Carmen gratulatorium - Revision history

Hkllm at 15:56, 25 February 2012

2012-02-25T15:56:16Z

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			by Åslaug Ommundsen

	'''Carmen gratulatorium''', or ''Ex te lux oritur'', is a wedding song probably written to be performed at the wedding of the Norwegian king Eirik Magnusson and the Scottish princess Margareta in Bergen in 1281. Text and melody is transmitted in a late thirteenth century manuscript now in Uppsala.		'''Carmen gratulatorium''', or ''Ex te lux oritur'', is a wedding song probably written to be performed at the wedding of the Norwegian king Eirik Magnusson and the Scottish princess Margareta in Bergen in 1281. Text and melody is transmitted in a late thirteenth century manuscript now in Uppsala.

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	* PURSER, J 1992: ''Scotland’s music. A history of the traditional and classical music of Scotland from earliest times to the present day'', Edinburgh and London, 59-62.		* PURSER, J 1992: ''Scotland’s music. A history of the traditional and classical music of Scotland from earliest times to the present day'', Edinburgh and London, 59-62.
	* VOLLSNES, A. (ed.): ''Norges musikkhistorie'' 1, Oslo: Aschehoug 2001, 53 (reproduction, partial transcription, CD-recording).		* VOLLSNES, A. (ed.): ''Norges musikkhistorie'' 1, Oslo: Aschehoug 2001, 53 (reproduction, partial transcription, CD-recording).


	~~Åslaug Ommundsen~~

	[[Category:Article]]		[[Category:Article]]

Fcmao: /* Recordings */

2011-09-27T12:03:50Z

Recordings

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	==== Recordings ====		==== Recordings ====
	* Sølvguttene (dir. T. Grythe): ''~~Kormusikk fra~~ Norge i Middelalder og Renessanse, ~~samt fra vår tid~~.''		* Sølvguttene (dir. T. Grythe): ''Musikk i Norge i Middelalder og Renessanse'', 1982.
	* Hillier, Stubbs, Kiesel: ''Troubadour songs and medieval lyrics'', London, Hyperion, 1990 (recorded 1982).		* Hillier, Stubbs, Kiesel: ''Troubadour songs and medieval lyrics'', London, Hyperion, 1990 (recorded 1982).
	* Various artists: ''Scotland’s music'', 1992.		* Various artists: ''Scotland’s music'', 1992.
	* Heyman: ''Queen of Harps'', 1994.		* Heyman: ''Queen of Harps'', 1994.
	* Graysteil: ''Music from the Medieval Ages & Renaissance Scotland'' (~~recorded~~ 1995).		* Graysteil: ''Music from the Medieval Ages & Renaissance Scotland,'' (1995).

	==== Translations ====		==== Translations ====

Fcmao: /* Bibliography */

2011-09-27T11:49:36Z

Bibliography

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	* LAMPEN, W. 1957: "Frater Mauritius de Dacia, O. Min.", ''Collectanea Franciscana'' 27 (1957), 324-26.		* LAMPEN, W. 1957: "Frater Mauritius de Dacia, O. Min.", ''Collectanea Franciscana'' 27 (1957), 324-26.
	* PURSER, J 1992: ''Scotland’s music. A history of the traditional and classical music of Scotland from earliest times to the present day'', Edinburgh and London, 59-62.		* PURSER, J 1992: ''Scotland’s music. A history of the traditional and classical music of Scotland from earliest times to the present day'', Edinburgh and London, 59-62.
	* ~~Vollsnes~~, A. (ed.): ''Norges musikkhistorie'' 1, Oslo: Aschehoug 2001, 53 (reproduction, partial transcription, CD-recording).		* VOLLSNES, A. (ed.): ''Norges musikkhistorie'' 1, Oslo: Aschehoug 2001, 53 (reproduction, partial transcription, CD-recording).

Fcmao: /* Bibliography */

2011-09-27T11:49:21Z

Bibliography

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	* KOLSRUD, O. & REISS, R. 1913: ''Tvo norrøne latinske kvæde med melodiar, utgjevne fraa Codex Upsalensis C 233'', Videnskabs-selskabets Skrifter. II. H.-F. Kl. 1912. No 5. Kristiania.		* KOLSRUD, O. & REISS, R. 1913: ''Tvo norrøne latinske kvæde med melodiar, utgjevne fraa Codex Upsalensis C 233'', Videnskabs-selskabets Skrifter. II. H.-F. Kl. 1912. No 5. Kristiania.
	* LAMPEN, W. 1957: "Frater Mauritius de Dacia, O. Min.", ''Collectanea Franciscana'' 27 (1957), 324-26.		* LAMPEN, W. 1957: "Frater Mauritius de Dacia, O. Min.", ''Collectanea Franciscana'' 27 (1957), 324-26.
	* ''Norges musikkhistorie'' 1, Oslo: Aschehoug 2001, 53 (reproduction, partial transcription, CD-recording).
	* PURSER, J 1992: ''Scotland’s music. A history of the traditional and classical music of Scotland from earliest times to the present day'', Edinburgh and London, 59-62.		* PURSER, J 1992: ''Scotland’s music. A history of the traditional and classical music of Scotland from earliest times to the present day'', Edinburgh and London, 59-62.
			* Vollsnes, A. (ed.): ''Norges musikkhistorie'' 1, Oslo: Aschehoug 2001, 53 (reproduction, partial transcription, CD-recording).


	Åslaug Ommundsen		Åslaug Ommundsen

	[[Category:Article]]		[[Category:Article]]

Fcmao: /* Bibliography */

2011-09-27T11:47:58Z

Bibliography

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	== Bibliography ==		== Bibliography ==
	ANDERSSON-SCHMITT, M and HEDLUND, M 1990: Mittelalterliche Handschriften der Universitätsbibliothek Uppsala. Katalog über die C-sammlung, band 3, Stockholm Uppsala.		* ANDERSSON-SCHMITT, M and HEDLUND, M 1990: ''Mittelalterliche Handschriften der Universitätsbibliothek Uppsala. Katalog über die C-sammlung'', band 3, Stockholm Uppsala.
	BEVERIDGE, J 1939: “Two Scottish thirteenth-century songs...”, Proceedings of the Society of Antiquaries of Scotland 73 (1938/39), p. 276-288.		* BEVERIDGE, J 1939: “Two Scottish thirteenth-century songs...”, ''Proceedings of the Society of Antiquaries of Scotland'' 73 (1938/39), 276-288.
	DE GEER, I 1985: Earl, Saint, Bishop, Skald – and Music. The Orkney Earldom of the Twelfth Century. A Musicological Study, Institutionen för musikvetenskap, Uppsala Universitet 1985, ~~pp.~~ 143-146.		* DE GEER, I 1985: ''Earl, Saint, Bishop, Skald – and Music. The Orkney Earldom of the Twelfth Century. A Musicological Study'', Institutionen för musikvetenskap, Uppsala Universitet 1985, 143-146.
	DE GEER, I 1988: “Music and the Twelfth Century Orkney Earldom: A Cultural Crossroads in Musicological Persepective,” in Crawford, B. E.: St. Magnus Cathedral and Orkney’s Twelfth-Century Renaissance, Aberdeen, p. 251.		* DE GEER, I 1988: “Music and the Twelfth Century Orkney Earldom: A Cultural Crossroads in Musicological Persepective,” in Crawford, B. E.: ''St. Magnus Cathedral and Orkney’s Twelfth-Century Renaissance'', Aberdeen, 251.
	FÆHN, H. 1962: Manuale Norwegicum (presta handbók), Oslo.		* FÆHN, H. 1962: ''Manuale Norwegicum (presta handbók)'', Oslo.
	HELLE, K. 1980: En kongelig bryllupssang – A song for the royal wedding in Bergen A.D. 1281, Bergen (8 pages).		* HELLE, K. 1980: ''En kongelig bryllupssang – A song for the royal wedding in Bergen A.D. 1281'', Bergen (8 pages).
	KOLSRUD, O. ~~and~~ REISS, R. 1913: Tvo norrøne latinske kvæde med melodiar, utgjevne fraa Codex Upsalensis C 233, Videnskabs-selskabets Skrifter. II. H.-F. Kl. 1912. No 5. Kristiania.		* KOLSRUD, O. & REISS, R. 1913: ''Tvo norrøne latinske kvæde med melodiar, utgjevne fraa Codex Upsalensis C 233'', Videnskabs-selskabets Skrifter. II. H.-F. Kl. 1912. No 5. Kristiania.
	LAMPEN, W. 1957: Frater Mauritius de Dacia, O. Min., Collectanea Franciscana 27 (1957), p. 324-26.		* LAMPEN, W. 1957: "Frater Mauritius de Dacia, O. Min.", ''Collectanea Franciscana'' 27 (1957), 324-26.
	Norges musikkhistorie 1, Oslo: Aschehoug 2001, p. 53 (reproduction, partial transcription, CD-recording).		* ''Norges musikkhistorie'' 1, Oslo: Aschehoug 2001, 53 (reproduction, partial transcription, CD-recording).
	PURSER, J 1992: Scotland’s music. A history of the traditional and classical music of Scotland from earliest times to the present day, Edinburgh and London, ~~pp.~~ 59-62.		* PURSER, J 1992: ''Scotland’s music. A history of the traditional and classical music of Scotland from earliest times to the present day'', Edinburgh and London, 59-62.

	Åslaug Ommundsen		Åslaug Ommundsen

	[[Category:Article]]		[[Category:Article]]

Fcmao: /* Medieval reception and transmission */

2011-09-27T11:44:56Z

Medieval reception and transmission

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	== Medieval reception and transmission ==		== Medieval reception and transmission ==
	The song was probably not widespread, due to its origin as occasional poetry. It is only transmitted in one source:		The song was probably not widespread, due to its origin as occasional poetry. It is only transmitted in one source:

	Uppsala, University library, C 233, fol. 50v-51r.		Uppsala, University library, C 233, fol. 50v-51r.
	This thirteenth century codex primarily contains Lotharius (Innocentius III): De miseria condicionis humane (seu De contemptu mundi), copied by several hands. The Carmen gratulatorium and the hymn Nobilis humilis for Sanctus Magnus ~~(→)~~ were later added, both in the same hand, on blank pages in the manuscript. Another later entry, a letter formula dated 1274, indicates that the codex at this point belonged to a Franciscan community (KOLSRUD ~~and~~ REISS 1913, 16). An au-ligature in f 7r suggests a scribe familiar with the Old Norse vernacular. Because of the presence of the Magnus-hymn, the origin of the C 233 has traditionally been connected with the Orkney isles (see KOLSRUD ~~and~~ REISS 1913, 32, ANDERSON-SCHMITT ~~and~~ HEDLUND 1990, 122). There are no reasons, however, to rule out a Norwegian or Icelandic origin (DE GEER 1985, 145). The codex may possibly have been owned by bishop of Bergen Arne Sigurdsson (see KOLSRUD ~~and~~ REISS 1913, 33). Ca. 1500 it was donated to the monastery at Graamunkeholmen in Stockholm by the Franciscan friar Kanutus Johannis.
			This thirteenth century codex primarily contains Lotharius (Innocentius III): ''De miseria condicionis humane (seu De contemptu mundi)'', copied by several hands. The Carmen gratulatorium and the hymn ''Nobilis humilis'' for [[Sanctus Magnus]] were later added, both in the same hand, on blank pages in the manuscript. Another later entry, a letter formula dated 1274, indicates that the codex at this point belonged to a Franciscan community (KOLSRUD & REISS 1913, 16). An au-ligature in f 7r suggests a scribe familiar with the Old Norse vernacular. Because of the presence of the Magnus-hymn, the origin of the C 233 has traditionally been connected with the Orkney isles (see KOLSRUD & REISS 1913, 32, ANDERSON-SCHMITT & HEDLUND 1990, 122). There are no reasons, however, to rule out a Norwegian or Icelandic origin (DE GEER 1985, 145). The codex may possibly have been owned by bishop of Bergen Arne Sigurdsson (see KOLSRUD & REISS 1913, 33). Ca. 1500 it was donated to the monastery at Graamunkeholmen in Stockholm by the Franciscan friar Kanutus Johannis.

	== Bibliography ==		== Bibliography ==

Fcmao: /* Purpose and audience */

2011-09-27T11:43:37Z

Purpose and audience

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	== Purpose and audience ==		== Purpose and audience ==
	~~The~~ Carmen gratulatorium appears to be composed to be performed at the wedding ceremony of king Eirik Magnusson and the Scottish princess Margareta in Bergen in 1281.		As previously mentioned, the Carmen gratulatorium appears to be composed to be performed at the wedding ceremony of king Eirik Magnusson and the Scottish princess Margareta in Bergen in 1281.

	== Medieval reception and transmission ==		== Medieval reception and transmission ==

Fcmao: /* Composition and style */

2011-09-27T11:42:14Z

Composition and style

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	''qua late spargitur laudis materia.''		''qua late spargitur laudis materia.''

	The strophe 1 + 10, and 8 + 9, have the same melody. Like in a sequence the pitch of the melody rises as the song progresses, here to a climax in the fifth strophe (rex ducit virginem dulce coniugium).		The strophe 1 + 10, and 8 + 9, have the same melody. Like in a sequence the pitch of the melody rises as the song progresses, here to a climax in the fifth strophe (''rex ducit virginem dulce coniugium'').
	Carmen gratulatorium makes it clear that a royal wedding in 1281 was no purely secular event, and has many direct and indirect connections to the liturgical sphere. The opening image with the emerging light may have evoked associations to sequences with a similar allegory, like the sequence ~~“Lux illuxit”~~ for Sanctus Olavus. Some words often heard in liturgy are due to the circumstances impossible to avoid (rex, virgo). The description of the rejoicing crowd in the fourth strophe, ~~“omnis~~ condicio et ~~sexus”~~, associates with a large range of religious commentaries and sermons, for example Honorius’ Speculum ecclesiae, in his description of the church: ~~“…omnis~~ conditio, omnis aetas, omnis ~~sexus…”~~ God is called upon to bless the union (fifth strophe), and his son is praised for putting such worthy representatives in charge of his worship (sixth strophe), the ideals for the bride is exemplified through the Biblical figures Rachel, Ester, Lea and Susanna (eighth strophe), and in the final wish for happiness the couple is firstly described as God’s servants (ninth strophe). The comparison with the women from the Old Testament is in this context is not only a topos of female virtue, but also a direct reference to the prayer from the wedding ceremony; the bride should be the ~~”imitatrix~~ sanctarum feminarum; sit amabilis uiro suo, ut ~~Rachel”~~ (cf. FÆHN 1962, 23). Carmen gratulatorium, str. 8: ~~”Viro~~ sit ut fuit Rachel amabilis.” A similar reference to women from the Old Testament can be found in the office of Sancta Helena de Skövde ~~(→)~~, who is compared to Susanna, Sarah, Lea, Rachel and Esther. A verse for Matins of Sancta Fides (6. Oct.) has the same topic: Ut Rachel amabilis, ut Esther laudabilis, ut Ruth admirabilis.
			Carmen gratulatorium makes it clear that a royal wedding in 1281 was no purely secular event, and has many direct and indirect connections to the liturgical sphere. The opening image with the emerging light may have evoked associations to sequences with a similar allegory, like the sequence ''Lux illuxit'' for [[Sanctus Olavus]]. Some words often heard in liturgy are due to the circumstances impossible to avoid (''rex, virgo''). The description of the rejoicing crowd in the fourth strophe, ''omnis condicio et sexus'', associates with a large range of religious commentaries and sermons, for example Honorius’ ''Speculum ecclesiae'', in his description of the church: ''…omnis conditio, omnis aetas, omnis sexus…''

			God is called upon to bless the union (fifth strophe), and his son is praised for putting such worthy representatives in charge of his worship (sixth strophe), the ideals for the bride is exemplified through the Biblical figures Rachel, Ester, Lea and Susanna (eighth strophe), and in the final wish for happiness the couple is firstly described as God’s servants (ninth strophe). The comparison with the women from the Old Testament is in this context is not only a topos of female virtue, but also a direct reference to the prayer from the wedding ceremony; the bride should be the ''imitatrix sanctarum feminarum; sit amabilis uiro suo, ut Rachel'' (cf. FÆHN 1962, 23). Carmen gratulatorium, str. 8: ''Viro sit ut fuit Rachel amabilis.'' A similar reference to women from the Old Testament can be found in the office of [[Sancta Helena de Skövde]], who is compared to Susanna, Sarah, Lea, Rachel and Esther. A verse for Matins of Sancta Fides (6. Oct.) has the same topic: ''Ut Rachel amabilis, ut Esther laudabilis, ut Ruth admirabilis.''

	== Sources ==		== Sources ==

Fcmao: /* Composition and style */

2011-09-27T11:39:54Z

Composition and style

← Older revision		Revision as of 11:39, 27 September 2011
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	Carmen gratulatorium has been characterized as a hymn, a trouvère song and a sequence (PURSER 1992, 59). It has ten strophes, and all but the tenth are made up of pairs of versicles in Asclepiadic verse, or dactylic tetrameter (6pp + 6pp). The versicle pairs are rhythmically and melodically equal, while the melodic movements change from strophe to strophe, like in a sequence. The rhymes follow the second and fourth dactyl in each line, but in the second and ninth strophe the rhyme changes for the second versicle: St. 1, and 3-8: abababab, st. 2 and 9: ababcbcb (st. 10: abab). The rhymes are not very sophisticated, and the author is happy to follow grammatical endings in verbs (-itur), adverbs (-iter) or nouns (-ium, -ia), like in the first strophe:		Carmen gratulatorium has been characterized as a hymn, a trouvère song and a sequence (PURSER 1992, 59). It has ten strophes, and all but the tenth are made up of pairs of versicles in Asclepiadic verse, or dactylic tetrameter (6pp + 6pp). The versicle pairs are rhythmically and melodically equal, while the melodic movements change from strophe to strophe, like in a sequence. The rhymes follow the second and fourth dactyl in each line, but in the second and ninth strophe the rhyme changes for the second versicle: St. 1, and 3-8: abababab, st. 2 and 9: ababcbcb (st. 10: abab). The rhymes are not very sophisticated, and the author is happy to follow grammatical endings in verbs (-itur), adverbs (-iter) or nouns (-ium, -ia), like in the first strophe:

	''Ex te lux oritur o dulcis Scocia,		''Ex te lux oritur o dulcis Scocia,''

	qua uere noscitur fulgens Norwagia.''		''qua uere noscitur fulgens Norwagia.''

	The second versicle in the strophe is then repeated with the same melody:		The second versicle in the strophe is then repeated with the same melody:

	''Que cum transuehitur trahis suspiria,		''Que cum transuehitur trahis suspiria,''

	tui subrahitur quod regis filia.''		''tui subrahitur quod regis filia.''

	The tenth strophe has only one versicle, and is an echo of the first strophe in contents, rhyme and melody:		The tenth strophe has only one versicle, and is an echo of the first strophe in contents, rhyme and melody:

	''Ex te progreditur o dulcis Scocia,		''Ex te progreditur o dulcis Scocia,''

	qua late spargitur laudis materia.''		''qua late spargitur laudis materia.''

	The strophe 1 + 10, and 8 + 9, have the same melody. Like in a sequence the pitch of the melody rises as the song progresses, here to a climax in the fifth strophe (rex ducit virginem dulce coniugium).		The strophe 1 + 10, and 8 + 9, have the same melody. Like in a sequence the pitch of the melody rises as the song progresses, here to a climax in the fifth strophe (rex ducit virginem dulce coniugium).

Fcmao: /* Composition and style */

2011-09-27T11:39:26Z

Composition and style

← Older revision		Revision as of 11:39, 27 September 2011
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	== Composition and style ==		== Composition and style ==
	Carmen gratulatorium has been characterized as a hymn, a trouvère song and a sequence (PURSER 1992, 59). It has ten strophes, and all but the tenth are made up of pairs of versicles in Asclepiadic verse, or dactylic tetrameter (6pp + 6pp). The versicle pairs are rhythmically and melodically equal, while the melodic movements change from strophe to strophe, like in a sequence. The rhymes follow the second and fourth dactyl in each line, but in the second and ninth strophe the rhyme changes for the second versicle: St. 1, and 3-8: abababab, st. 2 and 9: ababcbcb (st. 10: abab). The rhymes are not very sophisticated, and the author is happy to follow grammatical endings in verbs (-itur), adverbs (-iter) or nouns (-ium, -ia), like in the first strophe:		Carmen gratulatorium has been characterized as a hymn, a trouvère song and a sequence (PURSER 1992, 59). It has ten strophes, and all but the tenth are made up of pairs of versicles in Asclepiadic verse, or dactylic tetrameter (6pp + 6pp). The versicle pairs are rhythmically and melodically equal, while the melodic movements change from strophe to strophe, like in a sequence. The rhymes follow the second and fourth dactyl in each line, but in the second and ninth strophe the rhyme changes for the second versicle: St. 1, and 3-8: abababab, st. 2 and 9: ababcbcb (st. 10: abab). The rhymes are not very sophisticated, and the author is happy to follow grammatical endings in verbs (-itur), adverbs (-iter) or nouns (-ium, -ia), like in the first strophe:
	Ex te lux oritur o dulcis Scocia,
	qua uere noscitur fulgens Norwagia.		''Ex te lux oritur o dulcis Scocia,

			qua uere noscitur fulgens Norwagia.''

	The second versicle in the strophe is then repeated with the same melody:		The second versicle in the strophe is then repeated with the same melody:
	Que cum transuehitur trahis suspiria,
	tui subrahitur quod regis filia.		''Que cum transuehitur trahis suspiria,

			tui subrahitur quod regis filia.''

	The tenth strophe has only one versicle, and is an echo of the first strophe in contents, rhyme and melody:		The tenth strophe has only one versicle, and is an echo of the first strophe in contents, rhyme and melody:
	Ex te progreditur o dulcis Scocia,
	qua late spargitur laudis materia.		''Ex te progreditur o dulcis Scocia,

			qua late spargitur laudis materia.''

	The strophe 1 + 10, and 8 + 9, have the same melody. Like in a sequence the pitch of the melody rises as the song progresses, here to a climax in the fifth strophe (rex ducit virginem dulce coniugium).		The strophe 1 + 10, and 8 + 9, have the same melody. Like in a sequence the pitch of the melody rises as the song progresses, here to a climax in the fifth strophe (rex ducit virginem dulce coniugium).
	Carmen gratulatorium makes it clear that a royal wedding in 1281 was no purely secular event, and has many direct and indirect connections to the liturgical sphere. The opening image with the emerging light may have evoked associations to sequences with a similar allegory, like the sequence “Lux illuxit” for Sanctus Olavus. Some words often heard in liturgy are due to the circumstances impossible to avoid (rex, virgo). The description of the rejoicing crowd in the fourth strophe, “omnis condicio et sexus”, associates with a large range of religious commentaries and sermons, for example Honorius’ Speculum ecclesiae, in his description of the church: “…omnis conditio, omnis aetas, omnis sexus…” God is called upon to bless the union (fifth strophe), and his son is praised for putting such worthy representatives in charge of his worship (sixth strophe), the ideals for the bride is exemplified through the Biblical figures Rachel, Ester, Lea and Susanna (eighth strophe), and in the final wish for happiness the couple is firstly described as God’s servants (ninth strophe). The comparison with the women from the Old Testament is in this context is not only a topos of female virtue, but also a direct reference to the prayer from the wedding ceremony; the bride should be the ”imitatrix sanctarum feminarum; sit amabilis uiro suo, ut Rachel” (cf. FÆHN 1962, 23). Carmen gratulatorium, str. 8: ”Viro sit ut fuit Rachel amabilis.” A similar reference to women from the Old Testament can be found in the office of Sancta Helena de Skövde (→), who is compared to Susanna, Sarah, Lea, Rachel and Esther. A verse for Matins of Sancta Fides (6. Oct.) has the same topic: Ut Rachel amabilis, ut Esther laudabilis, ut Ruth admirabilis.		Carmen gratulatorium makes it clear that a royal wedding in 1281 was no purely secular event, and has many direct and indirect connections to the liturgical sphere. The opening image with the emerging light may have evoked associations to sequences with a similar allegory, like the sequence “Lux illuxit” for Sanctus Olavus. Some words often heard in liturgy are due to the circumstances impossible to avoid (rex, virgo). The description of the rejoicing crowd in the fourth strophe, “omnis condicio et sexus”, associates with a large range of religious commentaries and sermons, for example Honorius’ Speculum ecclesiae, in his description of the church: “…omnis conditio, omnis aetas, omnis sexus…” God is called upon to bless the union (fifth strophe), and his son is praised for putting such worthy representatives in charge of his worship (sixth strophe), the ideals for the bride is exemplified through the Biblical figures Rachel, Ester, Lea and Susanna (eighth strophe), and in the final wish for happiness the couple is firstly described as God’s servants (ninth strophe). The comparison with the women from the Old Testament is in this context is not only a topos of female virtue, but also a direct reference to the prayer from the wedding ceremony; the bride should be the ”imitatrix sanctarum feminarum; sit amabilis uiro suo, ut Rachel” (cf. FÆHN 1962, 23). Carmen gratulatorium, str. 8: ”Viro sit ut fuit Rachel amabilis.” A similar reference to women from the Old Testament can be found in the office of Sancta Helena de Skövde (→), who is compared to Susanna, Sarah, Lea, Rachel and Esther. A verse for Matins of Sancta Fides (6. Oct.) has the same topic: Ut Rachel amabilis, ut Esther laudabilis, ut Ruth admirabilis.