Bibliotheca Arnamagnæana - 01.06.1968, Page 235
STELLA MARIS O MARIA EXPERS PARIS - VERBUM BONUM ET SUAVE
sum- me dl- gr.a sut,- ma laa-(de sum- me ve- ne- ra- bl- 11a.)
spe- cl- o- sa (sem-per re-cens flos lm-mar-ces- si- bl-) lis.
7a) Stlrps be-a-ta fac pla-ca-tum (pa-trem na-ta pa-rens na- tua
tb' Ut te du-ce ser-vl (tu- 1 pos-alnt lu-ce ve- ra fru- 1
no-bls) pec-ca-to- ri- bus. (A- - - men.)
cum cho- ris ce-le- sti- bus.)
VERBUM BONUM ET SUAVE
MSS: Q. Fac. 132, the bottom line, only the initial U and most of
the music preserved; fac. 133, the lower part of the same leaf, from
the beginning of v. 2a (3) to 3a (5) Ane; and fac. 134, from 3b (6)
[emendajtos to the end of the sequence (most of the notes are lacking).
— R. Fac. 136—fac. 137, 1. 3; the recto and verso of a fragment
containing parts of 1 a-b (1-2) and 3a-b (5-6). — o. Fac. 323, 11. 3-10
[in the following transcription of the music n is used for the MS. o].
Text printed in AH 54, No. 218.
Textual differences from AH in Q: 2a (3) tribus donis] cum
coronis, 2b (4) prolem] patrem, 3b (6) ad habenda] adhibenda; —
in o: 2b (4) lapso] lapsu, 3a (5) mater] sponsa, 3a (5) portus] portum,
3b (6) emenda] emunda(!).
From the music, transcribed below, we see that the melody of the
first verse has been borrowed from that of “Laudes crucis attollamus”
(or “Lauda Syon”), which however comprises only 3 lines in the
half-verse, as against 4 here. The “Amen” (only in o) has a West-
European, not Roman Catholic melody.
In AH 81 MSS. are enumerated. “Es ist kaum zu bezweifeln, dass
diese schone Sequenz (“kurz und gut”) aus Frankreich stammt,
wohin die al testen Quellen weisen. Bis ins 14. Jahrh. hinein ist sie
11 The Sequences of Nidaros Archbishopric
161