Lauda Sion, Salvatorem (Séquence
de la Fête-Dieu ou de la Solennité du Saint-Sacrement)
La Séquence Liturgique du
Lauda Sion (à chanter avant l’Alléluia de la Messe) est pour l’Eglise l’un des
plus beaux chef-d’œuvre de la poésie dogmatique, où, tout en gardant l’exacte
précision de la terminologie scolastique, Saint Thomas d’Aquin expose avec
splendeur et enthousiasme le dogme eucharistique de la Très Sainte
Transubstantiation. Il le fait en 24 strophes d’inégale étendue : 18 de 3
lignes, 4 de 4 lignes, et 2 de cinq lignes. C’est en quelque sorte le Credo du
Saint-Sacrement. Cette Séquence Liturgique « mérite d’être méditée » (Pius
Parsch).
1. Lauda, Sion,
Salvatorem * lauda ducem et pastorem, * in hymnis et canticis,
Loue, Sion, ton Sauveur,
loue ton chef et ton pasteur par des hymnes et des cantiques.
2. Quantum potes, tantum
aude, * quia major omni laude * nec laudare sufficis.
Autant que tu le peux, tu
dois oser, car Il dépasse tes louanges et tu ne pourras jamais trop Le louer.
3. Laudis thema
specialis, * Panis vivus et vitalis * hodie proponitur.
Le sujet particulier de
notre louange, le Pain vivant et vivifiant, c’est cela qui nous est proposé
aujourd’hui.
4. Quem in sacræ mensa
cenæ * turbæ fratrum duodenæ * datum non ambigitur.
Au repas sacré de la
Cène, au groupe des douze frères, Il a été clairement donné.
5. Sit laus plena, sit
sonora ; * Sit jucunda, sit decora * mentis jubilatio.
Que notre louange soit
pleine, qu’elle soit sonore ; qu’elle soit joyeuse, qu’elle soit belle la
jubilation de nos cœurs.
6. Dies enim solemnis
agitur * in qua mensæ prima recolitur * hujus institutio.
C’est en effet la journée
solennelle où nous fêtons de ce banquet divin la première institution.
7. In hac mensa novi
Regis, * novum Pascha novæ legis, * phase vetus terminat.
A cette table du nouveau
Roi, la nouvelle Pâque de la nouvelle loi met fin à la Pâque ancienne.
8. Vetustatem novitas, *
umbram fugat veritas, * noctem lux eliminat.
L’ordre ancien cède la
place au nouveau, la vérité chasse l’ombre, la lumière dissipe la nuit.
9. Quod in cena Christus
gessit, * faciendum hoc expressit, * in sui memoriam.
Ce que le Christ a fait à
la Cène, Il a ordonné de le refaire en mémoire de Lui.
10. Docti sacris
institutis, * panem, vinum in salutis * consecramus hostiam.
Instruits par ces
commandements sacrés, nous consacrons le pain et le vin en victime de salut.
11. Dogma datur
christianis, * quod in carnem transit panis * et vinum in sanguinem.
C’est un dogme pour les
chrétiens que le pain se change en son Corps et le vin en son Sang.
12. Quod non capis, quod
non vides * animosa firmat fides, * præter rerum ordinem.
Ce que tu ne comprends
pas, ce que tu ne vois pas, la foi vive l’affirme, hors de l’ordre naturel des
choses.
13. Sub diversis
speciebus, * signis tantum et non rebus, * latent res eximiæ.
Sous des espèces
différentes, signes seulement et non réalités, se cachent des choses sublimes.
14. Caro cibus, sanguis
potus, * manet tamen Christus totus, * sub utraque specie.
Sa chair est nourriture,
son Sang est breuvage, pourtant le Christ tout entier demeure sous l’une ou
l’autre espèce.
15. A sumente non
concisus, * non confractus, non divisus, * integer accipitur.
Par celui qui le reçoit,
il n’est ni coupé ni brisé, ni divisé : Il est reçu tout entier.
16. Sumit unus, sumunt
mille, * quantum isti, tantum ille * nec sumptus consumitur.
Qu’un seul le reçoive ou
mille, celui-là reçoit autant que ceux-ci et l’on s’en nourrit sans le
détruire.
17. Sumunt boni, sumunt
mali, * sorte tamen inæquali : * vitæ vel interitus.
Les bons le reçoivent,
les méchants aussi, mais pour un sort bien inégal : pour la vie ou pour la
mort.
18. Mors est malis, vita
bonis, * vide paris sumptionis * quam sit dispar exitus.
Mort pour les méchants,
vie pour les bons, vois comme d’une même communion l’effet peut être différent.
19. Fracto demum
sacramento, * ne vacilles, sed memento * tantum esse sub fragmento * quantum
toto tegitur.
Quand le Sacrement est rompu
ne te laisses pas ébranler, mais souviens-toi qu’il y a autant sous chaque
fragment que dans le tout.
20. Nulla rei fit
scissura * signi tantum fit fractura ; * qua nec status, nec statura * signati
minuitur.
La réalité n’est pas
divisée, le signe seulement est fractionné ; mais ni l’état ni la taille de ce
qui est signifié n’est diminué.
21. Ecce panis angelorum
* factus cibus viatorum, * vere Panis filiorum * non mittendis canibus.
Voici le pain des anges
devenu l’aliment de ceux qui sont en chemin, vrai Pain des enfants à ne pas
jeter aux chiens.
22. In figuris
præsignatur, * cum Isaac immolatur, * Agnus paschæ deputatur * datur manna
patribus.
D’avance il est annoncé
en figures, lorsqu’Isaac est immolé, l’Agneau pascal, sacrifié la manne, donnée
à nos pères.
23. Bone pastor, Panis
vere, * Jesu, nostri miserere, * Tu nos pasce, nos tuere, * Tu nos bona fac
videre * in terra viventium.
Ô bon Pasteur, notre vrai
Pain, Jésus, aie pitié de nous. nourris-nous, protège-nous, fais-nous voir le
bonheur dans la terre des vivants.
24. Tu qui cuncta scis et
vales, * qui nos pascis hic mortales * tuos ibi commensales, * Coheredes et
sociales * Fac sanctorum civium. Amen. Alleluia.
Toi qui sais tout et qui
peux tout, Toi qui sur terre nous nourris, fais que, là-haut, invités à ta
table, nous soyons les cohéritiers et les compagnons des saints de la cité
céleste. Amen. Alléluia.
SOURCE : http://notredamedesneiges.over-blog.com/article-10657680.html
Sion Lift Thy Voice and
Sing
St. Thomas Aquinas
(Sequence for the Mass of Corpus Christi)
Sion, lift thy voice and
sing: Praise thy Savior and thy King; Praise with hymns thy Shepherd true: Dare
thy most to praise Him well; For He doth all praise excel; None can ever reach
His due. Special theme of praise is thine, That true living Bread divine, That
life-giving flesh adored, Which the brethren twelve received, As most
faithfully believed, At the Supper of the Lord.
Let the chant be loud and
high; Sweet and tranquil be the joy Felt to-day in every breast; On this
festival divine Which recounts the origin Of the glorious Eucharist.
At this table of the
King, Our new Paschal offering Brings to end the olden rite; Here, for empty
shadows fled, Is reality instead; Here, instead of darkness, light.
His own act, at supper
seated, Christ ordained to be repeated, In His memory divine; Wherefore now,
with adoration, We the Host of our salvation Consecrate from bread and wine.
Hear what holy Church
maintaineth, That the bread its substance changeth Into Flesh, the wine to
Blood. Doth it pass thy comprehending? Faith, the law of sight transcending,
Leaps to things not understood.
Here in outward signs are
hidden Priceless things, to sense forbidden; Signs, not things, are all we
see:- Flesh from bread, and Blood from wine; Yet is Christ, in either sign, All
entire confessed to be.
They too who of Him
partake Sever not, nor rend, nor break, But entire their Lord receive. Whether
one or thousands eat, All receive the selfsame meat, Nor the less for others
leave.
Both the wicked and the
good Eat of this celestial Food; But with ends how opposite! Here 'tis life;
and there 'tis death; The same, yet issuing to each In a difference infinite.
Nor a single doubt
retain, When they break the Host in twain, But that in each part remains What
was in the whole before; Since the simple sign alone Suffers change in state or
form, The Signified remaining One And the Same forevermore
Lo! upon the Altar lies,
Hidden deep from human eyes, Angels' Bread from Paradise Made the food of
mortal man: Children's meat to dogs denied; In old types foresignified; In the
manna from the skies, In Isaac, and the Paschal Lamb.
Jesu! Shepherd of the
sheep! Thy true flock in safety keep. Living Bread! Thy life supply; Strengthen
us, or else we die; Fill us with celestial grace: Thou, who feedest us below!
Source of all we have or know! Grant that with Thy Saints above, Sitting at the
Feast of Love, We may see Thee face to face. Amen
Lauda, Sion, Salvatorem
I. Lauda, Sion,
Salvatorem, Lauda ducem et pastorem In hymnis et canticis. Quantum poses, tantum
aude: Quia major omni laude Nec laudare sufficis.
2. Laudis thema
specialis, Panis vivus et vitalis Hodie proponitur; Quem in sacrae mensa coenae
Turbae fratrum duodenae Datum non ambigitur.
3. Sit laus plena, sit
sonora, Sit iucunda, sit decora Mentis iubilatio. Dies enim solemnis agitur, In
qua mensae prima recolitur Huius institutio.
4. In hac mensa novi
Regis Novum Pascha novae legis Phase vetus terminat. Vetustatem novitas, Umbram
fugat veritas, Noctem lux eliminat.
5. Quod in coena Christus
gessit, Faciendum hoc expressit In sui memoriam Docti sacris institutis, Panem,
vinum in salutis Consecramus hostiam.
6. Dogma datur
Christianis, Quod in carnem transit panis Et vinum in sanguinem. Quod non
capis, quod non vides, Animosa firmat fides Praeter rerum ordinem.
7. Sub diversis
speciebus, Signis tantum, et non rebus, Latent res eximiae: Caro cibus, sanguis
potus; Manet tamen Christus totus Sub utraque specie.
8. A sumente non
concisus, Non confractus, non divisus Integer accipitur. Sumit unus, sumunt mille;
Quantum isti, tantum ille: Nec sumptus consumitur.
9. Sumunt boni, sumunt
mali: Sorte tamen inaequali, Vitae vel interitus. Mors est malis, vita bonis:
Vide, paris sumptionis Quam sit dispar exitus.
10. Fracto demum
Sacramento, Ne vacilles, sed memento, Tantam esse sub fragmento, Quantum toto
tegitur. Nulla rei fit scissura, Signi tantum fit fractura, Qua nec status nec
statura Signati minuitur.
11. Ecce panis Angelorum,
Factus cibus viatorum, Vere panis filiorum, Non mittendus canibus. In figuris
praesignatur, Cum Isaac immolatur; Agnus Paschae deputatur, Datur manna
patribus.
12. Bone Pastor, panis
vere, Jesu, nostri miserere, Tu nos pasce, nos tuere, Tu nos bona fac videre,
In terra viventium. Tu, qui cuncta scis et vales, Qui nos pascis hic mortales,
Tuos ibi commensales, Cohaeredes et sodales, Fac sanctorum civium. Amen
SOURCE : https://www.ewtn.com/catholicism/library/lauda-sion-salvatorem-11851
Dominican-Order-church
in Friesach:
Main altar: Thomas Aquinas
Dominikanerkirche Friesach in Friesach: Hochaltar: Thomas von Aquin
Lauda Sion
The opening words (used
as a title of the sequence composed by St. Thomas Aquinas,
about the year 1264, for the Mass of Corpus Christi. That the
sequence was written for the Mass is evidenced by the sixth stanza:
("for on this solemn
day is again celebrated the first institution of the Supper"). The
authorship of the sequence was once attributed to St. Bonaventure; and
Gerbert, in his "De cantu et musica sacra", declaring it redolent of
the style and rhythmic sweetness characteristic of the verse of this saint, moots the
question whether the composition of the Mass of the feast should not be
ascribed to him, and of the Office to St. Thomas. The fact
that another Office had been composed for the local feast established by a
synodal decree of
the Bishop of
Liège in 1246 also led some writers to contest the ascription to St. Thomas.
His authorship has been proved, however, beyond
question, thanks to Martine (De antiq. rit. eccl., IV, xxx), by the
dissertation of Noël Alexandre, which leaves no doubt (minimum
dubitandi scrupulum) in the matter. There is also a clear declaration (referred
to by Cardinal Thomasius) of the authorship of St. Thomas, in a Constitution
issued by Sixtus IV (1471-1484),
and to be found in the third tome of the "Bullarium novissimum Fratrum
Prædicatorum". In content the great sequence, which is partly epic, but
mostly didactic and lyric in character, summons all to endless praise of
the Blessed
Sacrament of the Altar (lines 1-15); assigns the reason for the
commemoration of its institution (lines 16-30); gives in detail the Catholic doctrine of
the Sacrament (lines 31-62): "Dogma datur Christianis", etc.; shows
the fulfillment of ancient types (lines 63-70): "Ecce panis
angelorum", etc.; prays the Good
Shepherd to feed and guard us here and make us sharers of the Heavenly Table
hereafter (lines 71-80): "Bone pastor, panis vere"
etc. Throughout the long poem the rhythmic flow is easy and natural, and,
strange to say, especially so in the most didactic of the stanzas, despite a
scrupulous theological accuracy
in both thought and phrase. The saint "writes with the full panoply under
his singing-robes"; but always the melody is perfect, the condensation of
phrase is of crystalline clearness, the unction is abundant and, in the closing
stanzas, of compelling sweetness. A more detailed description of the content of
the "Lauda Sion" is not necessary here,
since both Latin text and English version are given in the Baltimore
"Manual of Prayers", p. 632.
In form, the sequence follows
the rhythmic and stanzaic build of Adam of St. Victor's "Laudes
crucis attollanus", which is given by present-day hymnologists as the
type selected by St.
Thomas for the "Lauda Sion". Thus the opening stanzas of
both sequences have the form:
which is continued
through five stanzas. In the sixth stanza the form changes in the "Lauda
Sion" to: "Dies enim solemnis agitur" etc., as quoted above; and
in the "Laudes crucis" to the identical (numerical) rhythms of:
Both sequences then
revert to the first form for the next stanza, while in the following stanza
both alter the form to:
in which all three lines
are in the same rhythm. Both again revert to the first form, the "Lauda
Sion" having ten such stanzas, the "Laudes crucis" twelve. We
next come to a beautiful stanzaic feature of the sequences of Adam, which is
imitated by the "Lauda Sion". The stanzaic forms thus far noticed
have comprised three verses or lines. But now, as if the fervour of his theme
had at length begun to carry the poet beyond his narrow stanzaic limits, the
lines multiply in each stanza. Thus, the following four stanzas in both
sequences have a form which, as it has in various ways become notable in the
"Lauda Sion", may be given here in the text of one of its stanzas:
Finally, both sequences
close with two stanzas having each five lines, as illustrated by the
penultimate stanza of the "Lauda Sion":
It is clear from the
above detailed comparison of the two sequences that St. Thomas, following
the form of the "Laudes crucis" throughout all its rhythmic and
stanzaic variations, composed a sequence which could be sung to a chant already
in existence; but it is not a necessary inference
from this fact that St. Thomas directly used the "Laudes crucis" as
his model. In form the two sequences are indeed identical (except, as already
noted, that one has two stanzas more than the other). But identity of form is
also found in the "Lauda Sion" and Adam's Easter sequence,
"Zyma vetus expurgetur", which Clichtoveus rightly
styles "admodium divina", and whose spirit and occasional phraseology
approximate much more closely to those of the "Lauda Sion". This is
especially notable in the sixth stanza, where the first peculiar change of
rhythm occurs, and where in both sequences the application of the theme to
the feast-day is
made directly and formally. Thus (in "Lauda Sion"): "Dies enim
solemnis agitur", etc.; and (in "Zyma vetus"): "Hæc est
dies quam fecit Dominus" (This is the day which the Lord hath made). It
may well be surmised that Adam desired to include this famous liturgical text in
his Easter sequence
of "Zyma vetus expurgetur", even at the expense of altering the
rhythm with which he had begun his poem; and St. Thomas, copying exactly the
new rhythmic form thus introduced, copied also the spirit and pungency of its
text. The same thing is not true, however, of the
corresponding stanza of the "Laudes crucis", which gives us merely
similarity of form and not of content or of spirit. Other verbal
correspondences between the "Zyma vetus" and the "Lauda
Sion" are observable in the closing stanzas. It may be said, then, that
the "Lauda Sion" owes not only its poetic form, but much also of its
spirit and fire, and not a little even of its phraseology, to various sequences
of Adam, whom Guèranger styles "le plus grand poète du moyen áge".
Thus, for instance, the two lines (rhythmically variant from the type set in the
first stanza) of the "Lauda Sion":
were directly borrowed
from another Easter sequence
of Adam's, Ecce dies celebris, in which occurs the double stanza:
while the "Pascha
novum Christus est" of the Easter sequence of
Adam, and the "Paranymphi novæ legis Ad amplexum novi Regis" of his
sequence of the Apostles, find a strong echo in the "Novum pascha novæ
legis" of the "Lauda Sion".
The plainsong melody of
the "Lauda Sion" includes the seventh and eighth modes. Its purest
form is found in the recently issued Vatican edition of the Roman Gradual. Its
authorship is not known; and, accordingly, the surmise of W. S. Rockstro that
the text-authors of the five sequences still retained in the Roman Missal probably
wrote the melodies also (and therefore that St. Thomas wrote
the melody of the "Lauda Sion"), and the conviction of a writer in
the "Irish Ecclesiastical Record", August, 1888 (St. Thomas as
a Musician), to
the same effect, are incorrect. Shall we suppose that Adam of St. Victor composed
the melody? The supposition, which would of course date the melody in the
twelfth century, is not an improbable one. Possibly it is of older date; but
the peculiar changes of rhythm suggest that the melody was composed either by
Adam or by some fellow-monk of St. Victor's Abbey; and the most notable
rhythmic change is, as has been remarked above, the inclusion of the
intractable liturgical text:
"Hæc dies quam fecit Dominus" — a change demanding a melody
appropriate to itself. Since the melody dates back at least to the twelfth
century, it is clear that the "local tradition" ascribing its
composition to Pope
Urban IV (d. 1264), who had established the feast-day and had
charged St. Thomas with the composition of the Office, is not well-based:
"Contemporary writers of Urban IV speak of
the beauty and harmony of his voice and of his taste for music and the Gregorian chant; and,
according to a local tradition, the music of the Office of the Blessed Sacrament —
a composition as grave, warm, penetrating, splendid as the celestial harmonies
— was the work of Urban
IV" (Cruls, "The Blessed Sacrament";
tr., Preston, p. 76). In addition to the exquisite plainsong melody
mention should be made of Palestrina's settings
of the "Lauda Sion", two for eight voices (the better known of which
follows somewhat closely the plainsong melody),
and one for four voices; and also of the noble setting of Mendelssohn.
The "Lauda
Sion" is one of the five sequences (out of the thousand which have come
down to us from the Middle
Ages) still retained in the Roman Missal. Each of the five
has its own special beauty; but the "Lauda Sion" is peculiar in its
combination of rhythmic flow, dogmatic precision, phraseal condensation. It has
been translated, either in whole or in part, upwards of twenty times into
English verse; and a selection from it, the "Ecce panis angelorum",
has received some ten additional versions. Amongst Catholic versions
are those of Southwell, Crashaw, Husenbeth, Beste, Oakeley, Caswall, Wallace, Aylward, Wacherbarth,
Henry. Non-Catholic versions modify the meaning where it is too aggressively
dogmatic and precise. E. C. Benedict, however, in his "Hymn of
Hildebert", etc., gives a literal translation into verse, but declares
that it is to be understood in a Protestant sense.
On the other hand, as the editor of "Duffield's Latin Hymns" very
sensibly remarks, certain stanzas express "the doctrine of transubstantiation so
distinctly, that one must have gone as far as Dr. Pusey, who avowed
that he held "all Roman doctrine", before using these words in a
non-natural sense." The admiration tacitly bestowed on the sequence by its
frequent translation, either wholly or in part, by non-Catholic pens, found its
best expression in the eloquent Latin eulogy of Daniel (Thesaurus Hymnologicus,
II, p. 88), when, speaking of the hymns of the Mass and Office of Curpus
Christi, he says: "The Angelic Doctor took
a single theme for his singing, one filled with excellence and divinity and,
indeed, angelic,
that is, one celebrated and adored by the very angels. Thomas was the
greatest singer of the venerable Sacrament. Neither is it to be believed that
he did this without the inbreathing of God (quem non sine
numinis afflatu cecinisse credas), nor shall we be surprised that, having so
wondrously, not to say uniquely, absolved this one spiritual and wholly
heavenly theme, he should thenceforward sing no more. One only offspring was
his — but it was a lion (Peperit semel, sed leonem)."
Sources
KAYSER, Beiträge
zur Geschichte und Erklärung der alten Kirchenhymnen, II (Paderborn and
Münster, 1886), 77; JULIAN, Dictionary of Hymnology (New York, 1882),
s.v. for references to MSS. and translations; DREVES AND BLUME, Analecta
Hymnica (Leipzig), x, 123; xxxvii, 58; xxxix, 226, 229; xl, 311; xlii,
104, 151, for poems founded on the Lauda Sion, and xxxvii, 269 (no.
312) for a sequence in honour of St. Thomas Aquinas, beginning Lauda Sion
increatam; Ecclesiastical Review, IV, 443, for text and translation,
notes and comment.
Henry,
Hugh. "Lauda Sion." The Catholic Encyclopedia. Vol.
9. New York: Robert Appleton
Company, 1910. <http://www.newadvent.org/cathen/09036b.htm>.
Transcription. This
article was transcribed for New Advent by WGKofron. With thanks to St.
Mary's Church, Akron, Ohio.
Ecclesiastical
approbation. Nihil Obstat. October 1, 1910. Remy Lafort,
Censor. Imprimatur. +John M. Farley, Archbishop of New York.
Copyright © 2023 by Kevin Knight.
Dedicated to the Immaculate Heart of Mary.
SOURCE : https://www.newadvent.org/cathen/09036b.htm
Guercino, San Tommaso d'Aquino, mistico dell'Eucaristia, compone l'inno eucaristico "Lauda Sion" ispirato dagli Angeli, Bologna, 1662
Corpus Domini: Sequenza
Lauda sion (Italiano)
Sion, loda il Salvatore,
la tua guida, il tuo pastore
con inni e cantici.
Impegna tutto il tuo fervore:
egli supera ogni lode,
non vi è canto che sia degno.
Pane vivo, che dà vita:
questo è tema del tuo canto,
oggetto della lode.
Veramente fu donato
agli apostoli riuniti
in fraterna e sacra cena.
Lode piena e risonante,
gioia nobile e serena
sgorghi oggi dallo spirito.
Questa è la festa solenne
nella quale celebriamo
la prima sacra cena.
E il banchetto del nuovo Re,
nuova, Pasqua, nuova legge;
e l'antico è giunto a termine.
Cede al nuovo il rito antico,
la realtà disperde l'ombra:
luce, non più tenebra.
Cristo lascia in sua memoria
ciò che ha fatto nella cena:
noi lo rinnoviamo,
Obbedienti al suo comando,
consacriamo il pane e il vino,
ostia di salvezza.
È certezza a noi cristiani:
si trasforma il pane in carne,
si fa sangue il vino.
Tu non vedi, non comprendi,
ma la fede ti conferma,
oltre la natura.
È un segno ciò che appare:
nasconde nel mistero
realtà sublimi.
Mangi carne, bevi sangue;
ma rimane Cristo intero
in ciascuna specie.
Chi ne mangia non lo spezza,
né separa, né divide:
intatto lo riceve.
Siano uno, siano mille,
ugualmente lo ricevono:
mai è consumato.
Vanno i buoni, vanno gli empi;
ma diversa ne è la sorte:
vita o morte provoca.
Vita ai buoni, morte agli empi:
nella stessa comunione
ben diverso è l'esito!
Quando spezzi il sacramento
non temere, ma ricorda:
Cristo è tanto in ogni parte,
quanto nell'intero.
È diviso solo il segno
non si tocca la sostanza;
nulla è diminuito
della sua persona.
Ecco il pane degli angeli,
pane dei pellegrini,
vero pane dei figli:
non dev'essere gettato.
Con i simboli è annunziato,
in Isacco dato a morte,
nell'agnello della Pasqua,
nella manna data ai padri.
Buon pastore, vero pane,
o Gesù, pietà di noi:
nutrici e difendici,
portaci ai beni eterni
nella terra dei viventi.
Tu che tutto sai e puoi,
che ci nutri sulla terra,
conduci i tuoi fratelli
alla tavola del cielo
nella gioia dei tuoi santi.
Amen.
Corpus Domini: Sequenza
Lauda sion (Latino)
Lauda Sion Salvatorem,
lauda ducem et pastorem,
in hymnis et canticis.
Quantum potes, tantum aude:
quia major omni laude,
nec laudare sufficis,
laudis thema specialis,
panis vivus et vitalis
hodie proponitur.
Quem in sacræ mensæ coenæ,
turbæ fractrum duodenæ
datum non ambigitur.
Sit laus plena, sit sonora,
sit jucunda, sit decora
mentis jubilatio.
Dies enim solemnis agitur,
in qua mensæ prima recolitur
Hujus institutio.
In hac mensa novi Regis,
novum Pascha novæ legis,
phase vetus terminat.
Vetustatem novitas,
umbram fugat veritas,
noctem lux eliminat.
Quod in coena Christus gessit,
faciendum hoc expressit
in sui memoriam.
Docti sacris institutis,
panem, vinum in salutis
consecramus hostiam.
Dogma datur christianis,
Quod in carnem transit panis,
Et vinum in sanguinem.
Quod non capis, quod non vides,
animosa firmat fides,
Præter rerum ordinem.
Sub diversis speciebus,
signis tantum, et non rebus,
latent res eximiæ.
Caro cibus, sanguis potus:
manet tamen Christus totus
sub utraque specie.
A sumente non concisus,
non confractus, non divisus:
integer accipitur.
Sumit unus, sumunt mille:
quantum isti, tantum ille:
Nec sumptus consumitur.
Sumunt boni, sumunt mali:
sorte tamen inæquali,
vitæ vel interitus.
Mors est malis, vita bonis:
Vide paris sumptionis
quam sit dispar exitus.
Fracto demum sacramento,
ne vacille, sed memento
tantum esse sub fragmento,
Quantum tot tegitur.
Nulla rei fit scissura:
Signi tantum fit fractura,
qua nec status, nec statura
signati minuitur.
Ecce Panis Angelorum,
factus cibus viatorum:
vere panis flliorum,
non mittendus canibus.
In figuris præsignatur,
cuni Isaac immolatur,
Agnus Paschæ deputatur,
datur manna patribus.
Bone pastor, panis vere,
Jesu, nostri miserere:
Tu nos pasce, nos tuere,
tu nos bona fac videre
in terra viventium.
Tu qui cuncta seis et vales,
qui nos pascis hic mortales:
Tuos ibi commensales,
coheredes et sodales
fac sanctorum civium.
Amen.
SOURCE : https://www.preghieracontinua.org/it/gallery/sequenza-corpus-domini-lauda-sion-italiano-e-latina
Sequentia - Lauda Sion Salvatorem (Gregoriano) : https://www.youtube.com/watch?v=04yv7l0RW5A
Lauda Sion Salvatorem (Corpus Christi, Sequence) : https://www.youtube.com/watch?v=qjyFJBABHFw
Beautiful Eucharistic
Gregorian Chant: Lauda Sion Salvatorem - Corpus Christi Sequence : https://www.youtube.com/watch?v=5_vtZHtyQao
Caudana, Federico (1878 - 1963) Lauda Sion Salvatorem (mottetto eucaristico) : https://www.youtube.com/watch?v=7PwbMGyIBq8
