{"title":"Troping Time: Refrain Interpolation in Sacred Latin Song, ca. 1140–1853","authors":"M. Caldwell","doi":"10.1525/JAMS.2021.74.1.91","DOIUrl":null,"url":null,"abstract":"\n This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century manuscripts and conclude with its unnotated appearance in nineteenth-century printed Catholic songbooks. I argue that the refrain’s long-standing appeal can be located in its function as a poetic and liturgical trope of time itself. While tropes often enhance the “hic et nunc” (here and now) of the liturgy, the “Fulget dies” refrain gained additional temporal significance through its intimate link to songs of the Christmas season. The “shining day” imagery introduced by the refrain offered a tangible way of marking seasonal time in devotional rites, poetically indexing the light-based symbolism of Christmas, the winter solstice, and the New Year. The inherently temporal meaning of the refrain lent it flexibility as a trope, enabling its movement across genres and liturgies. Integrated into sacred Latin songs, the “Fulget dies” refrain functioned as a pithy musical and poetic commentary on liturgical, calendrical, and seasonal temporalities—in other words, as a trope of time in sacred song.","PeriodicalId":1,"journal":{"name":"Accounts of Chemical Research","volume":null,"pages":null},"PeriodicalIF":16.4000,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Accounts of Chemical Research","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1525/JAMS.2021.74.1.91","RegionNum":1,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"CHEMISTRY, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 1
Abstract
This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century manuscripts and conclude with its unnotated appearance in nineteenth-century printed Catholic songbooks. I argue that the refrain’s long-standing appeal can be located in its function as a poetic and liturgical trope of time itself. While tropes often enhance the “hic et nunc” (here and now) of the liturgy, the “Fulget dies” refrain gained additional temporal significance through its intimate link to songs of the Christmas season. The “shining day” imagery introduced by the refrain offered a tangible way of marking seasonal time in devotional rites, poetically indexing the light-based symbolism of Christmas, the winter solstice, and the New Year. The inherently temporal meaning of the refrain lent it flexibility as a trope, enabling its movement across genres and liturgies. Integrated into sacred Latin songs, the “Fulget dies” refrain functioned as a pithy musical and poetic commentary on liturgical, calendrical, and seasonal temporalities—in other words, as a trope of time in sacred song.
这篇文章探讨了从十二世纪到十九世纪整个欧洲的一种实践,这种实践涉及在神圣的拉丁歌曲和赞美诗中唱一个简短的副歌。追踪两部分叠句“Fulget dies…Fulget dies ista”在多个世纪中的循环,在办公室诗集《Benedicamus Domino》的歌曲形式修辞和作为插入到赞美诗中的修辞,我绘制了它在流派之间以及在书面记录中和在书面记录之外的独特运动。考察副歌不寻常的起源、传播和功能,我从它在12世纪手稿中的出现开始,以它在19世纪印刷的天主教歌本中无注释的出现结束。我认为叠句的长期吸引力可以定位于它作为时间本身的诗意和礼仪修辞的功能。虽然比喻经常增强礼拜仪式的“hic et nunc”(此时此地),但“Fulget dies”副歌通过与圣诞节歌曲的密切联系获得了额外的时间意义。副歌中引入的“灿烂的一天”意象提供了一种有形的方式来标记虔诚仪式中的季节时间,诗意地索引了圣诞节、冬至和新年的光的象征意义。叠句固有的时间意义赋予它作为比喻的灵活性,使其能够跨越流派和礼拜仪式。在神圣的拉丁歌曲中,“Fulget dies”副歌作为一种简洁的音乐和诗歌评论,对礼拜仪式、日历和季节性的短暂性——换句话说,作为神圣歌曲中的时间比喻。
期刊介绍:
Accounts of Chemical Research presents short, concise and critical articles offering easy-to-read overviews of basic research and applications in all areas of chemistry and biochemistry. These short reviews focus on research from the author’s own laboratory and are designed to teach the reader about a research project. In addition, Accounts of Chemical Research publishes commentaries that give an informed opinion on a current research problem. Special Issues online are devoted to a single topic of unusual activity and significance.
Accounts of Chemical Research replaces the traditional article abstract with an article "Conspectus." These entries synopsize the research affording the reader a closer look at the content and significance of an article. Through this provision of a more detailed description of the article contents, the Conspectus enhances the article's discoverability by search engines and the exposure for the research.