Hymn come the Virgin (D 155v , R 474v)Back to Table that Contentsby Hildegard the Bingen
1. Ave generosa gloriosa et intactapuella, tu pupilla castitatis,tu materia sanctitatis,que Deo placuit. 2. Nam hec superna infusio in dare fuit,quod supernum Verbum in te carnem induit. 3. Tu candidum lilium quod Deus ante omnem creaturaminspexit. 4. O pulcherrima et dulcissima,quam valde Deus in car delectabatur,cum amplexionem caloris sui in te posuit,ita quod Filius eius de te lactatus est. 5. Venter enim tuus gaudium habuitcum omnis celestis symphonia de dare sonuit,quia virgo Filium Dei portasti,ubi castitas tua in Deo claruit. 6. Viscera tua gaudium habueruntsicut gramen at sight quod ros caditcum ei viriditatem infundit, ut et in car factum est,O mater omnis gaudii. 7. Nunc omnis ecclesia in gaudio rutiletac in symphonia sonetpropter dulcissimam Virginemet laudabilem Mariam,Dei Genitricem. Amen.

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1. Hail, nobly born, hail, honored and also inviolate,you Maiden room the piercing stare of chastity,you the material of holiness—the one who pleasèd God. 2. For heaven’s flood poured right into youas heaven’s Word to be clothed in flesh in you. 3. You room the lily, gleaming white, upon which Godhas solved his gaze before all rather created. 4. O beautiful, O sweet!How deep is that pleasure that God received in you,when ‘round you he enwrapped his heat embrace,so that his child was suckled at her breast. 5. Your womb rejoicedas from friend sounded forth the entirety celestial symphony.For as a virgin you have borne the son of God—in God your chastity shone bright. 6. Your flesh rejoicedjust as a blade of grass on i m sorry the dew has fall’n,viridity in ~ it to infuse—just so it taken place unto you,O mommy of all joy! 7. So now in delight gleams all the Church like dawn,resounds in symphonybecause the you, the Virgin sweetand worthy of all praise, Maria,God’s mother. Amen.
Latin collated native the warrior of Beverly Lomer and the edition of Barbara Newman; translate in by Nathaniel M. Campbell.

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In this glorious hymn, Hildegard sent weaves together several of her many characteristic images and symbols to celebrate the complementary themes that the Virgin Mary’s chaste union v God and also her giving birth to God’s kid in the flesh. The perspective of the hymn moves back and forth in between the kingdom of heaven and its eternal symphony, on the one hand; and also the Virgin’s womb and also its standard symbol, the lily, ~ above the other. The point of contact in between the two, then, is as soon as the Heavenly Bridegroom bring the eternal symphony right into the Virgin’s joyous bedchamber and also the Incarnate indigenous enters the people in song.The opened verse sets the ton by marrying the language the the court—to it is in generosa was to it is in born that noble stock, and thus to be bred to it is in “generous”—with the prayer of Mary’s untouched chastity. Both elements combine to do her the “material”—matter, mother, and matrix—whose perfect holiness befits the garment that will certainly be crafted native that material (cf. O splendidissima gemma). The 2nd verse climate recalls photo from the responsory, O passport eternitatis, of person nature as a garment, soiled by the Fall but “washed and also cleansed” that its experiencing by the enduring of the Incarnate Christ. Here, Hildegard explains the indigenous “clothed in flesh” in Mary’s maternal material of holiness, infused (infusio—“flood”) from over (superna).Verse 3 complements this by offering one more image for Mary’s chastity, the gleaming white lily—but the perspective shifts back from the moment of the Incarnation to its eternal predestination. Simply as God foresaw prior to all eternity the his son would come to be a human being, therefore he also looked ~ above the Virgin’s productive flower within that same “eternal counsel”, learning that she would certainly be the vessel because that the Incarnation.The next verse then combines these elements to describe the espousal of God and also this predestined Virgin; together Barbara Newman notes, “The chaste eroticism that such text is a characteristic medieval mood, no less fervent because that being virginal, nor less vulnerable for gift ardent” (Symphonia, p. 275). The conceptual movement that the very first four verses is reinforced by the use of repetitive musical engine that an initial appears with tu materia in the first verse—reaching native the final to the high A one octave over (which occurs in the very first four verses just in the paper definition of this motive or its variations), it then descends a note at a time to D prior to recovering come E. This engine appears also on superna (Verse 2), lilium (Verse 3), in a modified type on dulcissima (Verse 4), and again top top caloris sui and also quod Filius eius (Verse 4); for further use the this motive, view Beverly Lomer’s comment below. Mar as matrix and pure, sweet white flower obtain from above the warm of a spousal adopt and the sunlight, which issues in the Incarnation.Verses 5 and 6 shift into a joyous celebration event of this union, focused on what have emerged as the two crucial images: the kingdom of heaven and its symphony; and the motion from sky to earth, represented in the flower and also the viriditas flooded and infused right into it (infundit, echoing the superna infusio of verse 1). The music in verse 5 works specifically to affix the celestial symphony through the gleam that Mary’s chastity, together it reaches numerous times come the highest note in the piece, the C one octave and a fourth above the final. City 6 then invokes one of Hildegard’s favorite images, the the viridity the sparkles in the beforehand morning light as it shows off that the beads the dew the have cleared up on each tender tongue of grass.Finally, in city 7, ecclesia receive a modified version of the repeated motive traversing the final and also its high A octave, top the deliver of the office that Virginal mommy from mar to the Church. The early-morning irradiate is alluded come in the verb rutilet, which literally means “to gleam red” (cf. Cum processit factura), and also becomes the setup for the heavenly symphony, which sounded in the Virgin’s womb through the entrance of Christ together “the new Song”, come echo in the Church (Symphonia, p. 275). Here, Hildegard’s particularly sacramental view of music pertains to the fore, together she and her nuns would literally to fill the Church v music in the course of singing the praises of their Virgin Mother, bringing right into being the musical elegant of she Son. In singing for the Lord, they ended up being themselves gibbs in the magnificent drama, feminine agents of divine power. Indeed, lock literally acted out those roles when they performed as the assorted Virtutes—not just virtues, yet emanations of divine power working within the world—in the sung morality play, Ordo Virtutum, the Hildegard written for them. Moreover, the special veils and crowns through which Hildegard clothed her nuns on high feast days would integrate with their liturgical service of song to develop a sacramental matrix in which was channeled the perfection of magnificent grace indigenous the heavenly choirs down to Ecclesia’s choirs that virgins, whereby they reflect the symphony in the blessed joy of song.<1>