Verses on Various Occasions

Endnotes

“Is life a boon so kindly given,” etc., vide Childe Harold, Canto II. ↩
The diction of these verses has been altered in some places at a later date. ↩
Of course the allusion is not to the author’s mother; a mother has no favourites. ↩
Psalm 104 [103]:23. ↩
Vid. 1 Pet. 3:5; and cf. Gen. 24:22, 28⁠–⁠30. ↩
The last stanza is not as it stood originally. In this and other alterations in these compositions, care has been taken not to introduce ideas foreign to the author’s sentiments at the time of writing. ↩
Jeroboam. ↩
David. ↩
Of course this is the exclamation of one who, when so writing, was not in Catholic Communion. The same must said also of Nos. LXVI, LXXVIII. ↩
See endnote for “The Good Samaritan.” ↩
Vide the Oedipus Coloneus of Sophocles. ↩
The last twelve lines were added after Feb. 28, 1836, the date of R. Hurrell Froude’s death. ↩
These hymns are all free translations, made in 1836⁠–⁠8, from the Roman Breviary, except two, which are from the Parisian. ↩
Vide the Anglo-Norman History of Sir Francis Palgrave (Vol. III p. 588), who did the author the honour of asking him for a translation of this hymn, as also of the “Christe Pastorum,” infra. ↩
From the Parisian Breviary. ↩
On the day of his death, Philip, “at the beginning of his Mass, remained for some time looking fixedly at the hill of St. Onofrio, which was visible from the chapel, just as if he saw some great vision. On coming to the Gloria in Excelsis, he began to sing, which was a very unusual thing for him, and he sang the whole of it with the greatest joy and devotion,” etc. —⁠Bacci’s Life ↩
The musical character of the verse of “The Dream of Gerontius” is brought out more and more by careful study of the changes of the meaning of the poem and their expression. “The Dream” is a series of lyrics⁠—each lyric voicing its own feeling and sensitively tuned to that feeling. According to the scansion most in use in English, the first supplicating lyric may be classed as in pentameter iambic. Gerontius is yet in the body, and the rime, used solemnly, marks a difference⁠—which has a delicate symbolism⁠—between his utterances in the body and his utterances when his soul has left the body. What we call blank verse is used by the Spirit⁠—rime disappears, but the rhythm remains the same. Using verse-notation, we find five accented notes in each line, if we consider the lines at all. There are two quarter-notes in each bar, which may be written as

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Gerontius dreams that he is dying. He has not strength to pray. He hears the persons near his bed praying for him, in the language prescribed by the Church, “The Litany for the Dying.” The three opening invocations are in Greek, “Kyrie Eleïson” (“Lord, have mercy”), “Christe Eleïson” (“Christ, have mercy”), “Kyrie Eleïson” (“Lord, have mercy”). The next invocation in the Litany is “Sancta Maria, Ora pro eo,” which Cardinal Newman translates into English. With the exception of the first three and the last two invocations, the Litany is in Latin. The Litany is too long for the purpose of the poem, and the author has translated into English some of the invocations that would naturally strike the “fainting soul.” “Be merciful” (“Propitius esto”), the assistants continue, still using parts of the Litany as versified by Cardinal Newman. ↩
The poet has retained the sound-form used in the Prayer-books, and he shows his musical taste by not changing it. ↩
Gerontius concentrates all his vitality. The effect is of nervous energy. The time is quickened and alternately slowed. ↩
The Assistants begin with the solemn chant of the Church, and change to the supplication of anxious human hearts:

or

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This is the ecstasy of faith, hope, and love. It is three Acts in one, rapidly and forcibly expressed. The energy and strength of self-forgetfulness fail when he, still in the body, sighs:

“I can no more; for now it comes again,”⁠—

Note the musical effect of

“And, crueller still,
A fierce and restless fright begins to fill
The mansion of my soul. And, worse and worse,
Some bodily form of ill.”

The pauses after “ill” express horror and weakness⁠—

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Holy Strong One, Holy God,
From the depth I pray to Thee.
Mercy, O my Judge, for me;
Spare me, Lord.

In the Proper for the season of Good Friday the passage which suggested this reads, in Greek and Latin:

1st choir.	Agios O Theos	(O Holy God).
2nd choir.	Sanctus Deus	(O Holy God).
1st choir.	Agios Ischyros	(O Holy Strong One).
2nd choir.	Sanctus Fortis	(O Holy Strong One).

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Death dissolves me. ↩
The solemn chant again. Note the difference in metre between this and the “Novissima hora est; and I fain would sleep. The pain has wearied me.” Note the ardor of the Priest’s “Proficiscere, anima Christiana,” etc. ↩
The final hour is here. “Into Thy hands.” The whole of this prayer for the dying is: “Into Thy hands, O Lord, I commend my spirit. O Lord Jesus, receive my spirit. Holy Mary, pray for me. O Mary, Mother of grace, Mother of mercy, do thou protect me from the enemy and receive me at the hour of death.” ↩
“Go forth, O Christian soul, from this world.” These words begin the prayer of the priest, recited while the soul is departing from the body. It is paraphrased in English by the Cardinal. ↩
The soul of Gerontius has left the body:

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According to the teaching of the Catholic Church, each soul is given at its birth in charge of a Guardian Angel. It is this angel that sings, “My work is done.” “Alleluia” is from two Hebrew words united by a hyphen. It means “Praise the Lord.” St. John in the Apocalypse says that he heard the angels singing it in heaven. It occurs in the last five Psalms and in Tobias. ↩
“My work is done,
My task is o’er,”

is expressed with a joyous movement⁠—

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Compare the thought in Hamlet⁠—Act II, Scene II⁠—“What a piece of work is man!” ↩
When the soul has departed, the priest says the prayer beginning “Subvenite, Sancti Dei; occurrite Angeli Domini,” etc. (“Come to his assistance, ye saints of God,” etc.). ↩
The most marked change comes here. The solemnity and sweetness of the soul and the angel’s music⁠—their leitmotif⁠—is easily discernible. Now come dissonances and discords⁠—the rapidity of jangled cymbals struck in scorn. The phrase “chucked down” has been censured as “inelegant.” Its meaning and sound accord exactly with the spirit of the demoniac chorus. ↩
“Extension,” “the position of parts outside parts.” See p. 366, General Metaphysics, by John Rickaby, S.J., Manuals of Catholic Philosophy. ↩
St. Francis d’Assisi. In 1224, while on Mount Alvernus, keeping a fast of forty days in honor of St. Michael, a seraph appeared and marked the hands, feet, and right side of St. Francis with the five wounds of Our Lord’s Passion. ↩
A movement associated by English readers with the hymn particularly:

or

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“Dreed,” from the old English verb “dreogan,” to suffer. ↩
Note the solemn and pathetic rhythm effect. ↩
“Take me away, and in the lowest deep
There let me be,” etc.

The catalexis⁠—pause⁠—is finely used here:

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This appeal is paraphrased by the author from the Psalms. The words at the end are translated from the Lesser Doxology: “Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio et nunc, et in saecula saeculorum. Amen.” The Greater Doxology begins: “Gloria in excelsis Deo.” “Doxology” is from two Greek words meaning “praise” and a “discourse.” ↩
“Softly and gently, dearly-ransomed soul,
In my most loving arms I now enfold thee,” etc.

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In Dante’s Vision of Purgatory (Canto I) hell is spoken of as a “cruel sea,” and the water surrounding the Island of Purgatory as the “better waves.” The spirit of Gerontius is dropped into these “better waves”⁠—“miglior acqua.”

“Per correr miglior acqua alza le vele
Omai la navicella del mio ingegno
Che lascia dietro a se mar si crudele.”

“O’er better waves to speed her rapid course,
The light bark of my genius lifts her sail,
Well pleased to leave so cruel sea behind.”
—⁠Cary’s Translation.

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