By F.J.E. Raby

ISBN-10: 0198143249

ISBN-13: 9780198143246

ISBN-10: 0585304572

ISBN-13: 9780585304571

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86; vi. 24. html [01-01-2009 1:27:47] page_27 < previous page page_27 next page > Page 27 into fashion until the tenth and eleventh centuries. Examples of conscious leonine rimes have been found in the seventh and eighth centuries,1 but it is not until the tenth century that we see the full use of the one-syllabled leonine rime, in the verses of Hrothswitha, and the Ecbasis captivi. The two-syllabled leonine rime is seen at its best in the eleventh century in Marbod of Rennes. 2 In the eleventh century, rimed hexameters are at least as numerous as those of the classical kind.

Bernard, The Odes of Solomon, Texts and Studies, viii, iii, Cambridge 1912. Bernard's views are not, however, generally accepted, especially in Germany, where the tendency is to minimize the 'specifically Christian' element in the Odes to the benefit of Gnosticism or a 'Judaizing Gnosis'. C. Burkitt, Early Eastern Christianity, London 1904, pp. ; translation of the Hymn, pp. 218 sqq. 5 Cf. E. Norden, Agnostos Theos, p. 79; J. Geffcken, Der Ausgang des griechisch-römischen Heidentums, pp. 219 sq.

Their immense popularity encouraged imitation. A crowd of hymns in the same metrethe familiar classical iambic dimeter3gained the common title of hymni Ambrosiani, and the iambic dimeter was known as the 'Ambrosian' metre. The fact that these later hymns were admitted into the Liturgy by the side of the genuine hymns of Ambrose led, in the course of time, to the greatest uncertainty as to which were really the work of the Bishop of Milan. 4 Augustine vouches directly for four of the finest hymns, 'Deus creator omnium; Aeterne rerum conditor; I am surgit hora tertia; Intende qui regis Israel (better known 1Confessions, ix.

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A History of Christian-Latin Poetry (Oxford University Press Academic Monograph Reprints) by F.J.E. Raby

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