The Project Gutenberg eBook of The Dream of Gerontius, by Cardinal Newman

Professor of English Language and Literature in the Catholic
University of America, Washington, D. C.

First edition, September 30, 1903;
Reprinted, with additions, September, 1904; August, 1908;
February, 1910.

As a rule, when Cardinal Newman's poetry is mentioned, people think of "The Pillar of the Cloud," better known as "Lead, Kindly Light." This lyric is only one of the many beautiful poems written by an author whose fame as a writer of the finest modern prose in the English language has eclipsed his reputation as a poet. Nevertheless, he wrote a very great poem, "The Dream of Gerontius"—a poem which the intellectual world admires more and more every year, and which yields its best only after careful study and consideration. It has been described as a metrical meditation on death. It is more than that; it is the realization by means of a loving heart and a poetic imagination of the state of a just soul after death,—Gerontius typifying not the soul of a particular person imagined by Cardinal Newman, but your soul, my soul, any soul which may be fortunate enough to satisfy the judging and merciful God. No poet has ever presented the condition of the soul, as made known by the theology of the Catholic Church, so forcibly and appealingly as Cardinal Newman. The poem is filled with intense white light, and the soul on earth sees itself[2] as it will be at the moment before its death; as it will be when, strengthened by the last sacraments and upborne by the prayers of its friends, it approaches the bar of judgment. Separated from the body until the day of the Resurrection, when it shall be united to that glorified body, it is not sundered by death from the love of those who have loved it on earth. Gerontius about to be judged feels that he must fail

from which the soul came, and, in its depths of fear, it pleads silently that its friends in Christ may pray for it. The dread of annihilation is upon it; it fears "the great deep"[1] to which it goes. And, in the agony of its rending from the beloved body, it thinks—for it can no longer speak—of the horror of nothingness. All its physical supports are gone. Its eyes are darkening and glazing; its feet motionless and cold; its arms and hands rigid. To those in the sick-room the body once so beautiful,

is now white as white marble and as lifeless. But the soul is not dead, though the earthly parts of the body [3]appear to be, and it hears the prayers of the Church for the dying as the supreme moment of its departure from the body is at hand. Some of these prayers, translated from the Latin, the author puts into the mouths of the assistants. They have all the refreshing strength that the Church gives; they represent the supplication of millions of devout souls bound to this dying brother in the communion of saints. The soul gains new strength from these prayers; it arouses itself; sees God through the ruin of the world, and wills to be wholly His. The assistants by the bedside redouble their supplications in the sacred words of the Litany for the Dying, which Cardinal Newman again interprets in English verse, though the Litany is in the Latin tongue. Again, the soul gains strength for a moment, and calls, in the universal speech of the Church, for strength, and that, "out of the depths,"[3] the holy God might save it. Then it uses its will to believe, and within itself asserts the creed of the Church, which is musically interpreted by the poet:

The moment of agony, the moment of the realization of the soul that it is alone, bereft of its support, is ter[4]rible but short. In the "Inferno" of Dante, with all its objective horrors, there are no lines so terrible as these, which show the spirit naked, wild with horror and dismay:

We can imagine the scene in the room in which Gerontius is dying. The priest, in his surplice and violet stole, has sprinkled the chamber and the persons present with holy water, using the form of the cross, and has said the Asperges:

"Thou shall sprinkle me with hyssop, and I shall be cleansed: Thou shalt wash me, and I shall be made whiter than snow."

Gerontius has kissed the crucifix, and it is still before him. In the glow of the lighted candle the "Litany for the Dying" is recited by the priest and the "assistants," that is to say, all in the room who will pray. The passing of the soul may not have occupied a second, as we reckon time, and yet, as "The Dream of Gerontius" suggests, the soul, sensitive and vital, may live through what might seem to be a hundred years. As soon as it appears that the soul has departed, the priest says:

"Subvenite, Sancti Dei, occurrite Angeli Domini,[5] Suscipientes animam ejus, Offerentes eam in conspectu Altissimi."[4]

This prayer dwells last in the ears of Gerontius. He has slept for a moment, refreshed by the Church, and he awakes to find himself free.

The soul, borne forward on its way to the Judge, hears the song of its Guardian Angel, whose work is done. As the soul proceeds, the voices of the demons are heard; they express the pride of those who defy God. They cry out:

So infinitesimal has the time been since the soul left the body that the "Subvenite" is not yet finished when the soul is at the very throne of Judgment:

The angel of the Agony supplicates for the soul, as for its brother, and then the eager spirit darts forward alone to the feet of God. Gerontius is judged; he passes lovingly to Purgatory. His Guardian Angel says:

Waiting until he shall enter into the full glory of the Lord, Gerontius is left by the poet. This soul knows now what it did not know on earth,—what the real happiness of Heaven is; "it measures the distance which separates itself from this happiness. It understands how infinite this distance is, through its own fault. It suffers terribly. Its sorrow grows with its love, as it loves God more and more with all the fibres of its being; it is drawn by vital and mighty bonds towards the object of its love, but each bond is broken by the weight of its faults, which like a mass of lead hold it down."[6]

There can be no question as to the correspondence of the teaching of Cardinal Newman with the theology of the Catholic Church. Dante is put by Raphael, in the famous picture, the Disputà, among the Doctors of the Church, and the author of "The Dream of Gerontius" would have merited a similar honor even if he had never been created [7] a Cardinal.

For advanced students interested in the study of literature a comparative reading of "The Dream of Gerontius" with the "Purgatorio" of Dante, Book III, Milton's "Paradise Lost," Rossetti's "The Blessed Damosel," and Tennyson's "In Memoriam" would be very interesting and profitable, provided this is done always with reference to the exact teaching of the Church. For exalted purity, for terseness and beauty of expression, for musical cadences, "The Dream of Gerontius" stands first among the few great poems that depict the life after death. "In Memoriam" is made up of human yearnings, of faith, of doubt. It never passes beyond "the bar" of death. Milton's "Paradise" is one of angels rather than men, and Rossetti's poem is only a reflection of earth. In Dante's "Purgatorio" the splendor seems to be so great that the appeal to the individual heart is lost, but the oftener we read "The Dream of Gerontius," the more its power and beauty and peace grow upon us.

The story of General Charles George Gordon,[8] "Chinese Gordon," one of the heroes of the nineteenth century, has passed into history, and every enthusiastic boy or girl ought to know it by heart. Gordon was the type of the valiant soldier who carried the love and fear of God everywhere. He, besieged by pagan hordes, died, in 1884, the death of a martyr to duty. This man was only one of those who found consolation in "The Dream of Gerontius" at the very hour of death. General Gordon's copy of the poem—a small duodecimo—was presented to the late Mr. Frank Power, correspondent of the London Times. The latter sent it home to his sister in Dublin. Deep pencil-marks had been drawn under lines all bearing on death and prayer. For instance: "Pray for me, O my friends"; "'Tis death, O loving friends, your prayers,—'tis he"; "So pray for me, my friends, who have not strength to pray"; "Use well the interval"; "Prepare to meet thy God"; "Now that the hour is come, my fear is fled." Later Power met the fate of a hero. The last words that Gordon underlined before he gave him the book were:

The metre in "The Dream of Gerontius" changes with the thought, and it is always appropriate to it. The solemn movement of the opening lines gives the typical music, which is varied lyrically. As an example of exquisite musical variety on a firm basis of unity the poem is admirable. The level of "Lead,[9] Kindly Light" is reached many times in the expression of the highest faith and love, and in musical quality the famous hymn is even surpassed by

Why Cardinal Newman should have presented the experience of a soul after death as a "dream" we can imagine from his habitual caution in dealing with all subjects of importance. He has the boldness of neither Dante nor Milton, and he will not present the poetical experience of a man, at such a vitally sacred moment, as an actual fact; he is too reverential for that, and he calls it a "Dream." In a letter written in answer to an inquiry as to the meaning of the lines in "The Pillar of the Cloud,"

he says, quoting Keble, that poets are "not bound to be critics or to give a sense to what they had written,"[8] and he adds that "there must be a statute of limitations, or it would be quite a tyranny, if in an art which is the expression not of truth but of imagination and sentiment, one were obliged to stand an examination on the transient state of mind which came [10]upon one when homesick, or seasick, or in any other way sensitive or excited."

It is well to take a great poem like this without too much inquiry or analysis. If the author's intention is not evident in his poem, either he has failed to be clear, or he is consciously obscure, or we are incapable of appreciating his work. The first and second defects do not appear in "The Dream of Gerontius." The third, let us trust, does not exist in us. The notes, few in number, are intended to explain only what is not obvious.

In his "Recollections" Aubrey De Vere says: "'The Dream of Gerontius,' as Newman informed me, owed its preservation to an accident. He had written it on a sudden impulse, put it aside and forgotten it. The editor of a magazine"—it appeared in The Month, of London, 1865, in two parts—"wrote to him asking for a contribution. He looked into all his pigeon-holes and found nothing theological; but, in answering his correspondent, he added that he had come upon some verses which, if, as editor, he cared to have, were at his command. The wise editor did care, and they were published at once."

R. H. Hutton, writing of Cardinal Newman, speaks in this way of "The Dream of Gerontius": "Before the Vatican disputes and shortly after the controversy with Canon Kingsley, Newman had written a poem of which he himself thought so little that it was, as I have heard, consigned or doomed to the waste-basket.... Some friend who had an eye for true poetry rescued it,[11] and was the means, therefore, of preserving to the world one of the most unique and original poems of the present century, as well as that one of all of them which is, in every sense, the least in sympathy with the temper of the present century.... None of his writings engraves more vividly on his readers the significance of the intensely practical convictions which shaped his career. And especially it impresses on us one of the great secrets of his influence. For Newman has been a sign to this generation that unless there is a great deal of the loneliness of death in life, there can hardly be much of the higher equanimity of life in death. To my mind 'The Dream of Gerontius' is the poem of a man to whom the vision of the Christian revelation has at all times been more real, more potent to influence action, and more powerful to preoccupy the imagination than all worldly interests put together." (R. H. Hutton, "Cardinal Newman.")

The song of the soul in "The Dream of Gerontius" has sometimes been compared with "The Pillar of the Cloud"—a sacred lyric which is a household canticle wherever the English language is spoken. It is often misquoted, a fourth stanza having been added to it. This is the authorized version:

In the "Apologia Pro Vita Sua" Dr. Newman wrote: "We"—Mr. Hurrell Froude, brother of the historian James Anthony Froude, being the other person—"set out in December 1832. It was during this expedition that my verses which are in the 'Apostolica' were written—a few, indeed, before it, but not more than one or two of them after it. At Whitechurch, while waiting for the down mail to Falmouth, I wrote the verses about 'My Guardian Angel' which begin with these words:

It must be remembered that John Henry Newman had not yet entered the Catholic Church. It is strange that he should at this time have held the belief in a ministering spirit which is so marked in "The Dream of Gerontius."

This vision, he says, "which haunted me,—the vision is more or less brought out in the whole series of compositions." "Gerontius" itself is more a "vision" than a "dream."

"The Pillar of the Cloud" was written in an orange-boat. "We were becalmed a whole week in the Straits of Bonifaccio. Then it was," he says in the "Apologia"—the finest model of modern English prose extant—"that I wrote 'Lead, Kindly Light,' which has since become well known. I was writing verses the whole time of my passage."

The "vision" of which he speaks he saw everywhere, and all his poems seem, in one way or other, to contain hints of the great poem to come; for there can be no doubt that "The Dream of Gerontius" is the culmination of his poetical moods. One cannot open any of his prose works without finding allusions to these eternal truths made so clear through the processes of the soul of a normal old man,—our young readers will please look up the derivation of Gerontius,[9] which is from the Greek,—but it is in his poems that we discover easily [14]the germs of his poetical masterpiece. Even in the poems he loved we note the constant dwelling on the main theme of "The Dream"—Eternity. In 1889 Cardinal Newman was very ill. During his convalescence he asked that Faber's "Eternal Years"[A] should be sung to him with musical accompaniment. He said that he would like to hear it when he came to die. It is a poem of sixteen stanzas, to be found in Faber's "Hymns." It begins:

"Novissima hora est!" Gerontius exclaims, "and I fain would sleep." He is thinking of the eternal hours and years in this last hour on earth.

The death of Gerontius was Newman's ideal Christian death, and Gerontius does not die alone; he is upborne, refreshed by the prayers of his friends. Of Newman's sacred songs, "The Pillar of the Cloud" is, as we know, put first by some critics. And yet for musical diction, for sweetness and all the beauty of artistic technique, the song of the soul in "The Dream" equals if not surpasses it.

In "Verses on Various Occasions" there is the picture of the resigned souls expecting the Blessed Vision. "Waiting for the Morning" was written at Oxford, 1835. It begins:

By "Eden" Newman symbolized the paradise—the resting-place of souls—of the fourfold rivers. Here they patiently abide,

The fulness of higher meditation and knowledge is in the triumphant song of the Soul, but "Waiting for the Morning" contains its suggestion, just as "The Lady of Shalott" by Lord Tennyson contains the germ of the exquisite "Elaine."

The dedication of "The Dream of Gerontius" reads, in English: "To the Most Beloved Brother, John Joseph Gordon, Priest of the Order of St. Philip de Neri, whose soul is in the Place of Refreshment.[10] All Souls' Day, 1865."

The Rev. John Joseph Gordon, of the Oratory, was very dear to Newman, and his death was a great blow

to him. But of all the Oratorians, the Cardinal especially loved Father Ambrose St. John, whose name he accentuates on the last page of the "Apologia." Father St. John, who was of the Gordon family, died in 1875, and Newman suffered what he held to be his saddest bereavement. Ambrose St. John had been with him at Littlemore. Writing to Mr. Dering of the death of Father Ambrose St. John, he said: "I never had so great a loss. He had been my life under God for twenty-two years." The dread of dying alone and the deep affection for friends—an affection that reaches the throne of God by prayer—tinge the whole structure of "The Dream." They are part of Newman himself.

Cardinal Newman died at Edgbaston Oratory, August 11, 1890; he was buried, at his own request, in the grave with Father Ambrose St. John. "'The Dream of Gerontius' was composed in great grief after the death of a dear friend."

A careful study of "The Dream of Gerontius" will show how musical it is, and how delicately the music of the verse changes with the themes. The form of poetry, as we know, approaches music. If a poem is not musical in expression, its metres fail of producing the effect they are intended to produce. So musical is "The Dream of Gerontius" and so capable of being treated by the musicians, that various composers suggested the making of an oratorio of it. Dr. Elgar has done it. "An Ursuline," in The Catholic World, for June, 1903, says: "Dr. Elgar, when a child, sat Sunday after[18] Sunday in the organ-loft of St. George's Roman Catholic Church, Worcester, England, where his father had been organist for the long period of thirty-seven years. Subtly the spirit of the grand old church music was instilled into the boy." Of "The Dream" Dr. Elgar said: "The poem has been soaking in my mind for at least eight years. All that time I had been gradually assimilating the thoughts of the author into my musical promptings." In 1889 a copy of the poem, with the markings made by General Gordon, was presented to Dr. Elgar as a wedding gift. The markings of the heroic and devout Gordon especially interested him. The reading of this little book helped to make Dr. Elgar's fame, which is based solely on his masterpiece, the oratorio performed in London on June 6, 1903, in Westminster Cathedral. Richard Strauss is looked on by musicians as the master of what is called "tone-color"—a perfect harmony between the tone of the instrument and the music arranged for it. But the German and English critics declare that in "The Dream of Gerontius" Dr. Elgar has surpassed Richard Strauss. "The Demons' Chorus," says The Pall Mall Gazette, "may be regarded as one of the last words of musical audacity." For the study of the music we suggest Dr. Jaeger's Analysis, printed by Novello in London and New York. Mr. Theodore Thomas, speaking of Dr. Elgar's "Dream of Gerontius," said that it is the most important oratorio of recent times, not excepting Brahms' Requiem. "'Gerontius,'" he added, "is a[19] lofty work, and, from a technical point of view, more masterly than Brahms ever dreamed of. It is by far the most important and satisfying modern work written for voices and orchestra."

It is understood that Cardinal Newman himself suggested that his poem should be set to music. The delicacy of his ear as to sounds is shown by the changes of the verse-music,—which is made up of accent, pause, and rhythm,—to fit the varying feeling of the work. If the student will scan the lines and reduce them to musical expression,—leaving out, of course, the quality of pitch, he can easily corroborate this.[B]

The first syllable of "Jesu" is the anacrusis; the measure of the metre begins with the first accent. Whether this system of verse-notation or that of the usual scansion be followed, the meaning of the changing forms will be made plain. The system of verse-notation will be found more satisfactory in the metrical study of the poem. The second form of primary rhythm—that based on three beats in the measure—[20]is effectively used. We find it in the Song of the Demons:

JOHN HENRY NEWMAN

Born in the city of London, February 21, 1801, son of Mr. John Newman (of the banking firm of Ramsbottom, Newman & Co.) and of Jemima Fourdrinier, his wife.

Went at an early age to Dr. Nicholas's school at Ealing, to the head of which he rapidly rose. Thence to Trinity College, Oxford, graduating in 1820.

In 1828 was appointed vicar of St. Mary the Virgin, Oxford, with the outlying chaplaincy of Littlemore.

In 1832 finished History of the Arians and went abroad. Made acquaintance with Dr. Wiseman in Rome; seized with fever in Sicily, but said, "I shall not die—I have a work to do in England"; returning homewards in an orange-boat bound for Marseilles, and within sight of Garibaldi's home at Caprera, wrote "Lead, Kindly Light."

On July 13, 1833, the Sunday after his return home, the Oxford movement was begun by Keble's sermon on National Apostasy. The issue of Tracts for the Times immediately followed; and in 1843 Mr. New[22]man published a volume of Parochial Sermons, to be followed by University Sermons and Sermons on Holy Days.

In 1841 the Vice-Chancellor and heads of houses at Oxford censured Mr. Newman's Tract XC.

On October 9, 1845, was received into the Catholic Church at Littlemore by Father Dominic.

On October 28, 1846, arrived in Rome, and, after a short period of study, was ordained priest.

On Christmas Eve, 1847, he returned to England from Rome, to found the community of St. Philip de Neri.

In 1849 took up temporary residence at Bilston, to nurse the poor during a visitation of cholera.

On June 21, 1852, the case of Achilli against Dr. Newman came on for trial before Lord Campbell, and, after several days' duration, resulted in a verdict of "guilty," Dr. Newman being unjustly sentenced to a fine and mulcted in enormous costs. The Rev. John Joseph Gordon, to whom "The Dream of Gerontius" is dedicated, was of great assistance to Newman at this time.

In 1854 went to Dublin as rector of the newly founded Irish Catholic University, but resigned that post in 1858, and subsequently established a boys' school at Birmingham.

In 1864 Charles Kingsley made charges of untruthfulness against the Catholic clergy, which led to the writing of the Apologia Pro Vita Sua.

On Monday, August 11, 1890, died at the Oratory, Edgbaston, Birmingham, England.

THE DREAM OF GERONTIUS

3. Bring us not, Lord, very low: for Thou hast said, Come back again, ye sons of Adam.

4. A thousand years before Thine eyes are but as yesterday: and as a watch of the night which is come and gone.

5. The grass springs up in the morning: at evening-tide it shrivels up and dies.

7. Thou hast set our sins in Thy sight: and our round of days in the light of Thy countenance.

9. In Thy morning we shall be filled with Thy mercy: we shall rejoice and be in pleasure all our days.

10. We shall be glad according to the days of our humiliation: and the years in which we have seen evil.

12. And let the beauty of the Lord our God be upon us: and the work of our hands, establish Thou it.

THE ETERNAL YEARS

NOTES:

[1] From Merlin's song in Tennyson's "Coming of Arthur."

[2] Coventry Patmore's "Ode to the Body."

[3] From the Psalm, "De profundis clamavi ad te, Domine."—"Out of the depths have I cried to Thee, O Lord."

[4] "Come to his assistance, ye saints of God; come forth to meet him, ye angels of the Lord: Receiving his soul: Offering it in the sight of the Most High."

[5] This passage in "The Dream of Gerontius" calls to mind Tennyson's lines in "The Princess":

"Ah, sad and strange, as in dark summer dawns

The earliest pipe of half-awakened birds

To dying ears, when unto dying eyes

The casement slowly grows a glimmering square."

[6] La Psychologie du Purgatoire (The Psychology of Purgatory): Abbé Chollet, Doctor of Theology at Lille.

[7] The Holy Father "creates" Cardinals, he does not appoint them.

[8] Catholic Life and Letters by Cardinal Newman; with Notes on the Oxford Movement and its Men:—John Oldcastle (Mr. Wilfred Meynell). To which work the editor is under obligation for important parts of the appended chronology.

[9] γερων—οντος.

[10] The word "refrigerium" was used for "refreshment," "rest" in the epitaphs of the early Latin Christians.

[B] Textual representation of the first image on page 19:

Jesu, Maria, I am near to death,

And Thou art calling me.

[C] Textual representation of the image on page 20:

Low-born clods

Of brute earth,

They aspire,—

[11] As suggested in the Introduction, the musical character of the verse of "The Dream of Gerontius" is brought out more and more by careful study of the changes of the meaning of the poem and their expression. "The Dream" is a series of lyrics,—each lyric voicing its own feeling and sensitively tuned to that feeling. According to the scansion most in use in English, the first supplicating lyric may be classed as in pentameter iambic. Gerontius is yet in the body, and the rime, used solemnly, marks a difference—which has a delicate symbolism—between his utterances in the body and his utterances when his soul has left the body. What we call blank verse is used by the Spirit—rime disappears, but the rhythm remains the same. Using verse-notation, we find five accented notes in each line, if we consider the lines at all. There are two quarter-notes in each bar, which may be written as

[12] (p. 25.) Gerontius dreams that he is dying. He has not strength to pray. He hears the persons near his bed praying for him, in the language prescribed by the Church, "The Litany for the Dying." The three opening invocations are in Greek, "Kyrie Eleison" ("Lord, have mercy"), "Christe Eleison" ("Christ, have mercy"), "Kyrie Eleison" ("Lord, have mercy"). The next invocation in the Litany is "Sancta Maria, Ora pro eo," which Cardinal Newman translates into English. With the exception of the first three and the last two invocations, the Litany is in Latin. The Litany is too long for the purpose of the poem, and the author has translated into English some of the invocations that would naturally strike the "fainting soul." "Be merciful" ("Propitius esto"), the assistants continue, still using parts of the Litany as versified by Cardinal Newman.

[13] "Kyrie Eleïson," etc. The poet has retained the sound-form used in the Prayer-books, and he shows his musical taste by not changing it.

[14] "Rouse thee," etc. Gerontius concentrates all his vitality. The effect is of nervous energy. The time is quickened and alternately slowed.

[15] "Be merciful," etc. The Assistants begin with the solemn chant of the Church, and change to the supplication of anxious human hearts:

[16] "Sanctus fortis, Sanctus Deus," etc. This is the ecstasy of faith, hope, and love. It is three Acts in one, rapidly and forcibly expressed. The energy and strength of self-forgetfulness fail when he, still in the body, sighs:

"I can no more; for now it comes again,"—

Note the musical effect of

"And, crueller still,

A fierce and restless fright begins to fill

The mansion of my soul. And, worse and worse,

Some bodily form of ill."

The pauses after "ill" express horror and weakness,—

[17] (p. 29.)

Holy Strong One, Holy God,
From the depth I pray to Thee.
Mercy, O my Judge, for me;
Spare me, Lord.

In the Proper for the season of Good Friday the passage which suggested this reads, in Greek and Latin:

1st choir. Agios O Theos (O Holy God).
2d choir. Sanctus Deus (O Holy God).
1st choir. Agios Ischyros (O Holy Strong One).
2d choir. Sanctus Fortis (O Holy Strong One).

[18] (p. 30.) Death dissolves me.

[19] "Rescue him, O Lord," etc. The solemn chant again. Note the difference in metre between this and the "Novissima hora est; and I fain would sleep. The pain has wearied me." Note the ardor of the Priest's "Proficiscere, anima Christiana," etc.

[20] (p. 32.) The final hour is here. "Into Thy hands." The whole of this prayer for the dying is: "Into Thy hands, O Lord, I commend my spirit. O Lord Jesus, receive my spirit. Holy Mary, pray for me. O Mary, Mother of grace, Mother of mercy, do thou protect me from the enemy and receive me at the hour of death."

[21] (p. 32.) "Go forth, O Christian soul, from this world." These words begin the prayer of the priest, recited while the soul is departing from the body. It is paraphrased in English by the Cardinal.

[22] "I went to sleep," etc. The soul of Gerontius has left the body:

[23] (p. 35.) "Another marvel." According to the teaching of the Catholic Church, each soul is given at its birth in charge of a Guardian Angel. It is this angel that sings, "My work is done." "Alleluia" is from two Hebrew words united by a hyphen. It means "Praise the Lord." St. John in the Apocalypse says that he heard the angels singing it in heaven. It occurs in the last five Psalms and in Tobias.

[24]

"My work is done,

My task is o'er,"

is expressed with a joyous movement,—

[26] Compare the thought in "Hamlet"—Act II, Scene II.—"What a piece of work is man!"

[26] (p. 41.) When the soul has departed, the priest says the prayer beginning "Subvenite, Sancti Dei; occurrite Angeli Domini," etc. ("Come to his assistance, ye saints of God," etc.).

[27] "Low-born clods," etc. The most marked change comes here. The solemnity and sweetness of the soul and the angel's music—their leit-motif—is easily discernible. Now come dissonances and discords,—the rapidity of jangled cymbals struck in scorn. The phrase "chucked down" has been censured as "inelegant." Its meaning and sound accord exactly with the spirit of the demoniac chorus.

[28] (p. 49.) "Extension," "the position of parts outside parts." See p. 366, General Metaphysics, by John Rickaby, S.J., Manuals of Catholic Philosophy.

[29] (p. 51.) St. Francis d'Assisi. In 1224, while on Mount Alvernus, keeping a fast of forty days in honor of St. Michael, a seraph appeared and marked the hands, feet, and right side of St. Francis with the five wounds of Our Lord's Passion.

[30] "Praise to the Holiest in the height." A movement associated by English readers with the hymn particularly:

[31] (p. 54.) "Dreed," from the old English verb "dreogan," to suffer.

[32] "Angel of the Agony." Note the solemn and pathetic rhythm effect.

[33]

"Take me away, and in the lowest deep,

There let me be," etc.

The catalexis—pause—is finely used here:

[34] (p. 64.) This appeal is paraphrased by the author from the Psalms. The words at the end are translated from the Lesser Doxology: "Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio et nunc, et in sæcula sæculorum. Amen." The Greater Doxology begins: "Gloria in excelsis Deo." "Doxology" is from two Greek words meaning "praise" and a "discourse."

[35]

"Softly and gently, dearly ransomed soul,

In my most loving arms I now enfold thee," etc.

[36] (p. 66.) In Dante's Vision of Purgatory (Canto I.) hell is spoken of as a "cruel sea," and the water surrounding the Island of Purgatory as the "better waves." The spirit of Gerontius is dropped into these "better waves"—"miglior acqua."

"Per correr miglior acqua alza le vele

Omai la navicella del mio ingegno

Che lascia dietro a se mar si crudele."

"O'er better waves to speed her rapid course,

The light bark of my genius lifts her sail,

Well pleased to leave so cruel sea behind."

—Cary's Translation.

[37] "It appears that Newman thinks so highly of that poem ["The Eternal Years"] that he asked to have it sung to him during his recent illness, and remarked: '"Lead, Kindly Light" are the words of one seeking the truth. "The Eternal Years" are those of one who has found it.'"—May, 1889, Grant Duff's Notes from a Diary.

Transcriber's Notes:

All footnotes and endnotes have been reorganized into a single system of sequentially numbered footnotes.

Every effort has been made to replicate the text as faithfully as possible, including obsolete and variant spellings and other inconsistencies.

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