Music in the History of the Western Church. Dickinson Edward

Чтение книги онлайн.

СКАЧАТЬ verses at the baptism of St. Augustine by the bishop of Milan. Another tradition ascribes the authorship to St. Hilary in the fourth century. Its original form is unknown, but it is generally believed to have been formed by accretions upon a Greek original. Certain phrases contained in it are also in the earlier liturgies. The present form of the hymn is probably as old as the fifth century.40

      Of the very few brief anonymous songs and fragments which have come down to us from this dim period the most perfect is a Greek hymn, which was sometimes sung in private worship at the lighting of the lamps. It has been made known to many English readers through Longfellow’s beautiful translation in “The Golden Legend:”

      “O gladsome light

      Of the Father immortal,

      And of the celestial

      Sacred and blessed

      Jesus, our Saviour!

      Now to the sunset

      Again hast thou brought us;

      And seeing the evening

      Twilight, we bless thee,

      Praise thee, adore thee

      Father omnipotent!

      Son, the Life-giver!

      Spirit, the Comforter!

      Worthy at all times

      Of worship and wonder!

      Overlapping the epoch of the great anonymous hymns and continuing beyond it is the era of the Greek hymnists whose names and works are known, and who contributed a vast store of lyrics to the offices of the Eastern Church. Eighteen quarto volumes, says Dr. J. M. Neale, are occupied by this huge store of religious poetry. Dr. Neale, to whom the English-speaking world is chiefly indebted for what slight knowledge it has of these hymns, divides them into three epochs:

      1. “That of formation, when this poetry was gradually throwing off the bondage of classical metres, and inventing and perfecting its various styles; this period ends about A. D. 726.”

      2. “That of perfection, which nearly coincides with the period of the iconoclastic controversy, 726-820.”

      3. “That of decadence, when the effeteness of an effeminate court and the dissolution of a decaying empire reduced ecclesiastical poetry, by slow degrees, to a stilted bombast, giving great words to little meaning, heaping up epithet upon epithet, tricking out commonplaces in diction more and more gorgeous, till sense and simplicity are alike sought in vain; 820-1400.”41

      The centres of Greek hymnody in its most brilliant period were Sicily, Constantinople, and Jerusalem and its neighborhood, particularly St. Sabba’s monastery, where lived St. Cosmas and St. John Damascene, the two greatest of the Greek Christian poets. The hymnists of this epoch preserved much of the narrative style and objectivity of the earlier writers, especially in the hymns written to celebrate the Nativity, the Epiphany, and other events in the life of Christ. In others a more reflective and introspective quality is found. The fierce struggles, hatreds, and persecutions of the iconoclastic controversy also left their plain mark upon many of them in a frequent tendency to magnify temptations and perils, in a profound sense of sin, a consciousness of the necessity of penitential discipline for the attainment of salvation, and a certain fearful looking-for of judgment. This attitude, so different from the peace and confidence of the earlier time, attains its most striking manifestation in the sombre and powerful funeral dirge ascribed to St. John Damascene (“Take the last kiss”) and the Judgment hymn of St. Theodore of the Studium. In the latter the poet strikes with trembling hand the tone which four hundred years later was sounded with such imposing majesty in the Dies Irae of St. Thomas of Celano.

      The Catholic hymnody, so far at least as concerns the usage of the ritual, belongs properly to a later period. The hymns of St. Hilary, St. Damasus, St. Augustine, St. Ambrose, Prudentius, Fortunatus, and St. Gregory, which afterward so beautified the Divine Office, were originally designed for private devotion and for accessory ceremonies, since it was not until the tenth or eleventh century that hymns were introduced into the office at Rome, following a tendency that was first authoritatively recognized by the Council of Toledo in the seventh century.

      The history of Christian poetry and music in the East ends with the separation of the Eastern and Western Churches. From that time onward a chilling blight rested upon the soil which the apostles had cultivated with such zeal and for a time with such grand result. The fatal controversy over icons, the check inflicted by the conquests of the Mohammedan power, the crushing weight of Byzantine luxury and tyranny, and that insidious apathy which seems to dwell in the very atmosphere of the Orient, sooner or later entering into every high endeavor, relaxing and corrupting – all this sapped the spiritual life of the Eastern Church. The pristine enthusiasm was succeeded by fanaticism, and out of fanaticism, in its turn, issued formalism, bigotry, stagnation. It was only among the nations that were to rear a new civilization in Western Europe on the foundations laid by the Roman empire that political and social conditions could be created which would give free scope for the expansion of the divine life of Christianity. It was only in the West, also, that the motives that were adequate to inspire a Christian art, after a long struggle against Byzantine formalism and convention, could issue in a prophetic artistic progress. The attempted reconciliation of Christian ideas and traditional pagan method formed the basis of Christian art, but the new insight into spiritual things, and the profounder emotions that resulted, demanded new ideals and principles as well as new subjects. The nature and destiny of the soul, the beauty and significance that lie in secret self-scrutiny and aspiration kindled by a new hope, this, rather than the loveliness of outward shape, became the object of contemplation and the endless theme of art. Architecture and sculpture became symbolic, painting the presentation of ideas designed to stimulate new life in the soul, poetry and music the direct witness and the immediate manifestation of the soul itself.

      With the edicts of Constantine early in the fourth century, which practically made Christianity the dominant religious system of the empire, the swift dilation of the pent-up energy of the Church inaugurated an era in which ritualistic splendor kept pace with the rapid acquisition of temporal power. The hierarchical developments had already traversed a course parallel to those of the East, and now that the Church was free to work out that genius for organization of which it had already become definitely conscious, it went one step farther than the Oriental system in the establishment of the papacy as the single head from which the subordinate members derived legality. This was not a time when a democratic form of church government could endure. There was no place for such in the ideas of that age. In the furious tempests that overwhelmed the Roman empire, in the readjustment of political and social conditions all over Europe, with the convulsions and frequent triumphs of savagery that inevitably attended them, it was necessary that the Church, as the sole champion and preserver of civilization and righteousness, should concentrate all her forces, and become in doctrine, worship, and government a single, compact, unified, spiritual state. The dogmas of the Church must be formulated, preserved, and guarded by an official class, and the ignorant and fickle mass of the common people must be taught to yield a reverent, unquestioning obedience to the rule of their spiritual lords. The exposition of theology, the doctrine of the ever-renewed sacrifice of Christ upon the altar, the theory of the sacraments generally, all involved the conception of a mediatorial priesthood deriving its authority by direct transmission from the apostles. Out of such conditions and tendencies proceeded also the elaborate and awe-inspiring rites, the fixed liturgies embalming the central dogmas of the faith, and the whole machinery of a worship which was itself viewed as of an objective efficacy, inspired by the Holy Spirit, and designed both for the edification of the believer and as an offering of the Church to its Redeemer. In the development of the outward observances of worship, with their elaborate symbolic ceremonialism, the student is often struck with surprise to see how lavishly the Church drew its forms and decorations from paganism and Judaism. But there is nothing in this that need excite wonder, nothing that was not inevitable under the conditions of the times. Says Lanciani: “In accepting rites and customs СКАЧАТЬ