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For other uses, see Dies Irae (disambiguation).
The Day of Judgement from the centre panel of the Memling Triptych in Gdańsk.
The Day of Judgement from the centre panel of the Memling Triptych in Gdańsk. In Christian eschatology, the Last Judgment or Day of the Lord is the judgment by God of every human who ever lived Hans Memling (Memlinc (c 1430 &ndash 11 August, 1494) was an Early Netherlandish painter, born in Seligenstadt / Germany, who A triptych (pronounced "trip-tick" trip'tik (or US: 'tɹʷɪp Gdańsk ( Polish pronunciation; 'Danzig', Gduńsk Gedania Dantiscum is the City at the centre of the fourth-largest Metropolitan area in Poland

Dies Irae (Day of Wrath) is a famous thirteenth century Latin hymn thought to be written by Thomas of Celano. Latin ( lingua Latīna, laˈtiːna is an Italic language, historically spoken in Latium and Ancient Rome. A hymn is a type of Song, usually religious specifically written for the purpose of praise adoration or Prayer, and typically addressed to a deity/deities Thomas of Celano (Tommaso da Celano c 1200 &ndash c 1260-1270 was an Italian Friar of the Franciscans (Order of Friars Minor a poet and the author It is a medieval Latin poem, differing from classical Latin by its accentual (non-quantitative) stress and its rhymed lines. Medieval Latin was the form of Latin used in the Middle Ages, primarily as a medium of scholarly exchange and as the Liturgical language of the medieval The meter is trochaic. A trochee or choree, choreus, is a Metrical foot used in formal Poetry. The poem describes the day of judgment, the last trumpet summoning souls before the throne of God, where the saved will be delivered and the unsaved cast into eternal flames. In Christian eschatology, the Last Judgment or Day of the Lord is the judgment by God of every human who ever lived God is the principal or sole Deity in Religions and other belief systems that worship one deity. The hymn is used as a sequence in the Roman Catholic Requiem Mass in the extraordinary form (1962 missal). This article is about Latin poems and songs For the Early music group see Sequentia (music group. The Requiem (from Latin requiem, accusative case of requies, rest or Requiem Mass (informally a funeral Mass also known formally (in Latin as the The Mass is the Eucharistic celebration in the Latin liturgical rites of the Roman Catholic Church. It is not used in the ordinary form (1970) of the Roman Missal. The Roman Missal ((Missale Romanum is the liturgical book that contains the texts and rubrics for the celebration of the Mass in the Roman Rite

Contents

Use in the Catholic liturgy

Those familiar with musical settings of the Requiem Mass—such as those by Mozart or Verdi—will be aware of the important place of the Dies Iræ in the liturgy. The Requiem Mass in D minor ( K 626 by Wolfgang Amadeus Mozart was composed in 1791 The Requiem by Giuseppe Verdi is a musical setting of the Roman Catholic funeral Mass (called the Requiem from the first word of the Nevertheless it fell foul of the preferences of the "Consilium for the Implementation of the Constitution on the Liturgy"—the Vatican body charged with implementing (and indeed drafting) the reforms to the Catholic Liturgy ordered by the Second Vatican Council. A liturgy is the customary public worship done by a specific religious group according to their particular traditions The Second Ecumenical Council of the Vatican, or Vatican II, was the twentieth century Ecumenical Council of the Roman Catholic Church. The architect of these reforms, Archbishop Annibale Bugnini, explains the mind of the members of the Consilium:

They got rid of texts that smacked of a negative spirituality inherited from the Middle Ages. Annibale Bugnini, CM ( June 14, 1912 – July 3, 1982) was a Roman Catholic Prelate. Thus they removed such familiar and even beloved texts as the Libera me, Domine, the Dies Iræ, and others that overemphasized judgment, fear, and despair. The Requiem (from Latin requiem, accusative case of requies, rest or Requiem Mass (informally a funeral Mass also known formally (in Latin as the These they replaced with texts urging Christian hope and arguably giving more effective expression to faith in the resurrection. [1]

It remained as the sequence for the Requiem Mass in the Roman Missal of 1962 (the last edition before the Second Vatican Council) and so is still heard in churches where the Tridentine Latin liturgy is celebrated. The Second Ecumenical Council of the Vatican, or Vatican II, was the twentieth century Ecumenical Council of the Roman Catholic Church. Traditionalist Catholics are Roman Catholics, or people who identify as Roman Catholics who believe that there should be a restoration of many or all of the liturgical

The "Dies Irae" is still suggested in the Liturgy of the Hours for the Office of the Dead and during last week before Advent as the opening hymn for the Office of Readings, Lauds and Vespers (divided into three parts). [2]

The Poem

The Latin text is taken from the Requiem Mass in the 1962 Roman Missal. The Requiem (from Latin requiem, accusative case of requies, rest or Requiem Mass (informally a funeral Mass also known formally (in Latin as the The Tridentine Mass (Missa Tridentina is the form of the Roman Rite Mass contained in the typical editions of the Roman Missal that were published The English version below was translated by William Josiah Irons in 1849 and appears in the English Missal. William Josiah Irons (1812–1883 was a Priest in the Church of England and a theological writer The English Missal is a Missal first published by W Knott & Son Limited in 1912 as a Missal to be used by some of the more 'liturgically advanced' Anglo-Catholic Note that the below translation is not literal, but modified to fit the rhyme and meter.

1
Dies iræ! dies illa
Solvet sæclum in favilla
Teste David cum Sibylla!

2
Quantus tremor est futurus,
quando judex est venturus,
cuncta stricte discussurus!

3
Tuba mirum spargens sonum
per sepulchra regionum,
coget omnes ante thronum.

4
Mors stupebit et natura,
cum resurget creatura,
judicanti responsura.

5
Liber scriptus proferetur,
in quo totum continetur,
unde mundus judicetur.

6
Judex ergo cum sedebit,
quidquid latet apparebit:
nil inultum remanebit.

7
Quid sum miser tunc dicturus?
Quem patronum rogaturus,
cum vix justus sit securus?

8
Rex tremendæ majestatis,
qui salvandos salvas gratis,
salva me, fons pietatis.

9
Recordare, Jesu pie,
quod sum causa tuæ viæ:
ne me perdas illa die.

10
Quærens me, sedisti lassus:
redemisti Crucem passus:
tantus labor non sit cassus.

11
Juste judex ultionis,
donum fac remissionis
ante diem rationis.

12
Ingemisco, tamquam reus:
culpa rubet vultus meus:
supplicanti parce, Deus.

13
Qui Mariam absolvisti,
et latronem exaudisti,
mihi quoque spem dedisti.

14
Preces meæ non sunt dignæ:
sed tu bonus fac benigne,
ne perenni cremer igne.

15
Inter oves locum præsta,
et ab hædis me sequestra,
statuens in parte dextra.

16
Confutatis maledictis,
flammis acribus addictis:
voca me cum benedictis.

17
Oro supplex et acclinis,
cor contritum quasi cinis:
gere curam mei finis.

1
Day of wrath! O day of mourning!
See fulfilled the prophets' warning,
Heaven and earth in ashes burning!

2
Oh what fear man's bosom rendeth,
when from heaven the Judge descendeth,
on whose sentence all dependeth.

3
Wondrous sound the trumpet flingeth;
through earth's sepulchers it ringeth;
all before the throne it bringeth.

4
Death is struck, and nature quaking,
all creation is awaking,
to its Judge an answer making.

5
Lo! the book, exactly worded,
wherein all hath been recorded:
thence shall judgment be awarded.

6
When the Judge his seat attaineth,
and each hidden deed arraigneth,
nothing unavenged remaineth.

7
What shall I, frail man, be pleading?
Who for me be interceding,
when the just are mercy needing?

8
King of Majesty tremendous,
who dost free salvation send us,
Fount of pity, then befriend us!

9
Think, good Jesus, my salvation
cost thy wondrous Incarnation;
leave me not to reprobation!

10
Faint and weary, thou hast sought me,
on the cross of suffering bought me.
shall such grace be vainly brought me?

11
Righteous Judge! for sin's pollution
grant thy gift of absolution,
ere the day of retribution.

12
Guilty, now I pour my moaning,
all my shame with anguish owning;
spare, O God, thy suppliant groaning!

13
Thou the sinful woman savedst;
thou the dying thief forgavest;
and to me a hope vouchsafest.

14
Worthless are my prayers and sighing,
yet, good Lord, in grace complying,
rescue me from fires undying!

15
With thy favored sheep O place me;
nor among the goats abase me;
but to thy right hand upraise me.

16
While the wicked are confounded,
doomed to flames of woe unbounded
call me with thy saints surrounded.

17
Low I kneel, with heart submission,
see, like ashes, my contrition;
help me in my last condition.

The poem appears complete as it stands at this point. Some scholars question whether the remainder is an addition made in order to suit the great poem for liturgical use, for the last stanzas discard the consistent scheme of triple rhymes in favor of rhymed couplets, while the last two lines abandon rhyme for assonance and are, moreover, catalectic: (this information is questionable. A catalectic line is a metrically incomplete line of verse lacking a syllable at the end or ending with an incomplete foot. Editors at this point have actually offered this piece at a genuine requiem - it is sung, it is true, it is appropriate. . . Dona eis requiem. )

18
Lacrimosa dies illa,
qua resurget ex favilla
judicandus homo reus.
Huic ergo parce, Deus:

19
Pie Jesu Domine,
dona eis requiem. Amen.

18
Ah! that day of tears and mourning!
From the dust of earth returning
man for judgment must prepare him;
Spare, O God, in mercy spare him!

19
Lord, all pitying, Jesus blest,
grant them thine eternal rest. Amen.

In 1970 the Dies Iræ was removed from the Missal and since 1971 it is proposed ad libitum as a hymn for the Liturgy of the Hours at the Office of Readings, Lauds and Vespers. Matins (also known as Orthros or Oútrenya in Eastern Churches) is the early morning or night Prayer service in the Roman Catholic Lauds is one of the two "major hours" in the Roman Catholic Liturgy of the Hours. Vespers is the evening Prayer service in the Roman Catholic, Eastern (Byzantine Catholic, and Eastern Orthodox, liturgies of the For this purpose stanza 19 was deleted and the poem divided into three sections: 1-6 (for the Office of Readings), 7-12 (for Lauds) and 13-18 (for Vespers. In addition Qui Mariam absolvisti in stanza 13 was replaced by Peccatricem qui solvisti so that that line would now mean, "You who freed the sinful woman". In addition a doxology is given after stanzas 6, 12 and 18:[2]

doxology:
O tu, Deus majestatis,
alme candor Trinitatis
nos coniunge cum beatis. A doxology (from the Greek doxa, glory + Logos, word or speaking is a short Hymn of praise to God in various Christian Amen.

doxology:
O God of majesty
nourishing light of the Trinity
join us with the blessed. SSC RF "Troitsk Institute of Innovative and Termonuclear Research" or TRINITY for shprt Троицкий Институт инновационных и термоядерных In Roman Catholic Theology, the beatific vision is the eternal and direct perception of God enjoyed by those who are in Heaven, imparting supreme Amen.

Inspiration and other translations

A major inspiration of the hymn seems to have come from the Vulgate translation of Zephaniah 1:15–16:

Dies iræ, dies illa, dies tribulationis et angustiæ, dies calamitatis et miseriæ, dies tenebrarum et caliginis, dies nebulæ et turbinis, dies tubæ et clangoris super civitates munitas et super angulos excelsos. The Vulgate is an early Fifth Century version of the Bible in Latin, and largely the result of the labours of Jerome, who was commissioned by {For|the prophetic book|Book of Zephaniah} Zephaniah or Tzfanya ( is the name of several people in the Bible Old Testament and Jewish Tanakh
That day is a day of wrath, a day of tribulation and distress, a day of calamity and misery, a day of darkness and obscurity, a day of clouds and whirlwinds, a day of the trumpet and alarm against the fenced cities, and against the high bulwarks. (Douai Bible)

Other images come from Revelation 20:11–15 (the book from which the world will be judged), Matthew 25:31–46 (sheep and goats, right hand, contrast between the blessed and the accursed doomed to flames), 1 Thessalonians 4:16 (trumpet), 2 Peter 3:7 (heaven and earth burnt by fire), Luke 21:26–27 ("men fainting with fear . The Douay-Rheims Bible, also known as the Rheims-Douai Bible or Douai Bible and abbreviated as D-R, is a translation of the Bible from the . . they will see the Son of Man coming"), etc.

From the Jewish liturgy, the prayer Unetanneh Tokef also appears to have been a source: "We shall ascribe holiness to this day, For it is awesome and terrible"; "the great trumpet is sounded", etc. Jewish services ( Hebrew: תפלה, tefillah; plural תפלות, tefillos or tefillot; Yinglish: davening Unetanneh Tokef or Unesanneh Tokef (ונתנה תוקף is a Piyyut that has been a part of the Rosh Hashanah and Yom Kippur

A number of English translations of the poem have been written and proposed for liturgical use. A Franciscan version can be read here. The term Franciscan is commonly used to refer to members of Catholic A very loose Protestant version was made by John Newton; it opens:

Day of judgment! Day of wonders!
Hark! the trumpet's awful sound,
Louder than a thousand thunders,
Shakes the vast creation round!
How the summons wilt the sinner's heart confound!

Jan Kasprowicz, a Polish poet, wrote a hymn entitled Dies irae which describes the Judgement day. Protestantism refers to the forms of Christian faith and practice that originated in the 16th century Protestant Reformation. John Henry Newton ( July 24, 1725 &ndash December 21, 1807) was an Englishman Anglican clergyman and former slave-ship captain Jan Kasprowicz (December 12 1860 &ndash August 1 1926 was a Poet, Playwright, Critic and Translator; a foremost representative of Young In Christian eschatology, the Last Judgment or Day of the Lord is the judgment by God of every human who ever lived The first six lines (two stanzas) follow the original hymn's meter and rhyme structure, and the first stanza translates to "The trumpet will cast a wondrous sound".

The American writer Ambrose Bierce published a satiric version of the poem in his 1903 book Shapes of Clay, preserving the original metre but using humorous and sardonic language; for example, the second verse is rendered:

Ah! what terror shall be shaping
When the Judge the truth's undraping -
Cats from every bag escaping!

Manuscript sources

The oldest text of the sequence is found, with slight verbal variations, in a 13th century manuscript in the Biblioteca Nazionale at Naples. Ambrose Gwinnett Bierce (June 24 1842 &ndash 1914? was an American Editorialist Journalist, short-story writer and Satirist. It is a Franciscan calendar missal that must date between 1253–1255 for it does not contain the name of Clare of Assisi, who was canonized in 1255, and whose name would have been inserted if the manuscript were of later date. Santa Chiara redirects here For the church in Rome of that name see Santa Chiara (church.

Musical settings

The hymn music, with the words of the first stanza, is provided here:

The Dies Irae appears as this melody in musical notation.

The words have often been set to music as part of the Requiem service, originally as a sombre plainchant. The Requiem (from Latin requiem, accusative case of requies, rest or Requiem Mass (informally a funeral Mass also known formally (in Latin as the For the band see " Plainsong (band " For the song on The Cure's 1989 album see " Disintegration " It also formed part of the traditional Catholic liturgy of All Souls Day. A liturgy is the customary public worship done by a specific religious group according to their particular traditions In Western Christianity, All Souls' Day commemorates the faithful departed. Music for the Requiem mass has been composed by many composers, including Wolfgang Amadeus Mozart, Hector Berlioz, Giuseppe Verdi, and Igor Stravinsky. Igor Fyodorovich Stravinsky (Игорь Фёдорович Стравинский) ( &ndash 6 April 1971 was a Russian born Composer, considered by many to The setting by Mozart, especially the first two stanzas (Requiem, 2nd Movement), is often heard in the scores of movies and the musical "beds" of commercials (e. g. X2: X-Men United).

The traditional Gregorian melody has also been quoted in a number of other classical compositions, among them:

References in popular culture

The melody has also been referenced in popular culture:

The 18th stanza is sung at the end of the song "Lacrimosa," by Regina Spektor, on her album "Songs. Frank Ticheli (born Jan 21, 1958 in Monroe Louisiana) is an American composer of Orchestral choral, chamber Ralph (reɪf Vaughan Williams OM (12 October 1872 &ndash 26 August 1958 was an English Composer of symphonies, Chamber music Adrian "Ady" Williams (born 16 August 1971, Reading, England) is a retired footballer and former Wales international James Yannatos ( March 13, 1929) is a composer conductor violinist and teacher Eugène Ysaÿe ( July 16 1858 &ndash May 12 1931) was a Belgian Violinist, Composer and conductor The Sonata for Solo Violin op 27 no 2 "Jacques Thibaud" is a Sonata in four movements from Six sonatas for solo violin, a set of "

The melody was used by Ernest Gold in the opening credits for the horror movie The Screaming Skull. Ernest Gold ( July 13, 1921 – March 17, 1999) born Ernst Gold, was an American award-winning composer For the nickname of the conductor see Georg Solti The Screaming Skull ( 1958) is a horror Film directed

The first two lines of the first stanza are sung at the end of the song "Far åt Helvete" by the Swedish folk metal band Thyrfing on their album "Farsotstider. This page refers to the metal band Thyrfing For the mythological sword see Tyrfing Thyrfing is a Viking metal band from Sweden Farsotstider is the fifth album by the Viking metal band Thyrfing. "

Wendy Carlos used the melody in the opening credits sequence to her score to Stanley Kubrick's "The Shining". Wendy Carlos (born Walter Carlos, November 14 1939 is an American Composer and electronic Musician.

The melody is played in the 1992 video game Fatal Fury 2 from SNK, as theme for the last opponent of the game, Wolfgang Krauser, a German character with several references to Mozart, such as the first name. Year 1992 ( MCMXCII) was a Leap year starting on Wednesday (link will display full 1992 Gregorian calendar) is a 1992 Fighting game released by SNK for the Neo Geo arcade and home platforms The German people (Deutsche are an Ethnic group, in the sense of sharing a common German culture, descent and speaking the German language as It's also played in other SNK games where Krauser appears, like Fatal Fury Special and The King of Fighters '96, always as the theme for Krauser. is an update of Fatal Fury 2 released in 1993 that added three characters ( Tung Fu Rue, Duck King, Geese Howard) from the The King of Fighters '96 is the third game in The King of Fighters series by SNK.

The first 8 notes are quoted (the last two reduced to eighth notes and the last one raised one tone) as the character Kate's leitmotif in the television serial Lost, composed by Michael Giacchino.

The tune is parodied in the main theme of the movie It's A Mad, Mad, Mad, Mad World.

Some Euronews viewers argue that their News block introduction tune (after June 2008 rebranding) very much resembling Dies Irae. Euronews is a Multilingual and pan- European Television News channel launched on January 1 1993. Dies Irae (Day of Wrath is a famous thirteenth century Latin Hymn thought to be written by Thomas of Celano.

The musical Sweeney Todd, the Demon Barber of Fleet Street contains several variations of the Dies Irae throughout its score, most notably in the recurrent "Ballad of Sweeney Todd", and as part of the underscoring in the climactic "Epiphany".

A variation of the melody has also been used in the computer/video game Onimusha 3: Demon Siege, as the theme tune for the villain Guildenstern. Onimusha 3 Demon Siege, released in Japan as, is an Action-adventure game developed and published by Capcom.

A variation of the poem was used by Steve Jablonsky for the theme of the Decepticons for the 2007 film Transformers. Steve Jablonsky (born October 9, 1970) is an American Music composer for Film, Television and Video games. "Deceptacon" redirects here but is also the name of a song by the group Le Tigre. Year 2007 ( MMVII) was a Common year starting on Monday of the Gregorian calendar in the 21st century. Transformers is a 2007 Live-action Film adaptation of the ''Transformers'' franchise, directed by Michael Bay and

Some verses from The Poem are used by funeral doom, gothic, gregorian band Virgin Black, in their song called "Domine".

The melody as used in Symphonie Fantastique is used to begin The Second Coming by Juelz Santana. An Episode in the Life of the Artist Opus 14 usually referred to by its subtitle Symphonie fantastique ( Fantasy Symphony) is LaRon Louis James (born on February 18 1983 better known by his Stage name Juelz Santana, is an American rapper, producer and occasional actor The song was prominently used in Nike basketball commercials. Nike Inc ('naɪki ( is a major publicly traded sportswear and equipment supplier based in the United States.

The melody is played almost in its entirety during the opening credits of the computer game Still Life.

The melody is used in the Dreamworks movie The Road to El Dorado as the motiff for the explorer Hernán Cortés. DreamWorks LLC, also known as DreamWorks Pictures, DreamWorks SKG, or DreamWorks Studios, is a major American Film studio The Road to El Dorado is a 2000 animated comedy film by DreamWorks SKG. Hernán Cortés de Monroy y Pizarro 1st Marqués del Valle de Oaxaca ( 1485&ndash December 2,

Variations of the Dies Irae are frequently heard in the music for the television show Lost.

The song is used as the Death Note's theme in the popular Japanese Show Death Note. is a Manga series created by writer Tsugumi Ohba and illustrator Takeshi Obata.

The song is frequently heard during the movie Battle Royale. is a Novel written by Japanese author Koushun Takami. The book (ISBN 4-89392-958-5 was first published in Japan in April 1999, and later formed the basis

Literary references

References

  1. ^ Annibale Bugnini, The Reform of the Liturgy : 1948–1975, (The Liturgical Press, 1990), Chap. 46. II. 1, p. 773.
  2. ^ a b Liturgia Horarum IV, (Libreria Editrice Vaticana, 2000), p. 489.
  3. ^ Zadan, Craig (1989). Sondheim & Co. 2nd edition. Perennial Library, p. 248. ISBN 0-06-091400-9.  
  4. ^ The text of Bierce's A day of wrath

External links

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