hymnus
Could not find hymnum in Logeion dictionaries.
hymnum masculine genitive plural, masculine accusative singular of hymnus
- a song of praise, a hymn: hymnus cantus est cum laude Dei, Aug. Enarr. in Psa. 148, 17; Ambros. Expos. Psa. 118, prol. § 3; Lucil. ap. Non. 330, 9; Prud. Cath. 37 praef.; 4, 75: divinorum scriptor hymnorum, Lact. 4, 8, 14; Vulg. Psa. 60 tit.; id. Matt. 26, 30.
librum ~orum diverso metro sive rhythmo
ymnus,loob
imnum, carmen Domini
Graecum nomen est ymnus et Latine interpretari potest laus carminis
~us per H scribendum est
ymnum [gl.: ] canamus Dominolofsang
ymnus, ‥ laus; inde hic ymnista, ‥ laudator, et ymnizo ‥ et ymnio, ‥ ambo pro laudare; inde ymnicus ‥ et hic ymnisista, ‥ qui facit ymnos
humnus de apostolis Petre et Paulo(
lectiones, ymni, psalmi et alia que in Dei laudem recitantur
~us, laus Dei cum cantico
in impno
hympni amorosi familiariter ‥ Christo inspirante eruperunt
himnus
ympnus
~is matutinalibus
ympni, tam nocturnales quam diurnales
primus ~us pro medio noctis est iste ‘Medie noctis tempus est’; secundus ad gallicantum ‘Eterne rerum conditor’ [etc. ]
~us ‘Deus creator omnium’
finita ‘Gloria’, incipiat prior ~um ‘Te Deum laudamus’
ymnus ‘Christe, qui lux es et dies’ ‥ ymnus ‘Primo dierum’
ymnus ‘Te lucis’
inchoet ‥ infans ymnum ‘Dei fide qua vivimus’
ymnus ‘Inventor rutili’
incipiat abbas ymnum ‘Veni, creator Spiritus’
dum cantaretur ymnus ‘Ad cenam Agni providi’
ympnum trium puerorum, viz. ‘Benedicite omnia opera’, decantans(
cum pro more ‥ himnum diceret ‘Gloria Patri’
~us ‥ ‘Gloria in excelsis’
~us ‥ ‘Sanctus, sanctus’
cantetur sollemniter ~us ille ‘Veni, creator Spiritus’
quidam clerici ‥ cecinerunt ympnum ‘Ave maris stella’
~um angelicum ‘Te Deum ‥’
de condigna morte cujus [(sc. Petri ] est hic hympnus editus
- 1. (postklass.) lofzang, hymne op een godheid;
- 2. (eccl.) gezang.
Hymni, Eucherio et Isidoro lib. 1. de Eccl. Off. cap. 6.
Carmina, quæcumque in laudem Dei dicuntur, vocantur.
Ruffinus in tit. Psal. 72 : Hymni sunt cantus continentes laudem Dei. Si sit laus,
et non sit Dei, non est Hymnus ; si sit laus et Dei, et non cantetur, non est Hymnus.
Oportet ergo ut sit Hymnus, habeat hæc tria, laudem, et Dei, et canticum. Huic
definitioni convenit Lexicon Gr. MS. Reg. Cod. 930 : ϓμνος,
δοξολογία, μετὰ ἐκπλήξεως. Sed et Psalmos Hymnos interdum vocat Cassianus l. 3.
de Cœnob. Instit. cap. 6. ut et Victor Vitensis lib. 1. de Persecut. Vandal. : Dum
præciperet nostrorum corpora defunctorum sine solemnitate Hymnorum cum silentio ad
sepulturam perduci. Et lib. 2 : Jam enim ob celebritatem festivitatis,
Hymni nocturni per totam Ecclesiam canente populo concrepabant. Hymnidicum,
Davidem appellat Gregorius Bæticus lib. de Fide.Ambrosianum, pro
Hymno Ambrosianohabetur. Isidorus lib. 1. de Eccl. Offic. cap. 6 :
Hilarius autem
Gallus Episcopus Pictaviensis, eloquentia conspicuus, Hymnorum carmine floruit primus.
Post quem Ambrosius Mediolanensis Episcopus, vir magnæ gloriæ in Christo, et in Ecclesia
clarissimus doctor, copiosius in hujusmodi carmine claruisse cognoscitur, atque inde
Hymni ex ejus nomine Ambrosiani vocantur, quia ejus tempore primum in Ecclesia
Mediolanensi celebrari cœperunt : cujus celebritatis devotio dehinc per totius
Occidentis Ecclesias observatur. Adde Rabanum lib. 2. de Institut. Cleric. cap.
49. Walafridum Strabon. lib. de Reb. Eccl. cap. 25. Honorium Augustod. lib. 2. cap. 17.
etc.Gloria in excelsis Deo, quod initium nempe illius ex hymno in Domini
Natalitio ab Angelis decantato, desumptum sit. Hunc enim, ut ait Rupertus Tuitiensis,
ab ore Angelorum Ecclesia sancta rapuit. Primus autem Telesphorus PP. instituit,
ut ante sacrificium diceretur, ut auctores sunt Anastasius, Walafridus Strabo de Reb. Eccl. cap. 22. Amalarius l. 3. de Off. Eccl. cap. 8. Rabanus Maurus, Alcuinus de Divin. Off. Berno cap. 2. et ipsemet Telesphorus Epist. Decret. cap. 2. Sed an ab illo integer compositus sit, addubitatur. Integrum a Telesphoro exaratum scribunt Rabanus lib. de Institut. Cleric. cap. 32. et Innoc. III. PP. lib. de Myst. Miss. cap. 20. Usque ad versiculum,
Laudamus te, compositum a Telesphoro, cætera addita esse a S. Hilario Episcopo Pictavensi, Alcuinus prodidit. Cui favet Concilium Toletan. IV. can. 12 :
Reliqua, quæ ibi sequuntur, Ecclesiasticos Scriptores composuisse
scribens. Verum Hymnus in die Dominico ad Matutinasinscribatur. Quibus astipulatur locus Athanasii supra a nobis indicatus qui sic se habet :
Πρὸς τὸν ὄρθρον
δὲ τὸν ψαλμὸν τοῦτον λέγετε Ὁ Θεός ὁ Θεός μου πρός σε ὀρθρίζω, διαφαῦμα δέ, Εὐλογεῖτε
πάντα τὰ ἔργα κύριου κυρίον. Δόξα ἐν ὑψίστοις Θεῶ, καὶ ἐπὶ τῆς γῆς εἰρήνη, ἐν ἀνθρώποις
εὐδοκία, ὑμνοῦμέν σε, εὐλογοῦμέν σε, προσκυνοῦμέν σε, καὶ τὰ ἑξῆς.Trisagium, auctor est Microlog. cap. 11.
non
inchoent sacerdotes nisi post Angelicum Hymnum finitum.de Evangelio, idem qui
Angelicus, Beleto cap. 36.
Magnificat, apud Joannem Abrincens. Episc. de Offic. Eccles.
Hymnum autem trium
puerorum, quod post lectiones canetur in figura Sanctorum veterum, qui sedentes in
tenebris adventum Domini expectabant. Quibus concinit Canon. 13. Concil.
Toletani IV : Ut per omnes Hispaniæ ecclesias vel Galliæ in omnium Missarum
solemnitate decantetur Hymnus trium puerorum in pulpito. Exstant etiamnum
hujusce ritus vestigia : Sabbato enim Quatuor Temporum post Lectiones cantari solet.Sanctus
Deus, sanctus fortis, sanctus immortalis, miserere nobis, Die Dominico, dum jubente Anastasio Cæsare, per Marinum perque
Platonem in Ecclesiæ pulpito consistentes, in Hymnum Trinitatis Deipassianorum
quaternitas additur, multi orthodoxorum pristina voce psallentes, perfidosque præcones
clamoribus objurgantes, in ejusdem Ecclesiæ gremio cæsi sunt, etc. Infra :
Cæteris die noctuque Hymnum Trinitatis Christo Deo psallentibus, etc.
Rursum : Hymnum Trinitatis juxta morem Catholicorum concinentes, etc. Quo
loco agit Marcellinus de additione facta Trisagio a Petro Cnaphæo, Te Deum laudamus, vulgo tribuitur S. Ambrosio et S. Augustino, in libro Psalmorum MS. quem Carolus M. ad Hadrianum PP. misit, qui in Cæsarea Bibliotheca asservatur, ut auctor est Lambecius, et apud Durandum lib. 5. Ration. cap. 3. n. 31. Unde
Hymnum Ambrosianumvocant Gualterus Tervanensis in Vita S. Caroli Comitis Fland. cap. 38. Liber de Miraculis S. Pelini Mart. apud Ughellum tom. 9. pag. 38. etc. Vide Menardum ad Sacram. Gregor. M. pag. 399. In Breviario Casinensi, scripto sub Paschali II. PP. quod asservatur in Bibl. Institutionis Parisiensis Oratorii Jesu. inscribitur
Ymnus Sisebuti monachi. Ita etiam in alio Cod. MS. Bibliothecæ Vaticanæ apud Card. Bona in libro de Divina Psalmodia. In Psalterio Gallico-Latino, exarato circa tempora Henrici I.
Hymnus S. Nicetidicitur, ut auctor est Usserius Armachanus lib. de Symbolis : Sive, inquit, hic intelligendus fuerit Nicetius, sive Lugdunensis, sive Treverensis. Hujus hymni mentio est in Concilio Triburiensi ann. 821.
Hymnidicam totius Cleri harmoniam suis diris evincebat
vocibus. Placidi Diaconi Supplementum Virorum Illust. Cassin. cap. 8. apud eumdem
tom. 6. col. 68 : Extant quoque libri duo, in quibus celeberrima nonnulla Sanctorum
et Sanctarum sacra vario describuntur metro, eorumque gesta Hymnidicis proferuntur
modulis. Vita S. Severi Archiep. Ravennæ in Appendice apud eumdem tom. 2. pag.
193 : Gaudeamus... quia hodie alternantibus Hymnodicis Angelorum choris intravit
pascua æternæ hæreditatis. Adde Marten. tom. 6. Collect. col. 810.Clerus quoque, viso
quod factum fuerat miraculo, Hymnisonis concrepat laudibus.
Dulcibus antiphonæ pulsent accentibus aures,
Classibus et geminis psalmorum concrepet oda,
Hymnistæ crebro vox articulata resultet,
Et celsum quatiat clamoso carmine culmen.
Sacramentarium et Hymnarium. Leo Ost. lib. 2. cap. 52 :
Duo etiam Hymnaria in choro habenda.
Pro signo Hymnarii, adde ut pollicem et digitum ei proximum proferas,
summitatibus eorum conjunctis, quo præsens tempus, vel quod primum est significat, et
hoc signum est inventum pro occasione hujus solius verbi, quo Hymnarius ita
incipit, Primo dierum. Idem occurrit apud S. Wilhel. Constit. Hirsaug. lib. 1.
cap. 21.Hymnare
Ympnare, apud W. Thorn. pag. 1935.
Similiter Sæpe expugnaverunt, et Deus Deus meus,
tristitiam, Laudate vero Hymnizat lætitiam. Cumque simul ecclesiam Hymnisantes repetissent.Hymnizant læti, Sit summo gloria Patri cum
genito Verbo, etc. Christianus de Scala in Vita S. Ludmillæ pag. 48 : Et
statuunt supradicto sermone, (Sclavico) partibus in illis Missarum solemnia
cæterasque Canonicorum horas Hymnizari. Aldhelmus Abbas Malmesburiensis :
Stridula vocum symphonia, melodiæ cantilenæque carmine modulatori
Hymnizemus. Adde Anonymum in Miraculis S. Ursmari per Flandr. n. 13. et Aimonium
de Miracul. SS. Georgii et Aurelii lib. 1. n. 1.Scio hominem ejusmodi meæ scholæ discipulum... qui factus in agonia ac
prolixius inter odores paradisiacos expallens et Hymnichans, ad inusitatum quemdam
carnis ac spiritus in Dominum exultantis tremorem tam fortem quam suavem raptus
sit.(ὕμνος). In general, an invocation of the gods, especially in the form of an ode sung by a choir, to the accompaniment of the cithara, while they stood round the altar. For the so-called Homeric Hymns (to Aphrodité, Hermes, Demeter, etc.), see the article Homerus. For wedding hymns, see epithalamium. For the Orphic Hymns, see Orpheus. Many of the Pindaric odes, written in lyric measures, are to be classed as ὕμνοι. (Cf. Aristoph. Eq. 530.) Famous among Greek hymns is the noble hymn to Zeus by the Stoic Cleanthes (q.v.). See musica.
In Latin, examples of hymns in the older sense are the songs of the Salii (carmina Saliaria), sung by the priests of Mars (see Salii); the hymn of the Arval Brethren (see Fratres Arvales); the hymns composed by Horace (carmen saeculare) for the Ludi Saeculares in B.C. 17, and sung in honour of Diana and Apollo (see Ludi Saeculares); and some of later date, like the poem called Laus Herculis, in 137 hexameters, by an anonymous author (see Bährens in the Neue Jahrbücher für Philologie, etc., 105, 52. 503); the Hymnus Claudii ad Lunam (Poet. Lat. Min., ed. Bährens, iii. 163); and the parodic hymn to Pan (id. iii. 170).
The early Christian hymns in Greek and Latin are interesting. Of those in Greek, only a comparatively few are written in the classic metres— e. g. those by Clemens Alexandrinus (about A.D. 220), Englished by Dr. Dexter in his “Shepherd of Early Youth;” Gregory of Nanzianzus (A.D. 360), Synesius (A.D. 400), and Sophronius (A.D. 629). Others, and especially those used by the Eastern Church, are strongly Oriental in style, due to the constant study of the Jewish Psalter. No authors of Latin hymns are mentioned earlier than A.D. 325, the date of the Council of Nice. Soon after, however, two great hymnologists—St. Hilary and St. Ambrose—appear, both in the fourth century, followed by Prudentius (A.D. 350-410), whose poems in 1860 reached a sixty-third edition; Sedulius of the same period; Venantius Fortunatus (A.D. 530- 609), and Gregory the Great (A.D. 540-604). Some of the most magnificent of the Latin hymns are of unknown authorship. Such are the famous Veni, Creator Spiritus, popularly ascribed to Charlemagne, but really of earlier date; the hymn beginning Verbum Dei, Deo Natum; and, above all, the sublime Dies Irae, the despair of translators, which is often attributed to Thomas of Celano, but on no sure authority (Mohnike, Hymnologische Forschungen, i. pp. 1-24).
The Latin hymns are interesting from a linguistic and metrical standpoint, as usually reverting to the older and more natural accentual system of prosody instead of preserving the artificial and unpopular distinctions of syllabic quantity. Among the common people, in their folk-songs (e. g. the songs of the soldiers in their barracks and during the triumphs, the chants, spells, and nursery songs), the accentual system still survived, and, as in the Instructiones of Commodianus, written in the third century A.D., the popular system sometimes made its way even into written literature. It was natural that the Christian hymns, being composed not for the learned and fastidious, but for the common people—for provincials and non-Romans—should avail themselves of the far freer range allowed by the loose laws of accent. Thus St. Augustine, even in the title of one of his psalms (Psalmus contra Partem Donati), shows his desire to escape from the rigid restrictions of the Augustan prosody—in other words, to write a canticum and not a carmen. In the later hymns, many metrical ingenuities are introduced, such as the so-called leonine and other rhymes (see Leonini Versus), of which a good account will be found in the introduction and notes to Archbishop Trench's Sacred Latin Poetry (London, 1874).
For the Greek Christian hymns, see Christ and Paranika's Anthologia Graeca Carminum Christianorum (1871); Chatfield's Hymns of the Eastern Greek Christian Poets (1876)—the former giving the original text and the latter the English reading; and Petra, Hymnographie de l'Église-Grecque (1867); Analecta Sacra Inedita (Paris, 1876). On the Latin hymns, see the work of Trench already cited; Cardinal Newman's Carmina Ecclesiae (1876); Du Méril, Poésies Populaires Latines (1843); Mone, Hymni Latini, 3 vols. (1853-55); and Duffield (1888).
There is a dictionary of Hymnology by Julian (1888). On the versification of the Christian hymns (usually trochaic and iambic metres with a special preference for the iambic dimeter, with rhyme and frequent alliteration), see Schuch, De Poësis Latinae Rhythmis et Rimis (1851); Hümer, Der iamb. Dimeter bei den christl.-lat. Hymnendichtern der vorkaroling. Zeit (Vienna, 1876); id. Die ältesten lat.-christl. Rhythmen (Vienna, 1879); and the article rhyme.