Rhythmical Office - Terminology

Terminology

The old technical term for such an office was Historia, with or without an additional "rhytmata" or rimata, an expression that frequently caused misunderstanding on the part of later writers. The reason for the name lay in the fact that originally the antiphons or the responses, and sometimes the two together, served to amplify or comment upon the history of a saint, of which there was a brief sketch in the readings of the second nocturn.

Gradually this name was transferred to offices in which no word was said about a "history", and thus we find the expression "Historia ss. Trinitatis". The structure of the ordinary office of the Breviary in which antiphons, psalms, hymns, lessons, and responses followed one another in fixed order, was the natural form for the rhythmical office. It was not a question of inventing something new, as with the hymns, sequences, or other kinds of poetry, but of creating a text in poetic form in the place of a text in prose form, where the scheme existed, definitely arranged in all its parts. A development that could eventually be a basis for division of the rhythmical offices into distinct classes is limited to a narrow field, namely the external form of the parts of the office as they appear in poetic garb. Here we find in historical order the following characters:

• (1) a metrical, of hexameters intermixed with prose or rhymed prose;
• (2) a rhythmical, in the broadest sense, which will be explained below;
• (3) a form embellished by strict rhythm and rhyme.

Consequently one may distinguish three classes of rhythmical offices:

• (1) metrical offices, in hexameters or distichs;
• (2) offices in rhymed prose, i. e., offices with very free and irregular rhythm, or with dissimilar assonant long lines;
• (3) rhymed offices with regular rhythm and harmonious artistic structure.

The second class represents a state of transition, wherefore the groups may be called those of the first epoch, the groups of the transition period, and those of the third epoch, in the same way as with the sequences, although with the latter the characteristic difference is much more pronounced. If one desires a general name for all three groups, the expression "Rhymed Office", as suggested by "Historia rimata"" would be quite appropriate for the pars major et potior, which includes the best and most artistic offices; this designation: "gereimtes Officium" (Reimofficium) has been adopted in Germany through the "Analecta Hymnica". Reslly, though, the first and oldest offices are without rhyme, and cannot very well be called rhymed offices.

In the Middle Ages the word "rhythmical" was used as the general term for any kind of poetry to be distinguished from prose, no matter whether there was regular rhythm in those poems or not. And for that reason it is practical to comprise in the name "rhythmical offices" all those other than pure prose, a designation that corresponds to the Historia rhytmata.

Apart from the predilection of the Middle Ages for the poetic form, the Vitœ metricœ of the saints were the point of departure and motive for the rhythmical offices. Those Vitœ were frequently composed in hexameters or distichs. From them various couples of hexameters or a distich were taken to be used as antiphon or response respectively. In case the hexameters of the Vitœ metricœ did not prove suitable enough, the lacking parts of the office were supplemented by simple prose or by means of verses in rhymed prose, i. e., by text lines of different length in which there was very little of rhythm, but simply assonance. Such offices are often a motley mixture of hexameters, rhythmical stanzas, stanzas in pure prose, and again in rhymed prose.