O Filii et Filiæ
Encyclopedia
O Filii et Filiæ - the first line of Catholic
hymn celebrating Easter
. As commonly found in hymnal
s today, it comprises twelve stanza
s of the form:
O filii et filiæ
Rex cælestis, Rex gloriæ
Morte surrexit hodie.
Alleluia.
It was written by Jean Tisserand, O.F.M. (d. 1494), a preacher, and originally comprised but nine stanza
s (those commencing with "Discipulis adstantibus", "Postquam audivit Didymus", "Beati qui non viderunt" being early additions to the hymn). "L'aleluya du jour de Pasques" is a trope on the versicle and response (closing Lauds and Vespers) which it prettily enshrines in the last two stanzas:
In hoc festo sanctissimo
Sit laus et jubilatio:
BENEDICAMUS DOMINO.–Alleluia.
De quibus nos humillimas
Devotas atque debitas
DEO dicamus GRATIAS.–Alleluia.
The hymn was very popular in France
, whence it has spread to other countries. Guéranger's Liturgical Year (Paschal Time, Part I, tr., Dublin, 1871, pp. 190-192) entitles it "The Joyful Canticle" and gives Latin
text with English prose translation, with a triple Alleluia preceding and following the hymn. As given in hymnals, however, this triple Alleluia is sung also between the stanzas (see "The Roman Hymnal", New York, 1884, p. 200). In Lalanne, "Recueil d'anciens et de nouveaux cantiques notés" (Paris, 1886, p. 223) greater particularity is indicated in the distribution of the stanzas and of the Alleluia
s. The triple Alleluia is sung by one voice, is repeated by the choir
, and the solo takes up the first stanza with its Alleluia. The choir then sings the triple Alleluia, the second stanza with its Alleluia, and repeats the triple Alleluia. The alternation of solo and chorus thus continues, until the last stanza with its Alleluia, followed by the triple Alleluia, is sung by one voice. "It is scarcely possible for any one, not acquainted with the melody, to imagine the jubilant effect of the triumphant Alleluia attached to apparently less important circumstances of the Resurrection
. It seems to speak of the majesty of that event, the smallest portions of which are worthy to be so chronicled" (Neale, "Medieval Hymns and Sequences", 3rd ed., p. 163). The rhythm of the hymn is that of number and not of accent or of classical quantity. The melody to which it is sung can scarcely be divorced from the lilt of triple time. As a result, there is to English ears a very frequent conflict between the accent of the Latin words and the real, however unintentional, stress of the melody: e.g.: Et Máriá Magdálená, Sed Jóannés Apóstol&ús, Ad sépulchr&úm venít pri&ús, etc. A number of hymnal give the melody in plain-song notation, and (theoretically, at least) this would permit the accented syllables of the Latin text to receive an appropriate stress of the voice. Commonly, however, the hymnals adopt the modern triple time (e.g., the "Nord-Sterns Führers zur Seeligkeit", 1671; the "Roman Hymnal", 1884; "Hymns Ancient and Modern", rev. ed.). Perhaps it was this conflict of stress and word-accent that led Neale to speak of the "rude simplicity" of the poem and to ascribe the hymn to the twelfth century in the Contents-page of his volume (although the note prefixed to his own translation assigns the hymn to the thirteenth century). Migne, "Dict. de Liturgie" (s. v. Pâques, 959) also declares it to be very ancient. It is only very recently that its authorship has been discovered, the "Dict. of Hymnology" (2nd ed., 1907) tracing it back only to the year 1659, although Shipley ("Annus Sanctus", London, 1884, p. xxiii) found it in a Roman Processional of the sixteenth century.
The hymn was assigned in the various French Paroissiens to the Benediction of the Blessed Sacrament
, on Easter Sunday. There are several translations into English verse by non-Catholics. The Catholic translations comprise one by an anonymous author in the "Evening Office", 1748 ("Young men and maids, rejoice and sing"), Father Caswall's "Ye sons and daughters of the Lord" and Charles Kent
's "O maids and striplings, hear love's story", all three being given in Shipley, "Annus Sanctus". The Latin texts vary both in the arrangement and the wording of the stanzas; and the plain-song and modernized settings also vary not a little.
Catholic
The word catholic comes from the Greek phrase , meaning "on the whole," "according to the whole" or "in general", and is a combination of the Greek words meaning "about" and meaning "whole"...
hymn celebrating Easter
Easter
Easter is the central feast in the Christian liturgical year. According to the Canonical gospels, Jesus rose from the dead on the third day after his crucifixion. His resurrection is celebrated on Easter Day or Easter Sunday...
. As commonly found in hymnal
Hymnal
Hymnal or hymnary or hymnbook is a collection of hymns, i.e. religious songs, usually in the form of a book. The earliest hand-written hymnals are known since Middle Ages in the context of European Christianity...
s today, it comprises twelve stanza
Stanza
In poetry, a stanza is a unit within a larger poem. In modern poetry, the term is often equivalent with strophe; in popular vocal music, a stanza is typically referred to as a "verse"...
s of the form:
O filii et filiæ
Rex cælestis, Rex gloriæ
Morte surrexit hodie.
Alleluia.
It was written by Jean Tisserand, O.F.M. (d. 1494), a preacher, and originally comprised but nine stanza
Stanza
In poetry, a stanza is a unit within a larger poem. In modern poetry, the term is often equivalent with strophe; in popular vocal music, a stanza is typically referred to as a "verse"...
s (those commencing with "Discipulis adstantibus", "Postquam audivit Didymus", "Beati qui non viderunt" being early additions to the hymn). "L'aleluya du jour de Pasques" is a trope on the versicle and response (closing Lauds and Vespers) which it prettily enshrines in the last two stanzas:
In hoc festo sanctissimo
Sit laus et jubilatio:
BENEDICAMUS DOMINO.–Alleluia.
De quibus nos humillimas
Devotas atque debitas
DEO dicamus GRATIAS.–Alleluia.
The hymn was very popular in France
France
The French Republic , The French Republic , The French Republic , (commonly known as France , is a unitary semi-presidential republic in Western Europe with several overseas territories and islands located on other continents and in the Indian, Pacific, and Atlantic oceans. Metropolitan France...
, whence it has spread to other countries. Guéranger's Liturgical Year (Paschal Time, Part I, tr., Dublin, 1871, pp. 190-192) entitles it "The Joyful Canticle" and gives Latin
Latin
Latin is an Italic language originally spoken in Latium and Ancient Rome. It, along with most European languages, is a descendant of the ancient Proto-Indo-European language. Although it is considered a dead language, a number of scholars and members of the Christian clergy speak it fluently, and...
text with English prose translation, with a triple Alleluia preceding and following the hymn. As given in hymnals, however, this triple Alleluia is sung also between the stanzas (see "The Roman Hymnal", New York, 1884, p. 200). In Lalanne, "Recueil d'anciens et de nouveaux cantiques notés" (Paris, 1886, p. 223) greater particularity is indicated in the distribution of the stanzas and of the Alleluia
Alleluia
The word "Alleluia" or "Hallelujah" , which at its most literal means "Praise Yah", is used in different ways in Christian liturgies....
s. The triple Alleluia is sung by one voice, is repeated by the choir
Choir
A choir, chorale or chorus is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform.A body of singers who perform together as a group is called a choir or chorus...
, and the solo takes up the first stanza with its Alleluia. The choir then sings the triple Alleluia, the second stanza with its Alleluia, and repeats the triple Alleluia. The alternation of solo and chorus thus continues, until the last stanza with its Alleluia, followed by the triple Alleluia, is sung by one voice. "It is scarcely possible for any one, not acquainted with the melody, to imagine the jubilant effect of the triumphant Alleluia attached to apparently less important circumstances of the Resurrection
Resurrection
Resurrection refers to the literal coming back to life of the biologically dead. It is used both with respect to particular individuals or the belief in a General Resurrection of the dead at the end of the world. The General Resurrection is featured prominently in Jewish, Christian, and Muslim...
. It seems to speak of the majesty of that event, the smallest portions of which are worthy to be so chronicled" (Neale, "Medieval Hymns and Sequences", 3rd ed., p. 163). The rhythm of the hymn is that of number and not of accent or of classical quantity. The melody to which it is sung can scarcely be divorced from the lilt of triple time. As a result, there is to English ears a very frequent conflict between the accent of the Latin words and the real, however unintentional, stress of the melody: e.g.: Et Máriá Magdálená, Sed Jóannés Apóstol&ús, Ad sépulchr&úm venít pri&ús, etc. A number of hymnal give the melody in plain-song notation, and (theoretically, at least) this would permit the accented syllables of the Latin text to receive an appropriate stress of the voice. Commonly, however, the hymnals adopt the modern triple time (e.g., the "Nord-Sterns Führers zur Seeligkeit", 1671; the "Roman Hymnal", 1884; "Hymns Ancient and Modern", rev. ed.). Perhaps it was this conflict of stress and word-accent that led Neale to speak of the "rude simplicity" of the poem and to ascribe the hymn to the twelfth century in the Contents-page of his volume (although the note prefixed to his own translation assigns the hymn to the thirteenth century). Migne, "Dict. de Liturgie" (s. v. Pâques, 959) also declares it to be very ancient. It is only very recently that its authorship has been discovered, the "Dict. of Hymnology" (2nd ed., 1907) tracing it back only to the year 1659, although Shipley ("Annus Sanctus", London, 1884, p. xxiii) found it in a Roman Processional of the sixteenth century.
The hymn was assigned in the various French Paroissiens to the Benediction of the Blessed Sacrament
Blessed Sacrament
The Blessed Sacrament, or the Body and Blood of Christ, is a devotional name used in the Roman Catholic Church, Eastern Catholic Churches, Old Catholic, Anglican, and Lutheran churches, to refer to the Host after it has been consecrated in the sacrament of the Eucharist...
, on Easter Sunday. There are several translations into English verse by non-Catholics. The Catholic translations comprise one by an anonymous author in the "Evening Office", 1748 ("Young men and maids, rejoice and sing"), Father Caswall's "Ye sons and daughters of the Lord" and Charles Kent
Charles Kent (writer)
Charles Kent was an English poet, biographer, and journalist, born in London. After completing his education at Prior Park and Oscott, he became editor of the Sun , studied law at the same time and was called to the bar in 1859 as a member of Middle Temple, but thereafter devoted himself to...
's "O maids and striplings, hear love's story", all three being given in Shipley, "Annus Sanctus". The Latin texts vary both in the arrangement and the wording of the stanzas; and the plain-song and modernized settings also vary not a little.