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OMNI DIE (Trier)
Meter: 8.7.8.7 D Appears in 26 hymnals Tune Sources: Gesangbuch, 1695 Tune Key: G Major Incipit: 33251 27515 67117 Used With Text: Now There Is No Male or Female
OMNI DIE (Trier)
Now There Is No Male or Female
Author: Lynette Miller Meter: 8.7.8.7 D Appears in 4 hymnals Topics: Church in the World Renewal: Transformation; Pilgrimage and Conflict; Renewal; Transformation; Proper 7 Year A; Baptism of Jesus Year B; Easter 3 Year B; Proper 7 Year C; Proper 8 Year C Used With Tune: OMNI DIE
Now There Is No Male or Female
Daily, Daily Sing to Mary
Author: Bernard of Cluny (Morlaix); Henry Bittleston, 1818-1886 Meter: 8.7.8.7 D Appears in 53 hymnals Lyrics: 1 Daily, daily sing to Mary;
Sing, my soul, her praises due.
All her glorious actions cherish,
With the heart's devotion true.
Lost in wond'ring contemplation,
Be her majesty confessed!
Call her Mother, call her Virgin,
Happy Mother, Virgin blest!
2 She is mighty to deliver;
Call her, trust her lovingly.
When the tempest rages round you,
She will calm the troubled sea.
Gifts of heaven she has given,
Noble Lady, to our race;
She, the Queen, who clothes her subjects
With the light of God's own grace.
3 Sing, my tongue, the Virgin's honors,
Who for us her Maker bore,
For the curse of old inflicted,
Peace and blessings to restore.
Sing in songs of praise unending,
Sing the world's majestic Queen;
Weary not nor faint in telling
All the gifts that earth has seen.
4 All my senses, heart, affections,
Strive to sound her glory forth.
Spread abroad the sweet memorials
Of the Virgin's priceless worth.
Where the voice of music thrilling,
Where the tongues of eloquence,
That can utter hymns befitting
All her matchless excellence?
5 All our joys do flow from Mary;
All then join her praise to sing.
Trembling, sing the Virgin Mother,
Mother of our Lord and King.
While we sing her awesome glory,
Far above our fancy's reach,
Let our hearts be quick to offer
Love the heart alone can reach. Topics: Marian Used With Tune: ALTE TAGE SING UND SAGE
Daily, Daily Sing to Mary
For the Faithful Who Have Answered
Author: Sylvia G. Dunstan Meter: 8.7.8.7 D Appears in 6 hymnals Used With Tune: OMNI DIE
For the Faithful Who Have Answered
Now There Is No Male or Female
Author: Lynette Miller Hymnal: Glory to God #493 (2013) Meter: 8.7.8.7 D Topics: Baptism; Ecumenical; Reconciliation; Unity Scripture: Luke 20:27-38 Languages: English Tune Title: OMNI DIE (Trier)
Now There Is No Male or Female
Now There Is No Male or Female
Author: Lynette Miller (1943-) Hymnal: Common Praise (1998) #36 (1998) Meter: 8.7.8.7 D Topics: Christian Initiation; Communion of Saints; Salvation/Redemption; Unity (church); Baptism (general) Scripture: John 8:12 Languages: English Tune Title: OMNI DIE
Now There Is No Male or Female
For the Faithful Who Have Answered
Author: Sylvia G. Dunstan Hymnal: The New Century Hymnal #384 (1995) Meter: 8.7.8.7 D Topics: Adoration and Praise God; Church Communion of Saints; Pilgrimage; Witness; Year C Proper 14; Year C Proper 15 Scripture: Hebrews 11:4-40, 12:1-2 Languages: English Tune Title: OMNI DIE
For the Faithful Who Have Answered
Bernard, of Cluny
1100 - 1199 Person Name: Bernard of Morlaix Author of "Daily, Daily Sing to Mary" in Journeysongs (2nd ed.) Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux.
The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :—
" Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis."
The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem."
As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.)
In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns.
-John Julian, Dictionary of Hymnology (1907)
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Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Bernard, of Cluny
Sylvia G. Dunstan
1955 - 1993 Author of "For the Faithful Who Have Answered" in Sing the Faith After a brief, arduous battle with liver cancer, Canadian Sylvia Dunstan died in 1993 at the age of 38. For thirteen years, Dunstan had served the United Church of Canada as a parish minister and prison chaplain. She is remembered by those who knew her for her passion for those in need, her gift of writing, and her love of liturgy.
Sing! A New Creation
Sylvia G. Dunstan
William Bright
1824 - 1901 Author of "At Thy Feet, O Christ" in The Cyber Hymnal Bright, William, D.D., born at Doncaster, Dec. 14, 1824, and educated at University College, Oxford, where he graduated B.A. (first class in Lit. Hum.) in 1846, M.A. in 1849. In 1847 he was Johnson's Theological Scholar: and in 1848 he also obtained the Ellerton Theological Essay prize. He was elected Fellow in 1847, and subsequently became Tutor of his College. Taking Holy Orders in 1848, he was for some time Tutor at Trinity College, Glenalmond; but in 1859 he returned to Oxford, and in 1868 became Regius Professor of Ecclesiastical History and Canon of Christ Church. His publications include:—
(1) Ancient Collects, selected from various Rituals, 1857, 2nd ed., 1862; (2) History of the Church from the Edict of Milan to the Council of Chalcedon, 1860; (3) Sermons of St. Leo the Great on the Incarnation, translated with notes, 1862; (4) Faith and Life, 1864-66; (5) Chapters of Early English Church History, 1877; (6) Private Prayers for a Week; (7) Family Prayers for a Week; (8) Notes on the Canons of the First tour Councils. He has also edited (9) Eusebius' Ecclesiastical History, 1872; (10) St. Athanasius's Oration against the Arians, &c, 1873; (11) Socrates' Ecclesiastical Hist.; (12) with the Rev. P. G. Medd, Latin Version of the Prayer Book, 1865-69. His poetical works are, (13) Athanasius and other Poems, by a Fellow of a College, 1858; and (14) Hymns & Other Poems, 1866; revised and enlarged, 1874. The last two works contain original hymns and translations. To the hymn-books he is known through his original compositions, seven of which are given in the revised edition of Hymns Ancient & Modern and some are found elsewhere. In addition to “And now the wants are told," and "At Thy feet, O Christ, we lay" (q.v.), there are:—
1. And now, 0 Father, mindful of the love. Holy Communion. Published in Hymns Ancient & Modern1875. Part of a composition in his Hymns, &c.
2. Behold us, Lord, before Thee met. Confirmation. Printed in the Monthly Packet, Nov. 1867, and, in a revised form, in the Appendix to Hymns Ancient & Modern, 1868.
3. How oft, O Lord, Thy face hath shone. St. Thomas. Published in Hymns Ancient & Modern, 1875.
4. Once, only once, and once for all. Holy Communion. Written in 1865, and published in his Hymns, &c, 1866, in 6 stanzas of 4 lines. It was given in the Appendix to Hymns Ancient & Modern, 1868; the new edition, 1875, and several other collections.
5. We know Thee, Who Thou art. Prayer after Pardon. Written in 1865, and published in his Hymns , &c, 1866, in 5 stanzas of 4 lines. It was included in the Appendix to Hymns Ancient & Modern, 1868, &c.
Canon Bright's hymns merit greater attention than they have received at the hands of compilers. He died March 6, 1901.
-- John Julian, Dictionary of Hymnology (1907)
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Bright, William, p. 182, i. Other hymns in common use are:—
1. God the Father, God the Son. Litany of the Resurrection. Second stanza, "Risen Lord, victorious King." From Iona, &c, 1886.
2. Pie sat to watch o'er customs paid. St. Matthew. In the 1889 Supplemental Hymns to Hymns Ancient & Modern.
3. Holy Name of Jesus. Name of Jesus. From Iona, &c., 1886.
4. Now at the night's return we raise. Evening. Rugby School Hymn Book, 1876, and others.
5. Thou the Christ for ever one. Mission to the Jews. In the 1889 Supplemental Hymns to Hymns Ancient & Modern.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
William Bright
