Veni, Creator Spiritus
Veni Creator Spiritus
The “most famous of hymns” (Frere), is assigned in the Roman Breviary to Vespers (I and II) and Terce of Pentecost and throughout the octave. The Church also sings it at such solemn functions as the election of popes, the consecration of bishops, the ordination of priests, the dedication of churches, the celebration of synods or councils, the coronation of kings, etc. It is also sung in the more private devotions attending the opening and closing of that scholastic year in institutions of learning. The Congregation of Rites decreed (20 June, 1899) that the Eastertide doxology (Deo Patri sit gloria — Et Filio qui a mortuis — Surrexit ac Paraclito — In s culorum s cula) should always be used, no matter what, the feast or season of the year might be. The Vatican Graduale (1908) gives the older text, (attestation of which does not go back beyond the ninth century) and also, under the heading “secundum usum recentiorem”, the present Breviary text, which is a revision, in the interest of classical prosody, of the older text, by the correctors of the Breviary under Urban VIII. The doxology of the older text (which is probably not original with the text itsell) is: “Sit laus Patri cum Filio — Sancto simul Paraclito — Nobisque mittat Filius — Charisma Sancti Spiritus”. This doxology is generally associated with the hymn “Beata nobis gaudia”. It is unnecessary to indicate here the points of revision, since the printing of both texts in the Vatican Graduale makes comparison easy. Hymnologists think the revision uncalled for.
Dreves (Analecta Hymnica, L, 195) places the hymn in the section he devotes to Rabanus Maurus (d. 856), Abbot of Fulda and Archbishop of Mainz, and shows (p. 194) the importance of the manuscript evidence in his favour. Frere (Introduction to Hymns Ancient and Modern, historical edition, p. xxii) thinks the hymn can with some confidence” be ascribed to him; as does also Blume (1908). Added support of the ascription is found in the scansion of the line Qui Paracletus dicitur (revised into Qui dicitur Paraclitus”), where, in accordance with precedent found in Rabanus, Paracletus is accented on the penultimate syllable, as against the almost universal medieval custom of accenting it on the ante-penultimate, an illustration of which is found in the third line of the doxology (which is not part of the original hymn). Guéranger with many others, ascribed the hymn to Charlemagne, but with slight ground except his zeal for the doctrine of the Procession of the Holy Ghost from Father and Son. The legendary story of Ekkehard V contains its own refutation. The hymn has also been attributed to St. Ambrose and to St. Gregory the Great, but without real evidence for either ascription. No ancient writer ascribes it to St. Ambrose, nor can a good argument be based on its inclusion of two lines (Infirma nostri corporis — Virtute firmans perpeti) from the “Veni Redemptor gentium” (which is certainly by St. Ambrose) or on the phrasal similarity of its two lines “Accende lumen sensibus — Infunde amorem cordibus” with the line “Infunde lumen cordibus” of the hymn “O lux beata Trinitas” (which is probably by St. Ambrose). Borrowing from celebrated hymns was a common practice of medieval hymnodists. Mone ascribes it to St. Gregory because of its classical metre and occasional rhymes, and especially its prayerfulncss, which he declares is a feature of St. Gregory’s hymns; and the scansion of Paracletus (with the accent on the penultimate) he considers referable to the learning of such an author.
The hymn was probably first assigned to Vespers. One eleventh-century manuscript has it at both Lauds and Vespers, two others have it at Lauds. Its use at Terce is said to have begun at Cluny — a highly appropriate assignment, as it thus commemorates the descent of the Holy Ghost at the third hour of the day (Acts 2:15). In the council held at Reims in 1049, Pope Leo IX presiding, it was sung at the commencement of the third session in place of the ordinary antiphon, “Exaudi nos, Domine . It is found in several pontificals of the same century. It is the only Breviary hymn retained by the Protestant Episcopal Church, a translation being given in the Prayer Book (Ordering of Priests). There are about sixty English versions. Warton styles the translation of Dryden most elegant and beautiful. It begins: Creator Spirit, by whose aid The world’s foundations first were laid, Come visit every pious mind, Come pour Thy joys on human kind; From sin and sorrow set us free, And make Thy temples worthy Thee.
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JULIAN, Dict. of Hymnology (2nd ed., London, 1907), 1206-1211, 1720; DREVES, Lateinisehs Hymnendichter des Mittel-alters, II. in Analecta Hymnica, L (Leipzig, 1907), 193-4 (Latin text. MS. references, additional stanzas, notes), 180-1, biographical notice of Rabanus; FRERE, Introduction to Hymns Ancient and Modern. (hist. ed., London, 1909) p. (see hymns Nos. 180, 181, for text and two trs., two harmonized plainsong melodies, modern settings and comment); PIMONT, Les hymnes du bréviare romain, III (Paris, 1884), 125-143, extensive comment: “The other two hymns of Pentecost are mostly narrative, while the Veni Creator is entirely an address to the Holy Ghost. This characteristic trait, and the exceptional beauty of the hymn, have always made it dear and venerable to Holy Church . . . The Dominicana sing it only at Terce. Other manuscripts locate it at Matins. The ancient Ordinarium of Laon indicates its use a all the canonical hours. The nuns of the Paraclete (Nogent-sur-Seine) repeated the first stanza seven times at Terce, five times at Sext, and thrice at None.” He refers to MARTÈNE, De antiq. rit. eccl., III, iv, c. 28; HENRY, The Hymn “Veni Creator Spiritus” in Amer. Eccl. Review (June, 1897), 573-596, text and original translation. comment; SHIPLEY, Annus Sanctus (London, 1874), gives trs. by AYLWARD (161), ANON. in Evening Office, 1710 (165), HUSENBETH (167), R. CAMPBELL (170). and in the Appendix, 10, 11, 26, 27, trs. of the Primers of 1604, 1619, 1685, 1706 (this last being Dryden’s); MONE, Lateinische Hymnen des Mittelalters, I (Freiburg, 1853), 241-243; DANIEL, Thesaurus Hymnologicus, I, 213-215; IV, 124-126; DUFFIELD, Latin Hymn-Writers and their Hymns (New York, 1889), 114-131, text and original tr., biography of Rabanus, for whose authorship Duffield contends vigorously; The Seven Great Hymns of the Medieval Church (7th ed., New York, 1868), 134-139); Amer. Eccl. Review (May, 1900, 525), decree S.C.R. (20 June, 1899) concerning the doxology; IDEM (Oct., 1896, 432-434), the singing of the Veni Creator before the sermon at High Mass; JOHNER, A New School of Gregorian Chant (New York, 1906, p. 87) gives the melody with marked accents and calls attention to “the upward movement from the first to the third line . For imitative hymns: DREVES, Analecta Hymnica, XII, 139; XXI, 52, 56; XXX (three hymns); XLIII, 211; XXXIII, 23. OIT, L’Innodia ambrosiana in Rassegna Gregoriana. VI (1907), 490, gives the melody of the hymn Hic est dies verus Dei, shows that it is the same as that of the Veni Creator, remarks that “all the spirit of the Ambrosian hymnody is felt in this fresh and vivacious melody”, and thinks that “the music probably belongs to Saint Ambrose; BLUME, Ein neuer Markstein in der liturgischen Hymnodie in Stimmen aus Maria-laach, LXXV, No. 1 (July, 1, 1908), 6and footnote, for comment on revision.
H.T. HENRY Transcribed by Wm Stuart French, Jr. Dedicated to Rev. Kenneth Geyer, O.S.B.
The Catholic Encyclopedia, Volume XVCopyright © 1912 by Robert Appleton CompanyOnline Edition Copyright © 2003 by K. KnightNihil Obstat, October 1, 1912. Remy Lafort, S.T.D., CensorImprimatur. +John Cardinal Farley, Archbishop of New York
Fuente: Catholic Encyclopedia
Veni, Creator Spiritus
(Come, Creator Spirit), is the beginning of a grand Pentecostal hymn, generally ascribed to Charlemagne. The original runs thus:
Veni, Creator Spiritns,
Meutes tuorum visita,
Imple superna gratia
Quse tu creasti pectora.
Qui Paraclitus diceris
Deique donnm altissimi,
Fons vivus, ignis, caritas
Et spiritalis uuctio.
Tu septiformis munere,
Dextrne Dei tu digitus,
Tu rite promissum
Patris Sermone ditans guttura.
Accende lumen sensibus,
Infunde amorem cordibus,
Infirma nostri corporis
Virtute firmans perpeti.
Hostem repellas longius
Pacemque dones protinus,
Ductore sic te praevio
Vitemus omne noxium.
Per te sciamus, da, Patrem,
Noscamus atque Filium,
Te utriusque Spiriturn
Credamus omni tempore.
[Sit laus Patri cum Filio,
Sancto simul Paracleto,
Nobisque mittat Filins
Charisma Sancti Spiritus.]
This hymn holds a peculiar place among the treasures which the ancient Church has transmitted to our service of song. It is not only a precious heirloom, but marks a period in the history of the Church, when, a great contest decided, the truth vindicated entered into the very life of the Church, and rang forth in gladsome accents of praise. Therefore it is, and ever will continue, the grand Pentecostal hymn-not merely from its contents, sublime as these are, but as the earliest full expression, in the language of praise, of the scriptural doctrine concerning the work and the person of the Holy Ghost, attained after long and bitter fight. But that battle has rolled away; not even its most distant echoes are heard in the hymn; and the Veni Creator is not a battle-song, not even one of victory, but of triumph and praise in the enjoyment Of the fruits of victory. Occupying the most advanced position, and, indeed, the key to the whole, in the doctrine of the procession of the Holy Ghost from the Father and Son, holding it securely against all adversaries, the Church bursts forth in prayer for his coming and for his working, and in praise to his person, in that grand, full toned Pentecostal hymn of the Veni Creator.
As already stated, popular tradition has ascribed the Veni Creator to Charlemagne, but this view is wholly untenable. The learned Mone (Hymni Lat. Med. Mevi, 1, 241) states that this hymn existed in MSS. prior to the date of Charlemagne. Besides, that emperor was by no means sufficiently master of Latin not to speak of Greek to compose such a hymn in classical meter, so strictly observed as in this case. On the other hand, the evidence in favor of its composition by Gregory the Great is quite preponderating. Its contents and its form alike remind us of this author. To at least seven out of its twenty-four lines we can append strictly parallel passages and expressions from the undoubted writings of Gregory. Besides, it resembles not only in character, but in the use of certain peculiar words and terms, the other hymns of Gregory, of which eight are contained in the Benedictine edition of his works, while the learned Mone traces no fewer than twelve to his pen. Again, the character of prayer mingled with praise, and the classical meter with partial rhymes, are also peculiar to Gregory. The writer evidently knew Greek, as appears from the correct quantity in the word Paraclitus, in line 5, whereas it is incorrectly given in line 26. Hence the whole of this concluding stanza, which we have put in brackets, is evidently a spurious addition. It is needless in itself, since the doxology is already contained in the four previous lines; and it differs from the rest of the hymn in its wrong metrification, and by its regular rhyme. Lastly, Gregory, in his hymns, not infrequently borrows from Ambrose, and this is also notably the case in the Veni Creator. Not to speak of several imitations, lines 15 and 16 are taken word for word from a hymn of Ambrose, the Veni Redemptor Gentium (q.v.).
The historical position of Veni Creator in regard to the great doctrine of the procession of the Holy Ghost may in some measure account both for the place which it occupied in the services of the Church and for the extravagant language in which medieval writers refer to it. Anciently it was sung not only at Whitsuntide, but, as still in the Roman Catholic Church, on the most solemn occasions at the election of a pope and of bishops, at the coronation of kings, at synods, and at the elevation and translation of the relics of saints. Its more than ordinary worth and dignity have been recognised by the Church of England, when, dismissing every other hymn, she has yet retained this in the offices for the ordaining of priests and the consecrating of bishops. It is certainly one of the most magnificent compositions, mingling prayer with praise-grand, full chorded, rich in tone and melody, and at the same time soft, sweet, and touching. In a singular manner it unites the doctrinal with the practical, the full-rounded statement of scriptural truth with conscious need and joyous assurance.
This hymn has been translated repeatedly into English and German. The following in English is a free rendering by an unknown hand, first introduced into the office for the ordination of priests upon the revision of the liturgy of the Church of England in 1662, and runs thus:
Come, Holy Ghost, our souls inspire
And lighten with celestial fire.
Thou the Anointing Spirit art,
Who dost thy sevenfold gifts impart.
Thy blessed unction from above
Is comfort, life, and fire of love.
Enable with perpetual light
The dullness of our blinded sight.
Anoint and cheer our soiled face
With the abundance of thy grace.
Keep far our foes; give peace at home.
Where thou art guide, no ill can come.
Teach us to know the Father, Son,
And thee of both, to be but One.
That through the ages all along
This may be our endless song:
Praise to thy eternal merit,
Father, Son, and Holy Spirit.
In German it is found in the collections of Bassler, Simrock, Konigsfeld, Rambach, etc. (B. P.)