y a member of the Jesuit Order. Its date is of
the fourteenth to the sixteenth century; its subject the Resurrection.

1. Plaudite: cf. Flumina plaudent manu, Psalms 97. 8; 'All the trees of
the field shall clap their hands.'--Isaiah 55. 12. 2. aether: the upper
air. 3, 4. Let the heights and the depths of the world rejoice. 5, 6.
The black storm-rack has passed by. 7. almae: bountiful. 11, 12.
pictis...campis: cf. 'daisies...do paint the meadows.'--_Love's Labour's
Lost_, V. 2. 905. 17, 18. Full veins are metaphorical for the full
strong flow of song. 20. Barbytha: bad spelling for barbita, lutes. 26.
Ludite: flow merrily.

The hymn has been translated into English by Mrs. Charles, _Christian
Life in Song_, p. 184, and by Duffield, _Latin Hymns_, p. 398. The
latter thus renders ll. 9-24:

Spring breezes are blowing,
Spring flowers are at hand,
Spring grasses are growing
Abroad in the land,

And violets brighten
The roses in bloom,
And marigolds heighten
The lilies' perfume.

Rise then, O my praises,
Fresh life in your veins,
As the viol upraises
The gladdest of strains,
For once more he sees us,
Alive, as he said;
Our holy Lord Jesus
Escaped from the dead.

PONE LUCTUM, MAGDALENA.

The subject is the appearance of the risen Christ to Mary Magdalene at
the tomb, John 20. 11-18.

1. Pone: dismiss thy grief. 3. Simonis: Mary Magdalene, as in _Dies
Irae_, 37, is identified with 'the woman which was a sinner' of Luke 7.
37-50, who, while Jesus sat at meal in the house of Simon, the Pharisee,
'weeping, began to wet his feet with her tears,' 1. 4. 22, 23. Lift thy
face, O Magdalen! Behold the risen Christ. 25. Quinque plagas: the five
strokes are the nail prints in Jesus' hands and feet and the spear wound
in his side, Luke 24. 40; John 20. 24-29. inspice: as Thomas and the
other disciples beheld.

Translation by Mrs. Charles, _Christian Life in Song_, p. 182.

BERNARD OF CLAIRVAUX.

1091-1153 A.D.

SALVE, CAPUT CRUENTATUM.

This selection is taken from a hymn in seven parts, each addressing some
member of Christ's body on the cross, the feet, the knees, etc. The
composition is more probably by some German poet than by Bernard, but
its supposed origin with the latter has become a subject of religious
legend. One ancient copy describes the hymn as 'a divine and most devout
prayer of the Abbot St. Bernard, which he made when an image of the
Saviour with outstre