William Byrd and the "Non Nobis" Canon

Thinking of the "Non nobis" reference in the article from The Guild of Our Lady Ransom's The Ransomer, and anticipating the broadcast of Laurence Oliver's Henry V on TCM yesterday, I searched for more information about that canon. I also heard the echo of Patrick Doyle's setting of "Non nobis" in Kenneth Branagh's version of Shakespeare's play.

At one time the music for that canon or round was attributed to William Byrd. But this posting from the Choral Wiki indicates a more complicated history:

This famous canon at the fifth and unison or octave is now generally accepted by musicologists as not having been written by William Byrd (1542/3–1623); the late, eminent Byrd specialist Philip Brett came to the view that most of the canons attributed to Byrd were spurious.

Recent research has shown that the two related figures which form the basis of the Non nobis, Domine canon were extracted from the 5-voice motet Aspice Domine by Philip van Wilder (c. 1500–1554). In the motet both figures are set to the text-phrase Non est qui consoletur (“there is none to console”) which was presumably the text to which the original version of the canon was sung by the Elizabethan recusant community as an expression of nostalgia for the old religious order. 

The words of the motet, taken from the Vulgate Latin of Jeremiah's Lamentations:

Aspice, Domine, quia facta est desolata civitas plena divitiis. 

Sedet in tristitia, non est qui consoletur eam, nisi tu, Deus noster. 

Behold, O Lord, how the city full of riches is become desolate. 

She sits in mourning, there is none to comfort her save only thou, our God.

But the words of the Non nobis version of the motet have a different source, according to the Choral Wiki article:

The Non nobis, Domine text to which the canon is sung today was apparently taken from the first collect from the thanksgiving service added to the Book of Common Prayer to celebrate the thwarting of the Gunpowder Plot on 5 November 1605.

And Wikipedia's entry on Non nobis has this note about its occurrence in Shakespeare's play and in a 1542 report on the Battle of Agincourt:

Shakespeare, in Henry V Act IV Scene 8, has the king proclaim the singing of both the Non nobis and the Te Deum after the victory at Agincourt. The canon is sung in the 1944 film of Henry V (starring Laurence Olivier) and also in the 1989 film of the same title (starring Kenneth Branagh), though we now know that the retexted version was not in existence as early as 1599, when the play was written. There is no stage direction in the play to indicate the singing of Non nobis Domine , but if Shakespeare had a specific setting in mind he was probably thinking anachronistically of a Protestant metrical psalm tune. However, in Hall's Chronicle (1542) Non nobis is sung as part of the complete psalm, presumably to plainsong [plainchant] or faburden.

When the kyng had passed through the felde & saw neither resistence nor apparaunce of any Frenchmen savyng the dead corsses [corpses], he caused the retrayte to be blowen and brought al his armie together about, iiij [4]. of the clocke at after noone. And fyrst to geve thankes to almightie God gever & tributor of this glorious victory, he caused his prelates & chapelaines fyrst to sing this psalme In exitu Israel de Egipto, commaundyng every man to knele doune on the ground at this verse. Non nobis domine, non nobis, sed nomini tuo da gloriam, whiche is to say in Englishe, Not to us lord, not to us, but to thy name let the glory be geven: whiche done he caused Te deum with certeine anthemes to be song gevyng laudes and praisynges to God, and not boastyng nor braggyng of him selfe nor his humane power.

In plainchant, this might have been what the English sang at Agincourt. (And that's the Plainchant Mode we use at the Church of the Blessed Sacrament when we chant Psalm 115 in Sunday Vespers during Advent and Lent!) 

This makes for an interesting juxtaposition of memories, depending on when the play was performed. After 1605, Non nobis reminded audiences of the Gunpowder Plot; before and after 1605, it might have  reminded some Recusant Catholics in the audience of the "old religious order."

Not to us, O Lord, but to Your Name be the Glory! Amen.

Shakespeare's Catholic Language

When the issue of Shakespeare's Catholicism or crypto-Catholicism, or Church Papism comes up, I always think of the Catholic language and imagery of his plays; the good friars, the true nun, etc. This article from The Guild of Our Lady of Ransom reminds us of how Shakespeare reminded his audiences of their Catholic past:

Shakespeare lived during the worst religious division England has known. It has been remarked that one of the most curious aspects of his writing is the apparent absence of any plays on the main themes of the age – belief, religion, and the church. . .

Nevertheless, he was born when the Catholic religion was effectively in retreat and indeed under accelerating persecution, under forbidding injunctions intending that ‘there remain no memory of the same’.‍ . . .‍

The official hope was that Catholic belief and practice would abate with the dying out of priests, places of worship and the forms of prayer and devotion that legislation now banned. . . .

The author, Edmund Matyjaszek, then cites two examples of Shakespeare recalling very Catholic words, practices, and images, one from Richard II and the other from Henry V:

'I’ll give my jewels for a set of beads,
My gorgeous palace for a hermitage,
My gay apparel for an almsman’s gown,
My figured goblets for a dish of wood,
My sceptre for a palmer’s walking staff,
My subjects for a pair of carved saints,
And my large kingdom for a little grave,
A little, little grave … (Act 3, scene 2)

and 

‘Do we all holy rites:
Let there be sung Non Nobis and Te Deum,
The dead with charity enclosed with clay:
And then to Callice, and to England then
Where ne’er from France arrived more happy men.’ (Act 4, scene 8)

He could have also cited Henry V's words about how he was trying to make up for his father's sins against Richard II, before the Battle of Agincourt:

Not today, O Lord,
O, not today, think not upon the fault
My father made in compassing the crown.
I Richard’s body have interrèd new
And on it have bestowed more contrite tears
Than from it issued forcèd drops of blood.
Five hundred poor I have in yearly pay
Who twice a day their withered hands hold up
Toward heaven to pardon blood. And I have built
Two chantries where the sad and solemn priests
Sing still for Richard’s soul. More will I do—
Though all that I can do is nothing worth,
Since that my penitence comes after all,
Imploring pardon. (Act 4, scene 1)

Although those last three lines seem to call the effectiveness of all those efforts of prayers and Masses for Richard's soul and his father's pardon into doubt. Nevertheless, as in Hamlet, Shakespeare has recalled the practice of Prayer for the Dead in Purgatory to the minds of his audience.

As Matyjaszek concludes his article:

How did the works of this possible crypto-Catholic (certainly one steeped in its imagery), spread throughout the whole world carrying this rich, resonant and sacramental imagery? At the core of all this is the “echo chamber of remembrance “ that is, in effect, the English language itself.‍

This continued to appear and inform the language and the culture throughout the 270 years of Catholic suppression, emerging to inform Newman’s ‘Second Spring’ that inspired the foundation of our Guild. This language not only underpins our country and its culture, but is still evident – and potent – in the most unlikely places today.

Shakespeare's Henry V's Prayers for Richard II

In Shakespeare's historical play Henry V, the king leaves his headquarters to mingle with his soldiers on the eve of the battle of Agincourt. After some discussion of the relationship between the justice of the king's cause and his subject's responsibility for doing the right thing, Henry V reflects upon his father Henry IV's role in the death of the deposed Richard II.

Richard II died in Pontefract Castle--probably of starvation--on February 14, 1400 (the usually accepted date). He had surrendered to Henry IV at Flint Castle on August 19, 1399, on promises that his life would be spared. He was held in the Tower of London and abdicated on September 30 that year. Parliament formally deposed him on October 1 and Henry IV was crowned on October 13. Richard was moved to Pontefract Castle. After the discovery of the Epiphany Plot, in which several noblemen planned to kidnap Henry IV at Windsor on Epiphany (January 6, 1400), kill him, and restore Richard II to the throne. Richard was not allowed to remain alive, a target for conspiracy--Mary, Queen of Scots' situation during Elizabeth I's reign comes to mind--even though he might have known nothing of the plot, which also called the Revolt of the Three Earls.

In terms that defied the Church of England's rejection of the doctrine of Purgatory and the practice of prayer for the dead, Henry V describes how he has tried to demonstrate his repentance for the death of Richard at the hands of his father. He has founded chantries, those chapels set aside for praying the dead, which had be suppressed by Edward VI; he has paid poor men and women, as Henry VIII had done in his will, to pray. He prays and promises to do more:

O God of battles! steel my soldiers' hearts;
Possess them not with fear; take from them now
The sense of reckoning, if the opposed numbers
Pluck their hearts from them. Not to-day, O Lord,
O, not to-day, think not upon the fault
My father made in compassing the crown!
I Richard's body have interred anew;
And on it have bestow'd more contrite tears
Than from it issued forced drops of blood:
Five hundred poor I have in yearly pay,
Who twice a-day their wither'd hands hold up
Toward heaven, to pardon blood; and I have built
Two chantries, where the sad and solemn priests
Sing still for Richard's soul. More will I do;
Though all that I can do is nothing worth,
Since that my penitence comes after all,
Imploring pardon.

I've always wondered how post-Reformation audiences responded to these words? Henry offers these prayers not for his father's sins, but for Richard II's soul. Henry V's repentance for his father's sins recalls Catholic teaching and piety and would have reminded them that at one time--not so long ago--English kings and queens were Catholics, as the gloriously gorgeous Wilton Diptych attests.

The word chantry might have reminded some in the audience of the celebration of the Catholic Mass, which of course had been declared illegal. It might have reminded them of ordained Catholic priests, who were now traitors, hanged, drawn, and quartered at Tyburn. Recusant Catholics or Church Papists in the audience would have definitely known what Shakespeare was describing.

Happy St. Valentine's Day! Best wishes for a holy and spiritually beneficial Ash Wednesday and Lent! I'll be on the Son Rise Morning Show Friday morning to continue my discussion with Anna Mitchell on Hilaire Belloc's Characters of the Reformation--preview to come tomorrow!

Henry V's Martyrs and Saints on October 25, 1415

Shakespeare's Henry V recalls to his troops that they fight the battle of Agincourt on the feast of the twin martyr saints, Saints Crispin and Crispinian:

This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

But the historical Henry V had in mind another saint on the day of battle: St. John of Beverley, since October 25 was the feast of the translation--movement--of his relics. As the website of the Beverley Minster explains:

In 1415 King Henry V won the battle of Agincourt on the Feast of St. John’s translation (25th October). In 1420 the King visited John’s shrine to give thanks, and made him one of the patron saints of the Royal family.

The following extract is from prayers said on the feast of the translation:

“For though God decreed to give help to this church of His and the kingdom of England’s inhabitants, on the account of the merits of diverse saints with which she gloriously shines, yet He has of late more miraculously comforted them, as we sincerely trust, by the special prayers of the almificious confessor and pontiff, his most blessed John of Beverley….

O the ineffable consolation of these our times, especially refreshing and memorable to all ages, that is the gracious victory of the most Christian Prince Henry the fifth king of England and his army in the battle lately fought at Agincourt, in the county of Picardy, which was granted to the English by the immense mercy of God to the praise of His name and the honour of the kingdom of England on the feast of the translation of the said saint.

In which feast, during the engagement of our countrymen with the French…..holy oil flowed by drops like sweat out of his tomb as an indication of the Divine mercy toward his people, without doubt through the merits of the said most holy man.”

Henry VIII destroyed his shrine; his feast was removed from the Roman Calendar after the Second Vatican Council.