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This contribution examines five canticles found in four Middle English translations of the Book of Hours, with the focus on New Haven, Yale University Library, Beinecke MS 360. The texts of the canticles come from the Book of Isaiah, Book of Daniel and Gospel of Luke, and represent scriptural content of this medieval prayer book, next to the lessons from Job and selected psalms. Out of the seventeen extant medieval Books of Hours in English, four have been selected for this study: St. John's College, MS G. 24, British Library, MS Additional 17010, Cambridge, University Library, MS Dd. 11.82, and New Haven, Yale University Library, Beinecke MS 360. The former three have received an edition, while Beinecke MS 360 still remains to be edited and, to the best of my knowledge, has only recently begun to be analyzed in depth. Apart from the primers, selected for the present analysis are the two vernacular versions of the Bible available at that time, namely the Early and Late Version of the Wycliffite Bible. This study aims to establish the textual tradition of the canticles in the four Books of Hours with respect to each other and within the broader Wycliffite tradition. This will be achieved by comparing the texts with the use of text similarity measurements, and more specifically, the cosine distance method. The obtained results will be presented in tabular form and illustrated with fragments of the text. It is hoped that the analysis performed in this paper will shed light on the textual affinities of the scriptural content of Middle English primers. This study is parallel to the one presented in Hordyjewicz (2023), where my focus was on the nine lessons from the Book of Job.

The article focuses on John of the Cross's perspective on the spiritual journey towards union with God and the role of the spiritual director in guiding the directee, portrayed as the 'bride' in the context of the Spiritual Canticle. Topics include the transformative process of seeking spiritual health, the bride's relentless pursuit of union with Christ, and the psychological consequences of this union on natural powers, as interpreted by John.

This article reviews recent developments in Song of Songs scholarship with a focus on publications within the South African context. The article provides an overview of the interpretation of the Song of Songs and describes the main lines of research. Research on the Song of Songs continues the trends of recent years, with an emphasis on literal interpretation. However, there is renewed interest in patristics, allegorical interpretation as erotic or intertextual allegorisation, and reception history. Interpretation in the context of a myth seemed outdated, but it is also back. Southern African studies have contributed to these fields and to contextual studies. [ABSTRACT FROM AUTHOR]

In Purgatorio xv and XVII, Dante depicts the pilgrim's inner visions produced without direct sensory input, which, paradoxically, lead to some of the most extravagantly multisensory descriptions in the second canticle of the Commedia. This article argues for the centrality of the cantos for understanding the visionary dimension of Dante's work by examining how Purg. XV and XVII meditate on the differences and overlaps between everyday and extraordinary perception. First, I examine Dante's depiction of the faculties of imaginativa and fantasia, involved both in ordinary and visionary sensation. Second, I explore how the cantos portray the ecstatic dimension of Dante's experience. Finally, I analyse how Dante uses multisensory language in individual visions so as to reflect on the complexity of perceptual layers in visionary experiences and to appeal to readers who think with, and through, their senses. [ABSTRACT FROM AUTHOR]

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The approach of this article to the Canticle is a reading based on (and using the hermeneutical tools of) joy and freedom. The first is a basic human emotion, whereas the second is perhaps the most fascinating faculty which the human person possesses: that of freedom, which is both a gift and a task. Our point of departure will be one of the most fortunate metaphors in the prose of St. John of the Cross, that of spring, which appears almost at the end of the Canticle. This metaphor is the eschatological anticipation of a new world, and it has the power to imagine us already at the vague limits of heaven. [ABSTRACT FROM AUTHOR]

Copyright of Slovo (05836255) is the property of Slovo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article identifies the Qumran Cave 4 manuscripts which Józef Milik labelled, more than fifty years ago, 4Q239 Pesher on the True Israel, 4Q240 Commentary on Canticles?, 4Q241 Fragments citing Lamentations, and 4Q349 Sale of Property. In addition two other manuscripts are identified: one tiny fragment preserves part of a copy of the Prayer of Manasseh (known from 4Q381), and an unidentified manuscript appears to be a communal confession. [ABSTRACT FROM AUTHOR]

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Esta tradução pretende prestar uma homenagem à poetisa Cecília Meireles, no meu entender, das mais sensíveis dentre todos os escritores de língua portuguesa. Transpondo seus versos para a língua italiana, propus-me, principalmente, ser fiel às características sonoras da poesia, sem, no entanto, trair o conteúdo – expressão da reflexão interior na sua concepção de mundo.Questa traduzione ha come scopo fare un omaggio alla poetessa Cecília Meireles, secondo me, uno dei più sensibili tra gli scrittori di lingua portologhese. Trasponendo i suoi versi in lingua italiana, mi sono proposta, innanzi tutto, di essere fedele alle caratteristiche sonore della sua poesia, senza tradirne il contenuto – espressione della riflessione interiore nella sua concezione di mondo.

Copyright of Music Science Today: The Permanent & the Changeable / Mūzikas Zinātne Šodien: Pastāvīgais un Mainīgais is the property of Daugavpils University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Pierre Noury was born in Lauzach, near Vannes, on 15 May 1743, into a poor peasant family. His mother tongue was Breton. After his education with the Jesuits, he entered the seminary of Vannes at the age of 20 and obtained the priesthood of Bignan in 1770. In 1792, like many ecclesiastics, he fled France for Spain and Portugal. His main works, all in Breton, were written in exile, although he had written other works before: in their isolation and forced inactivity, these clergymen occupied themselves with reading and studying, and sometimes with writing. Some of the Abbot's letters have also come down to us: they are in Latin for a Spanish recipient, in French for his Morbihan confreres and in Breton for his parishioners.

Abstract: גל typically refers to a heap of stones or to waves, but the lexica allege that it means »spring« or »pool« in Cant 4,12. This usage is unique and lacks lexicographical support, and the text is frequently emended to גן . This study argues that גל in Cant 4,12 denotes a »stone heap« and refers to the practice of sealing and securing water sources by means of a heavy stone (cf. Gen 29). As such, גל נעול develops the verse's metaphors for security and ownership. Résumé: sumé: גל désigne normalement un »amoncellement de pierres« ou des »vagues«, mais les dictionnaires indiquent le sens de »fontaine« ou »bassin« pour Cant. 4,12. Cet usage est unique et manque de bases lexicographiques. C'est pourquoi on émende ce passage souvent en גן . On soutient ici que גל en Cant. 4,12 désigne bien un »tas de pierres« et se réfère à la technique qui consiste à isoler et à sécuriser une source d'eau par une pierre pesante (cf. Gen. 29). Ainsi, dans ce verset, גל נעול est l'expression métaphorique pour sécurité et propriété. Zusammenfassung: Normalerweise bezeichnet גל einen Steinhaufen oder Wellen, doch die Lexika geben an, dass es in Cant 4,12 »Quelle« oder »Bassin« bedeutet. Diese Verwendung wäre einzigartig, und es mangelt an lexikographischen Belegen. Deshalb wird an dieser Stelle häufig zu גן emendiert. In dieser Studie wird argumentiert, dass גל in Cant 4,12 einen »Steinhaufen« bezeichnet und sich auf die Praxis der Abdichtung und Sicherung von Wasserquellen durch einen schweren Stein bezieht (vgl. Gen 29). So gesehen bildet גל נעול in diesem Vers eine Metapher für Sicherheit und Besitz. [ABSTRACT FROM AUTHOR]

This article revisits the Rothschild Canticles, specifically the Trinity cycle, through a close study of the Latin text. It identifies previously unknown sources, demonstrating the compiler's wide frame of reference and confirming that the most recent texts date from the 1290s. Further, it argues that the Trinity painter developed a vocabulary of apophatic literalism to give visual form even to such unlikely statements as "Truly you are a hidden God" and "My center is everywhere, my circumference nowhere!' The intimate link between text and miniatures suggests that the designer of these paintings was a seasoned contemplative, almost certainly a monk. In its second section, the article considers the collaboration of compiler, artist, and scribe, proposing that the compiler himself designed the miniatures, although they were executed by a professional artist from Saint-Omer. Another perplexing feature lies in the scribe's carelessness and failure to understand the material. The essay asks why and where such a sophisticated painter would have collaborated with a minimally competent scribe. Finally, it turns to one extremely rare text, tracing it to a hagiographic work by the eleventh-century monk Drogo, unknown outside his abbey of Bergues-Saint-Winnoc. On this ground it argues that the compiler was a monk of Saint-Winnoc, where the manuscript was produced--possibly for a canoness at the local abbey of Saint-Victor. That Bergues was not known at this time for professional book production could explain the inexpert scribal work. A postscript seeks to identify the coat of arms on fol. 1. [ABSTRACT FROM AUTHOR]

Los investigadores han identificado un cierto número de himnos o cánticos en el libro de Apocalipsis. Sin ocuparse de su posible procedencia o influencia, el presente trabajo propone algunas ideas teológicas y litúrgicas para la adoración contemporánea, basadas en siete segmentos significativos del último libro de la Biblia. [ABSTRACT FROM AUTHOR]

The article highlights the visit of Pope Benedict the 16th's visit to Westminster Abbey, England where he encountered the musical tradition that inspired Irish Protestants to set Latin Texts and skeptics to set canticles and anthems. Topics discussed include the tradition brought by the Ordinariate of treating every Sunday and solemnity in the way it deserves and Ordinariate's offer for a stronger tradition of hymnody which distracts people from the challenge of rebuilding liturgical music.

This article is about poems in which some aspect of the overall shape is representational, pictorial, or expressive. One of the earliest practitioners of this kind of poetry in English was the religious poet George Herbert (1593-1633), whose book The Temple contains well-known examples such as 'The Altar' and 'Easter Wings'. In the latter, as illustrated, the two stanzas are formed into the shape of an angel's wings, as conventionally represented in religious paintings - this poem is further discussed below. Until around the turn of the nineteenth and twentieth centuries poems like this were occasional oddities, but since then a considerable tradition has grown up of poems which have to be looked at for meaning as well as read for meaning. I will try to map out this tradition in what follows, identifying different ways in which the 'looked-at' and the 'read' elements are balanced or blended. I will suggest three basic categories of poems of this type: firstly, the Verbal/Visual type, in which the verbal element is dominant, and the visual element secondary (as in the case of 'Easter Wings'); secondly, the Visual/Verbal kind, in which the visual is dominant and the verbal secondary; and finally, the Visual/Verbalist kind, in which the visual element again dominates, and the verbal is merely a residual trace, in the sense that the poem actually has no words at all, but traces of some aspect of the reading process are present, as will be illustrated. The article will consider three examples of each of these three types. [ABSTRACT FROM AUTHOR]

This study presents the results of a selective inquiry into the lexicon of LXX Canticles in contrast with papyri from the Ptolemaic and Roman periods. The aim is both to illustrate how papyrological sources may help our understanding of Greek texts from the Septuagint corpus, and to evaluate earlier findings on the lexicon of LXX Canticles and their implications for the provenance of this translation. [ABSTRACT FROM AUTHOR]

The article presents an analysis of the fifth canticle "Now Let Thy Servant Depart" in Sergei Rachmaninov's choral work "All-Night Vigil." It examines the methods used by Rachmaninov in composing a multi-voiced structure based on the melodic phrases of Kievan chant. It analyzes the movement's texts, melodies, harmonies, and tonalities. Also explored are the shifting relationships among the voices, the harmonic reinforcements of a central pitch and the integration of motivic material.

Although Hexaplaric studies tend to limit themselves to Greek exegesis only, the Latin Fathers, too, are quite valuable for our understanding of Origen's Hexapla. This article discusses two examples, both concerning the book of Canticles, which illustrate the contribution of Latin patristic exegesis to one's understanding of each of the Hexapla's two main features. Firstly, Jerome adds to our knowledge of the Hexaplaric recension of the LXX text, since he revised the Old Latin text on the basis of that recension. Secondly, the readings of α′ and σ′, which Ambrose provides throughout his exegesis, are of direct relevance for the establishment of a new edition of the Hexaplaric fragments, since they were unnoticed by previous editors. An appendix opens new perspectives by asking the question (and providing some steps towards answering it) of the provenance of these variants provided by Ambrose. [ABSTRACT FROM AUTHOR]

Numerous French treatises over several centuries have pointed to the use of fauxbourdon as a common and important method for the elaboration of liturgical chant. Although the term fauxbourdon has been closely identified with musical practices and compositions dating from the time of Du Fay, it continued to be used to describe a method of performing liturgical chant in France well into the twentieth century. During the seventeenth and eighteenth centuries in particular fauxbourdon was frequently referred to in treatises and accounts of chant performance, but the term itself was rarely described in any satisfying detail, making it difficult to know what the practice was actually like, and how it related to—or differed from—what we know about fauxbourdon's earliest forms. Fortunately, a number of printed and manuscript sources from the late sixteenth to the eighteenth century—including dictionaries, treatises, ceremonials, and collections of music—include examples of composed fauxbourdon settings. An examination of these reveals both general and specific information about the practice that on occasion conflicts with contemporary definitions and descriptions, but also reveals a certain range of variation in what was included within the purview of the term. [ABSTRACT FROM AUTHOR]

The Author writes that there is a strong evidence that when Francis wrote the Canticle he conceived the inanimate creatures he mentions in verses 3-9 as symbols of deeper spiritual realities. Certain expressions which don't make sense when referred to the inanimate realities make a lot more sense when applied to these spiritual realities. And the contradiction of applying the names "Brother" and "Sister" to certain other terms also disappears. So we can understand these "Brothers" and "Sisters" as symbols of important spiritual realities (God the Father, Jesus Christ, the Holy Spirit, Mary, the Church). So the Canticle is not just a prayer of praise which joins us as "Brothers" and "Sisters" to all of creation. It is more. It contains seeds of contemplation which call us to live in a deep and authentic relationship to God and people and creation. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "The Dante's Club," by Matthew Pearl is presented. It points the similarities of the characters and events in the book with the works of Dante like "Dante's Inferno" and the "Divine Comedy." It describes the structure of the book which is composed of three Canticles with seven chapters each. It presents the use of allegory in the Preface. A short summary of the first canticle is also given.

Up to three times, the LXX version of Canticles (iv 1, 3; vi 7) reads σιωπησσιζ ('silence') as a translation equivalent of the Hebrew lexeme smh ('veil'). This article aims at establishing whether this enigmatic equivalence is due to mistranslation or to a conscious, if obscure, rendering, by closely analysing the nature of the lexemes in question. Although there are strong arguments in favour of the former scenario, the matter cannot be resolved with any definiteness. Symmachus' apparently similar translation in Isa. xlvii 2 (τò σιωπηλóν for smh) is shown to be unrelated to the puzzling equivalence established in LXX Canticles. The article concludes with some thoughts on the lexicographical treatment of translation-specific lexical items such as σιωπησιζ. [ABSTRACT FROM AUTHOR]

This article provides information on the Blessed Virgin Mary's Canticle, the "Magnificat." According to the author, as Mary contemplated the significance of her virginal conception, she burst into song. He said the lyrical response of Mary conveys the depth of her feelings and the content of her reflection on what God was doing through and in her. He also said that the entire focus of Mary's song of praise are the mighty works of God.

The popular songs contain ideological items that express certain characteristics of the culture in which they exist. In oral tradition, the word is adjusted to everyday use, expressing the group's idiosyncrasy: each word recreates in it's transmission, acquires new meanings and values, modifying it's conceptual reference. At the same time, the meaning of the songs appear in different directions that relate to each other, reaffirming once and again until they become symbols. The Sephardic lyrics, like a fundamental part of the popular Hispanic lyrics, are based on three principal lines of thought: the Hispanic view of the world; the practice and the religious laws of Judaism; and the diasporic perspective, that is, the cultural influence in which they were established after 1492. The meaning of the symbols in the songs become clear from these premises. Many of the themes that deal with the subjects of Nature, refer to erotic symbols, like in Spanish: "coger rosas", "lavar la camisa", "el baño en el río", etc. which are topics that the Hispanic-Jew community transform according to it's particular way of undersanding their world. The main changes of the canticles, from Christian songs to the Sepharadic are reflected, more than anything, in the songs used in the ritual of Jewish weddings. In that way, for example, the San Juan Festivity renews itself when turns toward the bride's bath ceremony. It is clear that both ideological tendencies refer to fertility concept as a common topic. The flexibility of oral tradition, then, gives a guideline to several transform and different valorations that depend on the ideological orientation in which the songs are inserted. [ABSTRACT FROM AUTHOR]

Interprets the Benedictus taken from the book of Luke. Narratological function and integrity of canticles in Benedictus; Historical criticisms of Luke 1; Explanation on how Benedictus fulfills its function as meta-syntactical climax.

This article reconstructs a Hebrew version of the Gloria in Luke 2:14 with its focus on the righteous remnant of Israel and then analyses the early versions in Greek, Latin, Syriac and Goptic. Finally it gives some later interpretations of the canticle in literature, art and music. [ABSTRACT FROM AUTHOR]

The article examines the sacred music work "Magnificat" and "Nunc dimittis,' by composer Thomas Tallis. Assumptions are that the two canticles must have been composed together for the Anglican rite. Settings of the "Magnificat" are common in pre-Reformation England. The compositions have no extant antecedents nor does it appear that the setting sparked any popularity in the genre of Latin paired canticles.

This article analyzes the Song of Moses, found in the Old Testament passage of Deuteronomy 32:1-43. Focus is given to the interpretation of the canticle by G. Ernest Wright, arguing that it is written in a legal literary structure. Subjects discussed include structural analysis of the song, the liturgical origin of the Song of Moses; and the four main components of a hymn.

The structure and liturgical function of the Byzantine kanon are described and in particular its relationship to the Heirmologion. The peculiarities of the kanon in Lent and in the period of movable feasts during the year are outlined, as are the processes of borrowing material and their consequences. The disappearance of parts of the kanon--particular of the second ode and of the biblical canticles to which kanons were originally attached--is discussed, and this leads to a consideration of three types of introduction to parts of the kanon which appear regularly in, and are transcribed from, late medieval manuscripts. [ABSTRACT FROM AUTHOR]