mls@dasys1.UUCP (Michael Siemon) (11/10/89)
I also sent Darren a translation of the Mozart texts (BTW: Joe's version of the first stanza of the _dies irae_ is better than the one given in the Episcopal Hymnal, which is what I transmitted.) But there is an interesting liturgical point here. The use of the _dies irae_ only became standard after Trent. Earlier requiem masses (e.g. those of Pierre de la Rue and Ockeghem) usually have the tract _sicut cervus_ instead of this tub-thumping sequence. Just to exercise some pedantry, imagine Mozart (or Verdi, for that matter) setting instead of the fearsome Last Judgment scenario this gentle psalm: Sicut cervus desiderat As the hart panteth ad fontes aquarum, after the water-brooks, ita desiderat anima mea so panteth my soul ad te, Deus. after thee, O God. Sitivit anima mea My soul thirsteth ad Deum vivim: for the living God: quando veniam et apparebo when shall I come and appear ante faciem Dei mei. before the face of my God? Fuerunt mihi lacrimae meae My tears have been panes die et nocte, my bread both day and night, dum dicitur mihi while they say unto me per singulos dies: all the day: ubi est Deus tuus? Where is then thy God? [psalm 42:1-3] One other point is that the whole imagery of the Last Judgment, and a "book" wherein is recorded our every deed to be read over again at this last day, is a very late one -- hardly appearing much before the _dies irae_ text that is one of its classic statements. Readers with an interest in history, especially Christian history, will find it instructive to read Philippe Aries' book _The Hour of Our Death_ (a Vintage paperback, Alfred A. Knopf 1982, ISBN 0-394-75156-6) -- Michael L. Siemon I cannot grow; ...!cucard!dasys1!mls I have no shadow To run away from, I only play.