By F.J.E. Raby
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Extra resources for A History of Christian-Latin Poetry (Oxford University Press Academic Monograph Reprints)
Iesu, labantes respice et nos videndo corrige; si respicis, lapsus cadunt, fletuque culpa solvitur. hoc nauta vires colligit pontique mitescunt freta, hoc ipse, petra ecclesiae, canente culpam diluit. tu lux refulge sensibus mentisque somnum discute, te nostra vox primum sonet et ora solvamus tibi. g. , drawn from Ambrose's prose works. The evidence is less convincing for four of the hymns, Iesu corona virginum; Nunc sancte nobis spiritus; Rector potens verax Deus; Rerum Deus tenax vigor, though all of them were used in the Milanese rite.
869) and Wipo (d. 1050) used two-syllabled rimes freely, but it is in Hildebert and Marbod, in the later eleventh century, that this rime approaches its perfection. Hildebert's couplets contain an equal number of syllables, stressed alternately and ending with a two-syllabled rime. The development of rhythmical poetry was then nearly complete. It only remained for Hildebert's successors to invent new varieties of structure, new combinations of accent and rime, and the secrets of rhythmical verse were revealed to prepare the way for the marvellous achievements of modern poetry.
He supports the conclusions of Biraghi, Inni sinceri e carmi di Sant' Ambrogio (Milan 1862), a work to which scant justice had been done by Dreves' predecessors; see also Schanz, iv. i. ; Bardenhewer, iii. 543 sqq. 1 For ten others there is very good evidence that Ambrose is the author, while for the remaining four it can be said that if Ambrose did not compose them, they are the work of a poet of equal genius. Composed with the practical aim of expounding the doctrines of the Catholic faith in a manner sufficiently simple to capture the imagination of the unlearned, these hymns possess at the same time the admirable qualities of dignity, directness, and evangelical fervour.
A History of Christian-Latin Poetry (Oxford University Press Academic Monograph Reprints) by F.J.E. Raby