Sacris Solemniis

Sacris Solemniis

The opening words of the hymn for Matins of Corpus Christi and of the Votive Office of the Most Blessed Sacrament, composed by St. Thomas Aquinas. The rhythmic stanza imitates the classical measures found in Horace and in several hymns of the Roman Breviary (see SANCTORUM MERITIS); but for whatever excellence the hymn lacks in respect of classical prosody it compensates in the interesting and intricate rhymic scheme. This may be illustrated by breaking up the stanza of four lines into seven. The sixth stanza, which is sometimes employed as a separate hymn at Benediction will serve to illustrate:

The incisio (i.e. the coincidence of the end of a word with the end of a foot) is perfect throughout all the stanzas. With what rhythm should the hymn be recited? Translators vary much in their conception of an appropriate English equivalent. The first words suggest by the tonic accents English dactylics:

The felicitous Anglican translator, the Rev. Dr. J.M. Neale, used iambic metre:

This fifth stanza is interesting for its own sake, as it calls attention to the plan of the Eucharistic sacrifice. Dr. Neale's translation does not follow strictly the rhymic scheme, which is better observed in a translation given in "Sursum Corda" (1908, p. 6). Shipley "Annus Sanctus", London, 1874, p. 192) gives Wallace's translation, the first stanza of which illustrates another metric form:

Caswall (Lyra Catholica, 1849) gave a condensed translation:

The revision (which also includes the change of "night" into "eve", and changes in the third and fourth lines of the sixth stanza) appears in the "Lyra" of 1884, in Shipley's Annus Sanctus", and in the Marquess of Bute's translation of the Roman Breviary; the revision is interesting as illustrating Caswall's zeal for literal betterment of the translation.. Wagner ("Origine et developpement du chant liturgique", translation of Bour, Tournai, 1904, p. 169) speaks of the gradual substitution of rhythm for metre in the hymns and refers to the "Sacris solemniis" as illustrative of "the two conceptions of verse . . . where the old verse and the rhythmic disposition of syllables meet peaceably together. Rhyme, also, was gradually introduced; this same hymn offers very instructive examples of it. It is a device of punctuation for the ear." Birkle ("Vatican Chant", translation of Lemaistre, New York, 1904, p. 103) says: "The first three lines have three accents each — a weak accent upon the second and seventh syllable and the chief accent upon the tenth. The first half of the line concludes with the sixth syllable, which must be noticeable in the chanting. In the last verse the chief accent must be placed upon the sixth syllable" (but in the illustration he places an accent also upon the third syllable).

Consult Pimont, Les hymnes du breviaire romain, II (Paris, 1884), 177-88, for text and extensive comment; Hymnarium Sarisburiense (London, 1851), 119 for text, variant readings, and very simple plainsong. The text and official plainsong melodies are given in the Vatican Graduale (Ad processionem Coporis Christi). Cf. also JULIAN, Dict. Of Hymnology (2nd ed., London, 1907; HENRY in Sursum Corda (1908), 6, translation and comment; DREVES Analecta hymnica, XVI (Leipzig), p. 38 (In dedicatione urbis Granatae), 75 (De Angelo Custode), 103 (De S. Disma), for fifteenth-sixteenth-century imitations of the hymn. See also bibliography to SANCTUS MERITIS.

H.T. HENRY