Notation | Date | 10th c. CE; ? |
Type | Aquitanian | |
Notes | A formal script employing Aquitanian forms that was added to several other poems in the manuscript: for a brief description, see the entry for Qui de morte. Of particular note here is the porrectus (3d), which is found alone in this example of the script, as added to the eighth syllable of lines ii-iv.
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Transcript | Diplomatic Transcription | FuitDomini-Paris1154-1 FuitDomini-Paris1154-2 FuitDomini-Paris1154-3 |
Alphanumeric transcript | 1b, 1b, 1b, 1b, 1b, 1c, 2''b, 1b, 1c, 1c, 2a, 4e, 1c, 2b, 2b | 1b, 1c, 4e, 2b, 1b, 1b, 2b, 3d, 1b, 1c, 1c, 2b, 1c, 1b, "2b" | 1c, 1c, 4e, 2b, 1b, 1b, 2b, 3d, 1c, 1c, 1c, "2b", 1c, 1c, "2b" | 1b, 1c, 4e, 2b, 1c, 1c, 2b, 3d, 1b, 1c, 1b, "2b", 3a'', 2b, 2a || 1b, 1c, 1c, 1c, 1c, 1c, 2''b, 1c, 1c, 1c, 2a, 4e, 1c, 1c, 1c || 1c, 1c, 1c, 1c, 1b || 1b, 1c, 1c, 1c, 1b, 1c, 2''b, [ ], 1c, 1c, 2a, 4e || 1b, 1c, 1c, 1c, 1c, 1c, 2''b, 1c, 1c, 1b, 2a, 4e || 1b, 1c, 1c, 1c, 1c, 1c, 2''b, 1b, 1c, 1c, 2a, 4e || 1b, 1c, 1c, 1b, 1c, 1c, 2''b, 1c, 1c, 1c, 2a, 4e || 1b, 1b, 1c, 1c, 1b, 1b, 2''b, 1b, 1b, 1b, 2a, 4e || 1b, 1c, 4e, 1b, 1b, 1b, 1b, 2b, 3d | 1c, 1b, 1b, 1c, 1b, 1c, 2''b, [ ], 1c, 1c, 2a, 4e || 1c, 1c, 1c, 1c, 1c, 1c, 2''b, 1b, 1b, 1b, 2a, 4e || 1b, 1c, 1b, 1b, 1b, 1c, 2''b, 1b, 1c, 1c, 2a, 4e, 1c, 2b, 2b || 1b, 1c, 1c, 1c, 1c, 1c, 2''b, [ ], 1c, 1b, 2a, 4e || 1b, 1c, 1b, 1b, 1c, 1c, 2''b, 1c, 1c, 1c, 2a, 4e || 1b, 1b, 1b, 1b, 1b, 1b, 2''b, 1b, 1c, 1c, 2a, 4e, 1b, 1b, 2b || 1c, 1c, 4e, 1b, 1b, 1b, 2a, 3d | 1b, 1b, 1b, 1c, 1b, 1c, 2''b, 1b, 1b, [ ], 2a, 4e || 1c, 1c, 1c, 1c, 1c, 1c, 2''b, 1c, 1c, 1b, 2a, 4e || 1b, 1b, 1c, 1c, 1c, 1c, 2''b, 1c, 1c, 1c, 2a, 4e || 1b, 1c, 1b, 1b, 1b, 1b, 2''b, 1c, 1c, 1b, 2a, 4e, 1c, 1c, 2b || 1b, 1b, 1c, 1c, 1c, 1c, 2''b, 1c, 1c, 1b, 2a, 4e, 1b, 1b, 2b || 1c, 1c, 4e, 2b, 1c || 1b, 1c, 1b, 1c, 1c, 1c, 2''b, 1c, 1c, 1b, 2a, 4e || 1b, 1c, 1c, 1c, [ ], 1c, 2''b, [ ], 1c, 1c, 2a, 4e | [ ], [ ], 4e, "2b", 1b, 1b, 2a, 3d || 1b, 1c, 1c, 1c, 1c, 1c, 2''b, 1b, 1b, 1b, 2a, 4e, 1b, 1b, 2b | 1b, 1c, 4e, 2b || 1b, 1c, 1b, 1c, 1c, 1c, 2''b, [ ], 1b, 1c, 2a, 4e, 1c, 1c, 2b || [ ], [ ] ,[ ], [ ], [ ], [ ], [ ], [ ], 1c, 1c, 1c, "2b", 3a'', 2b, 2a | |
Melody | The repetition of neumes from the first line of the first strophe in subsequent strophes indicates melodic repetition by strophe. Melodic repetition may also be observed within the strophe: the second and third lines display an almost identical sequence of neumes, as does the fourth line aside from its final three syllables. The indicated melodic pattern may be summarized as: A, B, B, B'. Neumes have also been added to portions of internal lines of later strophes; in particular, lines thirty-two, sixty, seventy-eight, eighty-six, ninety-one and ninety-six. The first five of these neumed passages correspond to rhetorical highpoints in the text; the last marks the end of this version of the text. The first two of these additions, both final lines of their respective strophes, partially depart from the pattern of neumes in the first strophe, transforming the fourth-syllable clivis (2b) into a punctum (1b). In line thirty-two accommodation is made for an extra syllable by repeating a pitch between the fourth and fifth syllables (Desola-tas e-um). For similarities between this notated melody and that recorded for Tertio in flore in Na IV. G. 68, see the book entry for Fuit Domini. | |
Transmission |