Verses on Various Occasions · Chapter
Endnotes explained
This chapter provides editorial endnotes and commentary on the poems and hymns, including references to literary sources, explanations of textual alterations, and annotations on the theological and musical dimensions of 'The Dream of Geront
What happens
This chapter provides editorial endnotes and commentary on the poems and hymns, including references to literary sources, explanations of textual alterations, and annotations on the theological and musical dimensions of 'The Dream of Gerontius'.
Themes in this chapter
Suffering and Humility
The endnotes discuss Gerontius's suffering in the body, his weakness in prayer, and the humility of his soul as it faces death and judgment.
Faith and Doubt
The annotations highlight the ecstasy of faith, hope, and love in Gerontius's dying moments, as well as the liturgical prayers that express trust in God.
The Role of the Saint
References to St. Philip Neri and St. Francis d'Assisi illustrate the intercession and example of saints in the context of death and divine vision.
Characters to notice
- Gerontius
The dying soul whose experience is the subject of 'The Dream of Gerontius'; the endnotes discuss his prayers, the Litany for the Dying, and the musical structure of his utterances.
- Angel
The Guardian Angel who guides Gerontius's soul after death; the endnotes reference the angel's song and the teaching that each soul is given a Guardian Angel at birth.
- Philip Neri
Mentioned in an endnote describing his death, when he sang the Gloria in Excelsis after gazing at the hill of St. Onofrio.
- David
Referenced in an endnote as a biblical figure (David) alongside Jeroboam.
- Jeroboam
Mentioned in an endnote as a biblical figure alongside David.
Key passages
“Is life a boon so kindly given, etc. , vide Childe Harold , Canto II .”
The line 'Is life a boon so kindly given' is a reference to Byron's Childe Harold, Canto II.
Literary allusion to Byron's work.
“Of course the allusion is not to the author’s mother; a mother has no favourites.”
The author clarifies that the reference is not to his own mother, as a mother does not have favorites.
Authorial clarification about a familial reference.
“Of course this is the exclamation of one who, when so writing, was not in Catholic Communion.”
The exclamation was made by someone who was not yet in communion with the Catholic Church at the time of writing.
Contextual note on the author's religious affiliation at the time of composition.
“The last twelve lines were added after Feb. 28, 1836, the date of R. Hurrell Froude’s death.”
The final twelve lines of the poem were added after February 28, 1836, the date of R. Hurrell Froude's death.
Chronological note on the poem's composition.
“These hymns are all free translations, made in 1836–8, from the Roman Breviary, except two, which are from the Parisian.”
These hymns are free translations from the Roman Breviary (1836–38), with two exceptions from the Parisian Breviary.
Source and date of hymn translations.
“On the day of his death, Philip, 'at the beginning of his Mass, remained for some time looking fixedly at the hill of St. Onofrio...'”
On the day of his death, St. Philip Neri stared at the hill of St. Onofrio during Mass before singing the Gloria in Excelsis.
Anecdote about St. Philip Neri's death.
