Letโs be real for awhile
nostr:nprofile1qqsz0cfpxnstqsz30g3kyhy83p99gt8z3fxvy9ysp9jzsez8459j6vspz4mhxue69uhhyetvv9ujumt0wd68ytnsw43q9w05en nostr:nprofile1qqsqz3angj57mftdsgvckef0xqypd3dp2yjjhx6pzcwf3k0av8y3gvgpp4mhxue69uhkummn9ekx7mqpz3mhxue69uhhyetvv9ujuerpd46hxtnfdulkrxyz nostr:nprofile1qqs8g8q88wnksjut6yel86meerccx6aqqxe55454th8pd88te34fz7cpp4mhxue69uhkummn9ekx7mqpz4mhxue69uhk2er9dchxummnw3ezumrpdejqphjljx nostr:nprofile1qqs9cfzz6t40yqc4khj8ccssn6l72f7n6jhqmj40yh7cxd6z7wawd7cpzpmhxue69uhkummnw3ezuamfdejszrthwden5te0dehhxtnvdakqjypnl8 nostr:nprofile1qqs8akft4025t8rlrpm3v6t2rjpz6jtklpdfrqwue9ccwywgfvqq6mqprfmhxue69uhkummnw3ezummjv9hxwetsd9kxctnyv4mqz8rhwden5te0dehhxarj9e3xjarrda5kuetj9eek7cmfv9kqsa2dkj nostr:nprofile1qqs9rye5guuj588sxrmp08w7whpxlwwkpqtcpjere6ws5q7a83xnt2cpz3mhxue69uhhyetvv9ujuerpd46hxtnfduq3wamnwvaz7tmjv4kxz7fwvd6hyun9de6zuenedye7hwcs nostr:nprofile1qqsgcepqupawkjalwfqg4aapm3l5ejq9x5uqeclggq3mdg07yvtg20spzfmhxue69uhkummnw3ezu7nzvshxwectdhrx4 nostr:nprofile1qqsvey7huc5rgnfh79fyctv7vqrqy8lm65vge2dscmj3d74lautuewspp4mhxue69uhkummn9ekx7mqprfmhxue69uhkummnw3ezummjv9hxwetsd9kxctnyv4mqdv2d57 nostr:nprofile1qqsr8fz53s8wgeqlqya8z4xwcfpp6xa4uq0j8kcff80kxauz6d90nfqpz4mhxue69uhhyetvv9ujumt0wd68ytnsw43qjn6e9m nostr:nprofile1qqsry3ltcz40mmyxvffnn6xzf0pmumtsf5et54fnpjmppqptrjnyltgpp3mhxue69uhkyunz9e5k7qg4waehxw309ajkgetw9ehx7um5wghxcctwvs7k8nxd
I like #crystals too #ProofOfWork
We speak
About my trip
To Paris to see
Lizard mans grave
They donโt tell
An almost ecstatic
Wild looking tourist
How HUGE that cemetery is
So there I was
Lost in a cemetery
Much older than I knew
From the USA ๐บ๐ธ
Spiritus Roughest Ego
Seer eyes
-Blinded away from grave
So hereโs the the Spiritual
Seers of the unseen
When did Jimi die?
We were all so young
And stoned
Too much
Electricity
In our bodies
Minds and reigns
It wasnโt a battle
It was just allllll
So much fun
I enjoy another
Spirit spinner
To
Then again
Maybe Iโm happy
She liked
Val Kilmers lips
Cause that almost got her
To watch โthe Doorsโ
But who becomes
That ego
Cause she hasnโt yet
Given in to the
Reality
Though her whispers
Hear every
Possible
Questions and answers
Asked above the floor
(1/2)
I got her with Love Me Two times
Before high school
She learned to play
Clarinet and saxophone
Quite good even
If I just tell you myself
Pointless or not
Sheโs a sprite
Full of sassafras
And country
She blazed her own
Way out
But
Addictions
-lead back to words
Then the sun his
Blazing on and
There within
Must wonder if you saw this
What Whit posted and when
Did you see it before
Or after
Was tilted perceptions
Mine or yours
Ours
23 and me
She blows brighter
Since
When
The sun
Blazes
Moon rushes
Fools
-Beget us again
Jimi I guess you told me
Inheritance taken
But I want the
Peyote
Amiright
Oh yeah
Back to being a seer
Of other cosmic connections
Space reflections
You can do it Whit
You do have your place sealed
Golden records are whatever
Compared to what you are
Come back & lโฆ
I ask you think of me.
And the lifetimes Iโve had
On Earth as a predator
Why do you think
Youโre a woman so soon again?
Cause you had to learn
More respect this time
So you can communicate
And be a leader of ken dolls
Cause youโve already been
Of men
Which path will yo
What path will you chose now?
Yeah girl, listenโฆyou did chose
I know, I chose it all
But how much paint and fumes
To fill the wonders away
Itโs not fair to put
All that into a child so young
Cause visions are second
Hand traumas of others
Loves and loved history mistaken
So you get a Churchill
Or a guarding child
Someone with the skills to raise
But yes, just cause you
HAD TO
Walk through hell
And did
Doesnโt mean you had
To make one
Others life
War against herself
And others
No one understood
Get
Away
Iโm done
Thatโs the damness of it
She has seen the unseen
Gaslit of her dreams
Cause profit made in the past
Appears to be my ego
Playing on her heartstrings
Again within
Would her call to action
Or others change
If she chose to chiefly
Take
Monetarily dictation of
Ha. A paperback writer?
A book for today?
I donโt know.
DNA traveling
Astral blasts
Iconoclastic
Not withstanding
Her voice brash
Itโs the blasting
To get others
To mine their own mind
Then heart
Surgical connections
Too many
Believe
Life ends
-awaken
โโโ
Veni Creator Spiritus
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The "most famous of hymns" (Frere), is assigned in the Roman Breviary to Vespers (I and II) and Terce of Pentecost and throughout the octave. The Church also sings it at such solemn functions as the election of popes, the consecration of bishops, the ordination of priests, the dedication of churches, the celebration of synods or councils, the coronation of kings, etc. It is also sung in the more private devotions attending the opening and closing of that scholastic year in institutions of learning. The Congregation of Rites decreed (20 June, 1899) that the Eastertide doxology(Deo Patri sit gloria โ Et Filio qui a mortuis โ Surrexit ac Paraclito โ In sรฆculorum sรฆcula) should always be used, no matter what, the feast or season of the year might be. The Vatican Graduale (1908) gives the older text, (attestation of which does not go back beyond the ninth century) and also, under the heading "secundum usum recentiorem", the present Breviary text, which is a revision, in the interest of classical prosody, of the older text, by the correctors of the Breviary under Urban VIII. The doxology of the older text (which is probably not original with the text itself) is: "Sit laus Patri cum Filio โ Sancto simul Paraclito โ Nobisque mittat Filius โ Charisma Sancti Spiritus". This doxologyis generally associated with the hymn "Beata nobis gaudia". It is unnecessary to indicate here the points of revision, since the printing of both texts in the Vatican Graduale makes comparison easy. Hymnologists think the revision uncalled for.
Dreves (Analecta Hymnica, L, 195) places the hymn in the section he devotes to Rabanus Maurus (d. 856), Abbot of Fulda and Archbishop of Mainz, and shows (p. 194) the importance of the manuscript evidence in his favour. Frere (Introduction to Hymns Ancient and Modern, historical edition, p. xxii) thinks the hymn can with some confidence" be ascribed to him; as does also Blume (1908). Added support of the ascription is found in the scansion of the line Qui Paracletus dicitur (revised into Qui dicitur Paraclitus"), where, in accordance with precedent found in Rabanus, Paracletus is accented on the penultimate syllable, as against the almost universal medieval custom of accenting it on the ante-penultimate, an illustration of which is found in the third line of the doxology (which is not part of the original hymn). Guรฉranger with many others, ascribed the hymn to Charlemagne, but with slight ground except his zeal for the doctrine of the Procession of the Holy Ghost from Father and Son. The legendary story of Ekkehard V contains its own refutation. The hymn has also been attributed to St. Ambrose and to St. Gregory the Great, but without real evidence for either ascription. No ancient writer ascribes it to St. Ambrose, nor can a good argument be based on its inclusion of two lines (Infirma nostri corporis โ Virtute firmans perpeti) from the "Veni Redemptor gentium" (which is certainly by St. Ambrose) or on the phrasal similarity of its two lines "Accende lumen sensibus โ Infunde amorem cordibus" with the line "Infunde lumen cordibus" of the hymn "O lux beata Trinitas" (which is probably by St. Ambrose). Borrowing from celebrated hymns was a common practice of medieval hymnodists. Mone ascribes it to St. Gregory because of its classical metre and occasional rhymes, and especially its prayerfulness, which he declares is a feature of St. Gregory's hymns; and the scansion of Paracletus (with the accent on the penultimate) he considers referable to the learning of such an author.
The hymn was probably first assigned to Vespers. One eleventh-century manuscript has it at both Lauds and Vespers, two others have it at Lauds. Its use at Terce is said to have begun at Cluny โ a highly appropriate assignment, as it thus commemorates the descent of the Holy Ghost at the third hour of the day (Acts 2:15). In the council held at Reims in 1049, Pope Leo IXpresiding, it was sung at the commencement of the third session in place of the ordinary antiphon, "Exaudi nos, Domine . It is found in several pontificals of the same century. It is the only Breviary hymn retained by the Protestant Episcopal Church, a translation being given in the Prayer Book (Ordering of Priests). There are about sixty English versions. Warton styles the translation of Dryden most elegant and beautiful. It begins:
Creator Spirit, by whose aid โจThe world's foundations first were laid, โจCome visit every pious mind, โจCome pour Thy joys on human kind; โจFrom sin and sorrow set us free, โจAnd make Thy temples worthy Thee.
Sources
JULIAN, Dict. of Hymnology (2nd ed., London, 1907), 1206-1211, 1720; DREVES, Lateinisehs Hymnendichter des Mittel-alters, II. in Analecta Hymnica, L (Leipzig, 1907), 193-4 (Latin text. MS. references, additional stanzas, notes), 180-1, biographical notice of Rabanus; FRERE, Introduction to Hymns Ancient and Modern. (hist. ed., London, 1909) p. (see hymns Nos. 180, 181, for text and two trs., two harmonized plainsong melodies, modern settings and comment); PIMONT, Les hymnes du brรฉviare romain, III (Paris, 1884), 125-143, extensive comment: "The other two hymns of Pentecost are mostly narrative, while the Veni Creator is entirely an address to the Holy Ghost. This characteristic trait, and the exceptional beauty of the hymn, have always made it dear and venerable to Holy Church . . . The Dominicana sing it only at Terce. Other manuscripts locate it at Matins. The ancient Ordinarium of Laon indicates its use at all the canonical hours. The nuns of the Paraclete (Nogent-sur-Seine) repeated the first stanza seven times at Terce, five times at Sext, and thrice at None." He refers to MARTรNE, De antiq. rit. eccl., III, iv, c. 28; HENRY, The Hymn "Veni Creator Spiritus" in Amer. Eccl. Review (June, 1897), 573-596, text and original translation. comment; SHIPLEY, Annus Sanctus (London, 1874), gives trs. by AYLWARD (161), ANON. in Evening Office, 1710 (165), HUSENBETH (167), R. CAMPBELL (170). and in the Appendix, 10, 11, 26, 27, trs. of the Primers of 1604, 1619, 1685, 1706 (this last being Dryden's); MONE, Lateinische Hymnen des Mittelalters, I (Freiburg, 1853), 241-243; DANIEL, Thesaurus Hymnologicus, I, 213-215; IV, 124-126; DUFFIELD, Latin Hymn-Writers and their Hymns (New York, 1889), 114-131, text and original tr., biography of Rabanus, for whose authorship Duffield contends vigorously; The Seven Great Hymns of the Medieval Church (7th ed., New York, 1868), 134-139); Amer. Eccl. Review (May, 1900, 525), decree S.C.R. (20 June, 1899) concerning the doxology; IDEM (Oct., 1896, 432-434), the singing of the Veni Creator before the sermon at High Mass; JOHNER, A New School of Gregorian Chant (New York, 1906, p. 87) gives the melody with marked accents and calls attention to "the upward movement from the first to the third line . For imitative hymns: DREVES, Analecta Hymnica, XII, 139; XXI, 52, 56; XXX (three hymns); XLIII, 211; XXXIII, 23. OIT, L'Innodia ambrosiana in Rassegna Gregoriana. VI (1907), 490, gives the melody of the hymn Hic est dies verus Dei, shows that it is the same as that of the Veni Creator, remarks that "all the spirit of the Ambrosian hymnody is felt in this fresh and vivacious melody", and thinks that "the music probably belongs to Saint Ambrose; BLUME, Ein neuer Markstein in der liturgischen Hymnodie in Stimmen aus Maria-laach, LXXV, No. 1 (July, 1, 1908), 6and footnote, for comment on revision.
About this page
APA citation. Henry, H. (1912). Veni Creator Spiritus.In The Catholic Encyclopedia. New York: Robert Appleton Company.http://www.newadvent.org/cathen/15341a.htm
MLA citation. Henry, Hugh. "Veni Creator Spiritus."The Catholic Encyclopedia. Vol. 15. New York: Robert Appleton Company, 1912.http://www.newadvent.org/cathen/15341a.htm.
Transcription. This article was transcribed for New Advent by Wm Stuart French, Jr. Dedicated to Rev. Kenneth Geyer, O.S.B.
Ecclesiastical approbation. Nihil Obstat. October 1, 1912. Remy Lafort, S.T.D., Censor. Imprimatur. +John Cardinal Farley, Archbishop of New York.
Contact information. The editor of New Advent is Kevin Knight. My email address is webmaster atnewadvent.org. Regrettably, I can't reply to every letter, but I greatly appreciate your feedback โ especially notifications about typographical errors and inappropriate ads.
๐ฎ๐ฎ Please ๐ see below ๐ป๐ป๐ป
Crystal (@iceprincesswhn) wrote,
2008-09-01 21:12:00
I still maintain this was fixed...
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Your first name:
@Crystal ๐ฎ๐ฎ
How you gained your rule:
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Military coup, of course! They never saw it coming
Your title is: Your Royal Sexyness - **- arrogance of youth ๐
Your symbol IS: the fox, because you're foxy!
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Your popularity rating : 58%
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