STABAT MATER had been written by JACOPONE DA TODI.
Properly called JACOPO BENEDICTI or BENEDETTI). Franciscan poet, born at Todi in the first half of the thirteenth century; died at Collazzone about 1306. Very little is known with certainty about the life of this extraordinary man. Although the oldest lives go back only to the fifteenth century, yet a few earlier records exist. The oldest and most authentic document we have is Jacopone's signature to the manifesto of Cardinals Jacopo and Pietro Colonna against Boniface VIII, dated Lunghezza (between Rome and Tivoli), 10 May, 1297. [See text in "Archiv für Litteratur and Kirchengesch.", V (1889), 509 sq.] Angelo Clareno in his "Chronica septem Tribulationum", written about 1323 ["Archiv f. Litt. u. Kirchengesch.", II (1886), 308; Döllinger, "Beitrage zur Sektengesch.", II (Munich, 1890), 492], mentions Jacobus Tudertus among those spiritual friars who, in 1294, sent a deputation to Celestine V (q.v.), to ask permission to live separate from the other friars and observe the Franciscan Rule in its perfection - a request which was granted. The next reference to the poet is found in Alvarus Pelagius's "De Planctu Ecclesiae", written principally in 1330; he quotes two of Jacopone's sayings (lib. II, cc. lxxiii and lxxvi; ed. Venice, 1560, f. 196 r b, and f. 204 r b), and calls him a perfect Friar Minor. This passage occurs also in "Chronica XXIV generalium" ("Analecta Franciscana", III, Quaracchi, 1897, 460), which was compiled in great part before 1369 and completed in 1374. About 1335 the "Catalogus sanctorum Fratrum Minorum" (in "Speculum Vitae beati Francisci et Sociorum eius", Venice, 1504, f. 200 r; cf. the separate reprint of the "Catalogus" by Lemmens, Rome, 1903, 9) uses even more emphatic words of praise. Some further details about Jacopone are given by Bartholomew of Pisa in 1385 ["Liber conformitatum" (ed. Milan, 1510), fructus VIII, pars ii, f. 60 v a to f. 61 v a; cf. "Analecta Franciscana", IV (Quaracchi, 1906), 235-40]. It may be taken for granted that all these writers knew nothing of the detailed lives of Jacopone which appear in the fifteenth century. The "Chronica XXIV generalium" and Bartholomew of Pisa would certainly have inserted one or other, as they were wont to do in other cases. Those lives can all be reduced to one, inserted in the chronicle commonly called "Franceschina", attributed to Jacopo Oddi, O.F.M. (d. 1488; see bibliography). The historical value of this and similar lives has been recntly denied by Giulio Bertoni ("La Leggenda Jacoponica" in "Fanfulla della Domenica", Rome, 10 June, 1906), on the ground that this legend has too many points of resemblance with the "Legends of St. Francis". But these resemblancs between the lives of the saints have already become a commonplace, and in this case are not to be taken seriously. On the other hand, Bertoni is right in rejecting the description of the circumstances in which each poem of Jacopone was written. The part of his life is rather to be considered as a commentary on the poems of Jacopone. As to the real sources of his life, the author himself, in the Tobler version (see bibliography), points out that he has collected the reminiscences and traditions concerning Jacopone still extant among the older friars in the Umbrian converts of his epoch. With the help of the aforesaid sources and of some allusions in Jacopone's poems, we can gather the following facts of his life. Born at Todi (1228?), of the noble family of Benedetti, Jacopone took up the study of law -- probably at Bologna, as might be inferred from the fact that this was the most famous school of law at the time, and from the manner in which he speaks of Bologna in the poem "Senno me pare e cortesia" (Modio, "I Cantici del B. Jacopone da Todi", Rome, 1558, 109). On returning home, he exercised -- the legends say with some avarice -- the profession of an advocate (procuratore). In course of time (1267?) he married a noblewoman, who in one version of the legend is called Vanna, daughter of Bernardino, Count of Collemedio (Coldimezzo near Todi) (La Verna, IV, 1906, 386). It was the great piety and the tragical death of his young spouse that brought about an entire change in Jacopone. A great feast was being celebrated at Todi -- probably in 1268. Among the onlookers was Jacopone's wife in rich array. Suddenly the raised platform from which she was witnessing the spectacle gave way, crushing her fatally. When the poet reached her side Vanna was already dying; on opening her dress, he found a hair cloth beneath the splendid robes. The terrible blow caused by his wife's death, together with the evidence of her secret penance for his sins, made such an impression on Jacopone that for many years he seemed to be no longer himself. Abandoning his profession, and wearing the habit of a Franciscan Tertiary (bizochone), he led a roaming life for a full decade (see the poem "Que farai fra Jacopone" in Modio, 73). During this period he was the terror of his friends and relations, and became a sort of Christian Diogenes. It was then probably that the former proud doctor of law, Jacopo dei Benedetti, mocked and scoffed at by the boys in the streets of Todi, received the nickname of Jacopone. Once, saddled and bridled like an ass, he crawled on all fours in the public swuare of Todi; on another occasion, to the great confusion of his family, he appeared at a wedding in his brother's house, tarred and feathered from top to toe. When asked by a citizen to carry home a pair of capons for him, Jacopone brought them to the man's family tomb, saying that this was his true house. Jacopone's folly was however the folly of the Cross, as he says:
About 1278 he sought admission into the Order of Friars Minor at his native town, a request which after some difficuly was granted. Out of humility he chose to be a lay brother. In the great convent of S. Fortunato, at Todi, the so-called party of the "Community" of the Franciscan Order certainly prevailed. This party was strongly opposed to that of the more zealous friars, called the "Spirituals". The sympathies of Jacopone were with the latter. Boniface VIII, who had under unusual circumstances succeeded Celestine V, the friend of Spirituals, having recalled all privileges granted by his predecessor and thus subjected anew the zealous friars to their regular superiors, and having engaged in a struggle with the two Cardinals Colonna, Jacopone took sides with these two protectors of the Spirituals against the pope. Perhaps there were also personal reasons for enmity between Boniface and the poet, dating from the time when the former, then a young man (1260), obtained an ecclesiastical benefice at Todi, where his uncle Peter was bishop from 1252 to 1276 (see Eubel, "Hierarchia cath. med. aevi", I, 530; Tosti, "Storia di Bonifazio VIII", Monte Cassino, I, 1846, 221; Finke, "Aus den Tagen Bonifaz VIII", Münster, 1902, 4). Palestrina, the stronghold of the Colonnas, having been taken in 1298 by the papal troops, Jacopone was imprisoned in the fortress above the town, known to-day as Castel San Pietro. Some of Jacopone's most touching, and also most agressive, poems were composed in this dungeon. Not even in the great Jubilee of 1300 did Jacopone obtain pardon, the Colonnas and their partisans having been excluded from the Jubilee by a special Bull (see text in Tosti, l.c., II, 283). Boniface VIII was captured at Anagni on 7 Sept., 1303, and upon his death, which occured shortly afterwards (11 Oct.), Jacopone was set at liberty. Now an old man, broken down, tried and purified by hardships, he withdrew first to Pantanelli, a hermitage on the Tiber, three hours distant from Orvieto (La Verna, l. c., 390), then to Collazzone, a small town situated on a hill between Perugia and Todi. There is no record of a Franciscan monastery at that place, but there was a Poor Clare Convent, S. Lorenzo, served as was usual by Franciscan Friars (see Livarius Oliger, "Dove e morto il B. Jacopone da Todi?" in "Voce di S. Antonio", Quaracchi, 13 Feb., 1907). It was here that Jacopone died on 25 Dec., 1306, just at the moment when the priest was intoning the Gloria in Excelsis Deo at the midnight Mass; his last moments were consoled by the presence of his faithful friend, Blessed John of La Verna, from whom he had especially desired to receive the Last Sacraments, and who really arrived just before the poet's death.
His body was brought to Todi and buried in the church of the Poor Clares of Montecristo (Tobler's version of the legend) or Montesanto (Bartholomew of Pisa, Marianus Florentinus), outside the walls of Todi. In 1433 it was discovered in Montecristo and removed to the Franciscan church of S. Fortunato inside the town, where his tomb is still to be seen, embellished by Bishop Cesi in 1596 and adorned by a beautiful inscription: "Ossa. Beati Jacoponi. De Benedictis. Tudertini. Fratris Ordinis Minorum. Qui stultus propter Christum. Nova mundum arte delusit. Et caelum rapuit. Obdormivit in Domino. Die XXV Martii. An. Dom. MCCXCVI. Ang. Caes. Episc. Tudert. Hic collocavit ann. MDXCVI." "Here lie the bones of Blessed Jacopone dei Benedetti da Todi, Friar Minor, who, having gone mad with love of Christ, by a new artifice deceived the world and took Heaven by violence ... (translation of Knox Little.) The date, 25 March, 1296, is however obviously erroneous. Jacopone is often called blessed, and has been considered a "blessed" or a "saint", in the technical sense of the words, by different authors. As a matter of fact, Jacopone has not been beatified or canonized by the Church, although various efforts have been made in this direction -- for example, by the municipal council of Todi in 1628, and by the chapter of the cathedral of Todi in 1676. Lastly, in the years 1868 and 1869 the postulator of the causes of saints of the Friars Minor collected call the documents proving the cultus ab immemorabili paid to Jacopone, in order to obtain its official confirmation [see "Tudertina Confirmationis Cultus ab immemorabili tempore praestiti Jacobo a Tuderto Ord. Min. S. Francisci, Beato Jacopone vulgo nuncupato (Rome, 1869), in archives of the postulator general O.F.M.]. The chief obstacle to the confirmation of the cultus lies in the part Jacopone took against Boniface VIII and the satires he wrote against this much calumniated pope. The iconography of Jacopone is not very rich. In the cathedral of Prato is a beautiful fifteenth-century fresco, often reproduced. The fourteenth-century Codex Strozzi 174 at the Laurentian Library, Florence, containts a miniature of the poet; another miniature (certainly conventional) is found in the "Franceschina" of the Portiuncula. The church of S. Fortunato of Todi is adorned by two picture of Jacopone -- one over his tomb (1596), another in a side chapel together with the portraits of four other saints (seventeenth century). Jacopone was believed to have died not so much from bodily ailment as from the excess of Divine love, which at last broke his heart (Modio, preface). The chief interest attaching to Jacopone is derived from his literary works. Of his poems, written almost all in his native Umbrian dialect, seven early editions exist but no modern critical one.
Alessandro de Mortara published a few hitherto unedited poems of Jacopone (Lucca, 1819). Towards the middle of the nineteenth century, Ozanam revived general interest in Jacopone by his "Poètes franciscains". Since then many have written on the subject and expressed their appreciation of these medieval songs. Jacopone was certainly a true poet, so much so that some of his productions, as "In foco l'amor mi mise" and "Amor di caritate", have been attributed to St. Francis himself. Both are at the head of Umbrian poets. Jacopone's rhymes, simple, at times even rough in expression, but profound and tender in sentiment, were less adapted to the cultured classes than the "Divina Commedia" of Dante, but were sung with enthusiasm by the people. How much Jacopone's poetry was appreciated down to the seventeenth century is shown by the numberless manuscripts which contain them, often in the particular dialect of the region where they were written, and by the fact that almost every old Italian spiritual song has been ascribed to him. These laudi were especially in use among the so-called Laudesi and the Flagellants, who sang them in the towns, along the roads, in their confraternities, and in sacred dramatical representations. Even the "Stabat Mater Dolorosa", the authorship of which is still attributed to Jacopone with greater probability than to any other competitor (Gihr), was sung in the same way. (See, on this point, D'Ancona, "Origini del Teatro Italiano", I, Turin, 1891, 114, 155-62, 550- 2.) Jacopone's prose works are much less generally known than his poems. They consist mainly of small spiritual treatises, somewhat resembling the well-known golden saying of Blessed Giles (see AEGIDIUS OF ASSISI), but they are more connected. The Latin text of these may be found in part in Bartholomew of Pisa (l. c.) and in many manuscripts. An Italian version, translated from Bartholomew of Pisa, is found in the "Franceschina" and some other versions of the life of Jacopone. Another fifteenth century Italian version, ascribed to Feo Belcari, together with the treatises of Ugo Panciera at Venice (s. d.); ed. Parenti at Modena in 1832; and finally in "Prose di Feo Belcari edite ed inedite", III (Rome, 1843), by Gigli; cf. E. Böhmer in "Romanische Studien", I (Halle, 1871), 123-32. Finke (l. c.) suspects that a treatise in the MS. J 491, no. 799, in the National Archives of Paris, and directed to the King of France by "Illiteratus Jacob", belongs to Jacopone.
NOTES (1) LIVES. - In Franceschina, a manuscript chronicle by JACOPO ODDI (d. 1488), of which four codices exist: two at Perugia, one at Portiuncula (Assisi), one at Norcia (Umbria). Description of the one existing in the public library at Perugia is given by PERCOPO, La Vita e le Laudi di Fra Jacopone da Todi nello Specchio de l'Ordene Menore (Franceschina) in Il Propugnatore, XIX (bologna, 1886), 151-212. Almost identical with this is the life edited by TOBLER in Zeitschrift fur romanische Philologie, II (Halle, 1878), 26-39; cf. ibid., III (1879), 178-92; and another of MARIANO FLORENTINO (?), edited by LIVARIUS OLIGER in Luce e Amore, IV (Florence; 1907), 418-26; 473-89. There is also a shorter version: POSSEVINO, Vite de' Santi e Beati di Todi (Perugia, 1597), 98-113; MODIO, I Cantici del B. Jacopone da Todi (Rome 1558), preface; DAL GAL, La Verna (Rocca S. Casiano, 1906), 385-92; JACOBILLI, Vite de Santi e Beati dell' Umbria, III (Foligno, 1661), 215-19; WADDING, Annales, V (2nd ed.) 407-14, VI, 77-84. (2) MODERN LIVES AND TREATISES. - MACDONNELL, Sons of Francis (London 1902), 354-86, with good samples of translations of Jacopone's poetry - see also, ibid., 401-2; ANON., Jacopone da Todi in Quarterly Review (London, Jan., 1910), 53-72; DORSEY, The Mad Penitent of Todi (Notre Dame, Ind., s. d.) (a novel); OZANAM, Les Poetes franciscains en Italie au treizieme siecle (Paris, 1852), many successive editions - German tr. by JULIUS (Munster, 1853), Italian tr. by FANFANI (Prato, 1854); D'ANCONA, Jacopone da Todi, il Giullare di Dio del secolo XIII in Nuova Antologia, 2nd series, LI of the whole collection (Rome, 1880), 193-228, 438-70, reprinted in D'ANCONA, Studi della Letteratura italiana dei primi secoli (Ancona, 1884), 3-104; THODE, Franz von Assisi und die Anfange der Kunst der Renaissance in Italien (2nd ed., Berlin, 1904), 440-51; GEBHART, L'Italie mystique (Paris, 1890), 257- 70; ALVI, Jacopone da Todi (Todi, 1906) - full of inaccuracies, see Voce di San Antonio, XII (Rome, 1907), 19-20; BRUGNOLI, Fra Jacopone da Todi, publication of Societa internazionale di Studi Francescani in Assisi (Assisi, 1907). (3) ON WORKS AND PARTICULAR QUESTIONS. - BOHMER, Jacopone da Todi ... in Romanische Studien, I (Halle, 1871), 123-61; MOSCHETTI, I Codici Marciai contenenti Laude di Jacopone da Todi (Venice, 1888); TENNERONI, Inizii di antiche Poesie italiane religiose e morali con prospetto dei Codici che le contengono e Introduzione alle Laudi spirituali (Florence, 1909), preparatory work for critical edition of Jacopone. Partial German translation of Jacopone's poetry, with good introduction: SCHLUTTER AND STORK, Ausgewahlte Gedichte Jacopone's da Todi (Munster, 1864); FELDER, Jacopones Marienminne (Stans, 1903), Franch tr. La Madonne dans les Poesies de Jacopone de Todi in Etudes Franciscaines (Couvin, Belgium, March and April, 1904); LATINI, Dante e Jacopone e loro contatti di pensiero e di forma (Todi, 1900). On the Stabat Mater Dolorosa see JULIAN, Dictionary of Hymnology (2nd impression of 2nd ed., London, 1908), 1081-84, where the numerous English translations, old and new, are indicated; see, ibid., 575 and passim; CHEVALIER, Repertorium Hymnologicum, II (Louvain, 1892), 599-600, with copious bibliography; HENRY, The Two Stabats in American Cath. Quarterly Review, XXVIII (1903); GIHR, Die Sequenzen des römischen Messbuches (Freiburg im Br., 1887), 80-130; TENNERONI, Lo Stabat Mater e Donna del Paradiso (Todi, 1887); COLARULLI, La Satira, "O Papa Bonifatio, molt ay jocato al mondo", e la Sequenza "Stabat Mater" di Fra Jacopone da Todi (Todi, 1906); MARINI, L'Estetica dello Stabat Mater (Siena, 1897); GIOIA, LO "Stabat Mater Speciosa" di Jacopone da Todi (Rome, 1892); GHILARDI Il B. Jacopone da Todi e la sua prigionia in Luce e Amore, III (Florence, 1906), 931-36. LIVARIUS OLIGER
An edition of the Italian poems of Jacopone published at Brescia in 1495 contained both Stabats; but the Speciosa fell into almost complete oblivion until A.F. Ozanam transcribed it from a fifteenth-century manuscript in the Bibliothèque Nationale for his "Poètes Franciscains en Italie au Treizième siècle", Paris, 1852. He thought Jacopone had composed both Stabats at the same time; and remarking of the Dolorosa that "this incomparable work would have sufficed for the glory of Jacopone", he confesses that he gave up the attempt to translate the Speciosa in verse, and concluded to present both hymns in simple prose, because "the untranslatable charm of the language, of the melody, and of the old quaintness, I feel are escaping me". The Anglican hymnologist, Dr. J. M. Neale, introduced the Speciosa to the English-speaking world in 1866, and ascribed it to Jacopone. Dr. Schaff dissents. "This is improbable. A poet would hardly write a parody on a poem of his own." Noting the unfinished style and the imperfect rhyme of the Speciosa, Neale thought it indicated the work of an apprentice shaping his hand to the work of Latin verse -- in which case it must have preceded the Dolorosa, which is a perfect piece of work. Schaff, however, points out that the opening words of the Dolorosa were borrowed from the Vulgate Latin (John 19:25) "with reference to Mary at the Cross, but not at the Cradle", and also that the sixth line, "Pertransivit gladius", might have suggested the similar line of the Speciosa, "Pertransivit jubilus", but not vice versa. Coles doubts "a simultaneous birth, or even a common parentage". In his "Essay on Minor Rites and Ceremonies" Cardinal Wiseman seized on the parallelism of contrast in the two poems -- similarity of form and phrase, and complete antithesis of theme and thought. Finally, it should be said that the great ruggedness of the Speciosa may be due to the carelessness of copyists.Source: http://www.newadvent.org/cathen/14239b.htm
Stabat Mater Dolorosa and the Bible Although Christianity's concept of "God" is largely male, a feminine perspective exists and expresses itself primarily in two religious texts: the Magnificat and the Stabat Mater. The Magnificat (a biblical text) pictures Mary's joy at the Annunciation of Christ's birth. The Stabat Mater expresses, in its first eight stanzas, a deeply felt compassion for the mother of Christ, standing by the cross on which her son hangs. Stanza 2 refers to the prophesy of Simeon, who tells Mary: "and a sword will pierce your heart" (Luke 2, 35). After that, the poet prays fervently to the Madonna to let him share her grief, to let him suffer with Jesus, and for her intercession when he's faced with Judgment Day. In the last stanza he addresses Christ himself, praying for a place in paradise.
Stabat Mater Dolorosa as Musical Inspiration Since the Middle Ages, both texts have inspired over 200 composers, which is This composition illustrates the tension inherent in liturgical music: a struggle between a religious message and the artistic expression. Saint Augustine already posed this question: is the soul comforted by hearing a choral because of its appeal to faith? Or because of the beautiful melody? When Gregorian chants were at their most popular, the text had priority in church music; but, gradually, the music itself gained in importance. In the early 1700s, people passionately argued over this. Some objected to the "worldly influences" that were inching into church music in the form of operatic ensembles, chorals, and musical accompaniment. Stabat Mater Dolorosa and the Liturgy Originally set to a Gregorian melody, Stabat Mater functioned for awhile in the Catholic liturgy as a sequence, in which every melody was sung only twice, so that each pair of stanzas got a new melody. Shorter versions also existed as psalm-like songs. Stabat Mater: Its Place in Music
During the 16th century, the sequence motet was a favorite form among important musical composers. Stabat Mater was frequently given elaborate polyphonic settings. A model of such settings is Palestrina's famous Stabat Mater which employs two choruses and combines several couplets to suggest larger musical units within the total composition. During the 17th and 18th centuries, Stabat Mater inspired large works for chorus and orchestra. The hymn's text was divided into a number of autonomous and differentiated movements. Compostions of this type were created by Seffani, A. Scarlatti, Pergolesi, Boccherini, and F.J. Haydn. During the 19th century, the popularity of Stabat Mater's text is evident by its place in the work of Verdi, Rossini, Schubert, and A. Dvorak. Source: http://www.stabatmater.info/reliback.html
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The title of a 13th century Latin hymn, Stabat Mater means the Mother was standing. In Latin, this hymn consists of 20 couplets that describe the Sorrows of the Blessed Virgin at the Cross. Sixty or more 
![[Pieta+by+El+Greco.jpg]](http://3.bp.blogspot.com/_6dKQTchkJaA/RusbHSwEr3I/AAAAAAAAAT8/QcTVO3Zqdqg/s1600/Pieta%2Bby%2BEl%2BGreco.jpg)
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Stabat Mater Speciosa |
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Stabat Mater speciosa |
1 |
The beautiful Mother |
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Cuius animam gaudentem |
2 |
Through her exultant soul |
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O quam laeta et beata |
3 |
O how jubilant and blessed |
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Quae gaudebat et ridebat, |
4 |
O how happy and laughing |
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Quis est, qui non gauderet, |
5 |
Who would not rejoice |
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Quis non posset collaetari, |
6 |
Who would not jubilant too |
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Pro peccatis suae gentis |
7 |
For the sins of His people |
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Vidit suum dulcem natum |
8 |
She saw her sweet offspring |
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Nati Christus in praesepe |
8a |
For just-born Christ in his crib |
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Stabat senex cum puella |
8b |
The old man stood at his young wife |
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Eia Mater, fons amoris |
9 |
Oh Mother, fountain of love |
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Fac, ut ardeat cor meum |
10 |
Make my heart burn |
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Sancta Mater, istud agas, |
11 |
Blessed Mother, be not harsh |
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Tui nati coelo lapsi, |
12 |
With your child from heaven |
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Fac me tecum congaudere |
13 |
Make me rejoice with you, |
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In me sistat ardor tui |
13a |
May your ardour fill me |
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Hunc ardorem fac communem, |
14 |
Familiarize me with this ardour |
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Virgo virginum praeclara, |
15 |
Virgin, most exalted among virgins, |
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Fac, ut portem pulchrum fortem |
16 |
Let me have the strength of him, |
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Fac me tecum satiari, |
17 |
Let me be with you fulfilled, |
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Inflammatus et accensus |
18 |
Thus aflame with fire of love, |
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Fac me nato custodiri |
19 |
May the first-born protect me, |
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Quando corpus morietur, |
20 |
When my body dies, |
Hebrew: http://www.stabatmater.info/hebrew.htm
Eth Nafscha HaMeyabeveth HaAguma VeHadoeveth Pelach Shalach Chad
Ma Atsuva VeNoasha Habrucha MiKol Isha Em Bna Yechida
SheHityasra BeKe'ev Rav, Birotha Et Yesurav, BeKol Gufa Her'ida.
Mi Haish Lo Yekonen, Kshyir'e Et Em Haben Mithyapachat Noashot?
Mi Lo Yitatsev Ima, Lo Yishka Letoch Ogma, Beatsmo Yichav Kashot?
Mi Lo Yitmale Chemla, Lenuchach Haem Hamela, Em Hamashiach?
Eth Yeshua Raatha, Beshel Ami Asher Chata, Maka ad Motho
Eth Chaviva Et Yekira Raatha Sovel Nora Ad Tset Nishmato.
Ho Haem, Makor Lekol Ohev,Imma, Shatphini Bakeev, Lo Ethabel Immech.
1. Em mokat jagon omedet, moel hazlav bocha, ro-edet, sjam taloei jehoshuah
2. Et libah hamitjapeach lahav hake-ev poleach, ma nora hoe jegonah
3. Ma nogah hie, ma sovelet hakdosha, ha em lejeled ha-echad ve een
4. Hako-evet, hado-evet, haro-edet lemareehoe sjel haben hamitjaser
5. Mie ha-isj een (1) nav jabee(1)sjoe kie jir-eh iemo sjel jeshoe nemakah bejagona.
6. Mie jimnah kolo me-begi, et jizkor et hatsadeket hachozeh be-tsa-ar
7. Al gethee amo kiper hoe, re-oe egegah mitjaser hoe, besjotim jalkoe ottoh.
8. Re-oe ha-ben ha-gaf mie pesjah, hagoweha, gasar jesjsha,hamotsi et nisjmato.
9. Em ahavah, harsjini ke-eveg laset, lamdini kan ietag lehit-abel.
10. Na izrie lie, sje-atsliach le-ehov et hamesjiach, we ezkeh begesed el.
11. Em kdoshah bimrom rakia, et ptsa-av sjel hamoshia loe garat betog libie.
12. Loe oegal laglok basevel sje-bavoerie saval hoe, sje-kiper al avonie.
13. Loe nitan lie be-emet levakot et bneg hamet, kol od bachaim anie.
14. Moel hatslav kan la-amod wejachdav itag lispod, zeh jehi-jeh kol retsonie.
15. Betoela kdosha, em gesed, ana al tehie ko-eset, kie evkeh imag jachdav.
16. Kag esah zigro sjel jesju, et motto, et jisoerav, belibie echkok ptsa-av.
17. Begol mag-ovav pits-ini, besjigron hatslav mal-ini, be-ahavatie elav.
18. Kie tivar bie esj eloha, at machseh lie megavo-ah, behagia jom hadien.
19. Loe hatslav rak jisjmerenie, mot jehoshuahja jiz-agenie be- gesdo me-meromim
20. Oe-beglot goefie lamavet, nisjmatie tizkeh lasjevet, began eden le-olamin.
אם מוכת יגון עומדת
מול הצלב בוכה, רועדת
שם תלוי בנה
את ליבה המתייפח
להב הכאב פולח,
מה נורא הוא יגונה
מה נוּגה היא,
מה סובלת הקדושה,
האם לילד האחד ואין
ן
הכואבת, הדואבת,
הרועדת למראהו
של הבן המתייסר.
מי האיש עיניו יבֵשו
כי יִראה אמו של ישו,
נְמָקה ביגונה.
מי ימנע קולו
מבכי עת יזכור את
הצדקת החוזה בצער.
על חטאי עמו כיפר הוא,
ראו איככה מתייסר הוא,
בשוטים ילקו אותו.
ראו הבן החף מפשע,
הגווע, חסר ישע,
המוציא את נשמתו.
אם אהבה,
הרשיני כאבך לשאת,
למדיני כאן איתך להתאבל.
נא עיזרי לי,
שאצליח לאהוב את המשיח,
ואזכה בחסד אל.
אם קדושה במרום רקיע,
את פצעיו של המושיע,
לו חרט בתוך ליבי.
לו אוכל לחלוק
בסבל שבעבורי סבל הוא,
שכיפר על עווני.
לו ניתן לי באמת
לבכות את בנך המת,
כל עוד בחיים אני.
מול הצלב כאן לעמוד
ויחדיו איתך לספוד,
זה יהיה כל רצוני.
בתולה קדושה,
אם חסד, אנא אל תהי כועסת,
כי אבכה עימך יחדיו.
כך אשא זכרו של ישו,
את מותו, את ייסוריו,
בליבי אחקוק פצעיו.
בכל מכאוביו פִּצעיני,
בשכרון הצלב מלאיני,
באהבתי אליו.
כי תבער בי אש אלוה,
את מחסה לי מגבוה,
בהגיע יום הדין.
לו הצלב רק ישמרני,
מות יהושע יזכני בחסדו ממרומים.
ובכלות גופי למוות,
נשמתי תזכה לשבת, בגן עדן לעולמים.
My Collection
Francoise NAUDET
(1928 - 2008)
