Bibliotheca Arnamagnæana - 01.06.1968, Side 289
LUX ILLUXIT . . . LUX ILLUSTRIS
But before we turn to this part of the sequence, a passage
in v. 6 has to be discussed. On “(ex)ilia” in v. 6a, and “gaudia”
in v. 6b, K has the notes c, c, a-G-a, while all three Swedish sources,
and also g, have d, d, b-a-b. This melody form, therefore, is very
strongly supported; so strongly that one is tempted to reckon it as
the authentic one, and the form in K as wrong, written a second
too low. If so, it would not be the only instance of this kind,
because the same is the case with the notes of “sincera devocio” at
the end of v. 1 (not noted in the following transcription). On the
other hånd, the notes d, d, b-a-b are a repetition of the notes of
“odia” and “(fe)licia” a few syllables before; and this repetition
sounds weaker than lowering it a second, which makes the melody
more interesting and is, no doubt, an improvement.
Now for vv. 7-8. Of the foreign sources from which we could
supply what is wanting in our own, the Skara MS. (Sk) has been
chosen, both because Skara is the nearest locality geographically,
and because of the Amen-melody in that MS. As well as Reiss,
Moberg also collated this MS. (Codex Scarensis), and 3 other
Swedish ones (No. 53).
In the following transcription all these sources have been com-
bined. Where one or more of them use a Gothic melody top instead
of a Romanesque, this is indicated by an asterisk. This appears
only in v. 1, and is found almost exclusively in the Icelandic MSS.
a and g, and only in one instance in Sk, on “(pro)rum(pat)”.
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