Hieronymus (Szent Jeromos) Szent Gellért csanádi püspök exegetikai munkájának, a
Gerardi Moresenae aecclesiae seu Csanadiensis episcopi Deliberatio supra hymnum trium puerorum
, Bayerische Staatsbibliothek München, Clm 6211, ed. Gabriel Silagi, in CCCM 29, 1978, ed. Karácsonyi Béla – Szegfű László 1999) egyik legfontosabb patrisztikus forrása. A tanulmány kimutatja, hogy a Deliberatio két szöveghelye részben szó szerinti idézet, részben parafrázis Victorinus poetoviumi (ma: ptuji) püspök Szent Jeromos által átdolgozott Apocalypsis-kommentárjából (
Commentarii in Apocalypsin editio Victorini et recensio Hieronymiuna cum posteriorum additamentis,
rec. I. Haussleiter, in CSEL 49, 1916).
The author’s thesis is that from the beginning of the establishment of the so-called Franko-Roman Liturgy (thus at the latest from the Carolingian era) the texts of the Bible were primarily mediated to the literate population through liturgical and liturgical-musical culture. Thus the quotation of Biblical texts was greatly influenced by their liturgical use, and the knowledge connected to them as a result of it. Texts written for a wider audience were based on passages common in, or only found in liturgical use. Such are the pericopes (designated passages of the Bible) of larger Holidays and more common events, and the sung liturgical elements connected to these Holidays, or other important dates. This background knowledge influenced not only works of a religious nature, but also chiefly secular texts, among these historiographic writings. The paper analyses a short excerpt from a Hungarian chronicle (Chronici Hungarici compositio saeculi XIV, c. 164), proving that it is a cento of commonly used, and thus well-known liturgical texts from the Bible.
The Latin Church has sung many shortened versions, or excerpts from the long poems of Prudentius’s hymn-cycles (Cathemerinon and Peristephanon) since the Middle Ages. One of the most influential of these is the hymn Salvete flores martyrum, for Innocent’s Day. The paper examines the structural and aesthetic principles which lead the — for us — unknown medieval interpretive community in creating this unique centonised latin hymn.