Page:Catholic Encyclopedia, volume 13.djvu/460

 SALVATORIANS

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SALVE

to hope of eternal life. This change happens either by reason of a perfect act of charity elicited by a well disposed sinner or by virtue of the Sacrament either of Baptism or of Penance according to the condition of the respective subject laden with sin. The Council further indicates the causes of this change. By the merit of the Most Holy Passion through the Holy Spirit, the charity of God is shed abroad in the hearts of those who are justified.

Against the heretical tenets of various times and sects we must hold that the initial grace is truly gratuitous and supernatural; that the human will re- mains free under the influence of this grace; that man really co-operates in his personal salvation from sin; that bj' justification man is really made just, and not merely declared or reputed so; that justification and Banctification are only two aspects of the same thing, and not intologically and chronologically distinct realities; that justification excludes all mortal sin from the soul, so that the just man is no way liable to the sentence of death at God's judgment-seat. Other points involved in the foregoing process of personal salvation from sin are matters of discussion among Catholic theologians; such are, for instance, the pre- cise nature of initial grace, the manner in which grace and free will work together, the precise nature of the fear and the love disposing the sinner for justification, the manner in which sacraments cause sanctifying grace. But these questions are treated in other arti- cles dealing ex professo with the respective subjects. The same is true of final perseverance without which personal salvation from sin is not permanently se- cured.

WTiat has been said applies to the salvation of adults; children and those permanently deprived of their use of reason are saved by the Sacrament of Baptism.

A number of questions briefly touched upon in this article are more fully treated under the respective headings throughout the volumes of the Catholic Encyclopedia. Wilhelm and Scannell, Manual of Catholic Theology, II (London, 1898), 45-56, 181-205, 246-56; Hunter, Outlines of Dogmatic Theology (New York, 18%), II, 539 sqq.; Ill, 112-42. All the modern theological works on Redemption and Justification. Among the older works may be mentioned: Lombard, II, dist. 26-29, with Commen- taries of St. Thomas, Saint Bonaventure, and Estius; III, dist. 1-22, with Commentaries of Saint Bonaventure, Saint Thomas, Scotus, Denis the Carthusian, and Estius; Saint Thomas, Summa, I-II, QQ. cix-cxiv, with ComTuenlaries of Sylvius, GoNET, Gotti, Billuart, Suarez, Vasquez; Idem, Summa, III. QQ- i-li, with Commentaries of Medina, Sylvius, Gonet, Salmanticenses, Valentia, Tanner, Vasquez, Lugo, Ragusa,

BUAREZ.

A. J. Maas. Salvatorians. See Divine Saviour, Society of

THE.

Salve Mundi Salutare, a poem in honour of the various members of Christ on the Cro.ss. A fifteenth- century M.S. ascribes it to St. Bonaventure, and Daniel thinks that this "inspired singer of the Cross" could well have composed it. The commonest ascription is to St. Bernard; and Trench thinks that this and other poems "were judged away from him on very slight and insufficient grounds by Mabil- lon", who places the hymn among the spurious (aliena et supposiWia) works of the saint (P. L., CLXXXIV, 1.319-24). Although the saint died in 11.5.3, and no MS. of the hymn antedates the fourteenth century, Daniel favours the ascription of two of the cantos to the saint. Mone judged the hymn of French origin, and declared that all hope of restoring the text correctly lay in the future discovery of French M.SS. This ta,sk was attempted by M. Haur^au ("Pof-mes latins attribu6s h Saint Bernard", 1890, pp. 70-73), who, finding it in only three MSS. (two in Paris, one at Grenoble), all of the fifteenth century, think.s it incredible that the hymn should have been composed by St. Bernard.

It ifl divided mto seven cantos, headed respectively: "Ad Pedes", "Ad Genua", "Ad Manus", "Ad

Latus", "Ad Pectus", "Ad Cor", "Ad Faciem" (To the Feet, Knees, Hands, Side, Breast, Heart, Face). Each canto contains five stanzas of ten lines each, except the canto "Ad Cor", which has seven. The MSS. give many variant texts and many additional titles (as "To the Mouth", "Shoulders", "Ears", "the Scourging", "the Crowning"). Mone accepts only four cantos (To the Feet, Knees, Hand, Side) as original. Daniel accepts but two original cantos (those addressing the Feet and the Knees), but not their titles, which he believes of later coinage. He thinks the oldest text is found in a Lichtenthal MS. (fifteenth century) containing only the cantos beginning "Salve mundi salutare" and "Salve, salve rex sanctorum", under the "probably true" title of ' ' Planctus super passionem Domini ". " Who- ever, " he says, "reads the first hymn carefully, must see that it concerns the whole form of Christ suffering, and that the feet are mentioned for the sole reason that the poet places himself at the foot of the cross, prostrate and embracing the feet of the Saviour. The second poem, also, deals with the Passion gen- erally, and only once, and passingly, alludes to the knees." He attributes both the titles and the elab- orations to the fourteenth and fifteenth centuries, when the devotion to the Five Wounds was growing. "Then the verses of Bernard offered convenient warps or threads in which might be interwoven the woof of devotion to the wounds singly." The first lines of the cantos are: 1. Salve mundi salutare (Ad Pedes); 2. Salve Jesu, Rex sanctorum (Ad Genua); 3. Salve Jesu, pastor bone (Ad Manus); 4. Salve Jesu, summe bonus (Ad Latus); 5. Salve, salus mea, Deus (Ad Pectus); 6. Summi regis cor aveto (Ad Cor); 7. Salve caput cruentatum (Ad Faciem).

In St. Bernard's "Opuscula" (Venice, 149,5), the seventh canto is addressed "To the Whole Body", and commences: "Salve Jesu reverende". Julian gives the first lines of some translations (by non-Catholics) of all the cantos except three and five, and remarks that "some of the parts have suffered from neglect", and that "this should be remedied by an able trans- lator". In the second edition of the "Diet, of Hymnology", he refers to the translation of Mrs. E. M. Shapcote (a convert to Catholicism) and gives the date as 1873. This was published first in the "Rosary Magazine" (1877 and 1878) and republished by Burns and Gates, London, 1879; its title is: "A Rhythmical Prayer to the Sacred Members of Jesus Hanging upon the Cross". The stanzaic form is that used by Mrs. Shapcote in one of her latest works ("Mary, the Perfect Woman", Manresa Press, 1903), and may be illustrated by the first stanza of canto 5 (To the Breast) :

O God of my Salvation, hail to Thee;

O Jesus, Sweetest Love, all hail to Thee;

O Venerable Breast, I worship Thee;

O Dwelling-place of Love, I fly to Thee,

With trembling touch adore and worship Thee. A different arrangement of the poem, found in Horst's "Paradisus animic christianic" (1044), has been translated by Canon Oakeley (18.50), and (prob- ably) by W. J. Copcland. The first lines of both are given by Julian. The paucity of Catholic transla- tions is doubtless due to the fact that the hymn ap- pears never to have been in liturgical use. However, the Roman Breviary hymn "Jesu dulcis amor mens (Lauds of the feast of the Most Holy Winding Sheet of Our Lord, assigned to Friday after the second Sunday in Lent) is made up of lines taken, with some alterations, from widely separated cantos. This short poem contains five stanzas of the type: "Jesu, dulcis amor mens" (1. .36); "Ac si pra;sens sis, accedo" (I. 6); " Te complector cumaffectu" (1.13); "Tuorum memor vulnerum" (1. 1.5). The following stanzas comprise lines 8, 97, (?), 6.5; 321 (Salve caput