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Arianism cast a shadow over Ambrose’s episcopate from the beginning. He inherited
a diocese divided enough that the Christians there were willing to accept an unbaptized
governmental official in the hope of some form of neutrality. But Ambrose was firmly
Nicene in his faith—he began his episcopate with the reception of the sacraments from a
Nicene bishop.1 Like the founder of the Arian sect,2 Ambrose composed poetry didactically;
In this paper I will take one of Ambrose’s hymns, the Aeterne rerum conditor, and
elucidate the text stanza by stanza. I will return as a point of focus to the relation of the
So begins Ambrose’s aeterne rerum conditor. As den Boef notes, this poem is about
time.3 In this vein, then, it is fitting that the very first word of the poem is “aeterne”—God,
1 Biographical details from Hans von Campenhausen The Fathers of the Latin Church. Adam & Charles Black:
London 1964
2 Lyman, J. Rebecca. "Arius and Arianism." Encyclopedia of Philosophy. Ed. Donald M. Borchert. 2nd ed. Vol. 1.
Detroit: Macmillan Reference USA, 2006. 282-284. Gale Virtual Reference Library. Web. 12 Dec. 2012.
3
Jan den Boeft, “Aeterne Rerum Conditor: Ambrose’s Poem about ‘Time’”. From Jerusalem, Alexandria, Rome;
Studies in Ancient Cultural Interactions in Honour of A. Hilhorst. Leiden 2003, 27-28
since he is outside of time, can found all things within time. In the time of Ambrose, the
participation of the different members of the Trinity in eternality stood at the center of the
Arian controversy; the Arians believed that time existed before the Son.4 While previous
Christian authors denied the divinity of the Son in varying degrees (e.g. Origen), even they
did not believe “that the Logos had a beginning of existence.”5 Thus the theological position
of the Arians stemmed from the fact that the Son was not eternal; and because of this
Ambrose’s incipit already has a certain theological weight. Even if the reference is to the
Father (though it may refer to the Son—Augustine writes “ipsam religionem Christianam,
ipsam ciuitatem Dei, cuius rex est et conditor Christus”6), the verbal baggage exists.
Den Boef remarks that “temporum das tempora” likely refers to the division of time
into hours, days, etc., which follows Prudentius’ Cathmerinon 5:2 “qui certis vicibus
tempora dividis”.7 Pranger mentions this, but adds that the polyptoton may also express a
certain repetition (time being cyclic, in “nights and days”), which is reinforced by fastidium
Stylistically the first line alliterates with “r”, and there is the aforementioned
4
De Clercq, V. C. "Arianism." New Catholic Encyclopedia. 2nd ed. Vol. 1. Detroit: Gale, 2003. 660-664. Gale
Virtual Reference Library. Web. 11 Dec. 2012.
5
Ibid.
6
Civ. Dei 17.4
7
Jan den Boeft 2003 27-28
8
Pranger, M. “Time and the Integrity of Poetry: Ambrose and Augustine.” Poetry and Exegesis in Premodern Latin
Christianity. Pg. 51
9
Ibid. 55
a nocte noctem segregans
As den Boef comments, “The rest of the poem focuses on daybreak, the very first sign
of which is gallicinium, depicted in these four words: Praeco diei iam sonat ‘The herald of
day’, who makes himself heard, is Ambrose’s own creation. That is a different perception
This stanza focuses on night—a form of nox occurs four times. Pranger cites Civ. Dei
XI.7, where Augustine expresses his own anxieties about the night.11 Augustine writes,
“Denique scriptura cum illos dies dinumeraret ex ordine, nusquam interposuit uocabulum
noctis. Non enim ait alicubi: Facta est nox; sed: Facta est uespera et factum est mane dies
unus. Ita dies secundus et ceteri.”12 (And so the scripture, when it demarcates those days
from the order, never uses interpolates a vocabulary of night. For it does not sometimes say,
“night was made”, but “evening was made” and “morning was made, the first day.” Thus
If Ambrose is here alluding to Genesis, where God divides light from darkness, then “a
nocte noctem” is a striking departure. It may allude to the re-creation of all things through
the Son, who is “a light shining in the darkness”13 as John writes in the opening of his gospel,
10 den Boef, Jan, 2008 “Delight and Imagination: Ambrose’s Hymns” Vigiliae Christianae, 62, 5, 425-440(16)
11 Pranger 55
12 de Civ. Dei XI.7. Cf. Gen. I
13 Jn. 1:5
which imitates the opening of Genesis. It also fits in with the first stanza, since God “rules
night and day.” As it relates to the Trinitarian themes in Ambrose, if by the Johannine
reference the preaco is Christ, then Christ participates in the Conditor’s ruling of the night
and day—he can separate nights from each other, and is himself light.
The themes of light and darkness also appear in Ambrose’s Grates tibi, Iesu. In that
work Ambrose makes a parallel between the light/dark dichotomy and sight/blindness14:
“caecus receptor lumine” & “lumen refulsit illico/fugitque pulsa caecitas.” The connection
the light guides the journeyer, who would be blind in his way otherwise.
O’Daly suggests that the “chorus of the errant” are connected with “lapsis” of the 6th
“Caligo” is an unusual word for darkness/mist. Its first hit in the Vulgate is Genesis
15:7: a dark mist appears when God promises Abram (Abraham) that his seed would
inherit the land from the Nile to the Euphrates. The use of caligo to describe an encounter
4:11, 2 Samuel 22:10, Psalm 17:10, etc.). Interestingly God speaks from a caligo in Genesis
(“ait ei Dominus iam nunc veniam ad te in caligine nubis” (Ex. 19:9) “Moses autem accessit
ad caliginem in qua erat Deus” (Ex. 20:21)). So in this stanza, heaven will be cleared of the
mysterious cloud that conceals God from humans, with the result that Arians (errorum
This stanza, like the one before it, considers “lux” and its connection to “via”. Taken
together, Christ is a light for “those on the way” (viantibus), but compels those in error to
Stylistically Ambrose uses alliteration with “c” and “l”. There is enjambment
between the first two lines, and between the last two lines. The use of polus instead of
caelum is also unusual (the Vulgate never uses polus). Ambrose may have used polus
instead of caelum to fit the meter. But unlike caelum, polus has a direct Greek equivalent,
πόλος. This may also represent the trend in Christian Latin to use Greek vocabulary (e.g.
This stanza has some biblical references. In the first two verses, Ambrose seems to
refers to Christ calming the sea (Matthew 8:23-27, Mark 4:25-41, Luke 8:22-25). But since
Ambrose then refers to Peter (petra ecclesiae), the reference is more likely to Jesus walking
on water, then summoning Peter to do so, and then calming the storm (Matthew 14:27-32).
In that incident Peter exhibits a lack of faith in Christ, a theme carried in the last line of this
stanza. There, the reference is to Peter betraying Christ, and then the rooster crowing
(canente).16
Den Boef comments on this stanza, “Peter’s repentance at the herald of day’s crow is
intrinsically linked to that specific moment. The verbal form diluit supports this: as a
perfect tense it denotes a historical event of three and a half centuries ago (Peter purged
his guilt at daybreak on a particular day), but as a present tense it happens now.”17 He
argues that this makes creation “a living entity”, whose creator gave “temporum tempora,
the variety of moments suitable for human response, such as Peter’s repentance.”18 The
vividness of this scene augments this mood, when Ambrose uses such concrete imagery: a
sailor, raging seas, a rock, and the verb washing. This stands in contrast to the first stanza
(for example), where there is no concrete image but Conditor (if that is even concrete), or
The hoc that has formed the beginning of four lines now stands out. Henry
comments that this “gives strength and knits together in consecutive order the several
16 ibid.
17 Den Boef 2008
18 ibid.
19 Henry, T.H. “The Hymn ‘Aeterne rerum conditor’” American Ecclesiasticla Review 1900 Pg. 366
et somnolentos increpat,
Gallus negantes arguit.
The biblical point of reference here is the Garden of Gethsemene.20 There are three
calls: surgamus, excitat, and increpat, which stand for the three calls of Christ in the Garden,
and the rooster’s censure would seem to point to Peter, who denied Christ.21 The plural is
odd, which x explains as keeping the Petrine reference subtle; though I think the
pluralization, in light of the previous stanzas, may point to the Arians divinitatem Christi
negantes.
The syntax of this stanza is very simple in a few ways. Ambrose frames the word as
Subject-Object-Verb, maintaining neutral word order; all the verbs are in present tense;
Gallus is the subject of the last three lines; and diverging from the pattern of the last few
stanzas there is no enjambment. The result is a very punchy stanza, which recalls the hard
words of Christ in the Garden of Gethsemane: “Could you not wait one hour with me?”
As for the rooster, we saw that it originally referred to the rooster that stirred
Peter’s conscience when he denied Christ. But now the rooster is far exceeding that role: it
stirs and rattles people, and is even a source of censure. The rooster appears to be a sort of
allegory for Christ; and if we apply that retroactively, we see that Ambrose sees the rooster
as standing in for Christ in the previous stanza. It stirs Peter to repentance, and is lumped
21 ibid.
in the same stanza in which Christ works a miracle.
We see that the song of the rooster restores the world to a former state: Ambrose
uses the prefix “re” thrice here. The Garden of Gethsemene theme is continued with a
sword being sheathed—this may refer to the sword that Peter used to cut off Malchus’ ear.
As mentioned above, some believe that lapsis here occurs to the Arians; the implication is
that part of the supernatural restoration that will take place when the rooster’s (i.e.
Christ’s) voice is heard will be Arians abandoning Arianism to return to the faith of
Ambrose.
This stanza contains a figura etymologica to the title of the poem: conditur. The
restoration that comes about as a result of the rooster’s song is thus connected to the
De Clercq, V. C. "Arianism." New Catholic Encyclopedia. 2nd ed. Vol. 1. Detroit: Gale, 2003.
660-664. Gale Virtual Reference Library. Web. 11 Dec. 2012.
Hans von Campenhausen The Fathers of the Latin Church. Adam & Charles Black: London
1964
Henry, T.H. “The Hymn ‘Aeterne rerum conditor’” American Ecclesiasticla Review 1900
Jan den Boeft, “Aeterne Rerum Conditor: Ambrose’s Poem about ‘Time’”. From Jerusalem,
Alexandria, Rome; Studies in Ancient Cultural Interactions in Honour of A. Hilhorst. Leiden
2003, 27-40
O’Daly, Gerard. Days Linked by Song: Prudentius’ Cathemerinon. New York: Oxford
University Press 2012 pg. 57
Pranger, M.B. “Time and the Integrity of Poetry: Ambrose and Augustine.” From Poetry and
Exegesis in Premodern Latin Christianity.