The medieval Latin planctus as a genre [1]

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LATIN

THE MEDIEVAL

IN

PLANCTUS AS A GENRE

THREE VOLUMES

VOLUME ONE

by Janthia

submitted requirement

in

Yearley

part-satisfaction for the degree

UNIVERSITY

DEPARTMENT OF ENGLISH

of

of the D. Phil.

OF YORK

AND RELATED LITERATURE

JANUARY 1983

TABLE OF CONTENTS

Volume

ACKNOWLEDGEMENTS DECLARATION

One

Y

......................................... vii

..............................................

ABSTRACT .................................................

viii ix

PREFACE .................................................. GENERAL ABBREVIATIONS BIBLIOGRAPHICAL "SIGLA

USED FOR MANUSCRIPT'CITATIONS

CHAPTER ONE:

INTRODUCTION

1.

The

2.

Previous

Subject

of

The

(b)

The

(c)

The planctus

(a)

planctus

and funeral

forms of

of

(b)

The meaning

verse

(c)

Method of

study

..............

20

................

34

musical

Planctus

......................

41

the

44

for

.......................

the word planctus and, outline

of

.............. the thesis

45

.....

47

THE MANUSCRIPTS

1.

Introduction

2.

Planctus

Composed

before

3.

Planctus

Composed

950-1130

4.

Planctus

Composed

1131-1300

5.

P1anctus

Composed

1301-ca.

6.

Conclusion

CHAPTER THREE:

3

............................

a planctus of

2

...............

drama

prescriptions

writing

1

Planctus

and European

Rhetorical

CHAPTER TWO:

on the

and religious

The Definition

xvii

......................

............................

planctus

and poetic

xv

>-"

Study

Research

(a)

3.

xiii

.................................... ABBREVIATIONS ............................

50

.................................... 950

...................... ..................... 1405

......................................

POETIC

FORM AND METRE

I\%,

....................

..................

53 65 73 82 85

1.

Introduction

2.

Planctus

.................................... 950 .................... Composed before

3.

Planctus

Composed

950-1130

4.

Planctus

Composed

1131-1300

5.

Planctus

Composed

1301-ca.

6.

Conclusion

106

..................... 1405 ........

....

122 128

..................................

.....

Introduction

2.

Planctus

Composed

before

3.

Planctus

Composed

950-1130

4.

Planctus

Composed

1131-1300

5.

Planctus

Composed

1301-ca.

6.

Conclusion

131

....................................

......

950

133

....................

143

......................

148

..................... 1405 ..................

176 180

................................

.............

182

................................

MATTER AND STYLE

LITERARY

1.

Introduction

2.

Planctus

.................................... Personage about an Historical

3.

Planctus

about

a Biblical

4.

Planctus

about

a Classical

5.

Planctus

about

the

6.

Conclusion

CHAPTER SIX:

"

96

......................

1.

CHAPTER FIVE:

}

89

MELODIC MODE, FORM AND STYLE

CHAPTER FOUR:

EXCURSUS ONE

87

Personage

of

..........

.............

Personage

Destruction

201

............

a City

........

1.

Introduction

2.

Responsories

3.

Strophic

4.

Sequences

5.

Through-Composed

6.

Conclusion

and Antiphons

245

......................

252 269

.............................. Songs

289

..........................

298

......................................

300

EXCURSUS TWO .............................................

CHAPTER SEVEN:

THE LATIN

237

243

..................................

and Lais

233

BETWEEN WORDS AND MUSIC

....................................

Songs

217

240

......................................

THE RELATIONSHIP

202

PLANCTUS AS A MEDIEVAL

ii

GENRE

1.

The Generic

Unity

2.

The Planctus

3.

Epilogue

the

of

Latin

Planctus

and Scholarship

311

.........

319

....................

323

........................................

Volume

"

Two

ii

TABLE OF CONTENTS APPENDIX A:

OF PLANCTUS

BIBLIOGRAPHY

Introduction Abbreviations

................... A ................

Abbreviations

B ................

Bibliography

of

Planctus:

.....................

2

.....................

7

.....................

9

I:

Latin

II:

III: IV:

49

French

.............

60

.............

70

English

VI:

Italian Catalan

VII: VIII:

............

80

............

83 91

............

Gallego-Portuguese

IX:

APPENDIX B:

.............. Provencal ..........

German

V:

18

Poly-lingual

NOTES ON MANUSCRIPTS CONTAINING

.

.......

92

94

PLANCTUS COMPOSED

BEFORE ca. 1405

Introduction Notes:

o/

A:

....................................... Austria ................................

96

B:

Belgium

99

................................

CH:

Switzerland

CS:

CzecI) lovakia

D: DK:

E:

Germany

EIRE: F: GB:

Great

H:

Hungary

I:

Italy

LUX:

101 105 106

...............................

116

..................................

116

Ireland France

.........................

................................

Denmark

Spain

...........................

97

.............................

117

.................................

118

Britain

131

.........................

................................

141

.............................

141

....

Luxemburg

............................ iii

151

NL:

The Netherlands

PL:

Poland

S:

Sweden United

US: USSR:

APPENDIX C:

......................

151

.................................

152

.................................. States of America

Union

Private

151

of

Ownership

Soviet

................

Socialist

Republics

..

153 153

...........................

TEXTS AND TRANSLATIONS

153

OF PLANCTUS COMPOSED BEFORE

ca. 1405 Introduction Texts

........................................

and Translations

TABLE OF CONTENTS

D:

157

..............................

Volume

APPENDIX

155

Three

ii

........................................

MUSICAL TRANSCRIPTIONS

OF PLANCTUS C(d`4POSED BEFORE

ca. 1405 Introduction Musical Notes

........................................ Transcriptions

to

2

the

Musical

6

.............................. Transcriptions

................

239

NOTES TO VOLUME ONE Chapter

one

Chapter

Two

Chapter

Three

Chapter

Four

Chapter

Five

Chapter

Six

Chapter

.....................

...............

253 267

.........................................

274

....................................... ........................................

281

........................................

286 294

......................................... Seven .......................................

299

iv

ACKNOWLEDGEMENTS

like

I would Stevens,

Faculty

of

help

advice

over

and

song

medieval like

to

for

her

chapters

York,

her

of

Cambridge,

read the

about the

which

chapters

four,

six

French

dating

of

Carolingian

Jacques

to

in

Appendix

the

form

of

Solesmes;

Dr. Peter

Languages,

Cambridge;,

Studies,

University

College,

photographs,

and,

not

see

come and

bibliothek,

Berne;

USSR, Universitni Badische

in

some cases,

Landesbibliothek,

the

spared four

first

verse

Music,

Cambridge,

read

chapters

helpful

particularly liturgical

drama. in

Music,

Cambridge;

of

Johnson,

concerning

appreciated

College,

Holloway

following

Faculty Salmons,

libraries details

of

the

compilaDr.

London; Modern

Dom and

Department

the

Prague; Karlsruhe;

provided of

of

Zurich; the

Stadtarchiv,

the

me with

manuscripts

Stiftsbibliothek,

Zentralbibliothek,

Knihovna,

Dronke of

by

titles

Romance

Swansea.

the

the

the

Latin

and Dr. June

of

personally:

help-

on medieval

Faculty Royal

History,

works

from

Berry,

on

especially

Dr. Peter

was much

Music,

Medieval

The curators

of

and was

following

Dr. Mary

Department

Hourlier,

Faculty

Paris.

about

a draft

by

we met

of

and

of

advice

and was

detail

important

and planctus

of A:

in

when

Faculty

chapter

late

the

four

specialist

given

called;

were

first

Nationale,

manuscripts

discuss

Rankin, draft

each

of

me about

notations

expertise

Hiley,

David

advise

kindness

to

University

the

of

for

patience,

indebted

a draft

also

would Centre

Studies,

McKitterick,

period

time

seven

musical

of

that

Dr. Susan and

The tion

draft

I

on

encouragement,

Medieval

have

research

Pearsall,

Bibliotheque

disciplines

first

to

and prosody;

the

the

valuable

and

to

visit

of

his

and personal

and invaluable

planctus.

Derek

of

Dr. Rosamond

nobility

his

much of

guidance

the

for

for

Centre

was his

It

John

Professor

unceasing

am furthermore

criticisms

related

subjects:

I

my work.

of

Salter,

particular

ful

study

of

my first

Scholars

me to

University

for

during

chance

years.

Professor

many useful

and

five

to

Elizabeth

Professor

last

his

for

Cambridge,

inspired

scrutiny

and careful

York,

the

thanking

of

opportunity

my gratitude

Studies,

Medieval

this

English,

which

express

take

to

Bayrische

microfilm, I

which Admont;

the

the

Stätni

could BUrger-

Knihovna

Hildesheim; Staatsbibliothek,

the

Munich;

the

bibliothek, Staatsarchiv,

Bibliotek,

and

I

the

Christi,

or

University

Library,

Library,

the

staff

help);

of

the

the

the

Zentralbibliothek, Bayrische the

of

Music

Departments

books,

Royal

University

bought

Graham my work

Northern

for

Robertson on the

me to

to

and Rouen;

the

Bibliotheque

Bibliotheque

Nationale,

Bürgerbibliothek,

Berne;

St. Gall;

the

Karlsruhe;

the

Munich;

Library,

Abbaye

to

the

Fellows

Research

the

Centre

and

and

to

the

Department de

de St. Pierre,

in

my parents

and personally

Solesmes.

College order

of for

that

who very

conveyed

of

la

Department

Downing

Fellowship,

collecand The

Nationale

Photography of

special

Palaeography

London;

and the due

their

The

the

planctus;

grateful

invaluable

consult

London;

typewriter

although

my husband, his

Bodleian

it

the

electing I

could

thoughtfully to

me from

Ireland.

Finally, thank

also

York;

me an electric

the

Landesbibliothek,

photographs:

Paris; are

Library,

the

continue

thanks

the

Stuttgart.

University

College,

Scientifique,

Special

me to

the

or

Corpus

of

their

Stiftsbibliothek,

Badische

permitted

microfilms,

Holloway

for

the

consulted:

and the Universitatsbibliothek,

kindly

of

have

libraries

am especially

and the

Landesbibliothek,

The following tions

the

following

libraries

(I

Evreux

Mazarine,

the

Staatsbibliothek

Recherche

Scheme

Basle;

Zurich;

Würitembergische

Music,

Loan

Engelberg;

Augusta,

Comunale

London;

York

Universitgtsbibliothek,

the Stiftsbibliothek,

the

and Trinity;

Library,

of

I

College

St. John's

Municipales

Bibliotheque

books

Library,

Inter-Library

the

of

Cambridge

British

University

Bibliotheques

de l'Arsenal, Paris;

the

the

Arras,

of

Paris;

Biblioteca

staff

printed

and Caius,

Leeds;

Oxford;

the

the

Gonville

the

of

Library;

Downing,

Brotherton

collections

Municipales

the

Stockholm.

to

grateful

manuscripts

Niedersgchsisches

Nationale, the

Biblioteket,

am particularly

Cambridge

I

Bibliotheque

Stadt-

Würzburg;

Bibliotheques

Florence;

Kungliga

the

and the

Bibliothek

the

the

and Rouen;

Stuttgart;

Universitdtsbibliothek,

Medicea-Laurenziana,

Perugia;

to

the

Copenhagen;

Grenoble

Biblioteca

August

Herzog

Wolfenbüttel;

Kongelige

whose

the

Trier;

Evreux,

Landesbibliothek,

Württembergische

logical,

Steven, practical

forbidden

expressly for

his

to

generous,

disposition,

and

vi

do

so,

I

good-humoured for

his

would

like

support,

numeracy.

to

DECLARATION

An earlier in

Latin,

version Provencal,

Galician-Portuguese century'

is

included

of

Appendix French,

from in

the

'A bibliography

A entitled German,

English,

time

Bede

JPNMS,

of

4 (1981)

(in

to

Italian, the the

early press).

of Catalan fifteenth

planctus and

ABSTRACT

The problem in

this

thesis. the

whether

defining

of I

death

of

important

the

terms

of

its

be found

personages,

to

taxonomic.

be purely

an underlying

possess

predominantly

in

Passion

play,

and

forms.

However,

Hitherto,

funeral

of

interrelation

the its

European

of

have

a genre,

it

the

will

term have

planctus

the

verse,

features

general

the

origins

verse

occurred

the

of

and musical

been

never

isolate

to

and

otherwise to

at

composed

a genre,

unity,

references

discussions

normally

be designated

to

order

addressed

investigation

empirical

constitutes

In

issue

central

a lament

planctus,

definition.

the

through

establish

Latin

medieval

the

must

to

aim

is

a genre

studied

systemat-

ically. Initially planctus

when

theoretical at

the

the

death

its

between

ship public

this,

can of

is

grief,

different

be described common features, I

thus

illustrate the

of

it

intended

aesthetic

as

a collectivity

diversity of

musical

nevertheless

but

a genre

to

its

matter,

language

to

changes

that

the its

which

survived

the

be

sung.

It

is

forms, distinct,

family

which

can

for

also and

retains

characterised social

over

six

purposes.

genre a nucleus

time.

be designated

and musical

a exclamatory

since

through

gradually

at

relation-

represents

and formal

planctus literary

and

it

or

environment,

eulogy

generically or

social

that

poetic

composed

My analyses

by

styles,

also

of

respect

indicate

planctus

song.

as

of

For

personages,

or

typified

is

demonstrate the

They

and music.

words

of

with

subject

and was normally

a number

Despite

style,

musical

to

myself

inverse

a corpus

lacking.

and classical

written a genre

is

restrict

biblical

cities, as

status

statement

language, by

of

I

together

gathering

of

definition

reasons

historical,

of

problem

accepted

and pragmatic

form,

poetic

the

a generally

destruction

consider

discuss

I

style, centuries.

a genre, and discuss

PREFACE

between

The relationship subject scholars

style

and

gical

music

when

but

problem

training

becomes of

on the

rhythm

which,

while

in

composed

the

have have

twelfth

been

conceived

been

That

as to

ultimately

depend

like

to

recently view; take

has

There

rhythmic

objective on a greater has

the

by way of this

both

opportunity

been

explanation

later

of

describing

both not to

applied

nevertheless of

rhythm

could

and indeed

they amount

melody is

unmusical

considered

this

might

often

question

medieval from

approach

selfwill

musical

style.

a different

acknowledgement

this

inter-

ligatures

a considerable

of

poly-

on the

style

idiom,

judging

of

for

system,

their

modes,

and

must

manuscripts,

their

simply

editor's

The problem

is

were

understanding

problem

system

modal

song,

been

for

criteria

the

for

mode a particular are

words

notational

century

this

also

the

unsatisfactory

rhythmic in

some interpretations

However,

of

the

originally

which

if

the

music

depending of

and music, or

song.

thirteenth-century

Even

musical

designed

were

the

polyphonic

by

metrical.

evident.

Only

of

or

or

thirteenth

century.

influenced

disagreement

belong.

sections

Either

outcome

been

of

and polyphonic

monophonic

one hand,

in

written

were

performance hardly

to

close

the

until

often

on the

Frequently

reasons.

words

monophonic

the

often

both

interest

modes

to

on the

can

contended,

rhythmic

one,

have

The results

been

applied

prosodic

expounded

sometimes

point

often

and musical

has

the

be attributed

This

one field

rhythm.

pave

extra-litur-

in

both

a

the.

questions

with

of

of

their

the

technical

theoretically

could

are

much to

invariably focus

it

though

and did

monophonic,

justly

almost

determine

a purely

other.

historical

songs

Even

some previous

consideration

medieval

dealing

notation

rhythm,

they

music,

pretation

to

musical

modes.

phonic

the

Although

unexplored.

inevitable

the

order

the

rhythmic

is

interpreting in

provide

to

of

of

song

and musicologists,

relatively

difficulty

also

of

melodies,

of

remained

a scholar's

other,

then

the

and music,

particularly

have

to

words

is

medieval

into

took

scrupulously

scholars

aesthetic,

only

Spanke

literary

future

investigated.

be fully

between

relationship

way for

to

yet

as Hans

such

formal

not

has

which

in

and music

words

I

briefly.

would

The

of

Stevens.

Adam de la

Adam de la

demonstrated

French

and Movement',

Speech

be

rhythm

can

In

the

former

of

a text

'number'

The possibility

lai

by

precluded

each

and

the

to

is

conclusion

problem

may be through the

course

the

melodies

there

be

a song study

about

1405,

s. vii-ca.

Apart

genre. literary

on

also

closely its

at

Latin

extant, treatment.

that

many with I

also

relationship

on the

expression

poetically,

which

its

for

their to

most

as well

Latin

in

to present

had

of

was

thus that

between

words

and music,

as on the

in

the

give

might Ages,

of

what

4 X

to

planctus them

Peter

are

separate

particularly

shed both

of planctus bibliographical

my investigations,

Middle

development

Latin

musical

lai.

study

of

these

of

proportion

twelfth-century

necessary

hopes

different

another

my preliminary

high

emotion

narrative,

number

the

The majority

a comparative

large

a surprisingly it

the

however,

languages;

music;

for

composed

music

musical

a significant

while

organisation,

my

period

several

composed.

are

melodies

of

of

of

and identifying

isolate

I

planctus,

and music

the

idea

context

social

that

The results

his

as the

is

expect

covering of

planctus

this

words

case.

planctus,

sophisticated

intended

the

of

of

and European

revealed

the

the

rhythmic

frequently

are

the

genre.

emerged

one might

not

as an extension

or

Latin

of

however,

between

Latin

divisions.

gradually

though

normally

the

style.

relationship

of

seen

related

I originally

work

be

the

types;

Even

Latin

style

Planctus

various

investigating

'number'

seen

genre,

in

is

rhythmic

chronological

have

articles

of

and music

in

into

phenomenon.

might

styles

depend are

of

characteristics

musical

these

and the

through

than

rather

paper

second

to

art.

and music

refrain,

approach

my own approach.

this

from

hopeful

most

poet

another's

words the

the

and

one

between

French

structure

musician

In

of

problem

considerations.

to

a different

of

the

an expressive

words

the

of

syllabic

responding

my investigations

sorrow,

the

of

features

of

the

composition.

of

patterning

a musical

both

the

aesthetic the

relationship

chanson,

conclusions

essentially would

not

genre

of

by melodic

typified

pattern,

that

assumptions

necessary

behind

effect

method

the

general

In

concept

in

trouvere

the

conform

and

Song:

that

1979),

of

trouvere

the

Conference

the

at

stylistic

an expressive

of

that

the

that

a numerical

realising

he argues

that

he argues

is

thus

through

approached

chansons

The Chansons

('Medieval

given

Cambridge,

the

of

and of

lai

Latin

a paper

Music,

and Renaissance

Medieval

is

refrain,

11-30),

Professor

of

Courtoise":

Chanson

and the

that

discussions

through

(1977-78),

104

is

my thesis

to

Grande

PRMA,

Halle',

"Number",

were

("'La

Halle

the

chanson,

He has

of

research

John

central

importance

positive

musically Dronke

light and has

termed

His

(Oxford, is

in

individuality'

'poetic

1970).

almost

However,

Nevertheless,

personal of

writers

the

quite

and worthy

of

high

of

contrary

to

previous

typified

by

'impersonality'

I

dealt

they

are

prosodically depend

large

editors,

corpus

examples

Marian

her

of

is

thus

of

destruction

reveal

The

existence

I

develop have,

Although origins

of

each

have at

composed This

is

types

related

are

texts

More

a death, by

preceded arrangement.

by

Bruno

Mention

that

not

it

to

the

included

introduction is

their

planctus

at

importantly,

made in

which the

in

detail

of

the

Xl

history

the and the

or

and musical literary

or

time

family.

distant

more

manuscript a death, been

rubrics. their

precise

associated

stylistic in

characteristics to

relation

melody

in

found

melodies

planctus

Schwanenklage.

planctus

cygni.

Zum Problem

(Regensburg,

1962),

lai.

Table

of

or

Contents

their

explains text

from

a death

at

literary

the

twelfth-century the

Passion.

planctus

song

K. G. Fellerer

in

on the

the

have

('Die

the

descriptive

term

of

conceivably

Stgblein

the

own.

in

exception

mostly

those

only

primarily

in

of

Of

since

a genre,

their

of

before

Festschrift

appendixes a short

the

with

who relates four

indicates

considered

Lai-Planctus-Sequenz',

The

are

lamentation. been

it

since

frame

death.

included

in

designate

planctus

and could

discussed

491-502),

called

to

as

or

work,

planctus,

Virgin,

some discussion

unknown

not

verse

identity

included

extant

remain

to

one

called

the

consistency

a distinct

their

in

written

uniformly.

narrative

their

justified:

be

can

not

the

of

meditation of

this

a significant

however,

stimulate

is

for

are

predefinition

retrospect

lament

which

funeral

of

the

of

unusual

Thus,

verse

rest

have

dolorosa', to

to

a response

laments

both

'convention'..

often

I

devotional

or are

Latin

context

verse

mater

in

the

represent

person

permits of

sequentiaries

with

the

which

branches

complaints,

designed

in

development

treatment

included

an element

However,

outset.

from

narrative

they

planctus

belong

which

crucifixion

grief

achievement.

on their

'Stabat

as

literary

distinct

first

are

such

accounts

I

planctus

unless

of

which

remainder,

There

have

Nor

reference. by modern

with

the

of

a didactic

serve

to

a

individuality',

'poetic

adherence

betray

ambitions

of

the

and music

words

planctus

the

planctus

Ages

Middle

non-expressive.

a number

the

and

not

inevitably

they

their

contentions,

have

unless

for

to

devices

However,

of

that

extend

conventional

praise

normally

texts

doubt

would

adequately.

is;

the

of

One might

planctus

employment

purpose

it

the

between

relationship

number

note.

in

Individuality

the

since

a significant

distinctly

when

Poetic

'number'-based,

consistently

monastic

his

in

the

are

purpose notes

each and

when it

is

necessary ment listed the

of

for the below.

the

argument. The

recommendations

to

reader

Manuscript system outlined

of

them

consult

citations

references in

the

in

connection are

given

and general

MHRA Style

xii

Book.

with in

the

the

presentation

develop-

sigla follows

GENERAL ABBREVIATIONS

A

Antiphon

a.

anno

ca.

circa

col.,

cols

columns

column,

ex.

exeunte

f.

folio

ff.

following

facs.

facsimile

fig.

figure

in.

ineunte

L

Latin

(see

line,

lines

1.,

11.

pages

Appendix

mid.

mid-century

Mo

motetus

MS, MSS

manuscript,

MT

Musical Transcription Introduction)

n.

note

n. d.

no date

no.

number

P

Provencal

p.,

pp.

page,

(see

r

recto

ref.

reference

s.

saeculo

stanza,

STC

Short

T

tenor

Tr

triplum

V

Verse

v

verso

vol.,

vols

volume,

Appendix

pages

responsory

sts.

Introduction)

manuscripts

R

st.,

A:

stanzas Title

Catalogue

(in

a responsory)

volumes

(see

A:

Appendix

D:

Introduction)

Note

A:

to

references

musical

notes

are

indicated

as

follows:

+

i-

"__. ýý

-a-

All-

_ ---

0

b'

ABCDEFGAbcdefga

Note

B:

the

±

following

signs

+ (J) ja

are

employed:

died an unheighted heighted

xiv

musical musical

notation notation

c'

ABBREVIATIONS

BIBLIOGRAPHICAL

AfMw:

für

Archiv

AH:

Analecta

Hymnica

Antiphonale

BEC:

Bibliotheque

BJb:

Basler

C:

Hesb.:

IMSCR:

2 vols

(Heidel-

Editiones

Heidelbergenses,

Society:

Text

English

Officii, 7-12,6

fontes,

major

litteraire

Histoire

de la

Rerum vols

ecclesiasticarum

(Rome,

1963-79)

France

Vierteljahrschrift

of

the

JEGP:

Journal

of

English

Journal

the

of

usualis

with

American

Congress

Society

Musicological

Journal

Liber

by W. Bulst,

antiphonalium

series

JAMS:

LU:

1892-1920)

Review

International

JPMMS:

and O. Schumann,

A. Hilka

Early

Corpus

Historische

:

(Louvain,

6 vols

medievale

the

of

documenta,

HVj

Musikpraxis

edited

Historical

litt.:

Geschichtskunde

1950)

R. J. Hesbert,

Hist.

by

de civilisation

English

1934)

)

Publications

EHR:

deutsche

ältere

Hymnologicum,

Cantabrigiensia,

Cahiers

EETS:

für

historische

edited

(Heidelberg,

17

(Tournai,

horis

des Chartes

Repertorium

1930ff.

Carmine

CCM:

für

Burana,

berg, CC:

Gesellschaft

Jahrbuch

Carmina

diurnis

pro

de 1'Ecole

U. Chevalier,

CB:

and C. Blume

musicologiques der

Archiv

Archiv:

by G. M. Dreves

edited

1886-1922)

monasticum

Annales

An. Mus.:

Aevi,

Medii

(Leipzig,

55 vols AM:

Musikwissenschaft

Society

Musicological

and Germanic Plainsong

Philology

and Mediaeval

Introduction

Reports

Music

and Rubrics

in

Societ English

(Tournai,

1950) Medieval

MARS: MD:

Musica

Med. et

Melanges

Studies

Disciplina Mediaevalia

Hum.:

Med. Stud.:

and Renaissance

Mediaeval d'Arch.:

et

Humanistica

Studies

Melanges frangaise

d'Archeologie de Rome

et

d'histoire

de l'ecole

Die

MGG:

in

Musik

(Kassel, MGH AA: MGH SS:

MLN:

1949-). Auctores

Monumenta

Germaniae

Historica:

Scriptores

Philology

Musical

Quarterly

MT:

Musical

Times

NA:

Neues

NG:

The New Grove

der

Archiv

Dictionary

History

Patrologia

RB:

Revue Revue

RES:

Review

RISM:

Revue

SR:

CC:

Stud. Med.:

Die

K. Young, Zeitschrift Zeitschrift

ZfrP:

Zeitschrift

Note:

Additional before

Literatur

und

221 vols

(Paris,

Latini

Medii

Poetae

1844-66) Aevi

Association

Musical

this

des

der

(Munich-Duisburg)

Musicales

G. Raynauds

Osterspiele

Osterfeiern,

(Kassel,

und

Sources

romanes

Musik

K. Strecker,

und

Passionen

1951) des

Bibliographie (Leiden,

ergänzt

altfranzösischen

neu

1955) Cantabrigiensia

Carmina

Liedes,

(Berlin,

1926)

I:

Initia_carminum

Medievali

Carmina

ac versuum

ZfFSL:

Sprache

deutschen

Studies

langues

Studi

H. Walther,

ZfdA:

J. A. Westrup

)

Historica:

Royal

by E. Wellesz,

edited

by J. P. Migne,

International

des

H. Spänke,

Young:

the

English

of

bearbeitet

W:

der

Germaniae

Mittelalters

Strecker,

by S. Sadie,

edited

de Musicologie

E. A. Schuler, des

Music,

edited

of

Repertoire

Rlr:

of

Geschichtskunde

Ben4dictine

RdM:

S:

Latina,

Proceedings

Music

1954ff.

Geschichte

Monumenta

and Musicians,

of

(London,

and G. Abraha-n zur

deutsche

ältere

1980)

The New Oxford

Beiträge

für

Gesellschaft

(London,

20 vols

PRMA:

folio)

Notes

Language

MQ:

Poetae:

(in

Jahrbuch

Mittellateinisches

Modern

PL:

Antiquissimi

Historica:

MP:

PBB:

und

14 vols

by F. Blume,

edited

Germaniae

Modern

NOHM:

Gegenwart,

Monumenta

Jb.:

Mlat.

Geschichte

medii

aevi

The Drama für

für

the

deutsches

für

latinorum\(Göttingen,

posterioris of

abbreviations

Church,

Medieval

1959)

2 vols

(Oxford,

Altertum

franzosische romanische

latina

posterioris

aevi

medii

Sprache

und

Literatur

Philologie

employed

appendix.

xvi

in

Appendix

A are provided

1933)

SIGLA

AUSTRIA

A:

Stiftsbibliothek

As

Admont,

Imf

Innsbruck,

Museum Ferdinandeum

Isa

Statthaltereiarchiv

,

IU

Universitdtsbibliothek

,

KLA

Klagenfurt,

FIN

Klosterneuburg,

SI

Seitenstetten,

Ssp

Salzburg,

VO

Vorau,

Wn

Vienna,

Universitätsbibliothek Augustiner-Chorherrenstift Stiftsbibliothek St. Peter

Osterreichische

Brussels,

Louvain,

M

Mons,

N

Namur,

Nationalbibliothek

BELGIUM

Bibliotheque

Bibliotheek LVu

Benediktiner-Erzabtei

Chorherrenstift

B:

Br

USED FOR MANUSCRIPT CITATIONS

Albert

Musee

de l'Universite publique

la

Ville

SWITZERLAND

Bu

Basle,

Offentliche

BEsu

Berne,

Bürgerbibliothek

E

Einsiedeln,

EN

Engelberg,

Lz

Lucerne,

Zentralbibliothek

SGs

St. Gall,

Stiftsbibliothek

Zz

Zurich,

Bibliothek

der

Universitat

Benediktinerkloster Stiftsbibliothek

Zentralbibliothek

CS:

Prague,

de

Archaeologique

CH:

Pu

/ Koninkliijke

I

Bibliotheque Bibliotheque

ter

Albert

Royale

Stätn-
s. viii

& Jonathan

David's for

L67

lament for

David's

Rex gutem David A

L139

No. of MS sources

PERSONAGE

Saul

J

of earliest latest MSS

for

& Jonathan

I

L27

Doleo

I

L89

Montes

I

L28

Doleo

I

L142

Saul

J

L128a

Planxit

autem R

?

s. xi

I

L128

Planxit

autem A

7

s. xii

I

L134

to

super Gelboe

^

A to

super et

A

R

Jonathas

Quid tu Virgo (Notker Babulus + 912)

A

"f

lament Rachel's her sons.

for

ca. 880

in.

ff..

x

If..

s. x2 - s. xvi

x in.

x

PLANCTUS AT THE DESTRUCTION OF A CITY L7

Ad flendos

(Paulinus + 802)

Destruction

of Aquileia

PLANCTUS ABOUT AN HISTORICAL

(I)

L86

(I)

L1

A solis

(Columbanus

L127

(I)

St. Trond

Plangite quaeso (Radbert of Corbie + ca. 865)

L66

Hug dulce

L87

Mente tristamur (Sedulius Scottus (1.848-858)

L33

L100

nomen

Ecce Judas

2

s. x

3

814

s. ix - s. xii

6

Abbot of

826

s. x - s. xviii

3

Hugh, Abbot of St. Quentin

844

S. x

I

Hartgar, LiAge

854

s. xii

I

s. x

1

900

no MS extant

-

918

s. xi mid.

I

942"

s. lx

2

Count of Friuli

f1.785-815)

Adalhard, Corbie.

Adelhard, Paris

0 Fulco (Sigloard of Rheims fl. s. ix'ex. - s. x in. )

Bishop

of

Count of

Fulk, Archbishop Rheims

L19

Cordas tange

William, Aquitaine

L80

Laxis

William Longsword, Count of Normandy

fibris

s. x

in 454

Emperor Charlemagne

ortu of

-

799

Eric,

Aquileia)

of

s. ix

PERSONAGE

Mecum Timavi (Paulinus

Aquileia

ex.

s. viii

of

TABLE ONE;

Earl

of

of

s. ix

ex.

PLANCTUS COMPOSED BEFORE 950

- s. xi

(b)

the

chronicle

(L100:

(c)

the

miscellany

no MS extant)

religious

of

writings:

7569 (s. xvii B-Br ex. F-AM 461 (s. xiv ex. ) F-Pn lat. 18296 (s. x)

in

or, they

the

are

case of

not

(d)

items

belong

number which

a significant

related,

(L127) (L127) (L127)

s. xviii)

on flyleaves:

fillers

space

(L86)

either

a marginal I-F1

Planctus

30 (s. ix-s.

discuss

s. x)

(L7) (L33) (L1) (L7)

xi)

(L80)

the manuscripts

on a biblical

in

planctus

found

from

the

eleventh

century

were

initially

in

'Montes formed

part

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that

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to the

eighth

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evidence

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fact

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it

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the period

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possible

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6

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this lament

As is

evident

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conforms

this

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although for

compiled

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always from

liturgy,

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until

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had been in

54

for

each antiphoner7

liturgy

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of

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lament

structure

during

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Kings

of

be compiled)

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organisation

chants

antiphoners,

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was a certain

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the

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subsequently

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generally

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in

still

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taken

to place

place

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Office

chants day,

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throughout

(L89)

of

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belonged

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usage

Gelboe'

(and

compositions:

ex evangelio

remained

from

on a

planctus

containing

antiphoners when

monastic

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for

a book:

end of

theme

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they

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at

theme first.

biblical

(a)

or

addition:

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therefore

I will

beginning

the

at

A-Wn 891 (s. x) F-Pn lat. 2683 (s. ix-F-Pn lat. 10440 (s. ix) NL-DHk 830 (s. ix) (f)

to which

as:

CH-BEsu 394 (s. x) (e)

to books

end

Renaissance,

included

in

the

manuscript

let least,

alone the responsory,

'Montes

(L90),

Gelboe' 9

liber,

indicating

tury,

before

other

examples

picture

it

the

the

of

the

earliest

in

in

was already

advent

in

by Bede

to

alluded

that

their

of

is

his by

use

the

quaestionum

early

antiphoners

cen-

eighth

The distribution

antiphoner. extant

Aliquot

this

of

and

an incomplete

presents

history: L90 L139 L67 L27 L89

MS (unnotated) the Bald's Charles antiphoner F-Pn lat. 17436 (ca. 860-80) from St. de Compiegne: (earliest Corneille complete antiphoner):

xx

Codex CH-SGs 390-91 (ca. 980-1011) The Hartker (the earliest antiphoner): east Frankish

xxx

The gradual-antiphoner of Mont-Renaud, (s. x), in Private Collection from St. Denis (second Paris Frankish test earliest antiphoner): -xxx 2961 (s. xi) GB-Lbl Harley English early of source

Collectar' 'Leofric (an from Exeter Office chants):

'Portiforium

breviary

geographical

sources that

these

the of

the

of

sung

Worcester:

of'these

and of manuscript

manuscripts (L28,

examples

and responsories

L142,

L128a and L128)

in

early

antiphoner

services

Mass.

While

the

grouped

into

Offices

the

contained the

of

Office

and

for

the

according

to

chants

and

antiphons

period

between

Advent

liturgical

the

the

also

sometimes

choir

other

the months

from

were read;

the

corresponding ex evangelio

tion.

from

separately

July

the

were however

the Gospel

were not

may not therefore 12 Nevertheless,

belong

the

although

may, relatively

speaking,

seems more than

likely

the their

tenth

century.

manuscript

sources

the

they

some of

formed

case of

indicate

in

the

these

the

part nine

unambiguously 55

of

the

planctus that

normally

books

to Sundays, that

composidiscussion

under to

antiphons and that

of chant

antiphons

additions

also

and sapiential

antiphoner,

layers

were

to

according

may suggest

earliest

have been later

that In

the

were

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when

according

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included to

prophetic

grouped

readings.

originally

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for

chants

calendar

five

when the

to November,

antiphons with

in

antiphons

chants

and Easter

for the sequence Pentecost, antiphons after of Sundays 11 included, differently: the responsories were arranged

they

of

houses

the main religious

and

copied

indicates

have been part

must already

time

some considerable

xxx

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the

at

remaining

for

Europe. The

from

range

antiphons

Office

GB-Ccc 391 (1065-66)

of St. Wulstan'

a monastic

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X

the chant,

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by at is

it least

evident

function

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liturgical. The one

other

sequence

'Quid

tu

Notker's

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hymnorum to

an appendage textless in

by

is

wear

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a solo

in

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about

rhythmic

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item

immediately

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Notker

his

later

the

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distributed

Moreover,

postdate

the

In

Notker's that

the

time

'Quid

of

the their

to the

versicles? pupils

to make a fair earliest

(ca. 880)

are assigned

tu Virgo'

(L134)

However,

(the

late

there

is

to the tenth

whether

uncertainty.

to

) onto

which

to the explains

his

his

teacher.

Bishop of his

by almost

of sequences

a century.

liturgical

Mass de uno martere,

that

sequences

(rotulas).

rolls

the

sources

century)

the

how he first

to particular

no evidence 56

neither

copy for

liturgical

longissimae

of Marcellus,

manuscript

composition

of

Preface

he relates

Interestingly,

the

attached

indicates

nor

were,

of

melismas

Notker

However,

verse.

his

extended

and

the Mass as the

traditionally

sequences

by this-time

Mass.

the

the

though this

melodiae in

in

particular

a matter

attested

melisma

(versiculos,

was he requested l7

is

probably

were

to those

fit

troper

include

with

sung in

to

sequences

the

centre:

associated

of

signs

written

which

remains

being

concerning

manuscripts

alleluia

and

a sequentiary.

that is

troper

given

was first

memory

longissimae

in

These were then

during

484

probably

and

suggest

corresponding

sequence

singer's

alleluia

were performed

probably

the

jubilus,

what the melodiae

occasions

found

Proper

presentation

religious

are

those

the

of

generally

this

are normally

composed

the 16

aid

the

end of the

these

The

CH-SGs

capitals

St. Gall

of

days,

following

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grew from

proser

originally

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the

of

in

saints'

When, however,

Vercelli.

occasionally

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of

some suggestions

the

of

feasts,

seasons,

corners

interpretation 15 letters.

significative

Only

or

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the

of

characteristic

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not

nature

The music

notation

pitch

and initial

the

at

used.

adiastematic

copied

of

14

a tonary,

functional

and discoloration

Liber

copies

x 105-170mm)

tropes

contained

rubrics

The

red.

was frequently

in

or

example,

(230-265mm

book

a small

antiphons,

decorated,

rarely

year.

the

period,

(ca. 1040-61). 13 is plorans,

for

tropers,

to

and normally

singer

processional

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manuscript

St. Germain

source d'Auxerre

an exemplar,

The planctus,

grouped

are

-

two

with

two

tenth-century

other

on the in

each

of

subject different

liturgical

books; is

composition represents newly

by

an alleluia

hands.

The

is

not

Gastoue

considers 32

xi.

the

liturgical

books

may have

liturgical

books.

That

therefore

manuscript

in

sources

in

hands can to

the

lat.

the

three

are

notated,

the

planctus,

three

the

Timavi'

indicates

to

that

existing

fillers

in

have

been

a liturgical

it

has

non-

is

kept,

items

rubric

have

(L86),

items

a term

with

is

sources.

Although

planctus,

one

can

called

substantial

as it"is other

reasonably

two

the

for

Count in

each

planctus

Eric of in

following

conclude,

63

two

of its

this

which

have the

of

in three

and one

rubricated

carmen

distinguish 36 but here

meanings,

metres.

as

yas Boethius,

songs

which

with

hymn

generally

are

items

example,

well

(rhythmus),

often

non-quantitative

by

-their ofýthese

different song,

for

liturgical

(+ ca. 610); poems

of

illustrate

to

the

qualities

several

to the nature

from

oüt

in

added

themes,

including

ritmus

liturgy.

A discussion

serve

most

the

tentatively.

rubrics.

exceptions

points

Aquileia

versus, the

reference

Fortunatus

only

a poem or or

of

with

which

The

or

Paulinus

forward

them used

a refrain,

written

The

for

rubric

Friuli, two

34

s. x ex..

were

be put

Apart

filler at 33 written

with

items

some metrical

feature

two

quantitative of

also

versus.

signify

associated

on religious

song.

no formal

to

been

mainly

by

(s. ix),

was composed

will

As Stgblein35

versus,

plural

are

main

hymns,

it

Aquitaine,

proelium'

10440

an alleluia,

that

and hymns,

earliest

as a space

by

and their

are

the

of

lat.

liturgical

can only

from

one

F-Pn

-

be reinforced

x),

the

carmen.

ritmus

the

an historical

and

have

also

anthologies

there

theme,

entitled

the

gloriosi

common is

planctus

it

that

added

functions

considers

, sequences,

planctus

devotional

either

manuscript

to

followed

also

deduction

(s. ix-s.

lingua

in

this

that

as space

respect

which

is

some extent

songs,

'Pange

the

likely

company

(L1)

instances

both

twenty-two

penitential

in

contemporary of

also

the

of

any date

not

might

with

therefore

of

1154

Its

from

Judas'

in

approximate

and

down

solis`ortu'

book,

this

contents

this.

or

written

Gastoue

might

since

It

F-Pn

been

planctus,

hand.

planctus

different

'A

of

the

of

a different

However,

of

were

exists

This

beginning

This

which

on account

situation

Echternach.

the

items

the

a possibility.

A similar

from

it

of

'Ecce

item,

pars-liturgical

thus_quite

records

from

recorded

its

that

is

It

earliest

liturgical

or

alleluia

item 31 Mass,

an unidentified

and followed

of

composed

by

preceded

baptism

s. x/s.

one

is

additions,

other

collection Stgblein's

the

'Mecum manuscript are

called,

reasoning,

that

they

are

the

is

a para-liturgical

a liturgical

cum legatur

versus

the

relate it

because

to

the

versus

of

moved

is

format

a conventional in

this

the in

liturgy

canon the

late

pieces

tenth

they

gloriosi

both

belonged 38 yet it

century, technically

this

previous

evidence

suggestion

contents

and contradicted

of

be used

thought

Bishop

now been 10440

are to

reference

planctus

lat.

containing

can

was

'A

Two-of

(s. ix)

latter

solis

postdates .

have

intended the

its

its

remaining

tastes

role

hymn

time

even

where

'Pange

(s. ix-s. late

of it

x);

ninth are

not

that

the may also

by none

of

it.

mutually (L1).

ortu'

individual

is

date

of

x)

of

of

devotional compilers

64

be demonstrated

its

or and

this

copy

that

has

F-Pn it

was used

history:

composition are

to

sent

sources-.

suggest

-

two

this .

and

that

other

The

seems3ikely,

in

which

its

as can

reason

a

anthology to

manuscript

later

somewhat

most

verse

apparent

(s. ix-s.

probable

as collections

'as

extant

1154

manuscript

unrelated

personal.

it

the

arguments.

If,

like

as

with the

is,

planctus

exclusive,

_

for-a

earliest

but

is

different

two

the

Thus

which

it

proof,

of

accordance

sources,

of

of

only

anthology,

demonstrable

in

lat.

parts

anthologies

this

of

the

however

not

so,

possible

piece,

support

item,

Its

reflecting

to

and F-Pn

century. been

lacks.

Bourges.., on parchment,

lost.

if

first

which

therefore

was

conductus.

composed.

as a para-liturgical the

the

a planctus

originally

of

from

concerning

commemorative

and manuscript

the

the

1154

para-liturgical

that

or

lat.

planctus

there

all,

) ex. and F-Pn

hypothesis

that

many para-liturgical

verse

so-called

conductus,

that

the

- It-is

however,

for

Moreover,

Crücis

reading

compositions

in

Adoratio

manuscript,

person

the

in

ante

down

at

in.

included

books.

the

assumes

beenincludedin'manuscripts

the

of

conventional

the

has

the

Although

with

the

liturgical

be precursors

lines

(s. ix

to

including

versus,

the

(85)

90

down

the

considering

probable

fitted is

this

written

written

proelium'

I-VEcap

properly

been

Hartmanni. in

to

it

preserved

prepared,

x)

unlikely,

is

It

is

down para-liturgical

being

be conveniently

could

lingua

have

but

highly

still

not

(s. ix-s.

1154

writing

seems

is

Stgblein lat.

it

when

as

conductus

indicated

not

such

forerunners

versus

performed

book;

century.

not

would

F-Pn

were

rubric:

been

lectern.

for

which

period,

have

a liturgical

not

the Though

canendi.

probably

would

Gospel

by

and preceded

instance

this

In

composition.

book

Evangelium

to

versus

dogmata' from CH-SGs 381 (s. x) represent 37 Like conductus. a great many twelfth-century

of

the

that

considers

libri

'Sacrata

this

Stgblein

versus.

also

by

later

around

still,

type

may verse,

educational the

a

of

material

_

Music

Ref. no.

Date

Event/Deceased

Incipit/Author

Date and

No. of MS sources

PERSONAGE

PLANCTUS OF A BIBLICAL

0 dulces

L95

of earliest latest MSS

filii

for

2

s. xi

of troy

7

s. xii

7

s. xii

2

s. xii

996

s. xi

lament

Rachel's her sons

I

PLANCTUS AT THE DESTRUCTION OF A CITY

" Pergama flere (Hildebert of Lavardin

L122

Destruction

- s. xv ex.

ca. 74

+ 1133) PLANCTUS OF A CLASSICAL

PERSONAGE

Hector

L47

L31

Plasmator (Ralph Glaber +

Quis dabit" (Leo

L5

of

Vercelli

1

Troy

of

lament son.

Evandrus's Pallas his

PLANCTUS ABOUT AN HISTORICAL

L135

Hector

fili

Dulcis

L129

on the death of

pugnae

for

2

- s. xv

PERSONAGE

1046-49

fl.

Ad carmen

Hugh Capet, ) France

Otto

999- 1018)

III,,

Raimon,

King

of

King oft

Count

of

-

s. xvi

ex.

4

1002

s. xi - s. xvi

4

1018

s. xii

1

Barcelona. L133

Gui principium

Archbishop Heribert, of Cologne,

1021

s. xi mid.

I

L77

Judex summe

Henry II, Germany

1024

s. xi mid.

I

L78

Lamentemur

1024

s. xi mid.

I

L112

Omnis etas

King

1025

s. xiv

- s. xv

3

Constance

of Luxeuil

1025

s. xii

in.

6

Gauzlinus,

Abbot of

1029

s. xi - s. xviii

King

1Q39

s. xi

Abbot of Cluny

1049

s. xi

2

"

1049

s. xi

2

"

1049

S. A.

2

1054

s. xii

2

1056

s. xi - s. xv

17 +

1028-57

s. xii

2

L46

Hactenus (Gudino of Luxueil)

1.101

0 Gauzline

King of

" Boleslav I, of Poland.

Fleury L131

Qui

habet

(Wipo, chaplain to the King + 1050) 1.8

Ad fletus

(Jotsald

L62

(1)

L9

-

s. xvi

ex.

3 (5)

Odilo,

Cluny)

Ad to namque of Cluny)

1.83

Luget

L16

Cesar tantus

L14

of

4

Germany

Heu quam (Jotsald of Cluny)

(Jotsald

(j)

of

II,

Konrad

- s. xv

mundus

Armonicae (Adelman of Luge, + 1028)

Pope Leo

Henry III, Germany. Fulbert, Chartres

TABLE TWO.

DC

King of

Bishop of & others

PLANCTUS COMPOSED 950-1130

C1)

Music

Ref. no.

Incipit/Author

Date

Event/Deceased

Date and

J

L45

Floriacensis

Rainaldus, of Fleury

L15

Bellatorum

William queror,

L44

Flete

L26

Doctorum

Abbot

s. xi

1087 the ConKing of England 1087

viri Hubert

(Baudry de Bourgueil

of

Orleans

s. xi

of earliest latest MSS

No. of MS sources

s. xi

I

s. xvii

2 (1)

s. xii ex.

- s. xiii

2 I

s. xiii

+ 1130) t

J

L49

Heu eheu

L110

Omne quod

L75

Archbishop Lanfranc, of Canterbury ,

?Roger of Moissac

Jerusalem (Godfroy de Bouillon)

For the dead at the Capture of

1089

s. xii

I

s. xi

s. xi

I

1099

s. xii

1109

s. xiii

1127

s. xii

ex. - s. xvii

3

in.

I

ex. - s. xiii

3

Jerusalem

L43

Flete

mecum

Anselm, of

Archbishop

2 (1)

Canterbury.

L130

Pro h dolor

Charles the Good, Count of Flanders

L12

Anglia

ridet

1127

s. xiv

L17

Carole

tu mea

1127

s. xii

I

L65

Huc ades

1127

no MS extant

-

L76

Jocus et leticia

Dolca,

Countess

of

ca. 1127-30

s. xii

Provence.

TABLE TWO:

PLANCTUS CCMIPOSED 950-1130

(continued)

ex.

I

available personage being

the

at

time. differing

served

copied

is

in

the

composed

first

four

are

one is

place

and three (L122),

are

(a)

from

the

of

this

the

-

(L47),

Hector

the

to

the

1139 (s. xi-s.

collection

6190 (s. xii)

F-Pn

10912

lat.

F-Pn lat. F-Pn lat.

Table

were

speculation.

death

following

of of

All

Two. Of the

Holy

destruction

remainder (L95),

Innocents the

Pallas

types

of

but

city

of

Troy

(L31). manuscript:

39

(L95)

and monastic of

(L131) (L12)

(L129)

(s. xi)

(L129)

12696 (s. xvii) 13834 (s. xvi ex. )

(L15) (L129)

GB-Lbl

Cotton

I-Rvat

Reg. lat.

miscellany

B-Br

Otto

B. IV

(destroyed)(L15)

(L129)

618 (s. xv)

(L112) (L112) (L112)

writings:

of"religious

5576-5604

(L14)

(s. xii)

F-Pn lat.

2627 (s. xi)

F-Pn

10092

lat.

chronicles:

Malmesbury'T

PL-Kz 1310 (s. xv) (s. xv) PL-Kz 0.1311 PL-Wn Cimelia 28 (s. xiv)

(L8,

the verse anthology: CH-E 34 (s. x-s. xii) D-B Phillipps 1694 (s. xii D-Gs Theol. 105 (s. xiii)

L9)

(L101)

(s. xviii)

(L101) (L8, L9) (L43) (L101) (L101)

F-Pn lat. 17192 (s. xviii) F-Pn lat. 18304 (s. xi) GB-Ccc 299 (s. xiii) I-Rli 1104 (s. xviii) I-Rvat Reg. lat. 592 (s. xi) (d)

the

xiii)

annals

of

F-Pn lat.

the

them

of

troper:

William L16: MSS containing L65: no MS extant (s. xvi D-KA no number ex. ) in. ) F-DOU 798 (s. xiv

(c)

of

personage. of

the

and

in

listed

massacre

themes

period'belong

F-Pn lat. (b)

the

subject,

a matter

deceased

a recently

why most

still

was

950-1130

are

period

when it

period

Exactly

Composed

this

on classical

death

the

Planctus

in

the

however,

remains,

Planctus

about

on a biblical

during

deceased

a recently

about

likely.

highly

composed

planctus

planctus

purposes

therefore

3.

Planctus

the

That

ex. )

(L122) (L16) (L122)

D-Mbs Clm 4660 (ca. 1220-30) D-Mbs Clm 17142 (s. xi-s. xii) DK-Ku Fabr. 81 (s. xii ex. ) F-DOU 318 (s. xii)

(L122) (L16) (L122) (L122)

F-Lym 168 (s. xv) F-RSm 1275 (s. xiii

(LI6) (L16)

ex. ) 65

Gest.

reg. Angl.

I

II.

(d)

(s. xiv) (s. xiii) (s. xii)

(L16) (L16) (L16) (L122) (L77, L78, (ca. 1200)(L122)

F-Pn lat. 6389 F-Pn lat. 6630 F-Pn lat. 14867 GB-Ccc 450 (s. GB-Cu Gg. 5.35 GB-Lbl Cotton

xiii-s. (s. xi Titus

GB-Lbl GB-Lbl GB-Lbl

3202 (s. xiii) 3222 (s. x/s. xi) 3716 (s. xv)

Harley Harley Harley

xiv) mid. ) D. XXIV

GB-LO 40m (s. xiii-s.

570 (s. xiv)

GB-Ob Bodley

851

GB-Ob Bodley

Additional

I-Rvat

Reg. lat.

(L43)

(L122)

(s. xiv

ex. )

(L122)

A 44 (s. xiii

(s. xiil),

1351

f. 38r

PL-WRu R 58 (a. 1473). (e)

the

miscellany

(s. xii (s. xii

ex. ) ex. )

(L75) (L122)

(f)

the

collection

of

652 (s. xiv)

I-Rvat (g)

the

Vat.

lat.

collection

(L130) (L47)

(L46) (L46) in. ) xii

xiii) (,s. xi/s.

565 (s. xi)

9496

of

(L46)

classical

verses

(L122) (L16)

I-Fl

Pluteo

39.21

(s. xv)

(L31)

I-F1

Pluteo

39.24

(s. xii)

(L31)

the

collection

of

treatises:

rhetorical

D-Mbs Clm 14784 (s. xii) GB-Gu Hunt. 511 (s. xiii in. USSR-Lbp O. V. XVI. 3 (s. xii)

Planctus (i)

also

survive

items the

(j)

items

lat. lat. lat.

)

1772 5941 8625

leaves book,

or bifolia or quire:

(s. xii) (s. xiii) (s. xiii-s.

xv)

space B-Br

bound

into

a manuscript

(L46) (L5) (L44)

on flyleaves:

(s. xvi) D-HAu-Ra72 D-Mbs Clm 14516 (s. xi) G GB-Cjc 16 (s. xiii) (k)

(L83) (L122) (L83)

as:

on single end of the

F-Pn F-Pn F-Pn

(L46)

(L46)

DK-Kk 2007 (s. xii) F-Pn lat. 6348 (s. xiv)

(h)

L122)

treatises:

musical

F-Pn lat. 7211 (s. xii-s. (s. xv) GB-Ctc 0.9.29 I-Fn conv. soppr. F. III.

I-Fr

(L75, L130, (L130) (L75) (L122)

712 (s. xii ex. ) 1984 (s. xi-s. xii)

Reg. lat. Vat. lat.

(L26)

(L17)

F-DOU 882 (s. xii ex. ) F-Pn Baluze 43 (s. xvii) F-Pn lat. 5129 (s. xiii) GB-Lbl Additional 35295 (s. xv) I-Rvat I-Rvat

(L122)

works:

F-AS 639 (s. xii) F-DOU 367 F-DOU 880

in. -s. xv)

(L16)

historical

of

(L135). (L135) (L122)

fillers.; 5540

L133)

(L122) (L16) (L16)

xiv)

GB-Ob Bodley

L131,

(s. xi/s.

(L169 L1319 L135)

xii)

66

at

(k)

B-M 48 (s. xii-s. xiii) DK-Kk 1905 (s. xii) F-CV 30 (s. xiii) F-D0U 852 (s. xii-s. xiii) F-Pn lat. 2286 (s. xii) F-Pn lat. 2627 (s. xi) F-Pn lat. 3719 (s. xii ex. ) F-Pn lat. 6348 (s. xiv)

(L16) (L14) (L122) (L49) (L44) (L110) (L76) (L16)

F-Rm U 52 (s. xv)

(L122) (L122) (L122) (L16)

F-Rm U 107 (s. xi-s. xii) (s. xv) GB-Cu Ee. 2.29 GB-Gu Hunt. 417 (s. xv2) (1)

3827 (s. x/s. xi)

Vat. lat.

I-Rvat marginal

additions:

(L135)

A-Wn 1322 (s. x-s. xi) I-Rvat Since

there

previous main

from

(LB,

A significant L133),

area

than

from

Italy,

of

the

in

number

period

the

authors

with

of

to

differing

types

It

survives

as the

is

attributed,

Leonine

or

Trooianorum, (s. xii

ex. );

associated

(s. xiv)

of

as

over

them

work

the

their

the

from of

the

Hildebert

and F-Pn

lat.

of

D-Mbs 5129

GB-Lbl

example,

a constituent

Additional of

verse

Primas)

and GB-Ccc 450 (s. xiii-s.

xiv);

or

the

late

(s. xii-s.

fact

or

can

from that

be deduced

(s. xii);

in

1133)

to

century. whom it GB-Ob

xiii), of

the

as a short

(s. xv)

origin

manuscripts

fifteenth

especially 35295

of

illustrated

as an example

the

work

Historia

and F-DOU 882

(where it is often anthologies 41 for 570 GB-Ob Bodlev example.

and more rarely 67

proportion

the

ubiquity

17212

work,

examples

planctus

canbe

(+

710

L43).

geographical

countries

Lavardin

(s. xiii);

an historical

its

to

Clm

CH-BEsu

example,

the

This

and

twelfth

(L49,

sources.

type.

(L122).

fiere'

orders,

L131,

extant

of

L130).

and

a small

by

between

manuscript

in

Golias

manuscript

L122,

L135

a much wider

in

monks

L129)

and England

evidenced

correlation

example,

for

were

L110,

L78,

(L83,

that

thein

L65,

L77,

Italy

(L112),

is

Hugh

with

L44,

the

composed

L101,

(L16,

and possible

from

dating

following for

in

L76, L17,

Germany

written

compositions

'Pergama

hexameter,

preceding

L15,

Poland

period,

half

for

(s. xiv),

L75,

from

about

were

represent and England only 40 That the majority composed

and

of

65

(L5),

significant

planctus

L14,

from

were

monastic

no

L61,

originated

Spain

certainty

is

The majority

(L12,

than

period

some generalisations

L46,

survive

this

Poland,

over

reference

Digby

also

actually

reasonable

these

Belgium

previous

were

There of

or

planctus

Spain,

this

with

the

make

L45,

L26,

examples

that

evident

from

originated.

L9,

and L47),

(L45)

extant

to

possible

isolated

L31

possibly

planctus

they

number

while

is

is

France

and northern

more

which

France

central

It

it

(s. xi)

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Date

Date

Speaker

Incipit/Author

and

No. of MS sources

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32

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s. xii

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21

FROM LITURGICAL

DRAMAS

Music

Ref. no.

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Event/Deceased

Incipit/Author

Date and

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in.

I

Jacob for

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The girls

of Israel

sons

"

s. xiii

in.

I

"

s. xiii

in.

I

s. xiii

in.

I

s. xiii

in.

I

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Ad festes

L6

s. xiii

ca. 1131-35

Sichern

+ 1142)

Abelard

Infelices

L70 (Peter

(J)

Dine for

Abrahe proles

L4

No. of MS sources

of earliest latest MSS

for

Abelard)

Jephtha's

daughter (.1)

(J)

J

(Peter

Abelard)

(Peter

Abner Abelard)

L3

L30 (Peter

j

Israel

Abissus

L2

fidelissime

Dolorum solatium

David

for

for

David for

Abner

"

Jonathan

s. xii

- s. xiii

ex.

3

Abelard)

L141

Samson dux

Lament for

L57

Heu michi

Jacob

L40

Flare

libet

ac

Planctus ante L123"' (Geoffrey of St. Victor fl. 1170-90) L42

Samson

for

Samsön

BIBLICAL

ca. 1250 - s. xiv

4

7

s. xiii

2

7

s. xii

I

>1190

s. xii

> 1241

s. xiii

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Lament of Mary Magdalene Lament of the Virgin

Lament of the Virgin Flete fideles (? Pope Gregory IX + 1241)

TABLE THREE B:

ca. 1200

PLANCTUS 1131-1300

- s. xv

NOT COMPOSED ORIGINALLY

- s. xiv

18 +

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FOR LITURGICAL

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(L57) (L141) (L123) (L123) (L123) (L123) (L42, L123) (L123) (L123) (L123) (L40) xiii)

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view

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time-lapse

B-N 104 (s. xv) B-LVu IV, 28 (s. xiii) CS-Pu XII. D. 8a'(s. xiv

(c)

the

(s. xiii) 11.2556 St. Georgen 38 (s. xiv) 2 (s. xiii) 39 (s. xiii) 1002 (s. xiii in. ) lat. 2415 (s. xii) lat. 4880 (s. xiii) lat. 15163 (s. xv) A 506 (s. xii) 0 68 (s. xv) Additional 15722 (s. xii-s.

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1131-1300

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L4,

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(L42, L141) (L30) (L141)

L6,

L30,

L70)

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D-Mbs Clm 4660 (ca. 1220-J0) ) GB-Ob Rawl. C 510 (s. xiii

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of devotional

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(L42) (L123)

(L141)

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D-KA Reichenau pap. 36 (s. xiv2_s. F-Pn lat. 3639 (s. xv-s. xvi) (g)

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70

4

Music

Ref. no.

Incipit/Author

Date

Event/Deceased

Date and

L138

Requiescat

1.84

Magni

Peter

Thedbaldi

(Etienne de Rouen fl. 1151-66) J

L125

Castella

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No. of MS sources

of earliest latest MSS

Abelard

1142

no MS extant

-

IV,

1152

s. xiii

I

1158

ca. 1300

1

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1162

s. xiii

I

1170

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Thibaut

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Raimund Berengar, Count

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12

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L114

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L115

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L113

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Henry, Count of Champagne

1181

s. xiii

L35

Eclipsim

patitur

Geoffrey, Brittany.

1186

ca. 1240 - s. xiii

L64

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The dead at the surrender of Jerusalem

1189

ca. 1220-30 / s. xiii

L126

Plange planctu

William Sicily

1189

s. xii-s.

L69

In occasu

Henry II, England

1189

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L23

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Thomas a Becket, Archbishop of Canterbury

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Frederick Barbarossa King of Germany

L121

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L74

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L148

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L25

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L73

Count of

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Jer.

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Henry

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L37

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L24

King of

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TABLE THREE Ct

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2

I

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3

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Ref. no.

Incipit/Author

Event/Deceased

Date

Date and

L41

Flare

libet

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Philipp,

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1208

5. xiii

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ca. 1220-30

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1

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a3 .1

L32

Dum Philippus

L97

0 felix

"

Bituria

William, of

a2 .1

J

Archbishop

Bourges

L137a

Regi regum

L140

Rex obiit

Alfonso Castile

L104

0 mors

Philipp Augustus, of France

L10

Alabaustrum

L118

Pange ...

VIII9

King of

King

" det.

(J)

L116

Organe

(J)

L153

Voce triste

J

L1¢5

Sol eclipsim

letitie

Richard

Marshal,

Earl

of

Pembroke

Frederick, Austria-

Duke

5th

of

" Ferdinand Leön

III,

and Castile

King of

No. of MS sources

of earliest latest MSS

in.

1

1 mid.

xiv

2

I

L82

Lucifer

L68

In nomine Domini

Ambrose and other grammarians of s. xii

s. xiii

s. xiv

1

L117

Oro Deum patrem

Ambrose (+ 397)

s. xiii

e. xiv

1

L108

0 transeuntes

Ambrose and other grammarians of s. xii

s. xiii

s. xiv

1

L149

Ubi fuit

Simon de Montfort,

1265

s. xiii

ecclesiae

mons

Robert Bishop

Earl

L39

Flebilis

L146

Suecia

suspira

Grosseteste, of Lincoln

of

Leicester

Gregory of Montelungo, Patriarch of Aquileia

1269

'e.

Ladhalaas,

1290

s. xiv-s.

s. xiii

ca. 1300

1

e. xiii

ca. 1300

1

King of

Sweden

L103

0 monialis

Maria

L136

Quis dabit

unknown

TABLE THREE CI

1

ex.

Gonzalez

PLANCTUS ABOUT HISTORICAL

PERSONAGES;

1

xiv

1131-1300'

1,

xvi

(continued)

dux

'Samson which

would

the

it

On balance,

not

liturgical,

nature,

of

suffering

of

biblical

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undeniably

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(L141)

fortissime'

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reflect

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no evidence work

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personages

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manuscript

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(L42)

fideles' sources

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history,

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later

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liturgical

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southern

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centuries

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in

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century (b)

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meditation in

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century. Subsequently versicles some of its 78 is also used as a liturgical in Marienklagen, it while 79 in Padua. than beginning Easter Rather procession as these

French

of

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of

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(L123)

nescia'

community.

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little

manuscript

number

liturgical 76 Italy.

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(L123)

nescia'

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thirteenth-century

contain a large 73 in repertory, while even

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D-W Helmst. 628 (s. xiii mid. (ca. 1300) E-BUlh no number I-Fl (ca. 1240) Pluteo 29.1

78

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L69, L97, L121) L140) L136, L125, L11, L25, L34, L35,

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L113, L69, L73, L97, L104, L137a, L145, L148) L140, or

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of

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survive

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(L116, (L81)

xiii) xii)

CH-EN 1003 (s. xii

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L108,

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GB-Cgc 85 S-Sk A 21

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(L41)

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37495 (s. xiii) Additional Cleo. B. IV (ca. 1397) Cotton (s. xv) 12. B. XVII Royal

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2414 (s. xii-s.

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507 (s. xiii-s.

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D-WÜu M. ch. fol. 131 (s. xv) F-Pn lat. 5132 (s. xiii) 656 (s. xv) GB-Ob Bodley

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L37,

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8.14.39

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L113) L121)

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1158.

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xii)

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165

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of

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(s. xiii)

37495

time

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(ca. 1397),

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12. B. XVII 82

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Royal

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in

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planctus

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the included in I-Fl most, recent planctus Pluteo hthp,, fýL$ciclg., Qfmonophonic (ca. 1240), one-w3, conductus concludes ywhi; , is an addition These factors of s. xiii2. suggest that a collector was eclipsim'

at work, were

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1181 and 1198, 1253.

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1186

1181

2

2

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In occasu (L69)

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Jer. Jer. (L73)

0 felix (L97)

1190

1197-98

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3

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86

(L73),

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in

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concludes

29.1

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10 felix'

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was composed

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in

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any French

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(L23)

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12

(bearing

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x

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x

123

GB-Ob Rawl. C 510 (s. xiii2) (Bardney Abbey) It

3

is

therefore

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a double Moreover,

is

Music

Ref. no.

Incipit/Author

Date

Event/Deceased

Date and

PLANCTUS OF A BIBLICAL

J

.

No. of MS sources

PERSONAGE

L132

Qui per viam

Lament of the Virgin

?

ca. 1319

1

L29

Doleo/Absolon/ Unknown

David's laments for Jonathan & Absalom

?

ca. 1330

1

L20

Cum de cruce

Lament of the Virgin

?

s. xiv

2

L38

Filii

?

s. xiv

I

L50

Heu heu Christe

"

2

s. xiv

2,

L13

Ante crucem

"

?

s. xiv

L99

0 fratres

7

s. xiv

I

L54a

Heu heu

?

s. xv

I

L55

Heu infelices

7

s. xiv

1

praesentia

virgineus

Lament of the three Maries in the OrignySainte-Benoite

1

of earliest latest MSS

L71

Infelix

L58

Heu misereri

ego

PLANCTUS ABOUT AN HISTORICAL

L144

Scotia

plange

L151

Vexilla

reqni

L120

Pange ...

L85

Me cordis

L143

L105

8

play

Lament of Mary Magdalene ? from the same.

s. xiv

Lament of the soldiers ? from the Sulmona fragment

s. xiv

1

PERSONAGE

Duns Scottus

1308

s. xiv

1312

s. xv ex.

1

1312

s. xv ex.

I

Gilbert III of Clare, Earl of Gloucester

1313

s. xiv

1

Scariotis/Jure/ Superne

Henry VII9 Luxemburg

King of

1313

s. xiv

1

0 quam dolet

Duke Eric

and Wald-

1319

s. xvii

I

1322

s. xiv

1

1322

s. xiv

I

1405

s. xiv

Peter Gaveston, of Cornwall

Earl

necem

marus

L102

Easter

- s. xv

O. jam Christi

of

Sweden

Thomas, Earl

of

Lancaster

L119

Pange ...

L137

Quis meo capiti

glor. Richard Scrope, Archbishop of York

TABLE FOUR:

PLANCTUS COMPOSED AFTER 1300

- s. xv

ex. - s. xv

3

2

the

is

manuscripts

whose

role

social

be

As can

sense,

period.

types

of

manuscript:

as songs

5.

Planctus

Composed 1301-ca. 1405

Four,

Table.

few

relatively

the

following

(b)

I-Bas

I-ßGc

Delta.

I-MAc

E. I. 27

2.20

(L13)

(a. 1472)

(L13)

I-Tn E. V. 17 (s. xiv) I-VEcap 823 (s. xiv) I-VEcap 825 (s. xiv)

(L13) (L13, (L50)

(L13)

5 (s. xv)

processional: CI

I-Civ

the

and ordinary:

Clm

D-Mbs

(L99)

(s. xiv)

breviary

the

26947

(L54a)

(s. xv)

an Easter

containing

miscellany

the

the

in

found

this

type

are normally

obvious

from

their

'Dolen'/'Absolon'/?

of motets

in

containing

is

No 'indication of

antiphons

given the

about

antiphons

belonged

to

its

which

religious

purpose.

'Do]eo different

belongs

super

te'

to

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and medical

Although

liturgical

82

to

(L27)

planctus

social

The one exception

context. (L29),,

a manuscript

motets:

of manuscript, or their

rubricated,

clearly

manuscript

the motet

kinds

of different

a variety

notated

(L29)

(ca. 1330)

512

of

a collection

containing

miscellany

(L58)

(s. 9 xiv) n.

47,

Fascicolo

GB-Cgc

Although

L71)

roll:

I-SUL (g)

play: (L55,

F-SQ 86 (s. xiv) (f)

L50)

book of hours:

the

(e)

(L13)

(s. xv)

F-LUNEL

(d)

(L13)

(s. xv)

4019

the

(c)

(L. 54a) (L13)

(s. xv)

506 (s. xiv)

I-Ac

these

the

extant

collection

D-. Mbs Clm 14094 F-TO 348 (s. xv)

adaptations

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theme survive

on a religious

are

planctus

verse and prose: of devotional (L132) (a. 1319) 10 D. XII. CS-Pu 1 (L20, ) (s. L38) 36 Reichenau xv xiv-s. D-KA pap.

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of

each

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many

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triplum

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'Rex It

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this

collection

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the

days.

environment

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therefore

(L139)

are

seems unlikely Several writings,

'Filii

the

to

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'Ante

(L13)

crucem'

The majority the

in

a liturgical

it

is

it

that

on Easter

Sunday.

n. 9 (s. xiv)

to

the

Both

the

(L123)

are

formed

is

remainder

indicate

text

of

not

However,

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(L99),

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(L54a),

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before

-

thus matins

Fascicolo

soldier'

work

in

comparable

and was not

in

the

probably

Regensburg

to

nescia'

of

in

survives 14094

Clm (L123)

ordinary

the Adoratio.

'Planctus

as

the

on which

rubrics

I-Civ

CI

-

Crucis

ante

former

(s. xv)

-

it

Clm

is

complete

religious mentioned

liturgical

26947

peralthough

the

a non-liturgical

nescia'

was

(s. xiv),

Although

as an optional D-Mbs

(L42)

fideles'

on Good Friday.

performed

D-Mbs -

ante

continues

occasion

Regensburg

'Planctus

was attached

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I-SUL

fourth

'the

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church

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inside

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manuscript

devotion.

the

Easter

-

religious

(s. xiv)

86 with

of

performed

items.

miscellany

in

a number

probably

precisely

heu

F-SQ

conclude

provides

in

(L13)

this

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contained

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as supplements

In

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of

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liturgy.

that

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hours

are

play

and-does

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used

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liturgical

they

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virgineus'

not

with

of

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bears

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history.

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Conclusion

determining

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English

of

6.

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85

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86

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Latin were of

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such as Froissart,

CHAPTER THREE:

POETIC FORM AND METRE

1. Introduction

The purpose Latin

of

be defined

according

and metre the

is

planctus

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planctus

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that

is

maintained:

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Some explanation As will

in

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or

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each

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rarely

its

one

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individual

considered.

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overestimated, form

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no single

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statistically,

only

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chronological

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several rules

written by

the

origins

no longer'treated the

scholars

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interest

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as

an

impression

often on the

be proposed

types

syllab-

metres,

about

origins:

can

are

quantitative

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at

typified

are

no consensus

is

necessary

examples

achievements,

of

Of particular

is of

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solutions may be

essential

adopt

it

classical

history,

4

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of

Although

explanation

different

be

the

past

exceptions,

analysis

occasionally 3

a

used with

cannot

the

been

is

majority

forms

hypotheses

existing

be only

conviction.

of

of

the

There

verse.

imitation

it

type

method

the

only.

of

chapter.

evident,

employed.

non-quantitative

impoverished by

lines;

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previous

metres,

regular

prosa, of

become

in

unimportant

I therefore

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it

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have

forms:

assertation must be true

of

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form

is

or metre

show that

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to century. in

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a

related.

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century

lai

form of

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significantly

chronology

be made of

to

verse

ultimately

an argument

planctus

analysis

and whether

composition

and but

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by

function.

no single the

typified

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forms

and verse

metre

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I

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clear,

are

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point.

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/

to

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chapter

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apparent verse

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excellence

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88

made up of

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+ 7pp)

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medieval

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to

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three

and

letters;

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divided

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in

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of

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according

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lower

presence

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quantitative

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employed,

and metres

as far

chronologically

possible.

2.

The forms

of

Planctus

planctus

before

composed

in

listed

950

One (see

Table

Chapter

Two)

are

as follows:

A

(i)

SYLLABIC

Strophic

(a)

structures

5p + 7pp (L7) 'Ad flendos' (L86) 'Mecum Timavi' (L1) 'A solis' (L66) 'Hug dulce'

1. 2. 3. 4. (b)

S3 (5p + S5 (5p + S 2/4 (5p S3 (5p +

7pp) + 5p 7pp) + 7pp) +R 7pp) + 5p

6/7pp

(A) (A) () ()

(Pseudo-Sapphic) (Iambic trimeter) (Iambic trimeter) (Pseudo-Sapphic)

4p + 4p + 4p

1.

'Laxis

(c)

Opp

1.10

(ii)

VERSE

(L80)

fibris,

Fulco'

Through-composed

(L100)

8p + 7pp

1. 2.

(L33) 'Ecce Judas' (L19) 'Cordas tauge' line

S4

(4p + 4p + 4p) + (4p + 4p) (A) (4p 4p 4p + +'_4p) + + .

(8pp)

(aaaa,

bbbb,

etc. ) (Ambrosian

stanza)

structures,

(a)

" the

S3

of

16 (8p + 7pp) 13 (8p + 7pp)

each stanza

has double 89

(A)(Trochaic (A)(Trochaic scansion:

5p and

-oo

septenarius) septenarius) - -°

(iii)

Prosa 1.

4 1. syllables ---9 2a -------9 2b -------3a ------8 3b ------8 10 4a --------4b 10 ---------

17

5a ---------------5b ------------------6a - -------6b ---------7.38

B

1. 2.

C

(A)

(L133)

tu Virgo'

'Quid

19 23 23

----------------

VERSE

QUANTITATIVE

(L127) 'Plangite queso' (L87) tristarnur' 'Meute 12 Sapphic stanzas:

3 (-

o-

o-

-o)

9.

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This

indicates

analysis

a surprising

different

number of

types

of

that

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small

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(responsory)

autem'

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witness

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Frankish

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The verse of verse set this

the

typified

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to my discussion

turn

florilegia

rubricated

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and frequently

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of

in Carolingian

contained

to music type

forms

hymn composed before

the

()

PROSE

(L90) (responsory) Gelboe' 'Montes (L139) (antiphon) 'Rex autem' (L67) (antiphon) 'In excelsis' (L89) (antiphon) 'Montes Gelboe' (L27) (antiphon) te'. 'Doleo super (L28) (responsory) te' 'Doleo super (L142) (antiphon) 'Saul et Jonathas' (L128) (antiphon) 'Planxit gutem'

to

+1(-oo-

-o)

-oo-o-

1. 2. 3. 4. 5. 6. 7. 8.

in

()

181 hexameters

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versus

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is

to

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on classical

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septenarius 90

metres.

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s hymn

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first

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verse:

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Norberg15'attributes

adest

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benignus'16

et

of

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12)

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metre

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Dogmäte clarus,

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decus

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rite

perenni tutus

Cuncta Here the

poet

accented

syllables.

has not

paying

attention

count

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is

divided

into

quantitative

long

he has read

the

quantities

previous

with

poem as prose,

to the cursus and to achieving a regular syllable 18 In accordance with': the latter the line caesura.

two hemistichs.

and more closely

the

trochaic

stanza

are

not

normally

have

the

affect

'Mente

septenarius

the

typified

by

of

to

related

increasing

(L87)

tristamur' 'En adest

metres, used in the

substitution

the

number

91 t

bona

only

unlike

would

fide

precatur.

to replace

attempted Rather

celebrandus,

voto,

orbis

tuus

ubique

sit

adventus

of

is

evidently

Caesar #. the

However,

Sapphic

of syllables

feet

which in

each

line:

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(L87)

tristamur' the

are

both

In

regular.

to

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Caesar

adest

there

are

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after

fifth

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occur

as Norberg

double

have

scansion,

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based

iambic

on the

five-syllable used in

line iambic

the final

of

term

the

is

'Hug dulcet

normally

consistently

line.

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more

barely

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terminological

justified

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planctus is

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called C)

is

refrains; two

iambic

to

phrase

flexiblity

is

this

grounds, Latin

period

the

form.

in

the

these

the

the

sense

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syllables

Clara'

which

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final of

followed

accent

are

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the

his

manuscript the

trimeter.

the

work:

solis' with

sources same refrain 92

it

by

be

question only

(MS scaphicum)

(L1) music

followed

me to the

open

and

amount

to

saphicum 'A

trimeters

by

leaves

rubricated

source

cursus,

iambic

seems

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This

conceived

one

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such short

metre

accents,

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of

patterns

this

'pseudo-Sapphic'

poet

iambic five

final

be particular

Accordingly, In

four

to

although

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(L87).

made up of

trimeters

is

continues

from

Nevertheless,

use. the

medieval

the

of

debatable

only

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bound

as an imitation

tristamur'

in

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it

the

use

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could

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(L7),

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As is

is.

than

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the

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used as a refrain,

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is

as a refrain.

and 'Ad flendos'

which

defined

essentially

novel

Sapphic,

classical

are the final accents of each half21 There are only a finite number acknowledges.

evidently

used

the

accented

of accent-patterns

are

of

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Norberg

half-lines;

pondere,

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trimeter.

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sidera

oculos,

peccatorum

line

trimeter'

'iambic

by

of Aquileia, 20 (L7):

sum dignus

Particularly

not

be regarded,

can be illustrated

by Paulinus

non

depressus

(L66)

which

to

are

'

judge

to

they

infelices

trimeter.

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positioned

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meos

pseudo-adonean

pseudo-adonean

(L86)

as an inventive

this

early

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clara

Parce regards

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with

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song written

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Norberg

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Gravi

accordance

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of

Levare

marked

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quantitative.

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author

In

almost

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is

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It

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et

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stanza

no elisions.

almost

stanza of Catullus, 19 the caesura Horace,

of

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pius

Sapphic

Sapphics

the

the

elisions

be

might (see

one

consists throughout

Appendix

of

two

of 22

of

It

differs

number

from lines

of

the

pseudo-Sapphics

per

stanza

modelled

on similar

syllable

count

Another Sapphic 'Laxis

ways:

last

line

the

of

twelve

set

so short,

a smaller

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on the that

phrases for

pattern undeniably

indicating

that

Although

poet

like

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lai,

or

rhymes

this

design

forms

of

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rhyme

be described

as regulär

of differing

variations Although

not

(L66)

of particular

is

adonean nature

line of

There do not

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a poem of

of

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Both

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seem to justify

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of

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there

Fulco'

then

are

the

sound is

given

scansion,

rhyme could be

could

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design

of one

and here

formal,

provide

of

25

a stanza.

'Hug dulcet

achievement poet

only

(L100)),

If

and,

a number is

There

assonance

overall

literary

outstanding

each stanza

strophic

within

syllable

to music,

are purely the

pattern

own numerical

most examples.

emphasis,

prosodic

is

existing

melody

be described

(10

in

the

two

Nevertheless

assonance

two

pseudo-Sapphic

his

some comment.

are disyllabic.

the

unit

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with

first

forms,

scheme

two;

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be plausible,

strophic

might

deserve

three

to be sung. )

conventional

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ä consistent

the

of

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accent

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devised

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formal

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sources

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ignorance

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with

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the

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poet

explanations.

the manuscript

employed

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seem to

and music,

words

recognisable

called

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or

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himself

concerned

-

made up of

It

be based

could

was written

deviations with'

it

hand,

adaptations

interesting

ingenuity

poet's

text

the

occasionally,

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the

is

mentioned

sections. since

a pseudo-

period

a refrain

in

longer line.

not

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could

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the

verse

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example

It

unverifiable,

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possible

That

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in

text

the

is

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syllables

number

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sections,

eight

four

syllables.

assuming 24 stanza.

short

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to

in

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three

of

thought

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addition,

accented

resulting

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in

is

employed

into

the

is

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pseudo-Sapphics

consists

divided

syllables

the

divided

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different

of

is

to

2

reces,

to

said

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the

stanza

hemistichs;

equal

only

respect

pseudo-adonean

definition

from line

each

Mozarabic

be

could

the

differs

the

with

latter,

The

five-syllable

the

(L80),

It

main

which

above

refrain.

from

normal

provided

-

fibris'

refrain.

the

planctus

metre

and its

examples

than

discussed

has given

the

pseudo-

thus

varying

the

in

several

examples

formal

structure. anumber textual

of

irregularities emendation, 93

and should

therefore

be

which

of

In

commented on.

10 Fulco'

(L100) each with

extra

lines

in

the

stanza,

other

lines

in

the

stanza.

is lost

and modern

is

there

was not

they

since

concerned,

'i'

the

the

former:

how it is

is

needs

provides

to

fit

in

the to

has been

text 26

a seventeenth-century lines

that

as far

absolute

edition.

as

is

sense

stanzaic

The

regularity

order

to

(2.2)

the

word

must

line

be treated five

of

is

unknown,

word

was

Rachel's

of

'Ad

is

This

flendos'

Aquitanian

source

in

the

other

planctus

to

have

four

syllables

other, ia.

Unfortunately. therefore

no way in

inconsistencies

pronuncia-

However,

uncommon.

remains

that

the Italian 30 the

In

is

there

'i'

assume

line.

le

course

the climax,

a matter

occurs

in

of the

sequence

of

how

uncertainty.

(L133),

tu Virgo'

'Quid

and contains

lament:

Heu heu heu quid

5b

Cum sim orbata

nato,

be argued

two of

be pronounced

solemnitas

that 'eheu',

as

an elision

between

solemnitatum',

same formell has

of

the

to

the

A

spelt

irregularity

5a

could

and in

Neither

in

each

music;

are

syllabic

5a and 5b.

versicles

is

provides

irregularity

pronounced

An example

it

pronunciation.

syllabic

of

count

has

of

number

syllables;

reasonable

(1.1)

word

and that

a sufficient

the

(L86)

Timavi'

spelling

However,

Aquileia

spelt

manuscripts

the

the

syllable

provenance

these

seems

'Mecum

five

Since

correct.

(L7),

normal

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it

probably

flendos'

have

the

on whether

first

make up

as a vowel..

syllables

is

the

regard-

counts,

depends In

in

Aquilegia

syllable

as a vowel.

syllable

irregularity.

spelt

count

In

is

nor

syllable

the

syllabic

possible

second.

the

confirming

two

in

also

the

'Ad

of

Aquileia,

use

it

neither

of

France27

for

with

inconsistencies

have

source29

also

was written

redundant

word

manuscript

with

it

Northern

pronunciation Paulinus,

It

which

from

to

music

by

this

the

or

the

therefore

tion,

may be that

consonantly

Aquitaine28 for

of

It

and instances

spelled.

treated

syllables

this

rhyme as the

C).

of

deduce

to

appears

manuscripts

from

not

word

some manuscripts,

last

are

are occasional

a particular

Concerning

of

reprints

of

essential.

of

less

are

reason

More puzzling count

in

instances

several

same disyllabic

(see Appendix

editions

Nevertheless,

are

the

the, manuscript

'corrupt';

simply

there

the

design

me incusatis

incassum

mean qui

the utterances all

three

'me incusatis'. 31 also attributed

and melody

same syllabic

'paupertatem

that

or

fletus

(virgo

are

94

to

Bolus

'heu'

curaret.

'Haec

Notker, as

'Quid

(19)

are meant to in

pronounced

However,

plorans)

irregularity:

of

(17)

fudisse?

est

this sancta

shares tu

way

Virgo':

the it

5a

Redempti

5b

Rex regum

'Haec

est

sancta

Notker

is

thought

agamus nostro

ergo gratias Christe,

cui

diei'32

of

modelled

his

solemnitas to

have

juge

chori

angelorum

(17)

redemptori:

Aquitanian

tradition,

on which

likewise

version,

(19)

famulantur;

has

i

a comparable

irregularity:

5a

Jam nunc ergo

ipsius

5b

Atque

benigni

The neumatic

notations

respectively,

are

is

Virgo'

a contrafactum

latter 33

the diei'.

version Crocker

of 34

of

which

is

ultimately

What

is

curious

is

'Haec has

the

in

diel'

solemnitas

increased

count

is

melody

is

for

model

called

early

the

two

then

it

than

known

as haec

virgo

plorans,

est

that

'Quid

named after

it.

Were that

be a deliberate.

istic

to

In

the

received that

speculate

in

emphasising

the

is

opinion

Notker

est

puzzling. sancta syllable the it

manuscripts

It

would

seem

and the melody

irregularity emotional it

correct35

might

climax

this

of

be anachron-

may not

to have the

contrived

are

tradition

was composed first, syllabic

syllabic

in

tu Virgo'.

case the

about

'Haec

St. Gall

either As

features

Aquitanian

'Quid

in

irregularity

the

whereas

to

tu Virgo'

means of

Even if

sequence.

decreased.

referring

more likely

then

that

solemnitas

created

was indeed

surprising

sancta

unusual two

'

solemnitatum;

is

nothing

sequences

tu

'Quid

irregularity.

However

sancta,

that

est

affect

syllabic

is

sequence.

is

rather

the

there

Notker

'Haec

on

make it

syllables,

solemnitas

special

through

demonstrated

the

sancta

no

is

(22)

munera;

sequences

opinion

modelled

that

sancta'

amply

irregularities If

est

est

captemus

(21)

debita,

solvat

and nineteen

Received

'Haec

of

digni

Notker's

seventeen

for.

provided

nostra

aeterna both

for

versicle

each

suffragia:

adjuti

provided

in

that

clear

quite

precatu

petamus

at this

climax

point. It from

this

period that

suggested in

by now be clear

should

are not the

Greek tragedy

that

the

verse

expressions

of

grief.

Although

of planctus

in

Sapphic

or pseudo-Sapphic

use of

the word

'Sapphic'

way of describing Even if the

they

few to be of extant that

planctus later

forms

were aspiring

could

were aware of

writers,

from

is

It

different

areas 95

concentration the

and may be an artificial poets

be described

the Sapphic's

used for

I have shown that

saw differently.

authoritative

possible

planctus

lamentation:

with

was often

metres,

medieval

to imitate

which

significance.

which

time

for

Spanke36

to be a small

appears

has to be flexible

verse

number of'planctus

there

Sapphic

employed

or metre.

at this

was associated

and classical

forms

on any one form

modelled

Sapphic

the verse

that

classical as Sapphic poets

association or of different

of

models, are too

the with

earliest grief,

levels

of

and

literary

competence,

syllabic

Latin

restrict

themselves

the

Sapphic

with

double

early

ninth

verse,

There

in

do with

in

also

contains

allusions

that

Radbert,

the

poetry

Virgil

of

The only ship

form

antiphons

Vulgate,

as is

planctus

listed

the

been in

from

formal

count

Prosa,

used in

the

this

with

to

and in

only

accents

have

hexameters.

relation-

examples. in

the

in

written

range

of

prose

of

the

The the

form

in

the

values

inventiveness

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are only rarely

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to

a clear

is

assertions typified

seems to have to

according

case of in

the

to make an attempt

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this

of planctus

pastoral

said in

liturgical

is

metres,

quantitative

Planctus

be

is

there

Their

Contrary

period

same

too the

eclogues

a notable

connected.

3.

The forms

their

the

of the Mass.

existing final

rubricated

such as these.

chants

planctus.

They appear

verse.

from

their

of

is

so he could

tu Virgo',

display

and possibly

and content,

planctus

-'Quid sequence

comment.

looked

where

of

but it Eclogues, 37 It would seem

his

are each written

early

nothing

form

the

use

Virgil.

are the

context

period

for

writing

period

for

under

and according

significantly

this

and responsories

designs

quantitative form

from

of

it

does

of

doing

tradition

the

had

normally

deserve

queso',

In

and

vogue in

dialogue,

only

works

model.

and social

experimenting

syllable. verse,

his

syllabic

between

which

uses

'Plangite

conventional

conventionally

in

various

both

texts

pastoral

Virgil

that

grief.

content

Not

of

one must consider

relationship

of

or

of

classical

The nine

Poets

to

planctus

between

types

nature

the need to

feel

a particular the

of

hexamet6s.

author for

the

perpetuated

instances

which

hymns,

of

enjoyed

a dolorous

idiom

and pastoral

it

context

(L127),

queso'

number

the of

not

however

this

expression

two

social

or did

both

the

however

are

the point

a large

century:

and written

metre

in

conceptions

Against

and that

and its

Egloga

to it.

scansion,

to

'Plangite

missed

was used

whatsoever

a text

or with

different

form

their

syllabic case of to relate

and social

made in

context Be past

the

by a refrain.

Composed 950-1130

in

Table

as follows:

96

Two (see Chapter

Two) are

A

(i)

VERSE

SYLLABIC

Strophic

structures

(a)

+ 7pp

1. (b) 1. (c)

8pp

(L135)

'Quas dabit'

'Qui

(L131)

habet'

(d)

5p + 7pp

1.

'Plasmator'

(f) 1. (g) 1. (h)

1. 2. 3. (i) 1. 2. (j)

(L129)

'Cesar

(L16)

tantus'

(8p + 8p)

(8p + 8p)

S3 S3 S3 S3

(8p (8p (8p (8p

+R

(IR)

S 4'(5p

+ + + +

(aaa, (aaa, (aaa, (aaa,

7pp) 7pp) 7pp) 7pp)

bbb, bbb, bbb, bbb,

(aaaa,

+ 7pp)

etc. etc. etc. etc.

bbbb,

)(trochaic )(trochaic )(trochaic )(trochaic

etc.

septenarius) septenarius) septenarius) septenarius)

)

S4

(6p + 5p)

S6

(4p + 6pp)

S4

(10pp)

()

4p + 6pp 'Flete

viri'

(L44)

(aabbcc

etc. )

10pp 'Carole

tu'

(L17)

(aabb,

ccd.,

eeff,

etc.

)

8p

(aaR, (8p) ) (L47) 7pp) bbR S'2 'Hector etc. +R pugnae' 'Ad to namque' (L9) S4 (8p) (aaaa, bbbb etc. ) 4 (8p) R 8p (aaaaR: text probably 'Luget mundus' (L83)(S) 8pp

incomplete)

-

(L15) 'Bellatorum' 'Proh-dolor'(L130)

S4 (8pp) S54 (8pp)

(aabb, (aaaa,

ccdd etc. ) bbbb etc. )

7pp 'Huc ades'

(k)

(6p+ 6p)

1.

'Lamentemur'

1.

S4

6p + 5p

1.

(1)

(IR)

8p + 7pp (L46) 'Hactenus' (L112) 'Omnis etas' (L14) 'Armonicae' (L49) 'Heu eheu'

1.

(8pp + 7pp)

8p + 8p

1. 2. 3. 4.

(e)

S-3

(8p)

(L65)

(aabb,

S4

(7pp)

S2

(6p + 6p,

S2

(8p)

ccdd etc. )

(8p + 5p) (L78)

+ 8p + 5p) +R

(hexameter)

(IR)

(4p + 6pp)

'Omne quod'

(L110)

+3

(4p + 6pp)

97

(aaaaa,

bbbbb etc. )

(ii)

Through

(a)

4p + 4p + 7pp

1.

(iii)

structures

composed

(b)

(6p + 6p)

1.10

dulces

Sequences

(L31)

fili'

'Dulcis

(4p + 4p + 7pp)

26 couplets:

(L95)

filii'

9 (6p + 6p) +4 (4p + 6pp) +R 4p +3 eggR) eeffR, +R 4p (aabbcccdd,

(L133)

la 1b

5pp + 4p + 4p + 4p + 6p + 8p 4p + 4p + 4p + 4p + 6p + 4p + 4p

2a 2b

4p + 4p + 6p + 4p + 4p + 6p + 6p + 4p + 4p 4p + 4p + 6p + 4p + 4p + 6p + 6p + 8p

principium'

(42) (42)

5p + 7pp + 5p + 5p + 5pp + 4p + 6pp+ 5p + 5p + 6pp +r. 4p + 7pp + 6pp+ 4p + 5pp + 4p + 6p + 5p + 6pp+"6pp + 6p + (3a) 7p + 4p + 6p + 4p + 4p + 4p + 4p Epp+6p+ 6p+5p+ (3b) 5p + 6p + 5p + 7p + 7p + 4p + 7pp+ 4p + 4p + 4p + 4p 4p + 4p + 4pp + 4p + 4p+4p+ 4pp+ 4p+ 5p+ 4p + 4p + 4pp + 4p + 4p + 4p + 4pp + 4p + 5p+

5a

2p + 7p + 5p + 4p + 4p + 4p 2p + 6p + 5p + 4p; + 4p + 4p

4p+ 4p+ (5a) (5b)

6p+ 6p+

5p+ 6p+ 5p+6p+6p+

2p+4p+4p+ 2p+6p+4p+

7p+

7p+ 6p+

(28)

4p + 5p + 4p + 4p + 4p + 7p

each versicle):

'Judex

1a lb

6p + 8pp + 6p. + 8pp (28) 6p + 8pp + 6p + 8pp (28)

2a 2b

4p + 3p + 6pp + 8p + 6pp 4p + 4pp+ 6pp + 6p + 6pp

-summe'

(28)

(L77)

2.

4a 4b 4c* 4d

+ 4pp (123) + 4p. (130)

4p + 4p + 4p + 4p (80) 4p + 4p + 4p + 4p (78)

R (after

3a 3b

7p+ 6p+

4p+4p+4p+ 4p+4p+4p+

6p+4p+ 7p+4p+

5p+ 5p+

5p + 5p + 4p + 6p +

(78) (79)

+ 4p + 4p + 4p + 6p + 4p + 4p

6.5p

5a 5b

(31 syllables) (30)

7

(4a) (4b)

bb etc, )

(4p + 6pp)

and prosae

'Qui

4a

yya)(aa,

xxa,

(4p + 6pp)

1.

3a 3b

(IR:

+R +R (27) (26)

+R +R

(41) 7pp + 7pp + 6pp + 8pp + 7pp + 6pp (38) 6p + 6p + 6pp + 7pp + 7pp + 6pp 4p + 5pp + 4p + 4p + 4p (21) no R 4p + 5pp + 4p + 4p + 4p (21) no R 4p + 4p + 4p + 4p + 4pp (20) no R 5pp+ 5pp + 5pp+ 4p + 4p (23) no R 4p + 5pp + 4p + 5p (18) no R 4p + 5p + 4p + 5p (18) +R

(28) 8pp 6.6p 6p 8pp + + + R 8p + 4pp + 7pp + 8pp + 2p (Rhyme and assonance

+R +R

+R (29)

are employed

in

both 98

these

sequences

unsystematically)

(i)

'Jocus

la lb

6 (7pp) 7 (7pp)

+ 4p + 4p

(aaaaaab) (cccccccb)

2a 2b

7 (7pp) 7 (7pp)

+ 4p + 4p

(ddddddde) (fffffffe)

3a 3b

4 (7p) 4 (7p)

(iii)

et leticia'

(ggggh) (ggggh)

+ 4p + 4p

VERSE

QUANTITATIVE

Strophic

1.

(ii)

(L76)

3.

B

o

structures

(L5)

'Ad carmen'

Through

composed

23 stanzas asclepiads.

four

of

in

lines

structures

1. 2.

(L122) 90 leonine hexameters. flere' 'Pergama (L101) 7 elegiac '0 Gauzline' couplets.

3.

'Ad fletus'

4.

'Heu

5. 6. 7. 8.

(L7 5) 73 elegiac 'Jerusalem luge' couplets 32 elegiac 'Flete couplets mecum' (L43) (L12) hexameters. 10 dactylic 'Anglia ridet' (L45) 84 adonean lines. 'Floriacensis'

Sequence

(L8)

161 dactylic

(L62)'

quarr'

catalectic'lesser (A) .

(aa, (IR)

(IR)

hexameters.

6 elegiac

)

bb, etc.

(IR)

couplets

(aa, () (IR) (A)

bb etc. )

structures

1.

'Doctorum

1.. 2a 3a 2b 3b 4a 4b

3 3 3 3 3 4 4

R

normally

(L26)

speculum'

1 leonine 1 glyconic,

tetrameters, choriambic tetrameters, choriambic tetrameters, choriambic tetrameters, choriambic tetrameters, choriambic choriambic'tetrameters, tetrameters, choriambic

catalectic catalectic catalectic catalectic catalectic catalectic catalectic

an Archilochean

pentameter, and refrain. and refrain.

1 leonine pentameter, and refrain. ' and refrain. 1 glyconic, 1 leonine I leonine I leonine

pentameter, pentameter, pentameter,

and refrain. and refrain. and refrain.

line.

Rhyme: 1. aaabR 2a ccccR 3a dddeR 2b ffffR 3b ggghR jjkklR 4a 4b mmnnlR.

From this in

analysis

the writing

small

of planctus

number of

planctus

from

it

examples

the

previous

can be seen that from

this

period

are based on metres period,

that 99

is,

the

forms

are

extremely

and forms items

listed

and metres varied.

already under

employed A

used in (5p + 7p),

8pp

(8p

and

+ 7pp).

these

many of

either

particular

form

apparently

unique. is

It

or

in

associated

in

found

the

word

and-. the

last

line

the

that

mundus'

(L83),

dulces'

(L31)

is

have

conclude

previous

-

are

that has

There stanza period.

All

region.

it

deeply

mourned

became

temporarily

medieval

Latin

planctus

df

different

hand,

other

this

this

fifth

period

the

in

the

the

preoccupations.

(L78)

and

since

they

10 dulces' have

in

a

the

most

in

this

his area

previous .

in

and

the

with

common metres

written

from

planctus

Additionally are

4 (8pp)

the

murdered

used

unlikely.

same region

-

one would

Sapphic

from

from

the

of

period

of personages

metre

10

of

of

used,

was brutally

the

'Luget

this

written

deaths

monasteries

the

from

a

syllable.

(L100))

Fulco

as one

from

period 40

the

one

with

stanzas

formal

design

stanza

as a refrain.

structure

metres

be

regular

(L47),

two

a

trimeter,

survive

examples

formal

come to

had

used

which

other

use

how flexibly

nor

the

to

pseudo-Sapphic

'Lamentemur'

seems highly

this

verse

of other

several

metres.

The only

metre

also

has a significant

trochaic

from

(L33)

this -

end rhyme:

the

previous

metre its

proelium

is

formal

in

employed number of

period employed design

certaminis'

in

from

planctus

extant

in

However,

septenarius.

metre

gloriosi

in

it

iambic

last

by

that

conceivable associated

On the

planctus.

which

is

are

the

in

after

Since

or

syllabically

specific

about

are

as a whole,

general

(10 Fulco'

a planctus

French

the

from

two examples

planctus

of

their

a break

three

extant

in

a

pugnae'

interest

- used

than

rather

of

superseded

in

are

period

the

of

no matter

and. the

apparent

different-.

used in

northern

ignoring

the

to

'Hector

(L78)

now been

are only

form

this

(L131),

lines

quite

caesura

medial

from

in

varied,

metrically

proportion

by

twelve-syllable

(L31)

lines

occurrences

because

example

the

as modifications

period

Other

one

period,

'Lamentemur'

form,

it

chose

indeed

rest;

who happened

writers

previous

habet'

small

verse

resemblance

neither

'Qui

Latin

four

the

of

earliest

planctus

little the

true

not the

The

planctus

-a

stanza

the

planctus

Sapphic:

is, 39

Sapphic to

previous

from

be regarded

could

that

strophic

refrain,

medieval

bears

examples

defines

Unless

in

unlikely

(L129)

'Plasmator'

amongst

lamentation.

with

is

number metre

highly

employed

metre

this

However,

'Cordas

to

closer

than

to

the 100

the

to the

previous

the

strophic

from

in

this

and 'Ecce

Judas'

structure

with

hymn 'Pange

examples

period

syllabic

two examples

(L19)

tange'

a three-line

is

is

examples

contrast

the

the

lingua previous

period.

it

Should metre

be thought

places

from of

this

origin

(L14),

Liege

wide

variety

(L46)

and

'Armonicae'

accents

used

the

has

'Armonicae' (L49)

IOmnis More

it

eighth

made up of disyllabic

verse

that it

is

little

example.

examples

accord

a line;

of its

accent

formulations

first

does not

established

and fifth

could

be said

substituting Clearly

to imitate

be established

the

longs

with

these

examples

used in

previous it

to prove

The following

would

fourth

and

medieval-, demonstrate

would

of planctus,

for

each

with

respect

consistent

two 42

in

accentual

to-that

of

the

first

any of Norberg's43

trochaic

septenarius;

are monosyllables

some

which

may

fourth-looks of

this

back to an already 44 None of these metre

trochaic

quantitative

septenarius

by

accents. to have been modelled

are unlikely

planctus; hardly

a, general metres

the

even if

be based relationship

employed

during 101

such a relationship

on a sufficient between this

/.

same metre

by Meyer

related

the

of

the

The first

with

syllables

treatment

syllabic

only

coincide

treatments

have been accented;

long

the

/.

/.

ways in

most fully

may be closely

third

pattern

on the

or may not

instances

the

is

accent

different

of

syllables

already

or final

anteof

/.

concentration

can be accounted

outlined

approach

which

of versification.

art

'Heu as

syllables

of early

in different

treatment

In

syllable.

small

treated

hemistich.

are frequently

examples

this

-

and the

./.

syllables

of

the

syllables

+ 4p + 7pp),

septenarius, in

to the

the

with

cursus

trochaic

in

/_

on. the first

scores

metre: '.is

this

approaches

the

two:

the

The variations

to different

feature

the

the

a

'Hactenus'

each

rhymes on the

eight

accented

significance

that

evident

which

in

written

there is

words

first

of

hemistich

/.

(4p

would

both

and fifth

internal

without the

invoking

Even without Latin

but

In both

syllables.

S3

be analysed

would

(L46),

the

first

accented:

probable

respectively

contrast

in

was for

an abecedarian.

first

In

second.

it

being

the

of 41

alternately

(L31),

fili'

of

This

In

accents

on the

occur

the

are

and Liege

feature

syllable

of

Luxueil final

the

importantly,

somewhat.

this

Luxeuil

(L49).

and more

the

that

mind

varies

are

penultimate

accurately

as ºDulcis

-

normally

(L112)

etas'

from

in

and content

as indeed

well-known,

case

additional

syllable

penultimate

each

form

apart:

Bec

or

Moreover,

consistently

accents

as on the

well

in

in far

somewhat

already

(L14)

the

lie

genres.

metre

borne

be

should

lanctus

of

between

and Canterbury

was

poetic

of of

eheu'

example

metre

treatment

only

each (L112)

concentration

a relationship

of it,

of

the

small

period,

Poland

that

suggest

the

an instance

provide

examples

that

form

period

on metres could

number of and content. were already

/

in

much used (8p

+ 8p),

used

for

(6p

early (4p

+ 6p),

its

as follows: the

form

not

rex

stanza

basis

as the

form

pie

(L135),

dabit'

'Quas

and

Otto

proposed

model

'Adtende

not rex

Since for

himself

allowed each of

variation.

the

Although

devised,

recently those

namely, these

examples

shape

of

already

forms

the in

Quis

tertio

of

stanza;

general

such as these,

with for

planctus

were

a small

number (L78)

than

one

basic

all

but

one

The

interest

combining

pauperi?

lacrimosos

populi?

mala

plangere?

mundi

Otto

crescere,

floreret

seculum;

fait

seculo.

that

just

possible

interest

is

the

the

accents.

This

as marked

above.

final

beginning

there

in

syllabic

long to

appear and

these; lies

different 102

'Omne is

is

-('8p

metres,

conventions to

create

+'5p), the

He

some scope

the

(L110).

to

can be

strophic

be unique

used

in

pattern

established

quod'

Leo

each hemistich.

of

long

employed already

accent

the

fact

the

metre of

stanzas:

is

relatively

of metres

tertio.

imitating

at the is

half-lines

respice,

Since

of each stanza,

flexibility

use.

it

be

stanza 49 stanzas:

be established.

Of further

except

'Lamentemur'

more

cannot

to

this

succurret

sälus

ecclesiae,

accents

thought

used

two

ut

majority

through-composed

and or

these 50

first

imperium,

himself

of

Romae excita;

coepit

piissime', the

a piece

three-line

ecclesie

planctus.

concern

seen by comparing thus

his

the

lacrime

a planctus

for

metre

Leo did

of

is

then

in

poems

give

two was composed first

the

that

Ottone

and 46

(8pp + 7pp) -

-S3

Romam tuam

I

which

que

Vivo

traces

sub Ottone

Sufficient

Stünpsit

Norberg

from

vires

Quis"dabit

Ad triuýmphum

chose its

two

aquam capiti? oculis fontes

Which of

Leo

renova,

of

dabit

Quis

10pp

and is

s. xi,

Roma imperio

Surgat

+ 7pp),

(7pp)

in 4B

Metz

of

probably

(8pp)

intellege,

preces

Romanos

it

adapted

genres:

however

(L135)

dabit'

rpeces.

line

each

Christe,

planctus.

ecclesie,

in

Mozarabic

for

(8pp

piissime

was written the

of

on one

modelled

to

poetic

were

century:

'Quis

hos

Planctus two-line

The following

original

of

of

4.7

Adtende

This

a variety

Leo of Vercelli, is:

stanza

for

eleventh

and metre

author,

first

the

were

verse 45

7pp.

and

in

they

the

of

8p

time

though

the history

which

+ 6pp),

first

the

Latin

medieval

fact

represent

both

In the

however that

planctus,

general is

a metre

Verse

a different

7

type

formal

of

variety, in

particularly like

that it

since

is

is

In

inventiveness

to

contrast

the

use

death

Setting each

of

evidence

the previous 1 but also

period

the

German

Kunstprosa,

than

rather however

period,

much more

unsystematic

Here

to

lengths

however

by

two

a contrast,

after

for

a while,

fave

nostris

piis

ceptis mentis

rege,

precamur, Pater,

siti cumulative

not

of

course

each

example

were

originally.

unlikely

since

by

particular

rhyming

tu

rhyme

or

Virgo' or

throughout. internally

phrases the

previous

though

'Quid

sporadically

of

the

same sounds,

assonating

sound

so few

that

their

non-liturgical

reum.

rex

sancte,

laudamus corde vite fragilitate.

technique (L45).

'Floriacensis'

is

the

from

elaborate,

marked

used

In

scheme.

In

is

The use unusual

of by

the

in

it

is

that

possible, Unfortunately, will

survive

103

ever with

planctus

a non-liturgical Although

period.

melodies

sequences

quantitative

52

contrafacta. or

the

sequence

this

may be unique

models

in

used

also

(L26).

of

natte,

.....

sequences

rarely

accumulation

which

type

plectrum

atque

ore

of

are

are

others,

the

rerum,

to

design

assonance.

highlight

the

the

and

devices

both

example:

spiritus

is

through

at

teacher

sequence

to

confined

a school

rhyme

the

forms.

planctus

elaborate or

this

Qui principium

(Refrain)

song

(L134),

from

of

and

form,

phrase

assonance through

constas

This

variation

of

longer

no

return,

will

verse

rhyme

is

(L133),

on a highly

versicle

often

used for la

effect 'Lamentemur',

of

sequence

and

composition

based

of

and

the

are

each

these

rhyme

in

I

made of

each

prosa

which

Virgo'

within

and terminally,

not

is

although

followed

refrain

planctus

sequence

a bishop

tu

'Quid

of

the

the

a regular

orchestration

assonance,

great

element

to

one,

provenance,

contrast

phrase

last

in

employed

(L77),

an emperor

aside of

another

characteristic

in

particularly

liturgical

The

verse.

(L66)ß provides

dulcet

to

used

quantitative.

The formal period

Latin

twelfth-century

'Hug

of

a technique

anticipating

the

such however,

be recovered music.

formal

it

is

'Doctorum .

speculum' is

It

artifice. it

arranging like

purely

Since

the

number

of

without the

is

interest

two)

Their

out

and that

no one

this

a fixed

are

used

no elisions

also

caesura

occurring

in

sequences

afford

should

not

examples

(or

from

could

be argued

Apart

from

'Ad

they

these

metres

the

indeed

for

(L5),

either

written

were

a

in

have some association

represent

the

characteristic

be forgotten to do with

both

metres 5S verse.

funeral

(L5)

'Ad carmen' employ

a metre

it

is

written is

Were these

to be treated

the

syllabic

conceive sixth

that merely

(except

to further

Both

couplets.

in

elision pieces

(L26)

authors

of which

a small

with

104

for

not

have nothing

but

does

it

is

'Floriacensis'

elisions.

such as occur 56 (L9), one could

a caesura

such as these

should

the number of

number of

necessary).

about,

Ages,

to

and content

Not only

and also

'Ad to namque'

an argument

which

the Middle

irregularities,

is

it

creation.

metre

scansion,

form

Nevertheless,

speculum'

planctus

accomplished

elegiac

between

interesting

as metrical

where

metres. quantitative , (L26) and 'Floriacensis'53

associations

are however

double

and content

and post-classical

verse.

frequently

There

strophic

as having

syllable

suggest

regular,

it

fixed.

syllabic

and tombstone inscriptions. verse and could be said funeral

a quantitative

quantities

form

to

54

had other

'Doctorum

in

between

in

speculum'

with

another

used less Like

abecedarian.

(L45)

is

examples

classical

of classical

that

respect

between

or

inventiveness,

a relationship

with

a relationship

continuätion-of.

for

that

epitaphs

of elegies,

composition

formal

hexameters

by various

used

remarkable

relationship mdst.

period.

made earlier

and function,

of

this

from

contention

a case

'Doctorum

Thus they

often

make

case

darmen'

are

to form

the

the by

used.

three

only

planctus

to

is

a loose

in

extant

typified

metre.

period,

represent

weight

difficult

or

this

verse

or

is

of

are

period

and content,

(L45),

adds

form

it

Although form

corpus

simply

from

to

regular.

pentameters are

it

whether

made up of

there

these

they

that

the

of

existence

planctus

in

the

the

which

fact

the

obscure

merely

also

either

since

scansion,

is

as syllabically

of

of

repetitions

puzzling

are

however

a sequence;

systematic

case

and

unusual

position.

however

it

the

a highly

fact

especially

employed

of-double

The particular

in

conceived

substitutions,

appearance

regular

also

as in

or

quantities,

metrical

is

metres

in

the

What or

quantitative

is

it

reflects

structures.

is

sequence,

whether

certainly

quantitative,

third

the

debatable

thus

stanzaic

is

(L26),

after It

the

would

were also example,

be wrong

syllabically the

dominance

of

forms,

syllabic should of

such

does

substitutions

quantities in

infrequently and

therefore

as well

to

normally

disyllabic

and that

planctus

looking

back While

it

was not

(L45)

considered examples)

they

two

with

after examples

classical

syllabic

verse

double

scansion.

quantitative indeed

metres

used

as the

Far from content,

the is

of

are

have

model

for

been

strict a

experimenting

with

exercise

separable

were normally nor

deliberately

The forms neither

from

that

and metres

newly

period

these

verse

forms,

rather

than

-

(L5)

carmen' in

the

if

it

of

a word.

fell

and

deal

in

classical

it

The

(as

not

Latin in

impossible

a strophic

common

influence

the

of

that

they

how easily

understandable to

set

which

have

of

in

distinctiveness

medieval

do not

result

is

it

a word:

of

consistently

of

they

line

adonean

some

br

melody,

a contrafactum.

to have enjoyed

deceased.

this

middle

therefore

context,.

the

is

It

metres.

position

the

the

and social

almost

'Ad

in

which

Consequently could

in

a great

is

It

the

changes

The characteristics

likely

most

rhyme

in

no caesura

self-evident.

maintaining

or form

occur

completion

be typical

of

of

features

fashion,

with

a regular

accomplished

techniques.

verse

in

to

date

used is

there

The features

verse.

quantitative

it

proportion

of

nature

number little

was of

rhyme,

rhyme

the

versification.

metre

occurs

-

very

seem to

share

-

for

was normal

these

of

regularity

of

the

styleaof the

in

regularity

use

the

examples

quantitative

use

up to

kept

(L26)

speculum'

'Floriacensis'

usage,

had

caesura

the

- changes

an archaic

quantitative

the

of

in

that

clear

this

verse;

that

rhyme

demolition

leonine

essentially

note

on any

a significant

or

frequent

most

accumulation

the

However

fact

steady

syllabic

classical

writers

to

the

'Doctorum

of

in

the

of

That

my purpose.

in

is

It

end rhyme

designs-of

sound

depend

evidently

rhyme,

found

are

disturbing

examples.

internal

ones

not

the

most

occur,

these

is

exceptions. of

line;

per

have

these

of

This

obvious:

therefore

not

and pentameters

consequence

of

strophic

integrity

metrical

formal

planctus.

be becoming

evidence

hexameters

these

the

especially

gradually

quantitative

of

in

forms

syllabic

devised

between

relationship poets

from

different of

especially

105

forms

the

period

composition for

and seem

and metres, sentiments

expressing

used in

archaic.

this

form

a particular

an about

of planctus piece,

4.

The forms

A SYLLABIC

(i)a

Strophic

(a) 1. 2. 3. (b) 1. 2. 3. 4. (c)

of

Planctus

in

structures:

(L60) 'Heu nobis' (L121) 'Pange melos' 'Pange .. det. '(L118)

S3 S4 S3

(8p + 7pp) (8p + 7pp) (8p + 7pp)

() (ababcdcd) (as 8 lines) (aaa, bbb etc. )

S4 S4

(7pp + 6p) (7pp + 6p)

(. babababI (as 8 lines), (aaaa, bbbb etc. )

7pp + 6p (L81) 'Libram' (L64) 'Heu voce'

(L116) 'Organa' (L68) 'In nomine'

S4 S4

(7pp (7pp

S4

(4p

+ 6p) + 6p)

(aaaa, (aaaa,

bbbb bbbb

etc. etc.

) )

+ 6pp)

(aabb,

ccdd

etc.

)

(L21)

S3 (4p S2 (4p S 4*(4p S3 (4p S4 (4p

3. 4. 5.

'Orbata' 'Anglia' '0 mors'

1. 2. 3.

(aaaR, bbbR etc. ) (4p + 6pp) + 4p (aabccb bbbb) (4p + 6pp) + Opp (aaabab bbbb etc. )

etc. ) etc. )

8pp (L22)S 7 (8pp) 'Cuncta sorores' (L59) S2 (8pp) 'Heu misere'

(g)

6pp) +R 8p 6pp) + 4p +2 (aaaa, 6pp) 6pp) + 4pp + (aaaa, 6pp)

+ + + + +

1. 2.

1. 2.

) etc. cdcdcdcd)

4p + 6pp

(L111) 'Omnipotens' (L72) 'Jam moratur' (L52) 'Heu ... michi' (L141) 'Flere pro' .. (L153) 'Voce tristi'

(f)

as follows:

Sp + 7pp

2. 3. 4. 5. 6.

1. 2. 3. 4.

A-C are

Three

simple

'Cum venissem'

(e)

Tables

VERSE

1.

(d)

listed

planctus

1130-1300

Composed

(L115) 1L11) (L104)

(aaaaaaa, bbbbbbb etc. ) (ab, ca, da)

(aaaa, (8pp) bbbb etc. S4 (ababbcbbc, (8pp) S9 etc. (ababbaabba'etc. S 10 (8pp)

) )

)

8p (L107) '0 sors' (L87) 'Mentem' (L114) 'Orba suo' (L149) 'Ubi fuit'

S4 S4 S8 S3

(8p) (8p) (Op) (8p)

(aaaa, (aabb, (4p +R

etc. ) ccdd etc. ) (ababbaabR) + 8pp)

bbbb

7pp (L51) 'Heu mens' ... ' Alabäustrum' - (L10)

R 3. or 6p, S 12 Opp)

(Raaa, Rbbb etc. 3(7pp) (aabaabccctcc. d etc. )

)

6p (L36) 'Ex culpa' 'Mors execrabilis' 'Eclipsim patitur,

S3 (L91) (L35)

(6p) +R S3 (6p) S8 (6p)

(4 +6+4: (aaaR, bbbR etc. ) French) ) (aaaR (4 French) etc. +7+5: +R (ababababR) (6p 6p) 4p + + +R

106

(i)b

(ii)a

Strophic 1.

'Requiescat'

2.

'In

1. 2.

S (8p

+ 8p + 7pp + 4p + 4p + 7pp) aabccb

(L69)

occasu'

S2

(7pp + 6p) +4 (6p + 7pp + 6p)

(7pp) (6p +2 (as 15 lines)

(abab ccdd efef

ghg,

structures:

simple

2 (8pp + 7p) + 14 (aab) (aab) 3 (8pp + 7p)

(L124)

'Planctus matrum' (L48) 'Heu dolor' 8 PP

1.

'Plange

2. 3. 4.

(abab ccbb deed) (L34)' 12 (8pp) 'Eclypsim passus' (8pp) (aabb, (8pp) (L79) 4 (8pp) 'Lamentemus' +3 +4 (ababcc) (L103) 6 (8pp) '0 monialis'

'9 (8pp)

(L125)

Castella'

(ababababa) ccd,

eefg)

7pp

'Heu

1.2(4p 2.6(8p) 3.4 4.4 5.5 6.4 7.5 8.2 9.2 10.2 11.5 12.2 13.4 14.2 15.3

2. 1-5 6-8 9-12 13-16

17-19 20-22

mihi:

12 (7pp)

(L32)

'Dum Philippus'

Through-composed 1.

+

etc. )

(b)

1.

+ 7pp)

8p + 7pp.

(c)

(ii)b

(L138)

Through-composed

(a)

complex

structures:

cur

abab abab)

complex

structures: hoc

(abab

feci?

'

(IR)

(L57)

(aabbc) +2 (ddefaa) (ggggaa) (6pp) + (4p + 4p) (hhhh) (6pp) (iiiii) (4p + 6pp) (jjjj) (4p + 6pp) (kklmm) (4p + 4p) (jjjj) (5pp + 5pp) +2 (8pp) (nnnnbb) (4pp + 4pp) +2 (5p) +2( 6pp) (bgooom) (5p + 5p) +2 (7pp) +2 (6pp +6pp) (aapgg) (8p) (6pp) + 6p +2 (4p) + 6p (galmml) + 4p)

(7pp)

+2

(IR) (IR) (IR) (IR)

(qqaarrrr) (3pp (4 + 6pp) +3 (7pp) 3pp 3pp) + + + (sslltt) (5p) +2 (4pp) (6pp) +2 (6pp) (4 + 6pp) + 8pp + (5pp + 5pp) + (5p + 5p) +2 (IR) (qgg g gg ueebbbb)

'Heu me misera'

+ 6p + 6pp

+3

(6p)

(L56)

6pp + (4p + 4p + 7pp) + (4p + 8pp) + (4p + 7pp) (5p + 7pp)+ 4pp) + (4p + 7pp) + 4p (aab) (IR) 4 (4p + 4p + 7pp) (4p + 5p + 7pp) + 3'(4p

+ (4p + 8pp)(aaaaa)

(cccd)(IR) + 4p + 7pp)(effg)(IR)

(5p + 5p + 5p) + (4p + 4p + 7pp) + (4p + 4p + 9pp) (hii) (IR) (8p, + 7pp) + (4pp + 4pp + 4pp) + (3p + 3p + 3p) (iaj) (IR)

107

(IR)

3.

'Heu

1-7

(L59a)

miseri'

8p + 4p + 6p + 5p +3

(8pp)

(aaaabbb)

(L126)

4.

'Plange

I2 II

(stanza Roman numerals structure unclear: represent (7pp + 4pp) + 6p + 7pp + 4pp + 4p + 7pp + 4p (in 3 (7pp) + 7pp + 4pp + 4p . (fff ggf)

planctu'

conjectures) 10 lines)(ababcddcec)

4p +2 (6p) + 7pp + 4pp + 3p + app + 7p + 7pp (ghh iijkjk) III IV 4(7pp) + 4p + 7pp ± 4p (llllmlm) (4p) +2 (7pp) + 6p + 4p + 3pp (eeee nneen) V4 VI55pp + 7pp +4 (6p) +2 (4p) + 7pp + 5p + 3p + 4pp + 7pp + 4pp +4 (ooppeeeeqrssttsnuu) 5.

'Turmas

(L148)

arment'

(no obvious stanzas) (8pp) 7 (8pp) 1-14 + 4pp +2 + 4pp 3 (8pp) 15-25 + 7p + 8pp + 7p + 8pp (4pp) 26-37 2 (8pp) (8pp) +2 +2 + 37-46 8pp + 4pp +3 (8pp) (4pp) +3

6.

'Jerusalem,

I.

12 (8pp)

2.4pp 3.2 4.6 5.6 6.4 7. 1.8 2.4 3.2

8. 1-10 9. 1.2 2.13 10.

(abbcddcee

regum

(7pp) (7pp) (8pp)

omnium'

eeeff) ggggg)

ffd)

6 lines)

(lmlmnn)

(L137b)

(abababab) 4p + 4p + 7pp) (in 10 lines) +2( (7pp) (gg (8pp) (7pp) +2 +2 +2

'Rex obiit'

cdcd eed ffd) jj) hh ii

(L140)

3 (7pp + 6pp) 'Sol

(8pp) +2 + 7p (ababbbbbcccccd) + 4pp (cccdcd + 4pp + :2 (8pp) (8pp) 4pp +4 + 4pp (gffgffg (ff gggg ff g). + 8pp

(L73)

Jerusalem'

(hffhhijjikklli) + 13 (8pp) (7pp + 6p) + 8pp + 9pp (in (app) (oop ffp) (8pp) (qqn fnf) (8pp) (rcrc) 'Regi

(7pp)

eclypsim

+3

(6pp)

patitur'

+ 7pp

(ababab

bccb)

(L145)

(7pp + 6p) +4 (8pp) (abab cdcd) (8pp) (ccd eee aaa ff gg) 'Suecia

suspira'

(L146)

(no obvious stanzas) Sp + 8p + 5p + 10p + 5p + Bp + 5p + 9p (aaaa, bbbb) 1-8 9=21 6p + 7p + 6p + 8pp + 3p +2+2+5+ 4pp +3+2+2+ 4p (ccddeeeeffff 6p + 10p +6+ 9p + 4p + 8p + 6p + 10p (gghhijij) 22-29 6p + 8p + 5p + 9p + 4pp + 5pp + 6p + 4pp + 6pp + 7p (kklljmmj) 30-39 6pp + 8pp + 6pp +8+ 5p + (4p + 4p) + 6p + 8p (nnnnoopp) 40-47

108

(iii)a

Sequence

I

1.

'Abrahe

la

2 (5p + 5p)

(aa) + 6pp)

(aa) (aaR)

(6pp + 6pp) (6pp + 6pp) (6pp + 6pp)

(bbR) (ccR) (ddR)

2 (5p 2 (5p

2a 2b 2c

2 (7pp + 7pp) +R 2 (7pp + 7pp) +R 2 (7pp + 7pp) +R

3a 3b 4.2

2 (7pp + 7pp) +4 (4p + 4p + 6p) 2 (7pp + 7pp) +4 (4p + 4p + 6p) (3p + 3p + 4p + 3pp)

2.

'Infelices

1a

8 (7pp)

(abababab)

lb

8 (7pp)

(cdcdcdcd)

2a 2b

4 (8pp) 4 (8pp)

(dddd) (aaaa)

3a 3b

4 (4 + 5pp) 4 (4 + 5pp)

(ef (cj

4a 4b

2 (7pp + 6p) 2 (7pp + 6p)

(gmgm) (gmgm)

5a

2 (7pp)

+ 7p

(dda)

5b 5c 5d 5e

2 2 2 2

(7pp) (7pp) (7pp) (7pp)

7p 7p 7p 7p

3.

'Ad festas

la 2a

4 (3p + 3p + 4 (3p 3p + . 2 (4p .+ + 4p + 4 (3p + 3p +

2b

III

(L4)

proles'

lb Ic

3a

IIa

lais

structures:

+ 5p) + 5p)

+ R (6pp

gf kj

hi

hi)

al

gl)

(gga) (aaa) (ff a) (bba)

choreas'

(L6) (IR) (aaaa) (IR) (aaaa) (IR) (bb) (IR) (cccc) (IR) (dd) . (IR) (eeee)

3pp) 3pp) 3pp)

3pp)

3b

2 (4p

2c

4 (3p + 3p + 3pp)

4a

4 (7pp)

(ffff)

5a

3 (3p + 3p + 5pp)

(ggg)(IR)

6a

6 (7pp)

(cccgcg)

7a

4 (7pp)

(hhhh)

8a 4b 5b

3 (7pp + 5pp) 2 (7pp) 3 (3p + 3p. + 5pp)

(eieiei) (jj) (kkk) (IR)

+ 4p + app)

9. 3 (6p + 6pp) 10a 3 Op + 3p + 3p) 11a 3 (3p + 3p + 3p) 10b 3 (3p + 3p + 3p) 11b 3 (3p + 3p + 3p) 12a 12b

(hh)

(L70)

filii'

+ + + +

(ee ffff) (gg aaaa)

3 (7pp) 3 (7pp)

+3 +3

(6p + 6pp) (6p + 6pp)

IIb

4c

2 (7pp)

5c 6b 7b 7c 8b 4d 5d 6c

3 6 4 4 3 2 3 6

(3p + 3p + 5pp) (7pp) (7pp) (7pp) (7pp + 5pp) (7pp) (3p + 3p + 5pp) (7pp)

(bbb) (eee) (eee) (aaa) (kkk)

(IR) (IR) (IR) (IR)

(eee (ggg

mnhnjn) eopoqo)

109

(ff). (kkk) (IR) (f'ffgfg) (llii) (eeee) (mamama) (ee) (ggg) (IR) (fffbfb)

a

IV

13.

4 (7pp)

14a 15a 14b 15b

2 2 2 2

(4p + 4p +4+ (7pp + 7pp) (4p + 4+4+ (7pp + 7pp)

II

4p)

(gggg)

4 (3p

2d 1c 2e

4 (3p + 3p + 3pp) 4 (3p + 3p + app) 4 (3p + 3p + 3pp)

+ 3p + 3pp)

(gggg) (gqqg) (aaaa)

indicate

letters

(IR) (IR) (IR) (IR)

(kk) (re) (ss) (tj)

4)

lb

(underlined

I

(qqhh)

words

assonate

which

(L2)

4.

'Abissus

la

(7p

lb

(7pp + 8pp)

2a 2b

2 (6pp + 6pp) 2 (6pp + 6pp)

(acac) (dede)

3a 3b 3c

3 (5pp + 8pp + 4p) 3 (5pp + 8pp + 4p) 3 (5pp + 8pp + 4p)

(ccd eed ffd) (ggb ddb eeb) (aah aah aah)

la lb

6 (7pp) (7pp + 8pp)

(aaaaaa) (aa. aaaa)

2a 2b

2 (6pp + 6pp) 2 (6pp + 6pp)

3a

3 (5pp

3b 3c

3 (5pp + 8pp + 4p) 3 (5pp + 8pp + 4p)

5.

'Abner

1. 2a 2b

4 (7pp) 6 (7pp) 6 (7pp)

(aaaa) (bbcccc) (ddeeee)

3a 3b

2 (4p + 4p + 4p) 2 (4 + 4+ 4p)

(ffg (ddg

3c 3d

2 (4 + 4p + 4p) 2 (4 + 4+ 4p)

(ddg ccg) (ddg ddg)

4a

2 (4, + 6p)

(diff)

vere

+ 8p)

multa'

+4

+ 8pp

(aa

(7p)

+4

aaaa)

(bb bbbb)

(7pp)

+ 4 (7pp)

(ijij) (idid) (kkl

+ 4p)

fidelissime'

ddl

(jjm iim aam) (nne eee bbe) (L3)

ddg) hhg)

(jjff)

4b

2 (4p

5a

2 (7pp

+ 4p)

(bkbk)

5b 5c 5d

2 (7 + 4p) 2 (7 + 4p) 2 (7pp + 4p)

(fgbg) (alai) (alai)

6.

'Dolorum

1a lb Ic Id

3 3 3 3

2a 2b 2c

2 (7pp) +2 2 (7pp, 3 +2 2 (7pp) +2

(7pp + 4p) (7pp + 4p) (7pp + 4p)

(ff (ii (jj

ghgh) ahah) fifi)

+2

+ 4p)

(ff

eded)

2d

+ 6p)

solatium'

(L30) (aab) (ccb) (ddb) (eeb)

(7pp) (7pp) (7pp) (7pp)

2 (7pp)

(7pp

ddl)

110

but

are

not

pure

rhymes)

I

(kkkk)

3a

4 (app)

3b 3c 3d

4 (8pp) 4 (app) 4 (8pp)

(dddd) (bbbb) (kkkk)

4a 4b 4c

4 (7pp) 4 (7pp) 4 (7pp)

(bbbb) (dddd) (kkkk)

4d

4 (7pp)

(bbbb)

5a

12 (7pp)

(dddd 11mm kkbb)

5b 5c

12 (7pp) 12 (7pp)

(kkkk (bbqb

6a

3 (7pp)

(iii)

6b

3 (7pp)

(iii)

7.

'De profundis'

la lb 1c Id

4 4 4 4

2a 3a 2b

4 (8p) 4 (8p) 4 (8p)

(ggbb) (ccbb) (hhee)

3b

4 (8p)

(aacc)

4a 4b 4c 4d

2 2 2 2

5a

4 (8pp)

(ccee)

5b 5c 5d

4 (8pp) 4 (8pp) 4 (8pp)

(ggcc) (Mmff) (ffbb)

6a 6b

4 (7pp) 4 (7pp)

(cbcb) (ebeb)

6c

4 (7pp)

(cncn)

6d

4 (7pp)

(cmcm)

7.

(4p

8a 8b 9a 9b 9c

(8p (8p (8p (8p (8p

8.

'Planctus

1a

2 (7pp)

lb

2 (7pp)

2a

4 (7pp)

(dede)

2b

4 (7pp)

(fgfg)

3a 3b

2 (3p + 3p + 5p) 2 (3p + 3p + 5p)

(hhi (kkl

2c

4 (7pp)

(nono).

2d

4 (7pp)

(lala)

(4p (4p (4p (4p

+ + + +

(4p (4p (4p (4p

+ + + +

+ + + + +

oopp) ggii)

(L24)

6pp) 6pp) 6pp) 6pp)

+ + + +

4p 4p 4p 4p

(aaaa (cccc (eeee (ffff

b) d) b) d)

(afhf) (iaea) (afaf) (jklk)

6pp) 6pp) 6pp) 6pp)

+ 4p)+

nnnn iirr

(4p

+ 2p)

(dh)

(ch) (od) (cd) (fd) (dd)

6p) 6p) 6p) 6p) 6p) ante

nescia'

+ 6p' + 6p

(L123) (aab) (ccb)

III

jji) mml)

(aap qqp) (ggp rrp)

2 (3p + 3+ 5p) 2 (3p + 3+ 5p) 2 (7pp + 6p)

3c 3d 4a

(elel) (alal)

4b

2 (7pp

5a 5b

4 (5p) 4 (5p)

(ssso) (ttto)

6a 6b

5 (7pp) 5 (7pp)

(ggggu) (vvvvu)

7a 7b

2 (7pp) 2 (7pp)

8a 8b

2 (7pp + 6p) 2 (7pp + 6pp)

(gzgz) (4545)

9a 9b

4 (7pp) 4 (7pp)

(6c6c) (ezez)

10a

4 (7pp)

(7878)

10b

4 (7pp)

(efef)

11a 11b

4 (7pp) 4 (7pp)

12.

4 (7pp)

+ 6p)

(6p) (6p)

+2 +2

(wwxxy) (zz112)

+ 7pp + 7pp

-

(9999A) (vvyyA)

+ 6p + 6p

(BByy) (L141)

9.

'Samson

dux

1a lb

3 (7pp) 3 (7pp)

+ 5pp + 7pp + 5pp +3 + 5pp + 7pp +. 6pp +4

2a 2b 2c

2 (7pp + 5p) 2 Opp + 5p) 2 Opp + 5p)

(gg) (gg) (gg)

3.

4 (7pp)

(hhhh)

4a 4b

6 (7pp) 6 (7pp)

(iii jjj) (kkkkkk)

5a 5b

2 Opp 2 Opp

6.

4 (7pp)

(11mm)

7.

8 (7pp)

(nnoonnpp)

Ba 8b 8c 8d

2 2 2 2

(6pp). (6pp) (6pp) (6pp)

fortissime'

(3p + 3pp + 3pp) (3 + 3pp + 3pp)

14. 15. 16. 17. 18.

(IR) (IR) (IR)

(klkl) (khkh)

+ 4pp) + 4pp)

(qqr) (ffr) (kkr) (ccr)

+ 3p + 3p +'3p + 3p

9. 8 (7pp) + 9pp 10. 8 (7pp) 11. 2 (7pp)'+ 2 Opp + 4p) 12. 8 (7pp) +2 (3p + 3p + 7pp) +2 13a 4 (7pp) 13b 4 (7pp)

(IR) (aabcbcddd) (eefefedddd)1(IR)

Opp

+ 4pp)

( 4p + 4p + 3p)'+ (4p + 3 pp + 4p) +2 (3 +3 2 (4p + 4p + 4p + 3pp) +6 (7pp) ( 4p + 4p + 4p + app) + 2 Opp + 3pp + 7pp) 6 (7pp) 2 (7pp))+ 2 (7pp + 2p) 112

(ssss ggggg) (aa kk tt ii) (kk kl k1) (uu vv ww xx yys yys klkl (1111) (zzdd) + 7pp) (11 23 23) (jj qqiiii) (bbb) (IR) (44jj55) (66 78 78)

(IR)

19a 19b

(iii)b

2(5p). + 2 (5pp) (5p) 2(5pp-) +2

(99AA) (AABB)

20.6

(7pp)

(CCDDEE)

21.2

(7pp)

(EE)

Sequence

double

structures:

forms

versicle

(L113)

1.

'Omnis in

la lb

2 (6pp + 4pp + 6pp) 2 (6pp + 4pp + 6pp)

2a 2b

4 (6pp) 4 (6pp)

+ 4pp. + 6 (7pp) + Opp +6 (7pp)

(kllk cc mmnnm) (noon cc ppjjp)

3a 3b

5 (7pp) 5 (7pp)

+ 3 (8p) + 3 (8p)

+ 7pp + 7pp

(qbbq brrrb) (fppf psssp)

4.

3 (8pp)

+ 7p +2

(8pp)

2.

'Da

1a

5 (6pp)

+ 4p +3

(6pp)

+ 3pp +2

(6pp)

(aabbcddcceed)

1b

5 (6pp)

+ 4p +3

(6pp)

+ app +2

(6pp)

(ffgghiihhjji)

2a 2b

2 (10pp) 2 (10pp)

3a 3b 4.

6pp + 4pp +4 (6pp) + 4pp +3 (6pp) 6pp + 4pp +4 (6pp) + 4pp +3 (6pp) 4 (8pp) + 6pp +2 (7pp) + 2 (4pp + 7pp) + 6pp

3.

'Divina

1a lb

8 (8pp) 8 (8pp)

2a 2b 3a 3b

(ghihgh. jklk) 6 (8pp) +2 (7pp + 6p) 2 (8pp) +8p+_3(8pp)+* 2(7pp+6p)(nhn0kpk) (gqrrbbiis) 8 (7pp) + 6p (bbcctthhs) 8 (7pp) + 6p

4.

'Expirante

1a 2a 3a

2 (8p + 7pp) +2 (8p + 8p + 7pp) 6 (7pp) +2 Opp + 6p) 2 (8p + 7pp) + Opp + 8p + 7pp)

(abab ccd eed) (fgfggf fhfh) (ijij jij)

lb 2b 3b

2 (8p + 7pp) +2 (8p + 8p + 7pp) 6 (7pp) +2 Opp + 6p) 7 +" (7pp +'8p + 7pp) 1 (8p + 7pp)+/

(klkl mmn oon) (gpgppg gqgq) (rs.. srs)

5.

'''O felix

la lb

8 (7pp) 8 (7pp)

2a 2b

4 (7pp+ 8 (7pp-)

3.6

lacrimas'

+2 +2

(4p + 4p) (4p + 4p)

+4 +4

(6pp) (6pp)

(

(aab: ccb dd effe) (ggf eef hh ijji)

(tuuvt

+ 7p + 8pp

uvt)

(L23)

plaudens'

(6pp) (6pp)

+2 +2

providential

+ 4pp + 6pp + 4pp +5 + 4pp + 6pp + 4pp +5

(6pp) (6pp)

(kkfllfmfmffm) (nnoppogoroor) (smmsssttms) (iuuiiivvui) (wxxwbyyuuzzb)

(L25)

(aaabcccb) (dddefffe)

(L37)

primitivo'

Bituria'

(L97) (abababab) (cdcdcdcd)

6p)

(7pp + 6p)

(efefefef) (ghghghgh)

(ijijkjljmmm) 113

(iii)c

6.

'Flere

labet'

(L40)

1a

3 (4p + 6pp)

+ 6pp

(aaab)

1b

3 (4p

+ 6pp)

+ 6pp

(cccb)

2a 2b

3 (4p 3 (4p

+ 6pp) + 6pp)

+ 4pp + 4pp

(ddde) (fffe)

3a 3b

3 (4p + 6pp) 3 (4p + 6pp)

+ 4p + 4pp

(gggh) (iiih)

4a

3 (4p + 6pp)

+ 4p

(aaaj)

4b

3 (4p

+ 6pp)

+ 4p

(kkkj)

5a 5b

3 (4p + 6pp) 3 (4p + 6pp)

+ 4p + 4p

(lllm) (nnnm)

6a 6b

2 (4p + 6pp) 2 (4p + 6pp)

+ 3+2 + 3+2

7a 7b

2 (4p + 6pp) 2 (4p + 6pp)

(7pp) (7pp)

(ooo oop) (aaa aap)

+ 7p + 7p

(qq rrrs)) (aa ttts)

8a 8b

+ 4 (6pp) + 4 (6pp) 2 (4p + 6pp) + 4 (6pp) 2 (4p + 6pp) + 4 (6pp)

9a 9b

2 (7pp) 2 (7pp)

{xxy) (zzy)

(cc bubu) (vv kwkw)

+ 6p + 6p

(vvl) (221)

10a 10b

2 (4p + 6p) 2 (4p + 6p)

11a

2 (7pp)

11b

2 (7pp)

12a 12b

2 (7pp + 6p) 2 (7pp + 6p)

(5656) (7878)

13a 13b

2 (7pp + 6p) 2 (7pp + 6p)

(9m9m) (ABAB)

14a 14b

3 (4p) 3 (4p)

(CCCD) (EEED)

+ 4p + 4p

(334)

+ 6p

(bb4)

+ 6p

+ 6pp + 6pp (L42)

7.

'Flete

la lb

2 (8pp) 2 (8pp)

2a 2b

10 (6pp) 10 (6pp)

(efefggghhg) (ijijkkkllk)

3a

2 (4p

3b

2 (8p

(mmnno ppqqo)

4a 4b

4 (6pp) 4 (6pp)

5a 5b

2 (8p) 2 (8p)

6a 6b

2 (8p) 2 (8p)

Sequence

1.

fideles

anime'

(aabba) (ccddc)

(6pp) (6pp)

+3 +3

+ 4p + 4p + 4p + 7pp)

+ 8p + 8pp +2 + 8pp +2

(r

+ 7pp) (6pp + 4pp + 3p) (6pp + 4pp + 3p)

+ 2 (7pp + 7pp + 6p) + 2 (7pp + 7pp + 6p) + (3 +'4pp) '+ 4pp + 2'(7pp + 3p) + (3 + 4pp) + 4pp +2 (7pp + 3p)

structures:

'Heu pius

pastor

strophic

occidit'

sequences

(L61)' 114

rs

t ts)

(ubvbwwwxyyx) (z1213334554) (66778998) (AABBCDDC) (E FP F FG FG) (77HH II I Ii IJ)

2 (8pp) +R 2 (8pp) .+R (8pp + 9pp)

la lb 2a

(aaR) (aeR)

5p 5p

(bbR)

5p

+R

2b

2 (8pp)

+R

5p

(bbR)

3a 3b

2 (8pp) 2 (8pp)

+R +R

5p 6p

(ccR) (ddR)

4.

2 (8pp)

+ 5p

5.

(8p,

6.

2 (8pp)

+ 9pp)

(ddR) (eeR)

+ 5p

(ffR)

+ 5p

B QUANTITATIVE

VERSE

(L94) luge'

(IR) ()

1. 2.

'O dolor' 'Jerusalem

3.

'Magni

4.

'Neustria'

5. 6. 7.

(L82) 'Lucifer' hexameters 'Oro Deum' (L117) Leonine hexameters (L108) '0 transeuntes' Leonine hexameters

(äa bb etc. (IR) (IR)

8. 9. 10.

(L39) 'Flebilis' hexametres (L63) 'Heu teneri' Leonine hexameters 'Heu .. quomodo' (L54) Leonine hexameters

(aa bb etc. ) (IR) (IR)

Leonine hexameters (L74) hexameters (L84)

Thedbaldi'

Leonine

(L93)

(IR)

hexameters

()

hexameters

)

C PROSE

(L53) 'Heu heu heu quid' (L147) 'Tu Pater' (L136) 'Quis dabit'

1. 2. 3.

This analyses Both

strophic

Only

one metre

is

three

from in

were written a small

hexameters,

association

with

Leonine

association no special

lines

the

of the

the

wide

quantitative

the

the

choice

either or

lais,

examples. based

forms

double

discussed

of forms or in in

this

The former to its

relation

from 'the

below.

and metres.

prose.

proportion Apart

are

versicle

composed in

range

of

these

loose

epitaph

there

seems to be

this

metre

for

of

115

on

made up of

planctus

discussed

couplets. with

are

of

is

verse

already

number

of which

A significant

rhyming

in

that

previous

Sequence

namely,

meaning

analysis

epitaph.

hexameter

significance

'simple',

as 'complex'.

a metre

or in

rubric

an extremely

number are in

are each in

in

the

forms

main groups,

sequences,

evident

syllabic the

under

and recorded

into

and strophic It

listed

a large

of

complexity

greater

the

than

subdivisions

more

through-composed

and

subdivided

forms

the

and

metre

more than

period

to

owing

one main

also

includes

analysis

a planctus.

are

Although

three

personages,

(L54)

quomodo' to

in

examples

two

to

normal the

to

find

period

The majority

are

written'in

a wide 7pp

of

The. strophic

verse.

of

stanzas ccdd

aabb, formal

It

etc..

structures

forms

and metres

created

poetic

genres.

in

strophic 61 (L111),

or

(L52)

'Jam

and

'Mors

examples grädualljr

from

included

deliberately

to give the

Easter

used

the

in

(L72),

'Cuncta

in

examples

are written

there

is

any significance

it

conceivable

twoin the

are

the

all

metres:

perhaps

flavour,

in

the basis

of

or three-line the

use of

authors

of

twelfth

116

'0mnipotens'

'Heu

'

that

drama.

stanzas the

(L21),

Sapphic

with in

written

(L59),

misere'

'Heu

michi'

...

in

forms

in

the

of

verse62

It

is

as if

because'they

order

the

are

century;

prose.

might

dramas

corpus

in.

originally

deaths

written

twelfth to*the

the

different

of

(L36),:

culpa'

These

belong

these

an archaic

'Ex

by

established

old-fashioned

that

(L51),

associat-

as Charles

whose

(L22),

sorores'

and

metres

such

religious

or

etc.,

poets:

range

four-

or

special

any

8p,

formal

three-

that

1087),

a wide

the

aaaä, 'bbbb

'Cum venissem'

(L91).

formed

(+

from

nobis'

ceremonies

which

for

(L60),

mens'

to

personages

Conqueror

8pp,

twelfth

early

is,

and of

so-called

thirteenth-century

planctus

of

bore

for

they

the

closely

etc.,

planctus

syllabic

+ 6pp),

the

_bbb highly unlikely

used

were

in

that

aaa,

planctus the

is

This

metres,

twelfth-and

plays,

planctus

chants

these

(4p

+ 7pp),

keep

examples

previous

...

in

they

planctus

of

composition

(8p

-

therefore

William

long

the

in

interest:

least

of

popular

scheme

execrabilis'

already

is

it

composed

newly

however

are

7pp + 6p.

with

in

'Heu

is

third 58

when

even

when

period

exceptionally

rhyme

moratur'

the

and

drama,

century

in

verse

strophic

'Heu

57

three

personage:

religious

perhaps

exception:

number

forms:

and metres

is

Latin

some impact, 60

(L107),

sors'

with

used

for

A significant

'0

already

employed

(+1127)

Good

have

examples

used

in

the

Of

set

are

which

planctus

dramas

this

are

seems

lamentation

with

the

with

be

eleventh

from

the

sung.

in

planctus

associated

already

to

...

verse.

metre which 59 Most of the

designs

ion

the

was

century.

line

after

one

that

'Heu

and

Innocents

a non-fictional

of

texts

medieval

and 6p - with

Golliard

death

non-fictional

(L63)

to, assert

religious

prose

metres

range

are

be in

to

tended

material

from

about

teneri'

Holy.

intended

not

the

at

written

the

impossible

were

are

'Heu

of

plays

thus,

prose,

apparently

belong

from

metres

quantitative

(L94),

'O dolor'

are

is,

examples

quantitative

-

-

It

music.

quite

the

of

most

poets

wished

it

would

Half

of

blend

these If

refrains. previous

and thirteenth

case

periods

century

of

There

strophic In

exploration. is

longer

than

(L121)

comprises

four

rhyme

in

is

not

which

develops one

a small

number

examples

which

in

normal

thus

the

particularly

the

so-called

the

normal

periods, it

hemistich

each

has

status

of

Golliard

metre

in

Anglia,

'Pange

melos'

is

essentially

is

included

the

made up in

line.

the

general

itself

In

as in

'In

occasu'

the

base,

the

two

half-lines

(L69),

poet by repeating

7pp

a

6p

b

7pp

a

6p

b

7pp

c

7pp

c

tedium

7pp

d

solatium;

7pp

d

6p

e

7pp

f

6p

e

7pp

f

6p

g

7pp

h

6p

g

dolorem;

viduata

principe vices

suscipe,

fletus

dolori,

meta sit

hanc

post

tibi

diem

dabit casu

prosperam

repentino

novus ortu takes

the

fifteen-line

stanza

be organised

in

multiples

two

sections

in

However

the

effects

through

the

in

what

stanza

-this by the

counterpoint

has

is

not

in

sounds

However,

defied

seems

the

are

seven

with

such

to

of

of

example disyllabic.

achievement'of

that

the

five,

or

eight

suggested

In

rhyme. rhyme that

it

and created

by

He thus

uses

rhyme

metrical

theme.

Its

effect

in

a great

sounds

in

a group

of

pattern

line.

(as

line.

rhyme

the

be

unusual

four-', and

of

would

would final

different

this

scheme

a contrasting

bp three, -,groups

each main

with

speculation

immediately

his

this

or

distribution

lengths

against

since

of

experiment

three

of

lucifer

surgens

matutino.

imagine

one might

arranged

poet

to

opportunity

vesperam

letiori

fato

rhyme

example

ceteris

terminet

the

for

provides

geminans

tui

greater

is

merorem,

pre

rerum

created

stanza

sideris

occasu cadis

three:

formal

of

the

that

a poetic

between

relationship

In

each

a new area

however,

remarkable;

exceptions

times:

several

He also

to

simply

Although

septenarii

and

is

previous

lines.

eight

interesting

of point

this

some examples

trochaic scheme

this

as a model.

however

are

the

amongst

of

to it

looked

examples

many from

as is

this

a type all

of the

period),

63

poets 117

who wrote

planctus

in

syllabic

forms

strophic that

evidenced

with

the

types

in

A number

those

of

listed

under

have

been

differently regum

pair

could

space.

example,

those

context

seem to

from the

to

play

written

be unequivocally is

-or there

are

quite

simply

Each

these

of

elaborate also. in

in

the

a type

form

Kunstprosa,

departing

I have left

of in

to

distinct

characteristics From the mid-tenth

regular

metres

rather

in

the

the

line

but

for

poet

discussion

formally

their

these.

the

on which

before

though

of

(L148)

lingers

explore

of from

length.

They

other

the the

syllabic

than

in

the

the Kunstprosa

(L146)).

but

above),

be written

frequent regular

until

the

types,

they in

understood

sequence

said

an

almost are

be

verse

65

forms

sequence other

could

in

quoted

there

(L126)),

suspira'

only

possibilities.

and can be better century

that

no places

planctu'

might

A

also

are

a recognisably

over

for

complete.

there

example

fact

space.

personage

not

a

and within

short

clearly

strophic

the

of

to

owing

'Suecia

and

quite

eclypsim

small

a new stanza

an interest

by

second

'Plange

example, which

of 'Regi

the

quite

either

at

arment' marked

(as

scheme

variation

of

occasions

is

examples

rhyme

no points

'Turmas

example,

(for

incomplete

may

'Sol

e. non-fictional

of

text

and

h very

are

through-composed:

sense

(for

death

64

'0

through-composed,

often

belong

as

(L34),

example,

omitted

clearly

are

they

which

the

at

the

begin

dramas

for

in

simply

such

on a series

(ca. 1240),

quite

the

of

(L73)

as prose

or

are

religious

which

at

written

Some examples

of

few planctus

normally

the

through-composed.

passus'

sequences;

29.1

in

some

under

fact

based

Jerusalem'

Pluteo

are

stanzas

The rest

may be

have been forgotten

easily

of

I-Fl

'Eclypsim

examples

'Jerusalem,

listed in

elaborate

have been strophic;

may well

Equally,

There

resemble

closely

" (L140).

stanzas

is

versicles

of

lack

down.

As in

are

(L125),

Castella'

(L137b),

complex)

comparison

be found

are-to

examples. items

structures

and 'Rex obiit

(L145).

or

which

strophic.

period

the

all

in

The most

verse. this

to

when compared

and especially

sequence

whether

constructed

patitur'

and

pieces

copied

omnium'

from

planctus

(simple

'Plange

(L103)

monialis'

types,

contemporary-troubadour in

short

limited

very

syllabic

establishing

the

of

example,

the

other

'through-composed'

rubric

It

the

speaking

through-composed

difficulties

not

in

versification

'complex'

for

relatively

complexity

of

the

is

end-since, share

relation

many to

began to be composed of

the

early

in sequence or of the two German sequences discussed 66 the previous All the sequences with which I am concerned section. here are written in verse. Indeed in some of the longer examples from ecclesiastical

this

group,

for

example,

Abelard's

'Ad festas 118

choreas'

(L6),

there

are

to

passages for

short

The

rhyme

scheme

pairs

of

third

pair

that

rhyme

scheme

normally

consists

poetic

the

metres

more

indistinguish-

musical

structure.

happens its

of

distinguished

in

is

not

a sufficient

basis

have

to

fortuituous.

possibly

not

repetitions

style

this

since

sequence

way it

for

a two

first

the

Since

this

is

evident

establishing

qualifications

'Diving

or

relatively

simple

This

that

means to

contrast

'Flete

and

structure

interest

number

of

complex

in

one versicle

or

lines

However

(for

repeated 'Flete of

divide

by these

the

in

rhyme are

several fideles

including lais;

naturally

treated times anime'

'in

smaller 'Ad

lais

are

one

on only

is

by

arguably

these:

as five

different

in

the

(L2)

normally

(L6)

disciplined

new proare

course metres 3a-c),

units,

1a).

they instance

One comparable design

each

versicle

manner:

in

of

versicles equal

choreas'

similar

by varying

different

several

multa'

rhyme.

broader

this:

There

metres.

plaudens,

introducing

by

10

marked

'Da

11 119

in

(L113),

within

are

two

or

and is

greatly

festas

a systematic,

and marked (L42)

whole

some there

into

rarely

are

On the

apparently

vere

lai

in

uniqueversicles.

example, in

the

in

value

used

repeated;

'Abissus

example,

(for

is

their

as a

require

those

contrast

unit

musical

to

as many

is

poet

achieving

a versicle

passages

which

highlighted

of

and by

structures;

sodic

one versicle.

to

surprising

they

case

in

lacrimas'

which

in

poem and in

times

in

lai

vary

in

'Omnis

(L42),

each

based

do not

as

sequences

in

contrast

and normally

lengths

fideles'

the

of

(L25).

line

type

employed

providential

up to

However, 67 adequately.

and reduce

in

not

or

forms.

each

same manner,

no,

is

This

are

especially

reference

musico-poetic

equivocal

versicle

period

have

can

value.

though

this planctus,

without

characterise

double sequence

from

lai

the

limited

structures

design

may occur

The main

more

the

such

lengths

the

in

versicle

syllabic

itself,

In

them

stanza the

exactly

other

be isolated,

render

The

(L97)

contrast

to

seems can

generalisation. in

In

essentially

are

which

repeated

in

may seem of

and the

examples

found

a versicle.

it

differences

are

lai

double

the

versicles;

of

examples.

forms

Further

line

as

distinction

principle

(L23)

such

of

general

felix'

pairs

the

sequence,

as follows:

of

elaborate

four,

first

normally

structure

is

strophic

be defined

can

in

the

aside

sequence

in

alone

its

just

sequence

is

this

is

to

refers

sequence

be mistaken

as a sequence. Setting

are

the

though

versicles

one

easily

might

sequence

a strophic

highlights

versicles,

context,

strophic

unless

is

which

which

of

The

poem,

a strophic

their

of

out

songs.

one. planctus

it

lifted

strophic

from

able

if

which,

to

the

6a

Hac in in

hoc fili

vita

sum invita,

malo

mori

Scelus terre

malo,

exprimi

nequit

first

three

by

eximi

malis

last

lines

two

versicles

Against 3.7

Abelard's

lai

in

of

the

vere

length.

(L2)

have

but

3a

in

the

contrasting

Clausus

seen

lumine

iam privatus, quasi'geminis

In

'Planctus

oppressus.

Ludos

marcios

exercere

contrast in

jji.

artus.

(L123)

it

which

contain

such as versicle

three

2 (3p + 3p + 5p), This

still

it.

to

sound,

rhyme

provide

as an entirely. formal For

each

to

either

structure in

example, one might

above

since

the

lengths

68

the

with

mentioned

5pp

c

8pp

c

4p

d

5pp

e

8pp

solitos

nescia'

versicles

versicles

employed: hhi

in

ante

coincides

tenebris

sudans

est

frangit

line

is

a different

of

scheme

expect

represents

a

pattern:

oculorumque

plus

infinding

lie

and used 70 same length, or

below,

carcere,

ad molam

lengths:

In

ways.

passage

rhyme

be

as can

line

the

of versicles.

a counterpoint

a different

However,

similar

always

which

each

in

rhyme and differing

differing

the

in

provides

monosyllabic69

are-all

line

then

to

seems

superseded

and eight

variation poet

The

are

third

six

each pair

in

provides

multa'

to

of

normally

which

the

the

of

lines

through

used

which

poem but

line

I

is

phenomenon

'Abissus each

it

lines

independent

is

in

of

symmetry

rhyme

sound

counterpointed

contrasts

the

lais

contrast

is

The interest

achieving

the

agyos,

anime',.

by rhyme)

marked

rhyme

introduced

this

3.

highlight In

(each the

adopt

which

contrast.

which

Christe

fideles

'Flete

of

half-lines

of

The new sound

a means of

filios

occidunt.

pairs

47

nefarios

te,

et

versicle.

887

motus

allidunt

the

short

terret

sanctorum

volentis.

are

motus

terret,

gladios

in

animi

dolentis

These

celum

qui

estus

tantis

terre

impios,

dum reprimi

mi,

vel

6b

contains

the

e

4p

d

5pp

f

app

f

4p

d

also lines in

functions

as a means of providing

of

the

same length.

which

the

following

rhyme sounds

some contrast 120

(it

is

metre

the

reflect not,

However

for

line

is

lengths:

example,

hhi

it

but

hhi),

dux

'Samson 'Planctus (L6)

it

not

divided

cursus.

short;

since

positioned for

variation

the

of

lines

the

for

example,

frequently

very little

scope within

Although

are carefully

accents

is

pattern.

accent

festas'choreas'

'Ad

are relatively

is

there

accents

than

scale

planctus

rhyme which

in solitüdine, m ltitüdine, magna

there

few.

In fact

mirrored

in

what

in

observed favour

are

are in-

there

versicles,

repeated

been

has

the

However,

there

influence

in

does

which

he employed

later

writers. in

in

but

distinctive

included

in each.. St. Martial

created

a precedent

The forms there is

also

precise

planctus

of conductus

personages, were known it

there the

form

well

between

theme.

be that

a wide

worth

lai

form If

some type 121

are planctus

the

social

clearly

form

is

in

are written

which are twelfth-

and content;

to the planctus.

at least

metres.

indicate

form

was used for

not

had already

confined it

unclear;

or on a religious could

lai

been

already

of metres and early

period

was a relationship

and was not

remains

this

between

relationship

evidently

subjects,

from

on

existing

and versus 74 flexibility.

of planctus

forms

verse

of

range

of

He was

are

eleventh-century

such formal

for

been

exceptions73

the wide

repertories

that

which

is

late

unlikely

function

lais

had

combinations

However the

was no particular

of different

few

regularity.

influence

he employed

The

in

planctus.

the

any particular

unusual

his

the

that

evidence

which

metres

slightly

and metres

function:

social

were of

accentual

for

verse

of

be much

planctus.

of

about

century

that

the

of

type

of

been

compromised

may have 72 lais.

planctus

... 71' "-

have

would

such

composition

this

use

lais

his

rather

the

viribus striking:

pattern

intended

poet

totis

accents

accentual

Abelard's

seem to

composition

new metres, What is

to

not

Most

the

the that

poet

these

and its

suggested

first

ab hostibus, / et fustibus:

lines'are

two

first

whether

and if

some considerable clearly

is

line,

third

the

of

accents

uniformity,

of It

the

instant

...

be established

cannot

Circumdor /. cum armis

fortitudine, trochaic

The bouncy

used

4b

Post

gravi

only

shape

example: 4a

it

formal

through,

seem to be relatively

they

in which

long

of most of its

of

the

on a much grander

sections

obvious

have disyllabic

they

is

Abelard's

Unlike

The lengths

some variations,

for

(L141)

into

to

related

planctus.

on ante-penultimate

line

stances

Abelard's

fortissime'

nescia'.

double

the

in

ante is

closely

much more

than

versicle

each

is

range Its that

noting

the

of biblical

context

of relationship

and

of

the

between

lai the

form

of

in

interest

particular formal

types,

form

and its

a planctus

begin

the

to

this

more

5.

The

forms

A SYLLABIC

Strophic (a)

1. 2. 3. 4. 5. (b) 1. 2. (c)

(ii)

of

features.

They

main

through-composed become

occasionally

composed

in

listed

planctus

1300-ca.

Four

Table

1405

are

as follows:

VERSE

'Filii met (L38) (L85) 'Me Gordis'

S S S S S

3 4 3 3 2

(8p + 7pp) (aaa, bbb etc. ) (aabbc, ddddc. eeffc'etc. (8p). + 7pp ) _ (8p + 7pp) (aaa, bbb etc. ) (8p) + 7pp/8pp(aaab, cccb etc.: ) (abab, cdcd etc. ) (8p + 7pp) (as 4 lines)

S2 S4

(7pp + 6p) Opp + 6p)

S3

(6pp + 6pp)

S4

(8pp)

S3

(8p)

(as 4 lines) (as 8 lines)

(abcb, defe etc. ) (ababcbcb etc. )

6pp + 6pp (L137)

dabit'

'Vexilla'

(L151)

+ 8pp

(abcb,

(aaab,

dede,

cccd

fgfg

etc. )

etc. )

8p (L50)

'Heu heu Christel

Through-composed

+ 8pp +4

'Heu misereri'

2.

'Heu infelices'

3.

'0 fratres'

(L58)

2 (5p)

(L55)

(8p)

+2

+ 7pp

lOpp + (7p + 7pp)

(aaabcccb

etc. )

(aabbc) (aa)

(L99)

('Flete,

+ 4pp + 6p + 9p + 6p +5 + 3p + 4p + 4p + 4p + 4p +_7pp + 4p + 4p + 4p + 7pp, +

(8pp)

structures

1.

4.8p

and the

sequence,

three

7pp + 6p

8pp

1.3p 2.3p 3.4p

Planctus

'Pange .. necem' (L120) (L105) '0 quarr dolet' 'Pange .. gl. ' (1,119) (L13) 'Ante crucem' 'Cum de cruces (L20)

(d)

1.

and more

the

which

Sp. + 7pp

'Quis

(e)

the

form,

way in

Of

structures

1.

1.

the

be established.

might

inter-contrertible.

almost

(i)

is

period

strophic

share

context

social

8p

+ 7pp

(aabbcd) (ee ffggh). (iijjh) (k k 1)

122

fideles')

3a 3a "

('Flete 5. 6. 7. 8. 9. 10. 11.

2 (8pp) +3 (6pp) 2 (8pp) +3 (6pp) 7pp + 6p + 8pp + 6p + 7pp + 7pp 4 (6pp) + 7pp +5 (6pp)

(7pp + 7pp + 6p) 2 (8p) +2 2 (8p + 9) 6p + 7p + 8p + 7pp + 6p

fideles')

(mmnnm) (ooppo) (qrqsqs) (tutuvvvwwv)

lb 1a

(xxyyzllz) (tb2w) (ffffz)

5a

2a -

12. 8p + 11pp +4 (8p) +6+ 6p + 9p + 6p + 8p ('ssbf333 4s4s) (zzz55) 13. 3 (8p) -- + 9p + 8p (zzzzz6d6L) 14. 4 (7pp + 6p) + (3p + 3p + 6p) (771) 15. 7pp + 8pp + 7pp 16.

11p + 6p + 8pp

17. 18. 19. 20.

3 2 2 3

4.

'Scariotis'

+ 9pp+6pp+6p+

(3p

+ 3p +6p)

-

(8ftfgwl)

-

(ssqsws) (7pp + 6p) (7pp + 6pp) + 8pp + 6p + 7pp + 7p (3p + 3p + 6p) (own9ttdtl) (8p) + 7pp (aal) (6pp) /+ 6pp+,7pp+6pp+ 2 (6pp + 4pp + 3p)7 (ApBpwwwzttz) (L143) 4 (8p) +4p+8p+4 Rhyme: aaaa bb ccc

Triplum:

(4p+8p+ aaa ddd eee

Motetus:

2 (7pp + 8p) + (Prose: (Prose: 27) Rhyme:

Tenor:

2 (8pp)

(iii)-Sequence

3b 4a

(used

three

8p)

+ 4p + 8p + 13p.

fff

9+5 +'8 + 14) +3 abab .. cdcdcd

(7pp + 8p)

+

(aa)

times)

structures

1.10

jam

(L102)

Christi'

(7pp), (7pp) (7pp) (7pp)

(aab) (aab) (ccb) (ccb)

1a lb 2a 2b

2 2 2 2

3a

2 (8p

3b

2 (8p + 7pp)

2.

'Heu heu virgineus

+ + + +

6p 6p 6p 6p

(dede)

+ 7pp)

(dede) (L54a)

flos'

(L123). This sequence is based on 'Planctus It includes ante nescia' la and b, 2a and 2b, 3a and 3b, 2c and 2d, 3d lines 1 and 2, all versicles 3c, 4a and 4b 5a and 5b, 6b and 7b. Versicle la is preceded by the stanza 'Heu heu virgineus flos', and 4a is preceded by the stanza '0 quanta est miseria': A. Heu, heu! virgineus flos! Heu;. nature'pulcherrima dos! Hsu! vix cepit esse, et trahitur ecce ad non esse!

B. 0 quanta et doloris quo si transit in filie que nunc (Young,

A:

(the 8+

B:

1

treatment

of

10 + 7p + lop

2 (8pp)

+4

(7pp)

'heu! (aabb)

as a disyllable

(ccddee)

123

is

est miseria tristicia, patris gladius et non alius viscera, habent ubera! Drama,

editorial)

I,

p. 699)

of

a

('Planctus

(L132)

3.

'Qui

1a lb

3 (7pp + 6p) (7pp 7pp +3

2a 2b

(7pp 7pp +3 3 (7pp + 6p)

3a 3b

3 (7pp-+ 6p) 3 (7pp + 6p)

4a

7pp +3

5a 5b

5 (7pp) 7pp +5

4b

3 (7pp + 6p)

6a

7pp +3

7a 7b

3p + 3p + 5p 3p + 3p + 5p

(wwx) (ppx)

6b

3 (7pp

(iy

gy

8a 8b

4 (7pp) 4 (7pp)

(zc (1i

zc) 1i)

7c 7d

3p + 3p + 5p 3p + 3p + 5p

(cc2) (aa2)

3a 3b

9a 9b

4 (7pp) 4 Opp)

(ga ga) (as as)

4a 4b

pergitis'

viam

per

+ 6p) + 6p)

(7pp

+ 6p)

(ab, ab cb) (c ca. da da)

-

(e of of gf) (gh eh ih)

-

(c jk ik mk) (c cn cn an

-

(c

co

po co)

'(ir

(7pp + 6p)

+ 6p)

8a 8b

gs ea)

(c tu iu

nescia')

-

(iiiie) (q qqqqe)

(7pp)

ante

-

vu)

3b 3b

ly)

2a 2b

10a 10b

3 (7pp + 6p) 7pp +3 (7pp + 6p)

(34 54 v4) (z z4 c4 c4)

-

11a 11b

7pp +3 7pp +3

(7pp + 6p) (7pp + 6p)

(z pg 6g lg) (a a7 17 17)

--

12a 12b

3 (7pp + 6p) 3 (7pp + 6p)

(ap ip gp) (11 a1 g1)

-

13a

7pp +3

(7pp + 6p)

(j

j8

13b

7pp +3

+ 6p)

(j

g9 19 g9)

-

14a 14b

7pp +3 (7pp + 6p) 3 (7pp + 6p)

(j vA BA cA) (1C gC 1C)

15a 15b

2 (7pp) 2 Opp)

(DDCCg) (33ggg)

9b/9a 9a/9b

16a 16b

3 Opp + 6p) 3 (7pp + 6p)

(eg vg 8g) (vD 4E sE)

-

17.

3 (7pp + 6p)

(py Fy ay)

-

B

1.

C 1. 2.

(7pp

+2 (6p) + 7pp + 10p + 6p + 7pp

QUANTITATIVE

'Scotia

a8 c8)

-

VERSE

plange'

(L144)

hexameters

PROSE (L29) te' 'Doleo'stper (L71) 'Infelix ego,

(motet)

124

(aa,

bb etc. )

The forms

and metres

reliant

on existing

mainly (7pp

+ 6p),

a time

8pp,

languages

the

With

(6pp + 6pp),

the

the writing

forms

a hymn relatively cris S

sollemniis

vetera,

Per dies

noctesque

aquas deducere,

become

stanzas accent

patterns

the

final

provides

was not

a prime

the

'Samson

dux

of

word

same question

my ears)

would

emerge:

poem the

first

stanza

a dactylic

stanzas especially

accents

short

lines

is

scope for

limited,

especially

ytones.

That

by a consistently

is

not

others

the variation

say that

deployed

8pp

b

6pp + 6pp

a

6pp + Epp

a

6p

a

+ 6pp

in

relation

rhythmic

the

shape

(at

of

dactylic

the

words

accents least

them? the

each of

such is patterns

words

rhythm: 125

it

occur

to

In

this

remaining is at

the

In

accent

rest

which

pattern. to

normal

heed them or ignore

all

(in

6pp

the

in

of

normally

discussed

odd

two

'noctesque'

of

if

might

imitation

the

case,

b

first

with

trisyllabic

to

a

conform

are trisyllabic.

the

6pp + 6pp

exception

accent

this

that

since

a

seems to be most frequent;

of rhythm fact

6pp + 6pp

that

the

somewhat exceptional:

by the

and most

not

the poet

did

type

promoted

final

a rather

regarded

the

of

with

was

In

a

sections

indication

final

does

(L141).

fortissime' were

the

which

6pp + 6pp

accentual

previous

a compdrision

concern,

three)

line

towards

in

noted

a useful

here

even

on 75

modelled sollemniis':

dere,

tendencies

occasionally However,

the

8pp

period

pieces

(L137)

raises

this

norm.

accents:

dabit'

each

by

have

the

these

of

apparently

mortem praesulis?

I

which

is

effundere, suffi

established as in

omnia,

mültum

last

This

sint

(L137):

as well

et opera.

debit

that

formal

of

praeconia,

lachrymas

regularity

'Quin

(L137)

dabit'

nova

expect

at

vernacular

been long

as a whole

Et fonte

One might

of

all

Recedant

Quis meo capiti

+ 7pp),

dabit'

'Quis

used have

sonent

Deflenti

and in amount

of

Et ex praecordiis

voces

(8p

on

composed by St. Thomas, 'Sacris udia, iuncta sint g

recently

are

Nevertheless,

Latin

metre

verse

'Quis

Corda,

at

the

Latin

of planctus.

in

period

evidence.

and metres

of medieval

composition

both

is,

that

one exception,

based

metres

a considerable

be in

this

hexameter.

planctus

to

continues

is,

quantitative

declining,

was clearly

inventiveness

in

in

during

composed that

models,

8p and the

interest

when

planctus

of

of

therefore

are normally

the there

poem is

proparox-

typified

are a number of

deviations;

it

through

verse as the

paroxytone,

accentual

the

for

number

position

lines

of

the

of

that

from

poets

position

were

'Sacris

All

each

the

for

the

was

or

poet

of

a prescription

and the

is

words

pro-

stress

that

stanza

trisyllabic

such

of

aiming

sollemniis' in

accentual

with

on regular

it.

for

the use of

not

based

and half-lines

accent:

words

consistent

listening

derived

trisyllabic

ultimately

not

were

(L137)

dabit'

likely

a feature

they

less

of

of features

combinations

rhyme,

or

more

quite

regularity, because

'Quis

is

It

chance

disyllabic

and the

accents

accent.

pulse,

line,

poetic

the development

a case for

argue

through

accident:

short

final

does however

normal

his

own

contribution. This final

is

accent)

(L120), It

also

'Pange

might

a lack

the

degeneration

in

the

form

parody:

'Pange

lingua

(L151)

is

rather

than

'Pange

Hence the

..

maintaining

accentual

admittedly on the

subject

of

in

in

expect

that

In

lingua

necem'

(L120)

final

accent

where

on the

are

in

syllable line

of

the

word

3.1b

the is

are in

accordance

with

first

in

examples

number of

it the

stanza

marked contrast is

with

technique

syllables

in

is

occurrences

apparently

accented

it

is

treatments,

verse,

the

of but

an earlier

else

following

for

of

the

the word.

of of

'Petrus'

on the the

first

second

the

accents

line.

effect.

halfthat

'Petr(s',

ironic is

of versification

126

one poem

can be an occasion

work

each half-line

in

accented or

arguably

within

treatment

However

names are

therefore

two

three

to

to base conclusions

However,

8p.

satirical

Proper

on such is

metre

Gaveston.

committed

pronounciation:

first

to those

no poor man's

the

the

celebrate

briefly

be consistent

should

various

given

a new composition

these the

line

either

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year

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128

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130

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MELODIC MODE, FORM AND STYLE

CHAPTER FOUR:

Introduction

1.

of this

The purpose melodies

As indicated it

that

in Chapter

is

to investigate

are typified

by specific

chapter

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One, a number of previous

considered. Chapter

Six. it

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music

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music

theorists: definitions .

medieval

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the ninth

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in

number of melodies.

layers

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In

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melody,

form.

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case letters

the

to clarify

of western when the repertory 4 forms. That a great many melodies

are

about

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mode or tonality

the melodic

attested

chants

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basic

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lower

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sixth its

in

ecclesiastical

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raises

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As applied

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melodies,

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scholars

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interval by the of an opening melisma, 1 the sequence Melodic mode, and lai.

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characteristics.

musical

by the D mode (a mode associated

typified

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whether

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theory

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final 7

consideration.

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practices:

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of Byzantine

Ambitus

was a need to define

the

bounds within which the internal relationships of a melodjr were organ8 ised. For more detailed analyses initials and medials were also 9 Nevertheless, the final the basis considered. was ultimately for

determining in

cadence indicate

the mode.

final

from manuscript this

system

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Moreover,

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tonality belong

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ecclesiastical

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'model

notation

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An empty pair that

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modality

melody cannot

denoting

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notation

there 132

final

am was

system

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be determined.

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analyses

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first:

oktöechos

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song

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linear 10

system.

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implies, of

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borrowed

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melodies

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Though clearly

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many medieval

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necessarily

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melodies

The main difficulty

source.

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inconsistencies inherent its from apart between the tonal relationship a fixed

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to

Musical

one

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the

setting, or St. Gall

chapter.

form

133

six

One (see Chapter sequence

sequentiaries of

these

melodies will

also

are included

The following

and modality

period:

950

in Table

listed

Transcriptions

the

forms

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St. Martial

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Six.

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Planctus

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significantly

in Chapter

2.

units

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melodic

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analysis melodies

in

Form

Type

Mode/Range

A STROPHIC MELODIES 1.

'Mecum

2.

'A

3.

'Hug

Timavi'

(MT 43a)

AB CD EF GB HF /

(MT 43b)

AB CD EF GH IJ

(MT 1)

solis'

(MT 34)

dulce'

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Responsories 1.

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(MT 15)

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(MT 61)

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Antiphons 1.

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(MT 65b)

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(MT 35)

(MT 45)

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(MT 14)

(MT 68)

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(MT 60)

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134

in

As unfortunately the

odies period

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They with

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liquescence.

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135

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antiphon 29

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is

movement

this

of

stanza,

achieved

contrast.

the

changes

in

to

in

units,

first

stepwise

melody

'Hactenus'

is

variation pitch

of

insignif-

be attributed

range

the

begins

eighth

the

into

strophic

very

the

In

one

pales

and concluding

phrase

are different

In contrast,

through

the

of

it.

last

thus

chosen

is

provides-further

imitation

notes

by step,

(the

units

phrases

on F as if

the

of

phrase

two-note

of

third

of

the

The

The

the

which

opening

with

G mode.

period

melodic

the

the

direction

of

for

contrast

this

(MT 9).

range

to

the

three-note

and

narrowness

to

can

employed.

the

emphasis

a third

of

from

nature

category

a trope.

namque'

the

of

in

and

a biblical

of

same mode as was used

is

way in

except

different

slightly

tion

the

with

stepwise

third.

the

about

'Ad

the

'Armonicae'

and

is

less

used

a pitch

section higher. i of

repeat Its

contrast

range. ' Here a greater but they

a

or

mode,

being

different

that

be noted

this

planctus

instance

this

two-

in

examples

melodies

occasional

(MT 21)

the

chose the D

should

apparently

strophic

forms

it

written

filii,

example

particular

in

also

employed

planctus

with

tied

two

this

which

were

a slightly

mode in

of

be made so easily closely

the

choice

sadness,

admittedly

and conceivably

of

with

and tritus

personage,

use

deliberately

viri'

also,

are 146

number of intervals

on one occasion

always

balanced

each,

by stepwise

a

dI-

u nj

VI - numKtýf'Ur

tl ne Ee Suf my-d i cuwm fQm11

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CCS

! 'Z.

nti,

pro

xi-s.

xiii),

nu

y 0.bL _

0 DULCES

FILII

(MT

95)

FIGURE PAN-A412STAUE

do

(F-Pn

TWO

lat.

1139

(s.

f.

32v

The

movement. (melody the

D).

organisation

In L.

figure

instance

figure

mentioned

on the

lowest

in

contrary

appears

it

is

motion

to

the

previous

introduced

upper

above

a game of

musical

in

found

that

might

they

melody

the

repetition

contrasts, not

entirely,

are

not

especially

'Sub.

based

entirely impleatur'

in

the

the

in

responsory elements

F-Pn the

with

'impleatur' There

FAc.

The

Figure

2.

and

almost

lat.

1139

versions

entirely xiii)

in

the

found

disguise.

their

is

however

composer

of

no doubt the

that

Lamentatiö

in

around

Setting

aside

the

purely

melodic

melodies constructed.

responsory

lament tempus

is

the

chosen

short

Lucca,

its

is

It

this

of

Sarum

the

the

has'also

unrelated

essential

of

1139

range

concluding

Worcester'and

lat.

almost

donec

response

in

agrees

F-Pn

an almost,

of

strophic

the

and

The version

interpolation 147

range

the

angel's

Rachelis

in. itelodjr A, (for them example,, at 'filii'). , that the scribe unlikely made a mistake.

a strophic

carefully

of

isto

is

value

which

the

syllabic.

(s. xi-s.

in

and

some

playing

refrain

up and down

the

of

is

treasure

modicum

soaring

melody

modified

figures

one

Rachel's

'sustinete

from

two

difference is the melody - One . notable 7 In F-Pn lat. 1139 the notes are FAc; in

antiphoners..

GAc.

the

refrain,

responsory,

in

and

the

quite

filii'

apart

contrast,

are

dulces

neumatic,

final

melody.

that

in

some of

'0

of

melody

mainly In

phrase.

flourish

indicated

on the

and is

each

others

on the

highlighting

artful

the

a slightly

is,

that

melodic to

details: ways

Though

phrase.

between is

dei'

altare

these

The

climax

as if

the

of

the

C-A.

the

is

different

through

range:

discover

occurrence

interesting,

relationship

to

be organised:

also

fixed

It

note

first

a phrase

and in

in

but

apparent.

to

by

phrase

the

recurs used,

three

can

and

but

The

least

at

suggest

final

the

echoes

begins

which

only

the

spanning

preceded

(F-d),

are

seek,

fussy

seem over

with

pitch

and

manner.

a much stronger

refrain

same notes

hide

recognising

It

the

no longer

are

then

of

range

each

to D.-G and concentrating

a wider

triad

unit,

phrase

which

is

favour

a rising

the

essentially

described

to

by

it

In

different

introductory

the

of

part

a three-note

with

in

00 (CDD).

a slightly

spanning

briefly

abandoned the

units

.

a phrase

by

characterised

by, a short

D-E;

on a refrain

itis

dropping

range

range

Finally,

in

the the

in

form:

above,

note

in

by

of

contrast

ends

introduced

centres

cadence

preceded

is

it

larger

is

the

approached

part

successively refrain

and by

is

next

melody

occurrence.

refrain

first F-A;

range

last

(ED EF),

this

When it

its

but

all

this

of

the

beginning

rest

they

notes

of area

are

made something

therefore

of

seems

a melisma

most

into

of

be

new words is

are

normally

into

a chant to

first

last

there

are the

with

types.

examples

the

entary: however,

in is

melody

rest

The neumatic

in

as for

the

about note

before

note

give

units

begins

the

trope.

syllabic is

is

melody

to

by

examples they

treated.

None

of

a musical'style

their

be

some significance

do not, represent

melodic

and

that

the

provides

two

main

of

melodic

choice

with

pitch

are

the

it.

syllabic The always

of

the

planctus Although

D mode in

indications

for

not

range

to

of

evidence

and

that-the

exclusive

styles:

phrases.

tonal

suggest

three-

one.

a neumatic

way the

of

as a new

of

the

amount of

unit

two

but

striking

distribution

previous

common,

was

specially

and the

in

neumatic

the

they

any general

to be drawn.

In contrast planctus

a musical

composed

features

in survive

a sufficient

4.

extant

these

which

two_strophic'examples-which

are

repetition

in

vary

the

verse.

somewhat

accumulating

of

much in

share

also

energy

pattern

song

in

might

the

in

or

two-note

phrase

the

seems

is

What

a comm-

Here,

written

melismatic

))

ends

filii',

systematic

first

melodic

strophic

was written

conclusion

almost

the

period

characterised

strophic;

of

the

of

this

from

not

are 39

which

the

is

The

cadence

a sense

strophic

rigidly

is

dulces

in.

provides

composed.

therefore

St. Martial.

from

and returns

Each

syllabic

text

filii'

tropes

Rachelis

the

The planctus of

the

and

it

'0

of

(s. xii

begins

newly

1444241334441.

a contrast

that

section

dulces

'0

example

is

less

the

12044

which on

however

and

course

of

Lamentatio

units:

phrase

is

melody

of

inserted

a new text

of

lat.

new text

a responsory

of

first

treatment are

(F-Pn the

which

syllabically,

There

design,

in

dontrast"to-the

treated

unusual.

the

of

one

in

seems to be a mixture of the 38 indicates is not unprecedented: this

tropes

phrases

concluding

is

which

into

St. Maur-des-Fosses

of

melody another

melody in

which

filii'

As Apel

from

antiphoner

and inserted

dulces

'0

the

syllabically;

a third

and

melody

here

non-liturgical

an existing

composed

set

one in

trope:

of

melody;

is

a text

as a responsory;

such

types

main plainchant

which

to

chants.

and the

to

set

a newly

three

are

an existing

a melisma

melismatic

in

to

set

a new text

which

set

there

chant,

an existing

setting.

Planctus

to the from

this

Composed 1131-1300

previous period

The following

two periods, - almost analyses

mode: 148

a large

two. -thirds summarise

proportion - survives form their

of the with and

Mode/Range

Form

Tie

Monophony

A

STROPHIC MELODIES ABCD

C:

b flat

ABC DEC'

D:

C-c

ABAB CDB'

G:

D-e

D:

A-G

AB AB CD R

F:

C-c

(MT 54b)

AB AB CD R

F:

E(D)-d

(MT 54c)

AB AB CD R

F:

F-d

(MT 54d)

AB AB'

(MT 54e)

AB AB C

F:

F-b

(MT 54f)

AB AB CD R

F:

F(E)-C

(MT 54g)

AB AB CD R

G:

G-e

(MT 54h)

AB AB CD R

G:

G"e

(MT 10a)

AB CD EF GH

()

10b)

AB CD EF GH

D:

C. d

(MT 10c)

AB CD EF GH

D:

C-d

(MT 10d)

AB CD EF GH

D:

C-d

(MT 10e)

AB CD EF GH

D:

C-d

(MT 10f)

AB CD EF GH

D:

C-d

AB CD A'B'

()

(MT 24)

XI.

'Heu

x2.

'Jam

x3.

'Cuncta

x4.

'Lamentemus'

(MT 41)

AA'BC

x5.

'Omnipotens'

(MT 54a)

X6.

michi'

...

(MT 39)

moratur'

(MT 11)

sorores'

'Cum venissem'

-(MT

7.

'Libram'

8.

'Mentem

9.

'Organa'

10.

'Voce

B (i)

(MT 42) (MT 44)

mearn'

AA'B'C')

CD R

CD'

A:

ABCD

(MT 56)

AB CD A'B

(MT 73a-b)

tristi'

(AA'B

-a

flat

G-a

()

CD

AABC

"D:

A-F

THROUGH-COMPOSED MELODIES

Simple

forms

(MT 47)

dolor'

x1.10

a cauda

without

AAB CD

EF GH IJ

KL P

()

OP

QR ST UV x2. x3.. x

'Heu, -'Heu denotes

quid' teneri'

(MT 25) (MT 33)

a planctus

from

ABC BD ED'F. GHH' ABC ABC DEC DEC FGC' drama.

a religious

149

G: FGC'

CA'C'

D-d G:

C-d

Form

Type

x4.

'Heu

...

x5.

'Heu

miseri'

x6.

'Tu

x7.

'Heu

dolor'

x8.

'Heu

misere'

D-d

D:

C-c

E:

C-b

AB CD EF

D:

C-e

(MT 29a)

AB CD EF

A(D):

C-d

(MT 29b)

AB CD ED'

A(D):

C-b

(MT 29c)

AB CD C'E

D:

(MT 29d)

AB*CD CD'

A(D):

C-b

flat

(MT 29e)

AB CD CD'

A(D):

C-b

flat

(MT 29f)

AB CB'

A(D):

C-A

(MT 29h)

AB

()

(MT 29i)a

AB

A(D):

C-b

b

AB

A(D):

C-A

c

AB

A(G):

F-d

d

AB AB AB'

D:

(MT 30)

A BC DE FG HG III

(MT 23)

(MT 31a)

4(AB

(MT 31c)

fHeu

AB CD CD

b1.

(iii)

'Eclipsim

b3.

'Rex

M.

'0

b5.

'Quis

Complex

f b

EF CD

D:

C-c

AB CD CD

EB CD CD

E'B

CD CD At

D:

C-c

D:

D:

A-G

G:

F-g

G:

D-f

ABCDEFGD'H'I

G:

F-a

(MT 51)

ABCDEFGH

G:

D-a

(MT 63)

ABCDE

F:

E-a

AB A'BC

DE DE DE DE'DE

FE'C

A'GC

HE"H'

HIJ

A'A'A'

HIJ

DE '' K

HE"J

HEJ GGG FC'

(MT 59)

A BCD EFG HIJ

(MT 18)

AB CD EF GH IJKHJ

(MT 66)

dabit'

denotes denotes

F CD CD

melismas

monialis'

forms

C-c

(MT 31f)

passus'

obiit'

D:

EB CD CD

---'Plange-Castella'

f2.

CD EF

EB CD CD

HEJ'

with

dD CD EF

AB CD CD

HE"K

-Simple

F-f

(MT 31e)

(MT 28)

C-A

G:

....

..

D-A

O

EF CD

(MT 31d)

me misera'

forms

_EF

CD CD

CD CD)

FE'C

(ii)

A'H

CB II

AB CD CD

(MT 31b)

x10.

D'LB

ABB'CDEFG

(MT 71)

nobis'

ABCB DEB BFB GGHB IJB

G:

quomodo'

Pater'

'Heu

x9.

(MT 26)

Mode/Range

with

opening

a planctus a planctus

from from

or

closing

melismas

I-F1 Pluteo 29.1 E-BU1h no number

B'L

or

a cauda

(ca. 1240) (ca. 1300)

C-c

Fly-

'Anglia

fl.

(MT 8 ) AB B'C

planctus'

DB")t f2.

'

Form

Type

'Turmas

(MT 72)

arment'

rv.

Mode/Range

DE B''F

BE'

B

BID'

GBr't1

G:

C-f

G:

D-a

G:

D-g

G:

F-g

G:

D-g'

G:

D-a

Bº'

A. B CDEFG HIJKLMNO PQRSTU VWXYZAbcdof

ghijk 1mnopgrs (MT 40)

'Jerusalem'

f3.

ABCDEFGHIJKL MNOPQRSTUVWXYZ abcdeF' fghI''iJ' jk1

j'

n Lt. Ft (MT 52)

10 mors'

f4.

m F'' opq DO F At

ABCDE HGO

G E'

KLMNO

IJJ'

?QRSTUVWXY f5.

(MT 7)

'Alabaustrum'

ABC DB'E

FGH IJK

SCB' 'LM ND,

QL' P OM' R

STU VWB' XT'V' f6.

'Sol

(MT 70)

eclipsim'

ABCD

At

YD'Z

E C'

F

GHIJKLMNOPQ C (i)

KI

R

SEQUENCES

Lais 1.

'Abrahe'

la lb Ic

ABCD ABCD ABCD DE

2a 2b 2c'

FG FG DE FG Ft' DE FG FG DE

3a 3b

HI HI

4.,

PQ PQ

2. -

'Infelices'

la 1b

AB AB CD CD AB AB CD CD

+ letters

(MT 4)

()

-

HI JKL JKL NNO NNO HIT JM JKL NNO MNO

underlined

(MT 37)

or with

O

a dot

'Y

denote melodies 151

with

refrains.

7

I

IIA

Mode/Range

e/Form

2a 2b

EE FE EE FE

3a 3b

GHIJ GHIJ

4a 4b

KL KL KL KL

5a 5b 5c 5d 5e

NNO MNO NIIVO MO NNO

GHIJ GHIJ

"G:

(MT 5a-b)

3.

'Ad

1a

AAB AAB AAB AAB

2a

CDE FDG FDG FDG

3a

HIJ

2b

CDE FDG FDG FDG

3b

HIJ

2c

CDE FDG FDG FDG

4a

KKKK

5a

A'L. M A'LM

6a

festas'

HIJ

I-IIJ

4c

KK

5c

A'LM

KK NK NK

6b

KK NK NK

7a

KK NK

7b 7c

KK NK KK NK

8a

OP OP O'P

8b

O''P

4d

KK

5d

A'LM

6c

KK NK NK

IIB A'LM

41D KK 5b

III

9.

A'LM

A'LM

A'LM

QR QR QR

10a STU STU VTU 11a PIXY W' XY WXY 10a STU STU VTU

11b WXY W' XY. WXY

IV

12a 12b

ZZZ' ZZZ'

13,

cccc

14a

ddef

15a

gh gh

14a

ddef

15b

gh gh

ab-. ab ab ab ab ab

ddef

ddef

A""AB'

lb

AAB AAB A"fAB'

2d

CDE FDG FDG FDG

1c

AAB AAB A"rAB'

2e

CDE FDG FDG FDG

A''AB'

152

A'LM

A'LM

0''P

O'P

A'LM

A'LM

F-g:

la-8a

Mode/Range

Type/Form

I

4.

'Abissus'

la lb

ABC DEF ABC DEF

2a 2b

()

(MT 2) 1a lb

ABC DEF ABC DEF

GGGH GGGH

2a 2b

GGGH GGGH

3a 3b 3c

IJK IJK IJK

3a 3b 3c

IJK LJK 1JK UK IJK LJK

5.

'Abner'

1.

AB AB

2a 2b

CC AB AB CC AB AB

3a 3b 3c 3d

DEF DEF DEF DEF

4a 4b

JK JK' JK JK'

5a 5b 5c 5d

LMNO LMNO LNNO LMNO

6.

'Dolorum

II

LJK MJK LKMK LJK MJK

,

MJK MJK MJK ()

(MT 3)

GHI GHI GHI GHI

solatium'

MT 17a

(MT 17a)

G:

(MT 17b)

()

(MT 17c)

G:

la lb Ic Id

AAB AAB . AAB AAB

2a 2b 2c 2d

CC CC CC CC

DE DE DE DE

3a 3b 3c 3d

F? FF FF FF

GG' GGt GG' GG'

4a 4b 4c 4d

HIJG HIJG HIJG HIJG

JKLM JKLM JKLM JKLM

5a 5b 5c

KKKK LLJM HHJM KKKK LLJM HHJM KKKK LLJM LLJM

NNNN 00 LM J'KLM NNNN 00 LM J'KLM NNNN 00'LM 00 LM

6a 6a

NOP NOP

PQR PQR

MT 17c DE DE DE DE

CC CC CC CC

DE DE DE DE

DF DF DF DF

G'G HI GG HI GG HI GG HI

153

D-g

D-g

Type

7.

'De

Mode/Range

Form

profundis'

(MT 12a2.!

D:

(MT 12b)

()

Cie,

G: D-d

MT-12a la

AB AB C

lb 1c

AB ABC AB AB C

Id

AB AB C

MT 12b

2a

DE FG

2a

DE FG

3.

HI JK

2b

DE FG

2b

DE FG

2c

DE FG

2d

DE FG

4a 4b 4c 4d

LK' LK' LK' LK'

3a 3b 3c 3d

GH GH GH GH

5a 5b 5c 5d

MM NN MM NN MM NN NCI NN

4a 4b 4c 4d

II II II II

6a 6b 6c 6d

OP OP OP OP

5a 5b 5c 5d

KL ML K'LML KL ML KL ML

7.

RST

6.

NOP

8a 8b

UV UV

7a 7b

QR QR

9a

t«

8a

ST

9b 9c

Tr x WY

8b 8c

ST SU

8.

'Planctus

QP QP QP QP

ante

nesc ia'

JJ JJ JJ JJ

(MT 58a)

G:

D-g

(MT 58b)

G:

C-g

(MT 58c)

G:

D-g

(MT 58d)

G:

D-g

F:

C-b flat

(MT 58e)

(1a & lb

()

(MT 58g) MT58cß la

ABC

lb

ABC

2a

DEFG

2b

DEFG

3.

HIJ

4a

KLKM

4b

KLKM

5a

NOPQ

5b

NOPQ

6a

RSTW

6b

RSTUV

only)

HIJ

154

Form

Range

Form

Range

Form

MT 58c

MT 58b

MT 58a

MT 58d Range E-c:

C-c: 8

Form

(A)

6

1a lb

AA'B AA'B

(b)

D-c:

2a 2b

CDEF' CDEF

(b)

D-e: 9

3a 3b

GHI GHI GHI GHI

(c)

F-c:

2c 2d

CDEF CDEF

(b)

D-e: 9

3c 3d

GHI GHI GHI Gill

(c)

F-c:

4a 4b

JJ'JK JJ'JK

(d)

G-e: 6

5a

LNWO

(g)

F-g: 9

5b

LMrrO

6a 6b

PPQDR PPQDR

(b)

F-g: 9

7a 7b

L'L''SS' L'L''SS'T

T(g)

8a 8b

CM'W CM' W

(b)

F-f:

8

CM'UV CM'W

CM 'UT CM'UT

ZM'VU ZM' W

9a

CL'wX

(b)

F-g: 9

9b

CL' WX _

CL'WU CL'WU

CL'WU CL'WU

ZL'WX ZL'WX

10a Yaba' 10b Yaba'

(d)

F-f: 8

11a cdcDR 11b cdcDR

(c)

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9

12-

(b)

D-c:

7

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7

Range D-c:

(A) D-e: 9

5 (A)

D-e:

(G)

D-c:

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cdcUA cdcUA

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lype/Form 9.

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dux

9

5

these formal four in the makeup of variations significant All begin with essentially are given. 'Planctus nescia' versions ante of differences to owing the same melodies, MT 58d has occasional though that the the is of the fact its same as initial that always not note initial the indicate note of each letters three. Bracketed other this, follows The number which The versicle versicle. of each range follows is the interval. this NOTE:

7

fortissime'

(MT 67a)-

G:

(MT-67b)-

O

(MT 67c)

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MT 67a

MT 167c

la lb

1a lb

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" An analysis is not of this it neumes in which survives to enable a reconstruction

included owing do not provide be made.

155

to

the

clear

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AA BC BC DDD' AA BC BC DDDD

the unheighted that to enough indications

fact

7

MT 67a

MT 67c

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2a 2b 2c

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melodies are the

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lacrimas'

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2a

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3a

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4.

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are of MT 67c which parallel same as those

Mode/Range

la

f2.

12. JJ QQ QQ'JJ ---

UHUH

Note:

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S'U

ff ff

ggh

2n_

(ii)

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(MT 55)

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(MT 13)

la

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2a

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3a

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156

underlined in MT 67a.

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pius

1a lb

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2a 2b

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32a)

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(MT 32b)

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(MT 32c)

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1a 1b 2.

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4.

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(MT 20b)

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(MT 20c)

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(incomplete)

A-d

G(D):

A-e

(MT 20e)

MT 20d

(MT 20f)

F:

C-c

(5a

(MT 20g)

D:

D-c

(5a only)

MT 20c

MT 20b

MT 20a

ABCDE: ABCDE.

ABCDE ABCDE

ABCDE ABCDE

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la 1b

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only)

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G:

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G:

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Polyphony A

STROPHIC MELODIES

fwl.

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patitur'

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(MT 36a)

occasu'

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(MT_ 57a)

melos'

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felix

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(MT 4%)

Bituria'

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repertory 'Libram' tristi'

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as the

(ca. 1300),

no number

(s. xiii

ones

within

dramas.

religious

main

Moreover

There

(MT 56),

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the

period.

context,

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notes

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enjoyed.

through-composed

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(MT 20d)).

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plays

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solatium'.

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to

12b)),

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apparent

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source

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(MT 12a U'Flete

close

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the

(MT 49)),

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procession

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profundis'

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(MT 32),

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(L22).,

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formal

lines.

(L115).

patre'

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contrafactas is

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of

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omniuri'.

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specify

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41

as I

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(L118)

gloriosa

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of

by contemporary

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apart

through-composed

oda continuata.

can

lingua

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consists

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point.

thus

personages

four

incomplete.

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detestando'

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composed.

lingua

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notated.

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interest:

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containing

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of

stanzas

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six

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of

no indication

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one

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C there

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or

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versicles the

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version;

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would

phrases.

MT 67c)

combinations

point

and c)

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also

two versions

evidence

version

one

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(MT 31),

versicle.

MT 67a)

clearly

the same at this

analysis)

twelfth

both

to

(MT 67a

ex. ):

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little

same musical

affect

points

the formal

not

the

polyphonic

nobis'

somewhat,

(s. xiii

in

survive

problems.

same material..

normally

phrases,

of

fortissime'

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a number

diversify

this

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-

(MT 29),

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form:

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source

share

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vary

(ca. 1250):

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suggest

tradition,

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written

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(MT 32)

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42

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script

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tune.

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the

tonal

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86

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two

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history,

XI

melody

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plays

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to melody;

varied

(NL. DHk 71. J. 70 (s. xv)).

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MT 58c) its

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MT 54i

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in. ):

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could

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version.

(s. 2 F-EV xiii): and

39 (s. xiii)

by melody

to

version

MT 58a)

MT 58d)

xiii):

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formal

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(s. xii):

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reflect

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tions

triad

of discrepancy

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formally

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in

Dame de Lyre

and St. Victor

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example,

36881 (s. xii-s.

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58b)

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the

(MT 58)

nevertheless

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solatium'

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for

St. Ouen de Rouen

the Notre

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a corruption

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manuscript

profundis'

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Asc. 95

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it

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However the

confidence.

examples

into

be made concerning

to

generalisations

the

new.

nevertheless

The

it

and turning

material

and yet

in

are

compositions in

different

Patterningrules

tentative

of_musical

since

the

of

elements

exact of

recall

motive

in

considered

religious

from those

the

their'features

strophic

examples

on these

stylistic

of

the'e

largely

in

My suggestion

is

that

dramas

in

lai

or

are to

compared

the

of

melodic

type

of

of

course

been

to

the

resources

melodies

of

have

style

closest

as follows:

Stevens 58

antecedent

is

drawn

summarises

Since

in

sequences,

techniques

belong

which

flavour

the

music to

to

composed the

characteristics

(v)

it

in

relation

consider

importance of

(ii) (iii)it (iv)

will

Notre

it

may, positively,

be the to their

purpose the

texts

rhythmic

be neutral,

of Chapter of

planctus

Six

an infinitely

to teat which

interpretation.

181

out

survive

this with

religious

when

from of

form.

chosen

though notes, principally of single will consist an end-of-phrase melisma; it is likely to have 'open' forms; and 'closed' formulae; or incorporate stock may be formulaic it will be measured, and indeed not normally strict is likely to hamper the fluid movement and varying of the text;

It

emphasis

different

the

of

that

melodies

later

attention

the

associated

owe their

as those

such

contrast

by older

archaic

a somewhat

Having

that

developed

planctus

-normally

sequence

provided

compositions

narrative.

repetition

music

(i)

the

their

singing

of

response

contemporary

Dame repertory: for

inspiration

have

early

dramas

religious

__:

stylistically.

to deduce

to

features

composition:

directions

from

'open';

those

century,

the

of

seems reasonable

and planctus

is In

distinct

quite

the:

often

phrases

twelfth

planctus from

apart

are

malleable.

the

sequenced

though'

others

formulaic,

Notre

and most

syllabic;

final,

characteristic

950 it

composed before

normally

are

the

common,

be

Six.

the

styles

in

features

of

Chapter

examples,

frequently

are

melodies

also

are

different

to

the

of

from

role

has

melismas

of

and those

on the

styles

these

subject

strophic

possibly

short,

melodies

Dame,

of

are

normally

fashionable

most

Notre

with

of

and the

employed;

they

is

cadence

the

of

certain

share

above:

repetition

exact

number

-a

dramas

mentioned

concluding

to

lais

of

a consideration

compositions a variety

the

organisation,

function in

and music,

represent the

is,

that

liturgical

the

Dame repertory

words

tonal

the

and

context,

between

Although

forms,

chosen

and repetition, a wider

relationship

especially

the

of

significance

this

it

may have

measure rhythms

flexible

mould.

proposition music

and

to

EXCURSUS ONE

transcriptions

The sequence

melodies

melodies

from

earliest

known

survives

only

of

in

Appendix text

EX. A:

are

EX. B: EX. C: EX. D:

planctus

pueri

planctus

Bertane:

planctus and

the

'Stans EX. E:

interest

particular

far from usage

survive

the of

which

there

then

melodies

the with

EX. A2:

in

order

Unfortunately

a text.

Only

planctus

cygni:

'Altissime f. 185r

the

Deus' pueri

'Exultet f. 135v

nostra'

these

these

with

to

first

versicle

lat.

(s. xi),

1121

p. 337

f. 13v

is

melodies

of

transcriptions

a text

from

a sense is

Bertane of

each

(s. xi1),

As

a proser.

of

been

the

text

is

taken

local

known

not

to

provided:

'f. 67v

(AH, 7, p. 253):

F-Pn lat.

1121 (s. xi1),

(AH, 7, p. 153):

F-Pn lat.

903 (s. xi2),

F-Pn

captivati: (AH,

7,

p. 267):

lat.

1121

F-Pn

the

of

have

and prosers

maintain

(s. xiii), f. 88r

27

comparative

planctus

F-Pn

filii'

planctus

were

to

f. 212v

derived:

supra

sequentiaries

melody.

'Clangant f. 196v

EX. B2:

of

from

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set

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and versions

melodies

as possible

texts

(s. x ex. ),

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f. 67v

f. 213v

1240 (ca. 923-24),

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Since

(sic):

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which

(s. xi1),

(s. x ex. ),

is

it

(Hesb. 5013):

a Longe'

planctum

EX. F:

from

f. 67v

1121

1084

lat.

F-Pn

antiphon

lat.

1084

lat.

F-Pn

publicani:

(s. xi1),

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Instances

transcriptions:

1121

lat.

F-Pn

p. 55).

53,

this)

of

an explanation

(AH,

on these

marked

cygni:

planctus

for

celebris'

the

tran-

a diagrammatic

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Introduction, dies

'Iste

repetition

melodic

sequence

D:

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of

versions

As far as possible -----------------Since sterilis planctus

first.

have

I

planctus

six

Untexted

transcribed.

neumes

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Four.

presented

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unheighted

those

are

Chapter

are

has

version

the

with

along

in

discussed

sequentiaries

(see

scription

follow

which

lat.

(s. xi1), 887

f. 67v (s. xi

in.

),

(AH,

'Ad to sancte' f. 147v EX. D2:

planctum/eia '0 alma f. 120r

(AH,

should

of

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transcribed

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of each and

only

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some of p. 491

been

restricted

melody

7,

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melodies

their

(table),

1084

p. 254):

(AH, 7, p. 90):

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(AH,

trinitas'

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7,

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various that

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a detailed For sources

a list see

),

(s. x ex. ),

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and pp. 500-1.

183

lat.

GB-Cu Additional

of

(s. xi

887

(s. x ex. ),

F-Pn

p. 110):

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'Eia mesa' f. 68r.

It

p. 248):

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EX. E2:

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f. 67v

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MATTER AND STYLE

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CHAPTER FIVE:

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definition elements however

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is

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mons'

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the

purpose,

iii),

style

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the

or purposes,

mode or

eulogy, which 203

tone

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'Hactenus

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subject

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simply

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ca. 1130;

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for

speech.

planctus.

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planctus

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following

examples

is,

18-20)

and

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prayer,

(s. iii)

and the

places

Latin

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personage,

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3

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served.

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i),

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of

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the

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(or

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to

the

belonged

elementary

education, the

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tinople thus

in

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Greek.

and Priscian's numbered

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includes

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professional the

the

precepts

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of

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legis

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encomium

latione). includes

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his

account

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those

minor'

monastic

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proverb

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following

9

Praeexdercitamenta

of medieval

following

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the

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chria

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rhetoricis.

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(refutatio

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texts

back

a boy's

of

by Priscian,

grammatica11

how the

part

The Exercises

Second

teaching 12

a number

of

to

oratorical

as Donatus's

such works

descriptions tale

formed

century

the

one

Hermogenes,

society

life.

of

to

the

civic

in

included

are

looked who -

necessary

sixth

encomium)

Sophists?

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with

sixth

the

of

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from

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the

made available

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the

in

schoolmaster,

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as a

attributed

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Second

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examining

laus

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in

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initially,

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adult

Exercises

-

least

conformatio).

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exercises:

schoolmaster

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/

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achieved

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rhetorical

or

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teachers

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Sophistic

Progymnasmata6

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ments

might

of

constituents

5

be described,

prosopopoeia

a second-century, of

it

terms

be

it.

conceived

be investigated

also the

usefully

can

may have

poets

their

In

This

planctus.

how medieval

must

be made concerning

can

an assessment type

this

matter

subject

factors

these

prosopopoeia and introducing

a summary 13 laus:

of

the

elements

Intrinsic family, the marvels attending subjects: city, race, birth, the nature of body and soul manner of life, education, to be treated beauty, the headings: stature, under agility and for the body; might self-control, and justice, wisdom and for held, the soul; manliness office and deeds.

Extrinsic kin, friends, household subjects: wealth, and the like; the length how he died; the omens seen at his death; of his life; him; what happened after his death (for example, funeral who killed his bones; and games); whether there was an oracle concerning Comparisons something about his children. can also be employed. In

his

discussion Adlocutio person. object. and the example,

of

adlocutio

Priscian

outlines

the

following

14 points:

is the imitation or prosopopoeia of a of the character This be an actual person can-ei-then person or an inanimate Two types the definite of adlocutio are distinguished: indefinite. for The latter to typical refers situations, his family leaving what a man might native say to his on

204

0

individuals, for the to former of particular words land; to to Deidamia go Achilles about when say might what example, is single Adlocutio when a man makes a speech by himself, to war. from a victory, for say on returning might what Scipio example Scipio interlocutor, for he has what double example, an when and Three main types of a victory. army after say to his might for that example, distinguished: mood, concerned with are adlocutio is feature dominant the to Hector Andromache where say might what for to the habit that what a example, of mind, relating emotion; the the farmer first of attitudes where a ship would on seeing say the combines which and that personage are of most significance; two, for reflecting might say to Patroclus, example, what Achilles in his habit his the Patroclus mind of and emotion at of slaughter firstly be employed: tenses for the war. three Finally should plans A the future. the present tense, then the past and finally in relation to the person be adopted who is suitable style should imitated. being the

Since

Priscian

outline

of

includes

this

will

in

comparison

indicate

to

serve

his

of

account

his

praise, of

understanding

a brief 15 it:

is of three the comparison types: of similar things. to greater things things or of lesser in in the commonplace for misdeeds, amplifying

Comparison of diverse employed

things, It is praise,

It is carried and extrinsic. all respects

in censure and as an exercise in its own right. by covering both intrinsic the topics of praise, in In the comparison which are similar of things

out

the similarities and are outlined or in the majority of respects the one is to another, is preferred When one thing compared. in just the of a comparison as praised and other censured, justice is also made between Comparison a man and and wealth. between Ulysses his better, and for comparison a example as is he favourably is Hercules: here the lesser since seen man his (on a smaller the to on account of man greater similar scale) in required are Powerful style vivid a and virtues. oratory transitions that the can be made swiftly. order Although

the

detail

tendency

strong

have often

in

towards

been

Hermogenes

neither elements

had

which

appropriate;

nor

Nevertheless,

Cicero

or

the

forensic 18 Quintilian.

education

and do not

the works

of Cicero.

It the tions

seems quite

death in

an historical

mind.

This

of a particular (L86: i), the

is

example, earliest

is

given

the

the

personage best

extant

worked

illustrated

followed

designed

writers with

through

by reference

planctus

205

or

at the

were 17

in

aridity, of

of

qualifications.

Cicero,

for

Pseudo-

elementary

and inspiration

value

earliest

works

as a set they

whether

academic

the

were

practical

that

of

of

that

note

examples

one

The Exercises

likely

of

without

sophistication

have

of

they

which

prescriptions

regardless

presented

impression

their

present

be included they

are

the to

contrast

to

to

a

suggests for

important

is

Priscian

nor

conceived

are

overclassification,

pedantic 16 it

criticised,

lists

these

which

of

of planctus

at

Priscian's

recommenda-

a. detailed

discussion

to others. death

of

'Mecum Timavi' an historical

centres

personage,

of

a man might

say'

the

idiom

but

on hearing

of

the

murder

the

expression

of

the

speaker's

his

of the

'what

of

'habit

speaker

to

lament:

mind'.

calls

upon stones

Adriatic

Sea,

formerly

belonged

address,

he invokes

a number

as its

'renowned

to

place

the

to

tense

the

second

to

the

church

and its

his

gentleness

the

returning

it

invoked

a chain

the in

Eric's

direct the

joys

address

and rhetorical the

second

are countries is

cosmic

phrases, 1.1), sanguine'

he

the

digresses

the

idiom

a prayer

the

to

now

effect

of

that

formal.

derives

happened

distinguished Eric's

enhancing

to God asking

own grief

what

both

the

on

his

expressing

future,

died

ignominiously.

immediate

further

reproach

thus

is

shield

personages,

thus

nobly

of how Eric

a description

to

how

initially

a curse,

description

numerous

towards

of

he interjects

him,

for

looking

with

speaker

bereaved),

related:

are

the

and its

the

and

he had won,

and mutilated

Returning

lists

land

tci

generosity

deeds

once strong

murder

speaker,

his

Having

His

from

speaker

concludes

may benefit

Eric

in

from

of paradise.

The tone direct

the

who lamented

address

in

his

this

his

in

Continuing

belonged.

body stoned

of

refers

Eric

and changing

for

up the

rightly

of comparison.

He then

unfortunate

Then

places,

address.

Finally,

stature.

whom it

powerful

death

and ordinary,

prowess.

was killed

friend,

the

poor,

comparisons:

direct

renewed

(the

direct to

educated).

Eric

the

which

alluding

present)

he praises

auspicious Eric

(and

up

them

into

in

Still

lineage.

noble

address,

flow

and places

Avars.

-

on

urging

lamentation,

and divided

to

the horror

deceased's

after

in

those

and his

Emphasising

his

direct

which

Italy

story-telling

person,

barbarians

based on further

shattered

the

physical

device

to

was brought

dependants

of

rivers

barbarian

and to

third

where

the

employing is

to

the

Northern

is

emphasis

in

interlocutors,

nine

land'

native

on an exposition

imagined

home-town

Eric

and his the

in

defeated

(sometimes

past

mountain

lands

citizen'

the

the

of

Eric's

where

he conquered

Timavos,

the

tense

present

in

presented

his

than

rather

the

of

of

the

As such

emotions,

a series

leaving

'on

- not

in

and is

Friuli

of

a friend.

of

Opening

of

the

Eric

on a eulogy

of

the

poem is

and from devices. person,

the

chiefly

or rivers,

not

(3.5),

through people, Direct

such as are typical famosum'

employment

The language

and generalised.

'civem

This

(3.4),

'nomen ...

of

of direct

the praise

celebre'

206

the

of

is

made in

germine' (4.2),

since

scale

like

is

address

imperatives;

Beowulf:

features

articulated

the

addressees

implied

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227

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14/18 293

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201

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musical

provide

words

with

depends

abstractly

The planctus

or story.

The emphasis

it

notes

musical

note.

between

precludes

thus

another

special

a narrative lai

is

employed

and that

motets,

and music:

patterning

of

notations

through-composed

and ultimately

influence

the

of

question

isosyllabic

of

Conclusion

normally

words

'physically',

motets,

architectonic,

and the

and responsories,

the

the

the relationship

syllabic

type

a flexible

notes.

6.

It

for

strongly

carried The

sake.

of which

tonal, out

equal are

in

formal to

according

with

which syllabic

often

malleable. is

There in

the

however

process

expressive

of

to

be expressive

defined it

Clearly do not

which

discussion to

to

sung filii'

with

the

relationship

that

the

in

very

short

that

the to

similar

'narrative'

with

the

Five,

the

of is,

documentary

account

doubt

however,

that

the

of the

lai

of

their

accompaniment

on the

may well

constitute

only

also

unacquainted

probable.

liturgy

or

in

and music consideration. to

base

suggest

It

from

has

based

'Clangam

subdivided; in

a style

'number',

on

-

been of

often

been the

the

seems,

both

dramas

planctus

of

the

the

planctus

it

Although

and

they

of

ever

the

forms) d that

arge

remarks

other

in large

the

treatment

number

is

now-sufficient

nature

of

the

planctus

of

the

planctus.

therefore the

of

examples

evidence as

occur

historical is

manner

such

of

they of

to

be

may not

from examples 61 accompanied.

there

299

sequence

that

unlikely were

this

the

at

the

That

cithara.

or

composed

topics

conventional 60 practice. in

58

performance,

of

any

however,

seems,

thus

and

represent

performed

was

lyre

be

could

topic,

discussion

come across

not It

strophic

be exhaustive

because

Nevertheless,

have

by

of

in

planctus

hardly

been

to

in

example,

chiefly

accompanied

(in 59

however,

impossible

for

a planctus.

technicalities

are

may have

on both

the

I

of

texts

a consistent

liturgical

an assessment

issue.

that

has been touched

employed,

Whether

the

or

with

music

quite

It

possible

have

composed

chapter

a rhetorical

and hence

they with

lyre.

practice,

occasionally

planctus

in

personage

reflect

this

was

some allusions

an historical

Moreover,

been

planctus

manuscript

be further

of planctus

performance

lyric

death

someone

is

characteristic can

is

that

it

- may well

are

have

a different

are

to

which

'heu'.

as

such

There

intended

the

this

of

Songs

Cambridge

lais

and in

Mariae,

words

accompanied

allusions

in

of

style

and music

to the gestures

reference

planctus

singing

beyond

was ever

melody

words,

light

the

wordy

as

the performance

of

with

Cividale

of

in

such

music,

the

that

musical

units57

syllabic

with

was imitated

particular

the

the

would

as

traits.

The question Chapter

from

of

employed

chapter.

between

planctus

of

However,

music.

phrases

extant

sound

recover

melodies,

strophic

those

the

to

short

musical

speech

meaning

of

sequences

repeated

and of

and

beginning

survive

written

the

of

impossible

is

of

speculate

those

the

at

were

no indications

are

and occasionally

performance

melodies

sometimes

there

Nevertheless

intended sense

and that

counters,

musically.

repeated

composition

in

that

some evidence

a genre.

words under

on which

in

EXCURSUS TWO

The following and music

In

are

analyses

Responsories

(b)

Strophic

(c)

Sequences

(d)

Through-composed

to

refers

musical

transcription;

the

in

the

in

except

the

consistent line

is

(for

in

of

in

upper

analyses

lais

where

a large

case

numbers letters

and Arabic musical

up to which

numbers

form.

number

or

of

in

prosa

lower

per the

is

noted the

one

case

letters, have

a

or

per

hemistich

form

and

only

do not

which

syllables

(c),

cursus);

is

the

of

depending

melody

there

finally,

numbers;

It

synthesis should of

number 9 and then

denote

notated

form

lais

a double

with

poem is prose

the

of

unless

the

and

of

on the

indicated,

are

next,

in

represent"a

and Four.

denotes

section

row

the

of

melody

letters.

case

Three

Arabic

the

Arabic

Chapters and

the

of

upper

as marked

sequences

planctus

given

examples

scheme;

given

indicated These

scheme

letters

following

in

the

melody

the

the

melody:

is

of

(b), the

example,

number

case

then

(d),

the

of

row

examples

the

of

rhyme

lower

(a)

antiphons

number

songs

rhyme

and

phrase

strophic

versicle

the

songs.

the

complexity

or

stanza;

is

the

Roman numerals

stanza

lais,

responsories

through-composed

on the

words

antiphons,

and

and

of

numbers

In

between

relationship

planctus,

analyses

melody.

formal

as follows:

arranged

(a)

the

the

of

the

supersede

Though confusing

be noted

rhyme upper

rhyme

the

scheme;

is

case

those

in

presented in

that

sounds case

upper this

of

certain

sequences

and melodies

letters and

are

supersede lower

letters

unavoidable.

case

which

employed

the letters

designate

lower

A

(i)

RESPONSORIES AND ANTIPHONS

Responsories

1.

2.

3.

(ii)

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'Doleo

123

4.

(MT 46)

ABC

D

(L28)

1234

56

78

A BCD

AID

EF

(L128a)

1234

5

67

(MT 61)

ABCD

E.

FG

(L139)

12345

6

(MT65)

ABCDE

D

(L67) (MT 35)

12 AB

(L89)

12345

6789

10 11

(MT45)

ABCDE

FGHI

E'

(L27)

12345

678

(MT 14)

ABCDE

FD'E'

Jon. '

(L142)(MT 68)

12345 ABCDE

autem'

(L128)

1234

(MT 60)

ABC

super'

'Planxit

(syntactic

(L90)

Gelboe'

(MT

gutem'

15)

. (musical

units

phrases)

of

text)

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1.

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2.

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3.

'Montes

4.

excelsis'

'Doleo

5.

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6.

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B

1.

Gelboe'

super'

et

B'

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(L46)

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87 87 87 (MT 22a) (MT 22b)

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5.

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(L110)

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(MT 53) 9.

10.

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...

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moratur'

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ABCD

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(MT 39) 11.

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12.

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17.

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'Cum venissem'

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'Organa'

(MT 41)

A A'B

(L111)

aaar 46 46 46 9

(MT 54a)

AB AB CD R

(L21)

aabb 46 46 46 46

(MT 10)

AB CD EF GH

(L81)

ab ab ab ab 76 76 76 76

(MT 42)

AB CD 1B'CD'

(L87)

aabb 8888

(MT 44)

ABCD

(L116)

aaaa 76 76 76 76

(MT 56)

AB CD AB CD

C

302

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tristi'

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abab 6666

ababr 6666646

(MT 19)

ABCD

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(L69)

abab 7676

ccddegegghg 77776767676

(MT 36)

ABCB..

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(L121)

abab 8787

cdcd 8787

(MT57)

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patitur'(L35)

occasu'

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1.

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tu Virgo'

(L134) (MT 62a)

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lb

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d dR 77 77 66

AB CD EF

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3a f eefff 77 77 446 446 446 446 Ii

2b

Ic

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4.

IJ

PQPQ

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hh 3343 3343

'Infelices' (L70)

(MT 37) (L4)

(MT 37)

2b

3a

3b

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2a dddd 8888

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lb

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festas

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(MT 5) (L6)

choreas' I

2a

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333 333

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(L6)

6a

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ALM ALM ALM

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(Iib) 7b 11ii 7777

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8b

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mamama 757575

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335

333

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WXY WXY WXY

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10b

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STU STU VTU

333

333

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WXT WXY WXY

(III)

12a eee mnhnjn 777 666666

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15a

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lb 333

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(IV)

2e aaaa 333 333 (MT 5)

5a

KK

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(L6)

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15b

(MT 5)

HIJ

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(MT 5)

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5b

9.10a

(L6)

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4b jj 77

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333

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4c ff 77

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(L6)

333

443

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(IIA)

(MT 5)

(MT 5)

333

CDE FDG FDG FDG

HIJ

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(L6)

333

2c

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(MT 5)

333

(I) 3b

(L6)

3a

la

333

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CDE FDG FDG FDG

304

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1c 333

333

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AAB AAB AAB AAB

5.

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(MT 2)

vere

multa'

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2a

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3a ccd eed ffd 584 584 584

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GGGH GGGH

IJK

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3a kkl ddl ddl 584 584 584

LJK MJK

3c eeb 584

aah aah 584 584 IJK

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aah 584

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6.

(L2)

la aaaaaa 777777

lb aaaaaa 787777

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(MT 2)

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'Abner

fidelissime'

(L3)

(MT 3)

1.2a aaaa 7777

bbcccc 777777

ABAB

CCABAB

(L3)

(MT 3)

7.

8.

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CCABAB

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3a kkkk 8888

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(MT 17a)

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(L3)

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(MT 17a)

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(L30)

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6a iii 333

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(MT 17a)

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(MT 12a)

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$De profundist) (L24) 6a cbcb 7777 (MT'12a)

9.

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(MT 58a)

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7a

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(MT 68a)

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(MT 67a)

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(MT 13)

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includes

Beowulf

be refashioned

death

the

son Ferdia20

be guessed

only

'song'of

are

a death

of

Chanson

a means

murderer

their

final

After

story.

may have

be expected,

Charlemagne's in

pair

his

by Hrothgar

a posited or

latter

as Zumthor24

as might

lament

(flail

for

performance 21 there by women;

his

to

introduced

the

delivered for

be related

the

an hypothesis

close

one

sorhleot

about

in

normally

survivor

association

speculation

laments

a battle,

might

to

allusions

are

moral

can

This

songs

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performance

in

presented

hand',

an underlying

been.

unchanged.

grief

'fine

planctus.

of

may have

lament of

How-

refashioned,

usually

which

his

arm',

lacking

are

lone

term

the

expressions

speech,

the

and

While

exclamatory

there

after

in

19

accepted.

relatively

some are

bö Cuaiinge

Carolingian

direct

other

are

Cuchulainn's

and manner

Beowulf

laments

that

Thin

from

the

sung),

that

'conquering

Apart

in

prototypes

Chanson

episodes

substantially

its

text.

son's

appearance.

the

of

been

and

been

know what

fact

likely

prose

simply

praise

the

the

an otherwise

consists

is

in

case

to

to is

it

speech,

may have

long

the

and

songs

has

songs,

material

owing

may be the

historical

from

bö Cuaiinge,

Thin

digressions,

respective

existing

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their or

the

as Beowulf,

such

part

laments,

of

it

could

likely

device.

were there

the planctus,

a close one would

relationship expect 315

to

between find

the

the

comrade's

matter

and was very

of

posited

some consistency

a

in

the

musical

indicated

in

invoked

in

Chapter

melodic

on account

of musical

examples

share

melodic

in

suggest

that

the

to melodic

the

of

contemporary

from

forgotten

or

superseded in

significance

of

Bartok

-

that

would

survey 27 comment:

into

death

strophic

between has not

to

to

note,

but

because and were

of

confine death

normally

the Latin

mode,

were

improvised.

planctus.

were

be some

tradition

the

be regarded of

lamentation-

of

the

Speaking

which

melodic

line,

particular

of

of

death

or

formulae,

and They

melodies.

a geographical product

pre-

detailed

sirato,

classificatory

to

support

although

The most

melodic,

Of

little

to

Hungarian

use

compass,

laments

quite

customarily

music,

and descending

themselves

are

provide

belonged.

to-devise

be difficult

several

cannot

of

oral

continual

recitation on

singers not

of

justify

to

a genre

laments

may have study

the

of

was sung

traditions

old

was

it

and an insufficient in

it

might

now irrecoverable.

death

type

and that

modes

although

is

1130

mode which

may therefore

there

it

the

found

distinctiveness

the

laments

according

primarily

traditions

their

it

if

of

generic

attention of

melodies

and reciting tion

in

comparison

that

find

D mode,

studies25 the

is

There

lai,

early

in

melodic

to

the

of

and Kodäly's26

draws

dependency

the

survive

cadence

and

extant

of

planctus

Clearly,

insight

and ritual

claim

particular

950

sadness,

purposes

by new ones.

the

about

useful

the

which

choice

with

an argument

the

available,

D mode and of

sung

with

surprising

Ethno-musicological

-

nod

relationship

between

composed

for

significant.

associated

the

of

use

since

be

not

the

as generically

lament,

is

as I can see this

As far

the

However,

would

these

the

are too few examples

songs

it

of

is

a

Carolingian

which

lai

heroic

of

do not

examples

as

be

might

formulae,

feature

only

associated

there

repertories

literate

extant

which employment

musical

was conventionally

theorists

formulae,

give

few

examples

planctus

excluded,

they

the

frequent

heighted

generalisation.

for

of

so-called

relatively

some contemporary

music

use

and the hemistich.

the

formulae

distinct

the

example,

the

However,

planctus.

evidence

necessary

The

the

earliest

before.

While

number

or

notations.

with

the

for

that

fact

unit

been noted

the

Four,

mode,

the

heighted

least

at

a discussion,

such

particular

the

of

style

categories formula,

cadence, classifica-, local

musical

interest

is

............. the planctus Mariae

We have-good reason to suspect that the authors of the Marian laments, in the Middle Ages, were recruited so widespread from among the monks who had not lost touch with ordinary folk, than from among representative rather propagators of the Church. Although this may well be true of Abelard's six planctus and Geoffrey 316

they

'Planctus

St. Victor's

of

style,

both

since to

possible the

Thus, between

they

the

establish

planctus

place

exact

to

of

'A

for-a

study

lament (L1)

ortu'

solis

of

death

it

Brittany,

origin

is

lai

rarely

planctus.

other

the

of

relationship is

traditions 'Mecum

and

in

each

are

which

with

required

and local

melodies

Referring

ties

close

information

essential

available.

had

writers

(L123),

nescia'

ante

not (L85)

Timavi'

28

say:

in farewell the Carolingian era abound of in descriptions heroes, departing to well as as phrases addressed to honour. These in their assume permit us ceremonies of mourning the uninterrupted of traditional of the practice continuity lamentation. texts

The Planctus

Attractive

though

they

when

however There

that

tion.

the

Moreover,

framework

to

conforms as far

the

of

as can

of

number

a general

being

rhythmic

order

principles

organising

The presence of

poet's

plays

'Flete

(I, 21), (with

being

words-and-music two

parody

necem'

an important

of

words

are aspect

been

of

and which,

its

a large

a significant

which or

in

include

laments

that In

of

Mary

surviving

regni

both-contrafacta,

these the

is

prodeunt' indicating

a planctus.

317

of

only

gradually

more

cases

the

of

precisely

the

of

a certain

early

thirteenth-and

medieval fourteenth-

ante

Magdalene,

of

rather

than

(L123)

nescia' such

versions

laments

early

an ¶spect

required.

'Planctus

ornamentation),

suggests

are

number

the

a, large

an awareness

aspect

Even

is

which

aesthetic alike

of

represents

theorists

medieval

and in

the, earliest

'Vexilla

of

melodies

general

style it

that

significance

and music

compositions.

laments

(L120)

appreciate

occasional This

composed.

broader

recognised

musical

evident

of

to

(L42),

fideles'

are retained

claims

and ceremonies

'Cum venissem'.

is

a planctus.

of

the

with

local

to

planctus

accordance

patterned

the

a melody

have

perception

century and

of

seem to

melody

it

style,

as the

In

understood.

the

of

melodies,

recognised

in

no lamenta-

sensitive

within

their

of

style

is

ritual

with

were

customs

changed

origins

planctus

There

use.

style.

musical

the

Whatever

eloquence.

was internationally

which

established,

in

developments

the

liturgy,

monastic

communities

was

planctus

for

associated

ever

own liturgical

an aesthetic be

was

monastic

their canon

literary

to

planctus

although

and developed

mores

of

Latin

The Latin

communities

monastic

aspired

consciously

poets

evidence

in

composed

normally

lamentation,

'ritual

mean

lamentation'.

'traditional

of

speak

and Kodäly

may be Bartök

this

as

their-melodies new melodies

were conceived

as

fourteenth

century

the

(L151)

'Pange

lingua

again

and

that

music

remained

type

is

This

(+ 1049),

is

manuscripts.

In

(L9),

is

namque'

in

its

which

however,

music;

both

and

song

fiere'

been

have

in

as an exercise 29 amplification. drawing

therefore

arguing it

that

matter,

was

common features,

by

differing

has is,

of

a stock

I have

style

is

that

suggested

and in

descended

is

in

panegyrical

as a narrative

patron;

as a school on,; the

a political; There

by

I

am not

or,

for

that

generic

necessarily

a literary 30 do. Over

relatives

change,

and

a small

nucleus

by

shared in

occur

each of

rhetorical it

all;

every

also that

example,

patterning,

elaborate

whose early

genealogy

its

strain

sbng;

from

part from the

the

that

and

rhetoric

though

a

song,

careers:

as a significant

a popular

on the

as a meditation element

of

composers

descendants

related,

deeds of

its

Second Sophistic. monastic

its

the

and that

song composed at the death the

altogether

from

lai",

the

of

closely

not

derives the

of

is

eyes of Carolingian

poem about

exercise;

cross;

musical

or devotional

moral-historical

more exclusively bishops;

do not

of

planctus

an exclamatory

and

the

some relatively

retains

are

which

a number of different,

pursued

Christ

a family

respectability

as a short,

dead

the

for

would

rhetoric:

of

by cultural it

(L93)

represents

as human

other

each

in

'Pergama

sung,

not

are

as a genre

typified

often

of rhythmus

Achieving

setting,

the

lines,

clypeo'

Thus,

purity.

generic

sung,

commemorated

the be

to

intended

and

apparently

as an example

of

style

musical

to

set

a dialogue;

either

sub

latter

the

is

poetic

teaching

the

metre,

'Ad

metre.

The planctus

literary

the

common features

non-quantitative

tradition

that

characteristics

setting,

a musical

clear.

a eulogy

like'genetic

which

style,

is,

that

attributes,

unlikely

with

-

of

equal

'Neustria

(s. xi)

was

very

environments,

social

the

was thus

characterised

are

which

in

death

planctus

resemble

members

many generations, typified

the

found

Odilo's also

by

both

former

syllabically

as a musical

Rather,

whose

fit

was always

typified

such

prerequisites. family

it

that

Cluny

form

the

the

While

not.

abbreviation,

to

of

18304

lat.

takes

which

associated

attention

Odilo

a non-quantitative

de Vinsauf's

are

former

In

is

It

Both

sung.

in

to

(L8),

F-Pn -

these

of

is

Geoffrey

or

fletus'

spoken.

speech.

(L122)

and

'Ad

(L8),

designed

likely

was most

are

for

laments

the

of

been

have

would

planctus

all

two

written

metre,

melody

syllabic

one

fletus'

'Ad

a quantitative

latter

(L9)

namque'

that

suggest

interest

to

'Ad

same two to

not,

Of particular

sung.

to

however,

as a

of kings or

sufferings

religious

and

saintly of

dramas;

as

and as parody.

-are other

types

of poetry

which 318

resemble

individual

members

the

of

family,

planctus

Carolingian

penitential

lamentation,

for

Exclamatory

are

is

the

admonitory

'Aurora

'Cantica

as

is

David,

which

Marian

crucifixion

Eulali in

conqueri'

or

'Stabat

mater

the

cross

speaking

By the

the

the

of

Virgin

a literary

they

at

in

the

of

life

the

of

and in 'Crux

to

speaks

the

such

the

Chancellor's

Virgin

history.

the

cross,

lament

Virgin's

at

in did

German not

languages the

way for

After

twelfth

political

or

Italian die

the

France

Most

in

patrons

executions,

Although

were

gradually

this

by

either

laments

However, its

as

descendants by

superseded

a language

providing

of

were or

monasteries.

out.

the

number

these

of

century

and German-

a small

only

Latin.

to

quite

the creation

deceased

century in

primarily

Northern

their

thirteenth

clerics

paved

life,

of

Jonathan,

the

which

Provence,

English

vernacular

in

its

be composed

it

which

commemorate

composed

least

Philip

to

family in

written

of

to late

continued

responses

example,

for

seems to have remained

courts

began

areas

David

of

as

saint's

the influence Moreover, 35 dei', vates a poem about

throughout

secular

the

such

of. meditation.

composers

vernacular. planctus

subject

poem, to

in

planctus,

34

(C 19416),

planctus

the

of

(C 4014), dolorosa'

the

The Latin

poets

for

lament,

The Carolingian

or

to the 32 or

which

lover's

p. 138),

II,

31 the

of

a loss,

historical

The

(C 21044).

characteristic at

it.

of

containing

iubes'

jilted

the

lament

a short poetry,

de volo

monastic

ae'.

'David

contains

is

(Poetae,.

mane'

to

the 33

to

affinities

are

grief

in

refrains

quid

which

articulate

example,

close

evident

'Ut

part

not

includes

complaint.

virginis

planctus

of

for

cum primo

recognisably

frequently

emotion,

to

political has

particular,

of

used

death,

are

Gottschalk's

example,

often

like

which

song

expressions

planctus, poet

but

the

elegy,

of

lamenta-

tion.

2.

In planctus tion

of

and the

Chapter

the

it

death

have

a city

development

and interrelation that

previous

of

of

scholars

religious

European normally

it

main

drama; verse

areas

origins

in

scholarship or of

the

about the

Passion

funeral

verse;

and the

and musical

forms.

Owing

concentrated

a continuous

constitutes

of

personage, the

namely,

to construct whether

three

an important

featured:

of

was impossible

By considering

described.

One I

about

and Scholarship

The Planctus

on aspects

history

a genre, 319

.

of

of

which

destrucplay

history to

these

the Latin

my aim has been to

the

fact

areas

planctus. see it

definition

My working

as a whole.

as follows:

be revised

might

the creation in Latin is a lament, of primarily planctus death the at grief utterance of composers, containing an monastic biblical from deceased personage or a personage, a recently of is It destruction history, the a city. of or about or classical in by syllabic usually eulogy, written characterised normally in the dramatic in sequence form, and delivered often verse, it is usually the melodies first of which set to music, person; have for their depend on 'number' and often organisation, 'narrative' characteristics.

The

is

It

to

now time of

verse

form

between

The

issues

The main in

planctus drama;

relation

to

Mariae;

the

the

and

the

Latin

form

that

which

was designed

and

initially

in

twelfth

in

in

Austria

the

burg,

it

where

Marienklagen

this,

in

'Heu

play.

Thus

in

latter

the

The

the

by

was composed Its

whether lament

is

example

Geoffrey

of

is

other

the was

scriptural idea the

of product

Latin

Passion the

from

Latin

Passion

in

plays

instance

did

an Easter

of

by Mary

Regens-

German

of

one

focus

a

play,

and

the

same

in

Magdalene

special

late

Good Friday

of

a number

towards in

received

she

of

a poem consisting of

the

lai

Geoffrey's

for her

style, planctus

its

sorrows entirely imagination,

320

end

text at of

is the

however,

remain,

(L123),

nescia'

ante

the

self-contained

inspiration

account

'Planctus

extant,

unequivocally

the

Mariae

planctus

St. Victor

contemporary

However no

on the

fifteenth-century

part

the

given

the

of

earliest

music

personages. There

origins

The

of

was not

My

as an independent

liturgy

the

Only

sung

also

development. arose

in

and in

an integral

religious

and nunneries

and in

item;

in

instances.

uncertain.

a number

was

Virgin

precise

century.

(L48),

its

the

of

origins

meditation

in

century. as

to

was included

century;

fifteenth

planctus

Mariae

and Padua

originate

dolor$

planctus

on religious

the

of

monasteries

an optional

the

style

stimulate

it

Friuli

was

Mariae

planctus

French

thirteenth

fourteenth-century

and the

style,

scholarship

concerned

planctus

to

Subsequently

century.

from

the

the

composition used

previous

planctus

of

indicate

by

and musical

contribution

investigations

environment,

literary

and

the

drama

raised

were

which

social

planctus'

matter

in

scholarship

of

and music.

words

and religious

planctus

areas

Latin

the

subject

music,

and metre,

relationship

drama

into

my investigations

light

(a)

each

reconsider

these

of

of

twelfth

the

as is of

that

of

biblical

unknown. and

crucifixion,

her

first

or

whether

person it

was

based

on"a

lost,

is

literary

impossible

A number likely.

to factors

St. Victor

was

it

much of

verse,

of

they

did

on the

Virgin's

Laments

three

sepulchri

ceremonies

inclusion

of

one

of

-

Here

that

suggests

the

imaginations earliest

on the

There

is

the

provided

germ

Marienklagen these

derived

is

Apart features their

therefore

from

plays

nevertheless

blend

with

these,

made in

of

nature

the

musical

untenable:

normally

architectonic.

apparently emotion

imitated.

This

in

the the is

both

in

Mariae

planctus

either

of

or

both

to

relationship

the

past

in

the

the

harmonises

of

There

in

is

a few

however

the

chants

of

of the

are

and music

are

attempt

they

type

dramas

words

speech

proportion

to the

large 321

number of

is

stand

expressive

religious

instances no

alike

chants,

apparently

between

plays

as another

with

in

planctus

relationship Only

liturgical

the

important

may therefore

same way

concerning

style

they

most

is sounds

made to

represent

extant

liturgical

musically.

Although

not

original

a number

from

next

(L123).

the

that

clear

and non-Easter

made up of

sequence,

the

moreover

Virgin.

were

the

Although

style. otherwise

the

Easter

from

are

Suggestions

ante

(L42),

that

characteristics,

which

song,

Innocents,

necessary.

musical

'narrative'

the

present

they

their

of

study

common literary

'narrative'

the

nescia'

material

and musical

by planctus

shared

in

textual.

is

it

century.

Moreover,

unlikely

play,

A musico-literary

planctus.

Marienklage

Passion

Meditation

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of

ante that

suppose

seems highly

it the

of

to

reason

every

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compositions.

as

although

Holy

fideles'

'Planctus

the

visitatio

the

of

religious. 'Flete

was

unprecedented.

already

were

Virgin

Hence,

predates

-

Mariae,

matter

plays

36

St. Victor.

twelfth

38

most

Marian

the

in

as a type

Virgin

planctus

same subject

therefore

xii)

mystical

Since

the

was not

in

found

twelfth-century

early

of

century.

treated

the

of

self-contained

based

out

the

of

is

to

included

drama

(s. xi-s.

Rachel

sorrows

been

of

sorrows, 37 lament.

new to

twelfth

are

6264

Clm

words

not

an Easter

Rachel

devotion

on her

her

the

Adam of

meditated

already

early

in of

D-Mbs

(L123).

nescia'

the

of

laments

which

had

Marys

lamentation

Furthermore,

now

is

devotional

of

activity.

therefore

was

own type

religious

of

imagine

as to

sorrows

the

of

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