Pange Lingua Gloriosi

It may well be doubted if any translator has expressed better in English verse the strength and nobility of the original Latin than did the unknown Catholic author of the version found in the Divine Office of 1763 (given in stanza v above). Daniel gives the following stanza (Thes. Hymnol., I, 168):

Quando judex orbis alto vectus ave veneris, Et crucis tuæ tropæum inter astra fulserit, O sis anxius asylum et salutis aurora.

which Neale translates (Medieval Hymns, 3rd ed., p. 5) and thinks ancient though not original; but Daniel's source is the "Corolla Hymnorum" (Cologne, 1806). The text reads "salutis anchora". Daniel also gives (IV, 68) four stanzas which Mone thought might be of the seventh century; but they would add nothing to the beauty or neat perfection of the hymn. For first lines, authors, dates of translation, etc., see Julian, "Dict. of Hymnol.", 880- 881, 1685. For Latin text and translation with comment, see "Amer. Eccles. Review", March, 1891, 187-194, and "H. A. and M., Historical Edition" (London, 1909, No. 107).

The Hymn of St. Thomas Aquinas

Composed by the saint (see LAUDA SION) for the Office of Corpus Christi (see CORPUS CHRISTI, FEAST OF). Including the last stanza (which borrows the words "Genitori Genitoque"—Procedenti ab utroque, Compar" from the first two strophes of the second sequence of Adam of St. Victor for Pentecost) the hymn comprises six stanzas appearing in the manuscripts

Pange, lingua, gloriosi corporis mysterium, Sanguinisque pretiosi quem in mundi pretium Fructus ventris generosi Rex effudit gentium.

Written in accentual rhythm, it imitates the triumphant march of the hymn of Fortunatus, and like it is divided in the Roman Breviary into stanzas of six lines whose alternating triple rhyming is declared by Pimont to be a new feature in medieval hymnody. In the Roman Breviary the hymn is assigned to both Vespers, but of old the Church of Salisbury placed it in Matins, that of Toulouse in First Vespers only, that of Saint-Germain- des-Prés at Second Vespers only, and that of Strasburg at Compline. It is sung in the procession to the repository on Holy Thursday and also in the procession of Corpus Christi and in that of the Forty Hours' Adoration.

With respect to the metre, M. de Marcellus, quoted in Migne's "Littérature", remarks that the hymn is composed in the long trochaic verses such as are found in Catullus, Seneca, Sophocles, and Euripides. In addition to the felicitous rhythm chosen by St. Thomas, critics recognize its poetical and hymnodal values (thus Neale: "This hymn contests the second place among those of the Western Church with the Vexilla Regis, the Stabat Mater, the Jesu dulcis memoria, the Ad Regias Agni Dapes, the Ad Supernam, and one or two others …") and "its peculiar qualities, its logical neatness, dogmatic precision, and force of almost argumentative statement" (Duffield, "Latin Hymns", 269), in which qualities "it excels all these mentioned" by Neale.

The translations have not been many nor felicitous. Generosi in the first stanza is not "generous" (as in Neale's version) but "noble" (as in Caswall's). But, as Neale truly says, "the great crux of the translator is the fourth verse" (i.e., "Verbum caro panem verum, etc."), so full is it of verbal and real antitheses. To illustrate the question of translation we select from the specimen versions the fourth stanza, since its very peculiar condensation of thought and phrase, dogmatic precision and illuminating antitheses, have made it "a bow of Ulysses to translators". Its text is:

Verbum caro panem verum      Verbo carnem efficit; Fitque sanguis Christi merum;      Et si sensus deficit, Ad firmandum cor sincerum      Sola fides sufficit.

A literal translation would be: "The Word-(made)-Flesh makes by (His) word true bread into flesh; and wine becomes Christ's blood; and if the (unassisted) intellect fails (to recognize all this), faith alone suffices to assure the pure heart". Sensus (singular) is taken here to indicate the inner sense, as distinguished from sensuum (plural) of the following stanza, where the word directly refers to the external senses. Perhaps the word has the same implication in both stanzas. "Sincere" (in its modern meaning) may be a better word than "pure". Taking first the old versions found in books of Catholic devotion, we find in the "Primer" of 1604:

The word now being flesh become,      So very bread flesh by the word, And wine the blood of Christ is made,      Though our sense it not afford, But this in heart sincere to fix      Faith sufficeth to accord.

It is not in the rhythm of the Latin, and contains but three monosyllabic rhymes instead of the six double rhymes of the Latin. The "Primer" of 1619 makes an advance to six monosyllabic rhymes; and the "Primer" of 1685 arranges the rhymes in couplets. The "Primer" of 1706 retains the rhythm and the rhymic scheme, but is somewhat more flowing and less heavy:

The Word made flesh for love of man, With words of bread made flesh again; Turned wine to blood unseen of sense, By virtue of omnipotence; And here the faithful rest secure, Whilst God can vouch and faith ensure.

A distinct advance in rhythmic and rhymic correspondence was made in more recent times by Catholic writers like Wackerbarth, Father Caswall, and Judge D.J. Donahoe.

At the incarnate Word's high bidding      Bread to very flesh doth turn. Wine becometh Christ's blood-shedding      And if sense cannot discern, Guileless spirits never dreading      May from faith sufficient learn. (Wackerbarth, 1842) Word made flesh, the bread of nature      By his word to flesh he turns; Wine into his blood he changes:—      What though sense no change discerns? Only be the heart in earnest,      Faith her lesson quickly learns. (Caswall, 1849)

Neale criticizes the version of Wackerbarth: "Here the antithesis is utterly lost, by the substitution of Incarnate for made flesh, and bidding for word, to say nothing of Blood-shedding for Blood"; and declares that Caswall "has given, as from his freedom on rhyme might be expected, the best version". He remarks, however, that Caswall has not given the "panem verum" of St. Thomas.

By his word the bread he breaketh      To his very flesh he turns; In the chalice which he taketh,      Man the cleansing blood discerns.– Faith to loving bosoms maketh      Clear the mystic truth she learns. (D. J. Donahoe, 1908)

Some of the more recent translations take little account of the nice discriminations of antithesis pointed out by Dr. Neale, who when he attempted in his day a new version, modestly wrote that it "claims no other merit than an attempt to unite the best portions of the four best translations with which I am acquainted—Mr. Wackerbarth's, Dr. Pusey's, that of the Leeds book, and Mr. Caswall's". His version is:

Word made Flesh, by Word He maketh      very bread his flesh to be; Man in wine Christ's Blood partaketh,      And if senses fail to see, Faith alone the true heart waketh      To behold the mystery.

The present writer rendered the stanza in the "Amer. Eccles. Review" (March, 1890), 208, as follows:

Into Flesh the true bread turneth      By His word, the Word made Flesh; Wine to Blood: while sense discerneth      Nought beyond the sense's mesh, Faith an awful mystery learneth,      And must teach the soul afresh.

Neale's version is given in the Marquess of Bute's "Roman Breviary". The Anglican hymnal, "Hymns Ancient and Modern", declares its version "based on tr. from Latin by E. Caswall"; but, as Julian points out, most of it is based on Neale, four of whose stanzas it rewrites, while a fifth is rewritten from Caswall (i.e. the third stanza), and the fourth stanza is by the compilers. The arrangement found in the Anglican hymnal is taken bodily into the (Baltimore) "Manual of Prayers"—a rather infelicitous procedure, as the fourth stanza is not faithful to the original (Neale, "Medieval Hymns and Sequences," 181). The last stanza and the doxology form a special hymn (see TANTUM ERGO) prescribed for Benediction of the Most Blessed Sacrament. The Vatican edition of the Graduale gives its plain-song melody in two forms, both of great beauty.