns, eighteen from the pen of Luther.) - GeisUiche Gesangbuechlein. Tenor. Wittemberg. MDiiij. (rul0wn as the Walther Hymnal; contains thirty-two hymns, including seven additional hymns by Luther.)- Geistliche Lieder auffs new gebessert zu Wittenberg. Dr. Martin Luther. MDXXIX. gedruckt zu Wittenberg durch Joseph Klug 1529. (This hymnal, like the others, passed through several editions.)- Geystliche Lieder. Mit einer newen vorrhede, Dr. Martin Luther. Warn·ung D.ll.L. Viel falscher Meister jetzt Lieder dichten, Siehe dich fuer und lern sie recht richten " W 0 Gott hin bawd sein Reich 'und sein Wort, Da vil der Teufel seyn mit Trug und Mord. Leipzig. Gedruckt durch Valentin Babst in der Ritterstrassen. 1545.* Luther's greatest activity in the field of hymn-writing was during the year 1524. No fewer than sixteen hymns are placed in this one year, of a total number of thirty-seven hymns and songs ascribed to him. And of these eight of a possible total of thirteen hymns were derived from the Latin hymnody of the l1:iddle Ages, possibly nine. The remaining four or five hymns from this source followed when the material for the later hymnals was being prepared. Now, it is an interesting fact that many of Luther's versions of hymns are so close to certain earlier translations that the similarity presents a challenge. That Luther was thoroughly familiar with the medieval field in the Latin cannot be doubted; but was he as familiar with earlier efforts at translating many of the medieval classics? Are * This list according to Wackernagel; also Koch, Gschdchte des Kirahenlieds und Kirchengesangs, I, 84 if. Luther's Use of Medieval Latin Hymns. 263 his translations merely adaptations, in certain instances, of earlier versions, bearing the stamp of his genius, indeed, but frankly taken over, without recourse to plagiarism? One of the clearest investigations in the field, chiefly on the basis of studies and texts offered by Orusius, Pasig, and Wackernagel, is that of Koch (Zoc. cit.). He divides Luther's hymns into two groups, the first one containing Da pacem (V e1·leih uns Frieden gnaediglich- In These Our Days So Perilous) and Iesus Ohristus, N ostra Salus (J esU8 Ohristus, unser Heiland - Jesus Ohrist, Our Blessed Savior), as being hynms not translated before, and the second group, con- sisting of the remaining hynms originally found in Latin, all of which, however, were extant in a German version before 1524 and some of which may have been known to Luther and used by him in preparing hymns for the various hynmals issued under his direction. The following hynms are found in this group: - Victimae pascali (Christ lag in Todesbanden - In Death's Strong Bands the Savior Lay) ; Veni, Redemptor gentium (Nun komm, der Heiden Heiland-Savior of the Heathen, Come); A solis ortus cardine (Christum wir sollen loben schon - Now Praise We Christ, the Holy One); Grates nunc omnes reddamus (Gelobet seist du, Jesus Christ- All Praise, Lord Jesus Christ, to Thee) ; Veni, Creator Spiritus (Komm, Gott Schoepfer, Heiliger Geist- Come, God Creator, Holy Ghost); Veni, Sanote Spiritus, reple (Komm, heiliger Geist, Herre Gott- Come, Holy Ghost, God and Lord); Media vita in morte sumus ( Mitten wir im Leben sind - Though in Midst of Life We Be) ; Patrem oredimus (Wir glauben all an einen Gott - We All Be- lieve in One True God) ; Te, Deum, laudamus (Herr Gott, dioh loben wir-Lord God, Thy Praise We Sing); Hostis He1'Odes impie (Was fueroht'st du, Feind Hero des, sehr- Why, Herod, Unrelenting Foe) ; o lux beata Trinitas (Der du bist drei in Einigkeit - Thou who Art Three in Unity). In order to have a comprehensive view of the problem stated above, all the hymns of Luther which are derived from the Latin, whether directly or through a possible intermediary agency or stage, are here offered in the original Latin, in a parallel colunm with early versions, if their use was probable or if the version is interesting, also with Luther's version and an English translation. In each case explanatory notes are added in order to facilitate the final conclusion. The arrangement is chronological, in the order in which Luther made use of the medieval Latin hymns. 264 Luther's Use of Medieval Latin Hymns. 1. resus Christus, Nostra Salus. (Huss.) Iesus Christus, nostra salus, Quod reclamat omnis manus, Nobis in sui memoriam Dedit hanc panis hostiam. o quam sanctus panis iste! Tu solus es, Iesu Christe! Caro, cibus sacramentum, Quo non maius est inventum. Hoc domum suavitatis Charitasque deitatis, Virtutis eucharistia, Communionis gratia. Ave deitatis forma, Dei unionis norma: In te quisque delectatur, Qui te fide speculatur. Non est panis, sed est Deus, Homo, liberator meus, Qui in cruce pependisti Et in carne defecisti. Esca digna angelorum, Pietatis lux sanctorum, Lex moderna approbavit, Quod antiqua figuravit. Salutare medicamen, Peccatorum relevamen, Pasce nos, a malis leva, Due nos, ubi lux est hm. (This is the Carmen de caena sacra of Johann Huss, but Julian says that his authorshin is at least doubtful.) - Jesus Christus, unser Heiland, Der von uns den Gottes Zorn wandt', Durch das bittre Leiden sein Half er uns aus der Hoelle Pein. Dass wir nimmer des verges sen, Gab er uns sein'n Leib zu essen, Verborgen im Brot so klein, Und zu trinken sein Blut im "Vein. Wer sich will zu dem Tisch machen, Der hab' wohl acht auf sein' Sachen; Wer unwuerdig hinzugeht, Fuer das Leben den Tod empfaeht. Du sollst Gott den Vater preis en, Dass er dich so wohl wollt' speisen Und fuer deine Missetat In den Tod sein'n Sohn geben hat. Du sollst glauben lmd nicht wanken, Dass ein' Speise sei den Kranken, Den'n ihr Herz von Suenden schwer Und vor Angst ist betruebet sehr. Soleh' gross' Gnad' und Barmherzigkeit Sueht ein Herz in grosser Arbeit: 1st dir wohl, so bleib davon, Dass du nicht kriegest boesen Lohn. Er spricht seIber: Kommt, ihr Armen, Lasst mich ueber euch erbarmen! Kein Arzt ist dem Starken not, Sein' Kunst wird an ihm gar cin Spott. Haett'st du dir was konnt erwerben, ,'Vas duerft' ich dann fuer dieh sterben? Dieser Tisch auch dir nicht gilt, So du seIber dir helfen willt. Glaubst du das von Herzensgrunde Und bekennest mit dem Munde, So bist du recht wohl geschickt, Und die Speise dein' SeeI' erquiekt. Die Frucht solI auch nieht ausbleiben; Deinen Naeehsten sollst du lieben, Dass er dein genies sen kann, Wie dein Gott an dir hat getan. (The heading of Luther states: "Das Lied S. Jahannis Huss gebessert," but it seems more like a total recasting.) (The remark of Lambert, Luther's Hymns, 104, is undoubtedly well taken: "Excepting the first two stanzas, there is scarcely a thought in Luther's hymn whose similarity to the Latin may be traced. . .. While the hymn of the Bohemian reformer contained a dogmatic explanation of the elements of the Lord's Supper, Luther's hymn offers knowledge concerning its significance and use and therefore affords the individual an important preparation for a worthy reception.") Luther's Use of Medieval Latin Hymns. 265 2. Victimae Pasch ali. (Saec. 11). Victimae paschali Laudes immolent Christiani. Agnus redemit oves, Christus innocens Patri reconciliavit peccatores. Mors et vita duello Confiixere mirando; Dux vitae mortuus Regnat vivus. Dic nobis, Maria, Quid vidisti in via? "Sepulcrum Christi viventis Et gloriam vidi resurgentis, Angelicos testes, Sudarium et vestes. Surrexit Christus, spes mea, Praecedet vos in Galilaeam." Credendum est magis solae Mariae veraci Quam ludaeorum turbae fallaci. Scimus Christum surrexisse ex mortuis vere: Tu nobis, victor Rex, miserere. (Kehrein, Sequentiae Latinae, 81, remarks: Auotor est Wipo, which would place the sequence into the first half of the eleventh century. This claim, according to Julian, cannot be said to have been definitely establisbed.) (According to Wackernagel, Das deutsohe Kirohenlied, I, 130, this se- quence was the source of, and was used together with, various versions of Ghrist ist erstanden, of which the fol- lowing is a characteristic sample.) Erstanden ist der heylig Christ, der aller Welt ein Troester ist. Vnd wer er nit erstanden, so wer die welt zugangen. Vnd seydt das er erstanden ist, so loben wir den Herrn J esum Christ. Drey frawen kamen zu dem Grab, sie wolten den Herrn gesalbet han. Sie funden do zwen Engel stan, Die troesten die frawen lobesan. Erschrecket nicht, seyt aIle fro, dann der jr sucht, der ist nit do. Er ist erstanden aus dem grab W 01 an dem heylgen Ostertag. Nun tret herzu und secht die stat Da man jn hingeleget hat. Secht an das tuch, darinn er lag gewickelt biss an dritten tag. Geet in das Galileysch land, da finst jr jn, sagt er zu hand. Gehet hin und sagts sant Peter an vnd seinen juengern lobes an. Nun singet all zu diser frist 'erstanden ist der heylig Christ.' Des solI wir aIle froehlich seyn vnd er solI unser troester sein. (All of the twenty-eight versions of OMist ist erstanden offered by Wackernagel show some influence of, or dependence upon, the Latin se- quence, and this phenomenon may well be due to the fact that the sequence was, at least in a measure, the basis of some of the first Resurrec- tion plays on the Continent and in England and that in the German Easter plays at least one stanza of the hymn Oh1'ist ist erstanden was sung in con- nection with the sequence in church and with the expanded Resurrection play after it moved out of the church.) Christ lag in Todesbanden, Fuer unsre Suend' gegeben, Der ist wieder erstanden Und hat uns bracht das Leben. Des wir sollen froehlich sein, Gott loben und dankbar sein Und singen Halleluja! Halleluja! In death's strong grasp the Savior lay For our offenses given; But now the· Lord is risen to-day And brings us life from heaven. Therefore let us all rejoice ~>\nd praise our God with cheerful voice And sing loud hallelujahs. Hallelujah! (In the case of this hymn also we cannot say that Luther translated or that he used earlier versions; he took the thoughts of the sequence of the eleventh century and cast them into an entirely new form. The Paschal Lamb is there, and the redemption through the work of Christ is brought out, as is the true Easter joy; but beyond that the influence of the Latin sequence clearly did not go. Luther felt free to express his Easter message in agreement with the points which he knew to be essential. ) 266 Luther's Use of Medieval Latin Hymns. 3. Veni, Redemptor Gentium. (Ambrosius.) Veni, Redemptor gentium, Ostende partum virginis, Miretur omne saeculum; Talis partus decet Deum. Non ex virili semine, Sed mystico spiramine Verbum Dei factum est caro, Fructusque ventris floruit. Alvus tumescit virginis, Claustra pudoris permanent, Vexilla virtutum micant, Versatur in templo Deus. Procedens thalamo suo, Pudoris aula regia, Geminae gigas substantiae Alacris ut currat viam. Egressus eius a patre, Regressus eius ad patrem: Excursus usque ad inferos, Recursus ad sedem Dei. Aequalis aeterno patri Carnis tropaeo accingere, Infirma nostri corporis Virtute firmans perpeti. Praesepe iam fulget tuum Lumenque nox spirat novum, Quod nulla nox interpolet Fideque iugi luceat. (Gloria tibi, Domine, Qui na tus es de virgine Cum Patre et Sancto Spiritu In sempiterna saecula.) Kum hal', er10ser volkes schar, erzoig die gburd der megde clar, Dz wundert aIle welt gemein, wann solich gburt zimt got allein. Niit von mannlichen samen ist, denn vs des helgen geistes frist Gotz wort die menscheit an sich nam, die fruht des libs hat blyet schon. Der megde lib gewahsen hat, in kiischer lib beslossen stat, Die von der tugend schynend hal', got in sim temple nemment war. Vs gat er von dem gaden sin und vs der megde kiinglich schrin Del' zweyget ris in sinr substancz, dz er den weg louf frolich gancz. Sin vsgang von dem vatter wz, sin widergang in vatters schas, Sin vfl{)uf vuez in hellen pful, sin widerlouf zu gottes stuI. Glieh bistu vatters ewikeit, nun giIrt dieh bald in libes cleit, Die krangkeit vnsers libes ser mit tugend sterk vns yemermer. Din kriplin nun vns allen schynt, ein nuwes lieht die naht enziint, Das ouch kein naht er10schen kan, dz lieht sond wir im glouben han. Got vater sy nun lob geseit vnd sinem sun in ewikeit IvIit dem geist, del' vns tl'osten wil nun vnd allzit in endes ziI. (Scholars unanimously ascribe this hym·u to Ambrose. Cf. Koch, I, 80; 'Vackernagel, I, 16. 17; Mone, Hyrnni Latini, 42-45, who also explains the introductory stanza found in a Bt'cvi· ariUl1t Oisterciense:- (The translation offered here is by I-Ieinrich v. Loufenberg of Freiburg, shortly after 1445, the text being that printed by Wackernagel, II, 580. There is another translation of the fifteenth century: Kom, erloser aller letfte, dated 1460. Wackernagel, II, 696. Both translations are fairly close to the original, but show no special poetical ability. Koch, I, 80, refers to another translation: Der Heiden Heiland komme her, of the end of the fifteenth century.) Intende, qui regis Israel, super cherubim qui sedes; Appare Ephrem coram, excita poteniam tuam et veni, as being formed from an antiphon and a collect for the first Sunday in Ad· vent.) Nun komm, del' Heiden Heiland, Del' Jungfrauen Kind erkannt! Dass sich wundre aIle Welt, Gott solch' Geburt ihm bestellt. Savior of the heathen, come, Virgin's Son, here make Thy home! vVonder at it, heaven and earth, That the Lord chose such a birth. (A careful comparison of the IvIiddle High German versions with the translation of Luther seems to indicate quite clearly that he did not make use of the earlier work of Loufenberg or {)f those of other poets of the fifteenth century. Though there is an occasional similarity in expres· sion, there is no parallelism, and the instances of similarity may well be explained on the basis of the common original. It is interesting to note how close Luther remained to the hymn of Ambrose while he cast the Latin verses into the rugged form which is characteristic of all his earlier work. He may have known the earlier efforts; but if so, he chose not to use them as the basis of his own work.) Luther's Use of Medieval Latin Hymns. 267 4. A Solis Ortus Cardine. (Sedulius. ) A solis ortus car dine Ad usque terrae limitem Christum canamus principem, Natum Maria virgine. Beatus auctor saeculi Servile corpus induit, Ut carne carnem liberans Non perderet, quos condidit. Castae parentis viscera Coelestis intrat gratia: Venter pueIlae baiulat Secreta, quae non novel' at. Domus pudici pectoris Templum repente fit Dei: Intacta nesciens virum Concepit alvo filium. Enixa est puerpera, Quem Gabriel praedixerat, Quem matris alvo gestiens Clausum Baptista censerat. Foeno iacere pertulit, Praesepe non abhorruit, Pal'Voque lacte pastus est, Per quem nec ales esurit. Gaudet chorus coelestium Et angeli canunt Deo, Palamque fit pastoribus rastor, creator omnium. (0 qui parentis ubere Heic dona vitae postulas, Da Patl'is in convivio Vitae pel'ennis fiumina.) Von anegeng del' sunne klar Bis an ein ende del' werIlde gar Wir loben den sliessen Jhesum chirst, Del' von del' maid geporen ist. Ain merer aller werIlde prait Del' legt an sich des knechttes klait, Er nam an sich menschleiche wat, Das icht verdurb sein handgetat. Ain flos del' kawsche herczen schrein, Dar kam des heiligen geistes schein, Das sy enphieng ain kindelein, Das trueg verholn die maget rain. Ain hawss erschain ires leibes fein, Das solt ein tempel gotes sein, Das nie vmbruert kains mannes art, Von ainem wortt sy swanger wart. Darnach gepar sy in viI schier, Sant Gabriel das klindet iI', Vnd Johannes das kindelein Erkannt ja in del' mueter sein. Do auf ein hew wart er gelait In ain kripp, die was nicht prait, Daz schewet nicht daz kindelein, Mit kleiner milch speist in dy mueter sein. Sich frliwent die kor von hymmelreich Vnd singent die engel aIle geleich, Den hyrtten es geklindet wart, Del' hyrtten schepher von hoher art. Dem hochsten got sey lob gesait, Darczw dem kind und auch del' maid Vnd auch des heiligen geistes nar Von werlt czu werlt an ende gar. (There seems to be no doubt that this hymn is one by Caelius Sedulius and therefore belongs to the fifth cen- tury. It is given in Wackernagel, I, 45, as hymnu8 acrostichis, totam vitam Christi continens. The seven stanzas are those of the letters .A to G, since these contain the story of the nativity.) (The version here given is that by Johannes von Salzburg, who was ac- tive as translator and hymn-writer at the end of the fourteenth century. He added a doxology which is evidently an Original effort, since it is not found in any of the transmitted forms of the hymn.) Christum wir solI en loben schon, Del' reinen Magd Marien Sohn, So weit die liebe Sonne leucht't Und an aIler Welt Ende l'eicht. Now praise we Christ, the Holy One, The spotless Virgin Mary's Son, Far as the blessed sun doth shine, E'en to the world's remote confine. (Here again it is clear that Luther worked independently of any previous translation of which we have any knowledge. The fact that there is a similarity in a few phrases simply indicates the use of the common original. On the. other hand, the version of Luther breathes a different spirit, one of greater freedom and power, in almost every line. His hymn is clearly an original translation.) 268 Luther's Use of Medieval Latin Hymns. 5. Grates Nunc Omnes Reddamus. (Notker Balbulus.) Grates nunc omnes reddamus Domino Deo, Qui sua nativitate Nos liberavit de diabolica potestate. Huic oportet, ut canamus Cum angelis semper: Gloria in excelsis. (This is a sequence by Notker Bal- bulus, ninth century, with the heading De nativitate Domini, in galli cantu vel media nocte ad prim am mi8sam. The printing in verse form, as given by Wackernagel, is merely for the sake of making a division, since there is neither rime nor rhythm in the se- quence.) Gelobet sei'st dU, J esu Christ, Dass du Mensch geboren bist Von einer J ungfrau, das ist wahl'; Des freuet sich del' Engel Schar. Kyrieleis! GElobet seistu, Jesu Christ, daz du mensch geboren bist, Von einer jungfroun, daz ist war, des freuet sich aller engel schar. Kyrieleison. (There is only one direct conference to the use of this stanza in the ver- nacular before Luther, in an Oraina- rium Inclitae Ecclesiae Swerinensi8, 1519, in the officium for Christmas Day. It sets forth the chief thought of the sequence as did some of the short Easter hymns or stanzas in the vernacular. ) All praise to Jesus' hallowed name, Who of virgin pure became True man for us! The angels sing As the glad news to earth they bring: Hallelujah! (Here is an instance in which Luther took over the stanza which was in general use in many parts of the Church of Germany. But his poetical genius was stimulated thereby, so that he added six stanzas which develop the medieval stanza and present the entire Christmas-message. It is in- teresting to note that the KY1'ieleison of the Middle Ages had clearly lost its original significance and was used as a refrain even for a doxology.) 6. Veni, Creator Spiritus. (Gregorius Magnus.) Veni, Creator Spiritus, ~1entes tuorum visita; Imple sup ern a gratia Quae tu creasti pectora! Qui diceris paraclitus, Altissimi donum Dei, Fons vivus, ignis, caritas Et spiritalis unctio. Tu septiformis munere, Digitus paternae dexterae, Tu rite promissum patris, Sermone ditans guttura. Accende lumen sensibus, Infunde amorem cordi bus, Infirma nostri corporis Virtute firmans perpeti(m). Hostem repellas longius Pacemque dones protinus, Ductore sic te praevio Vitemus omne noxium. Per te sciamus, da, Patrem N oscamus atque Filium, Et utriusque Spiritum Credamus 0l11ni tempore. Kvm schopffer gott, heiliger geist, GemUt del' dynen heymbelcist, Mit gnad yom hymel Uberlast Die brUst so du geschaffen hast. Du, del' eyn troster bist genannt, Die gab, yom hochsten goot gesant, Del' lebend brunn, liebe, das fhUr, Die geistlich salbung ser gehUr. Du bist die sibenformig gnad, Del' rechten hand gotz fynger trad, Des vatters glUbt von hymelrich, Die kelen machest reden rich. Z Und vns das liech t del' synnen an, IngUss liebe den hertzen wan, V nsers libs sweren bloidikeit Mit tugenden sterck zu ewikeit. Den fyndt vert rib von vns ferr Vnd gib vns dynen fryden, herr, Das wir durk vorbeleitung din AIls schad ens mogend anig syn. Durch dich gib vns den vatter kunt, Den sun bekennen aIle stund Vnd dich, ir beider waren geist, Dz wir dir gloubend allermeyst. Luther's Use of Medieval Latin Hymns. 269 (Sit laus Patri cum Filio, Sancto simul, Paraclito, Nobisque mittat Filius Charisma Sancti Spiritus.) (Alt, Ohristlicher Kultu8, I, 432, doubts the traditional authorship of Ambrose, and Mone, I, 242, says: "'Obiger Hymnu8 stimmt am meisten mit den Liedern Gregoris des Grossen ueberein, und ich halte ihn tuer den Vertasser.") Lob sy dem vatter mit dem sun, Dern heiligen troster im cummun, Dz vns del' sun gotz schick die gab Des heiligen geists von hymel abo This version is ascribed to Ludwig Moser by Wackernagel, II, 872, being taken from Der guldin Sviegel des Sunders. Basel 1497.) Komm, Gott Schoepfer, Heiliger Come, God, Creator, Holy Ghost, Geist, And visit Thou the souls of men; Besuch das Herz del' Menschen dein, Fill them with graces, as Thou .Mit Gnaden sie fuell, wie du wei sst, dost, Dass dein' Geschoepf' vorhin sein! Thy creatures make pure again. (Also in this case it is not difficult to come to a decision with regard to the possible influence of the earlier German version on Luther. His :hymn is a truly independent and original effort. Like Moser, he adheres very closely to the Latin version, a fact which would account for certain similar expressions; but he has cast the thoughts of Gregory in his own mold. His usual ruggedness is clearly apparent; but it is truly his own and not that of a previous hymnist.) 7. Veni, Sancte Spiritus, Reple. (Robert von Frankreich?) Veni, Sancte Spiritus, Eeple tuorum corda fielelium, Et tui amoris in eis ignem accende, Quiel per diversitatem linguarum cunctarum Gentes in unitatem fidei congregasti. Alleluia, Alleluia. (This is an antiphon of the eleventh century, the only source that can come into consideration in connection with this hymn. The hymn which is usually mentioned in this connection, Veni-, Sancte Spiritus, Et entitte coelitus, as given in Wackernagel, I, 105, and in Kehrein, lOS, whose author is Robert of France, may also have been based upon the sequence, but is clearly not the basis of the Middle German hymn.) Komm, Heiliger Geist, Herre Gott, Erfuell mit deiner Gnaden Gut Deiner Glaeubigen Herz, JliIut und Sinn, Dein' bruenstig' Lieb' entzuend in ihn'n! o Herr, durch deines Lichtes Glast Zu elem Glauben versammelt hast Das Volk aus aller Welt Zungen; Das sei elir, Herr, zu Lob gesungen! Halleluja! Kom, heiliger gaist, herre got, erfull mit deiner genaden pot Der deiner glaubigen hercz vnde syn, elein prunstig lieb entczunt in yn. Del' elu elurch elein leichtes glast in einen gelauben gesammet hast daz volk aus aller welele zungen, des sey dir lob vnel er gesungen. Alleluia, alleluia. (This is one form of the version of the German hymn of one stanza as found in various forms during the late fifteenth century. Wackernagel, II, 74S. There are slight variations in the copies of the hymn from the fif- teenth and from the early sixteenth century.) Come, Holy Ghost, Goel anel Lord! Be all Thy graces now outpoureel On each believer's mind and heart· Thy ferv~nt love to them impart. Lord, by the brightness of Thy light Thou in the faith dost men unite Of ev'ry tongue anel ev'ry nation, We therefore sing with exultation: Hallelujah! (The remark of Julian concerning this hymn is well taken: "Martin Luther adopted this old German stanza with alterations and added two original stanzas, publishing the whole Eyn Enohiridion, Erfurt, 1524." It is evident from a comparison of stanzas 2 and 3 that these are not taken from the hymn of Robert of France, referred to above, nor even suggested by its thoughts, but that these two are original with Luther, being simply an expansion of the first stanza.) 270 Luther's Use of Medieval Latin Hymns. 8. Media Vita in Morte Sumus. (Notker.) Media vita In morte Bumus. Quem quaerimus adiutorem Nisi te, Domine, Qui pro peccatis nostris I uste irasceris. Sancte Deus, Sancte fortis, Sancte et misericors Salvator, Amarae morti ne tradas nos. (This antiphon is ascribed to Notker of St. Gall, d. 912. It is found in an eleventh-century manuscript and became a great favorite at a very early date as a "hymn of triumph over the grave, death, and hell.") Mitten wir im Leben sind Mit dem Tod umfangen. Wen such en wir, del' Hilfe tu', Dass wir Gnad' erlangen? Das bist du, Herr, alleine. Uns reuet unsre Missetat, Die dich, Herr, erzuernet hat. Heiliger Herre Gott, Heiliger, starker Gott, Heiliger, barmherziger Heiland, Du ewiger Gott, Lass uns nicht versinken In des bittern Todes Not. Kyrieleison! 1m Mittel vnsers Lebens zeit Sein wir mit dem Tod vmfangen: Wen suchen wir del' vns hilffe thu, Dar durch wir Gnad erIangen, Dann dich, HERR, alleine? Del' du vmb vnser Missethat Billich gezirnet hast. Heiliger HERRE Gott, Heiliger starcker Gott, Heiliger barmhertziger Heiland, du ewiger Gott, Lass vns nit versuchen des bittern Todtes noth. Lass vns dein Huld erwerben, hilff VES auss aIler Not. (The German rime version of the Latin antiphon seems to have origi- nated about the middle or the third quarter of the fifteenth century. Wackernagel, II, 749 fr., gives ten ver- Sions, most of which are dated after the Reformation, although they all clearly are based upon the Middle Ger- man translation.) Though in midst of life we be, Snares of death surround us; 'Where shall we for succor flee Lest our foes confound us? To Thee alone, our Savior. We mourn our grievous sin which hath Stirr'd the fire of thy fierce wrath. Holy and gracious God! Holy and mighty God! Holy and all-merciful Savior! Thou eternal God! Save us, Lord, from sinking Tn the deep and bitter flood. Lord, have mercy. (We are here likewise dealing with the use of the Middle High German stanza, slightly altered by Luther in order to bring all the thoughts of the litany in the expanded form of the second and third stanzas. Julian writes: "Luther ... and added in two stanzas the Gospel delineation of life through Christ to the medieval picture of death.") 9. Patrem Credimus. (Author unknown.) (Till now no rimed version of the Nicene Creed in the Latin language has been discovered, and there seems to be every reason for believing that none existed.) WIr glawben in einen got, Schopper hymmels vnd der erden, Mit worten her lis werden Alle ding gar in zeynem gebot. Von del' czarten wart her geboren, Marian del' reynin aus irkorn, Vns czu trost vnd aller cristenheit Vor vns her wolde leyden, Ob wir mochten vormeyden Swere peyn den tot del' ewykeyt. (This version dates from about 1417, being found on a manuscript which had the Apostolic Creed in prose form. Wackernagel, II, 509; Koch, I, 80.) Luther's Use of Medieval Latin Hymns. 271 Wir glauben all' an einen Gott, Schoepfer Himmels und der Erden, Der sich zum Vater geben hat, Dass wir seine Kinder werden. Er will uns all zeit ernaehren, Leib und SeeI' auch wohl bewahren, Allem Unfall will er wehren, Rein Leid solI uns widerfahren; Er sorget fuer uns, huet't und wacht, Es steht alles in seiner Macht. We all believe in one true God, Maker of the earth and heaven, The Father, who to us in love Hath the claim of children given. He in soul and body feeds us, All we want His hand provides us, Through all snares and perils leads us, Watching that no harm betides us; He cares for us by day and night, All things are governed by His might. (The comparison offered in the Middle German stanza and the hymn by Luther in 1524 [or 1525] shows that the conclusion of Lambert, Luther's Hymns, 83, is undoubtedly correct: "This is the Nicene Creed designed for liturgical use. It is an amplification of an ancient poem to which Hoffmann von Fallersleben refers. It is not a versification of the Credos of the Mass and is supposed by Klippgen to antedate 1524.") 10. Da Pacem, Domine. Da pacem, Domine, In diebus nostris, Quia non est ali us, qui pugnet pro nobis, Nisi tu, Deus noster. Gib Frieden, 0 Herr, in unsern Zeiten. Halleluja! Denn es ist kein andrer, der fuer uns streite, Als du allein, unser Gott. Halleluja! (This is an antiphon of the sixth or seventh century, in use at every Mass, before the Agnus Dei, and familiar in a version as given above, although the German may not have' been in general use.) Verleih uns Frieden gnaediglich, Herr Gott, zu unsern Zeiten! Es ist ja kein andrer nicht, Der fuer uns koennte streiten Denn du, unser Gott, alleine. (G-ott, gib Fried' in "deinenl Lande, Glueck und Heil zu all em Stande.) In these days so perilous, Lord, peace in mercy send us, No God but Thee can fight for us, No God but Thee defend us, Thou, our only God and Savior. (The version above is that of Luther, of the year 1529, with the two additional lines as they appeared in the Geistliohe Lieder at~ffs new ge- bessert zu Wittenberg, 1531. It is evident that Luther did not make use of the earlier German version, although there is a similarity due to close adherence to the original. When the forces of the Turks threatened to invade Germany, Luther made the translation, to be followed by the oollecta P1'O paoe, as it is in use to this day.) 11. Te Deum Laudamus. (Ambrosius?) Te Deum laudamus, Te Dominum confitemur, Te aeternum Patrem Omnis terra veneratur. Tibi omnes angeli, tibi coeli Et universae potestates, Tibi cherubim et seraphim Incessabili voce proclamant: Sanctns, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt coeli et terra Maiestate gloriae tuae. Etc. (With regard to early German ver- sions, Koch, I, 80, refers to a transla- tion of the eighth century, Thi got lopeme8, and to one of the fifteenth century, Dich, Gott, loben wir, which are not accessible. The La tin text shows a number of variations, since each succeeding editor felt free to make changes and additions. Ambrose is now no longer regarded as the author, although Koch still says of the hymn: "AU8 der ambro8ianischen Zeit." Alt ascribes it to Nicetus of Treves, ca. 535, while Julian associates it with John Cassianus 01' his school, in the first half of the fifth century.) 272 Luther's Use of Medieval Latin Hymns. (Luther's translation exhibits all the characteristics of originality and of his hymnological genius. A reference in a letter of Luther to Crodelius leads to the supposition that Luther made this translation in 1528, and that quite independently of previous German versions. It ap- peared in Walther's hymn-book of 1529 and in the Klug edition of 1529 and 1535. See Lambert, Luther's Hymns, 118.) 12. Rostis Rerodes Impie. (Sedulius.) Hostis Herodes impie, Christum venire quid times? Non eripit mortalia Qui regna dat coelestia. Ibant magi quam viderant Stellam sequentes praeviam; Lumen requirunt lumine, Deum fatentur munere. (Caterva matrum personat, Collisa deflens pignora, Quorum tyrannus millia Christo sacravit victimam.) (This hymn is unanimously ascribed to SeduUus, fifth century: In epiphania Domini, ait vesperas. There are only four stanzas in the original, as given by Wackernagel, I, 46, and in the Breviarium Romanum, Z. c., 345.) (Three earlier translations are mentioned in connection with this hymn, namely, Heroites, itu gottZoser lI'einit, by Sixtus Dietrich; Heroites, Lavacra puri gurgitis Coelestis agnus attigit; Peccata quae non detulit Nos abluendo sustilit. (Miraculis dedit fidem Habere se Deum Patrern, Infirma sanans corpora, Resuscitans cadavera.) Novum genus potentiae: Aquae rubescunt hydriae, Vinurnque iussa fundere Mutavit unda originem. o au Boesewicht, by Thos. Muenzer, whose hymn-book may have antedated 1523; and Heroites, hoechster Gottes- jeinit, by Cyriakus Spangenberg. But all three are ruled out as sources of Luther's translation, partly by the fact that they were contemporary produc- tions, partly by the fact that Luther's version is totally unlike their transla- tions. Cpo Wackernagel, Vol. IlL) Was fuercht'st du, Feind Herodes, Why, Herod, unrelenting foe, sehr, Doth the Lord's coming move Dass uns gebor'n kommt Christ, del' thee so? Herr? He doth no earthly kingdom seek Ersuch kein sterblich Koenigreich, Who brings His kingdom to the Del' zu uns bringt sein Himmelreich. meek. (The doxology added to this hymn is characteristic of the times, and Luther followed this custom with great success, as other hymns from his pen show. The entire translation is typical of his genius.) 13. 0 Lux, Beata Trinitas. (Ambrosius.) o lux, beata Trinitas 0 Licht, siilige Dryualtigkhayt Et principalis unitas, Vnnd fiirtrefflicht Aynigkhayt, Dye feiiren Sunn netz von vns lam sol recedit igneus; weycht, Infunde lumen cordibus. Gib vnns dein liecht das vnns Te mane laudum carmine, Te deprecamur vesperi, Te nostra supplex gloria Per cuncta laudet saecula. (This is undoubtedly a hymn by Ambrose, although it has sometimes been ascribed to Sedulius. It has the snperscription: Dom. II. P08t octavam epiphaniae, but was generally used as a morning hymn.) erleycht. Zw morgens soIl wyer loben dich, Am abent auch preysen frolich, Vnser andacht dich loben soIl, Dw pist ewiger zyere voll. Glori vnnd eel' dem Vattern sey, Dem Sun auch ewigs lob darbey, Dem heyling Geyst auch des geleich, Das geschech imer vnnd ewigkhleych. (This translation is taken from the Hymnariu8 SigmunitsZust, 1524, as given in Wackernagel, II, 1125. Most of the hymns in this collection are to be placed at the beginning of the six- teen th century. ) I5tubie liber Die crifenadJet cr~iftel flit rrJeiieticorbias :Iiomini. 273 Del' du bist drei in Einigkeit, Ein wahrer Gatt von Ewigkeit, Die Sonn' mit dem Tag von uns weicht, Lass leuchten uns dein goettlich Licht. Thou who art Three in Unity, True God from all eternity, The sun is fading from our sight, Shine Thou on us with heavenly light. (Luther may have known of earlier translations, but his version bears the stamp of originality.) The following summary is offered as the result of our investi- gation- A. Translations original with Luther: - 1524. -1. Jesus Oh1'istus, nostra salus - Jesus Ohristus, unser Heiland (merely a few thoughts of the original Latin employed, otherwise a new hymn). 1524. - 2. Victimae paschali - Ohrist lag in Todesbanden (sugges- tion from the Latin and an early German stanza, otherwise original). 1524. - 3. Veni, Redemptor gentium - Nun komm, der Heiden Heiland. 1524. - 4. A solis ortus cardine - Ohristum wir sollen loben schon. 1524. - 6. Veni, 01'eator Spiritus - Komm, Gott Schoepfer, Heilige1' Geist. 1529. - 10. Da pacem, Domine - Verleih uns Frieden gnaediglich. 1529. -II. Te Deum laudamus -Hen' Gott, dich loben wir. 1541. -12. Hostis Herodes impie - Was fuel'oht'st du, Feind He- rodes, sehr? 1543. - 13. 0 lux, beata Trinitas - Der du bist drei in Einigkeit, B. Previous versions used in part: - 1524. - 5. Grates nunc omnes reddamus - Gelobet seist du, Jesus Ohrist (first stanza taken over, six original stanzas added). 1524.-7. Veni, Sanota Spiritus, reple~Komm, Heiliger Geist, Hene Gott (first stanza used with alterations, two OTiginal stanzas added). 1524. - 8. Media vita in morte sumUB - Mi·tten Wil' im Leben sind (first stanza recast, second and third added). 1524. - 9. Patrem oredimus - WiT glauben all' an einen Gott (only certain lines and the verse form taken over, the hymn really original in all its parts). p, E. KRETZMANN. 4 •• @5tuhie fiber hie ~ifeuadjer ~,pifteI he~ Eluuutag~ WliferiCl.lrhia~ c:l)umiui. @p'lj. 2, 4-10. :But griinbIid)en ~oroereifllng aUf bie ~re.bigt iiver biefen 5te!;t Tefe man bie bortreffIid)e ®dliirung bon ®j:J~. 2, 1-10 in D.