I BRA FLY OF THE U N I VER.5 ITY or I LLI NO IS T. W. BALDWIN ELIZABETHAN LIBRARY BOOKSTACKS Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/imitationofchrisOOruel I h i /] PREFACE. Shortly will Idc published, {mitation of C^vtiSt, BY THOMAS A KEMPJS. In English Rhythm. This edition of the “ Iniitatione ” is a rhythmic translation from the author’s text ; it will enable the English reader, for the first time, to realize the form in ^'hich this well-known book of devotion was originally written, but which has hitherto been lost through the arbitrary division into verses which has been adopted in all the editions of this work pre- viously printed. Now ready, price 6s., post free, ®]|)omae Etinpeustii Be inutatione C^vtsti Eiftrt (Quatuor. Textum ex autographo Thomce nunc pritnum accuratissime reddidit, distmxit, novo modo disposuit; capitulormn arg^mienta^ locos parallelos adiecit. CAROLUS HIRSCHE. This work presents the Latin text transcribed from the original manuscript of the “ Imitatione,” giving the rhythmic form of the work. The notes and introduction explain the arbitrary signs, punctu- ation, and other characteristics of the text ; and also give an account of Dr. Hirsche’s discoveries con- cerning the “ Imitation.” To students desiring to trace the text in its original form, this edition will be most interesting. E. Stock, 62, Paternoster Row, London. 373^6 THE kiTATiON OF Christ: BEING THE AUTOGRAPH MANUSCRIPT OF THOMAS A KEMPIS, t imitations Ckvioti, REPRODUCED IN FACSIMILE FROM THE ORIGINAL PRESERVED IN THE ROYAL LIBRARY AT BRUSSELS. WITH AN INTRODUCTION BY CHARLES RUELENS, Keeper of the Department of Mann scripts ^ ' Royal Library^ Brussels. LONDON : ELLIOT STOCK, 62, PATERNOSTER ROW, E.C. 1885. ;ii‘X pof*’ i ( PREFACE, O book, save the Holy Bible, has been so often reproduced as the “ Imitation of Jesus Christ.” Before the close of the fifteenth century, numberless transcripts had been made by monks and scribes, and at least eighty editions had been issued from the press between the date of that printed by Gunther Zainer at Augsburg, about T470, and the year 1500. Since then thousands of editions have appeared in many lands and in divers tongues. Versions in Flemish were nume- rous from the author’s own days, and already in 1447 Philip the Good, Duke of Burgundy, had caused a French translation to be made by his secretary, David Aubert. This was soon fol- lowed by another French version, due to the patronage of Margaret of York, wife of Charles the Bold, Duke of Burgundy, and sister of Ed- ward the Fourth, King of England, whose copy, bearing the arms of her husband quartered with those of England, is still preserved in the Royal ^ Library at Brussels. The earliest translation into English was made in 1502 by Dr. William Atkinson, Canon of Windsor, by command of Mar- garet, Countess of Richmond and Derby, and printed at London by Richard Pynson in 1503. 6 This edition contained only the three first books, but to it was afterwards added the fourth book, translated by the Countess herself in 1504. The most ancient manuscript of the “Imita- tion” extant which bears a date and an author’s name is that formerly at Kirchheim, but now in the Royal Library at Brussels, No. 15,137. It has at the foot of the first page these remarkable words: — “ Notandum quod istq tractatus editus est a probo et egregio viro, magistro Thoma, de Monte S“®-Agnetis et Canonico regular! in Tra- jecto, Thomas de Kempis dictus, descriptus ex manu auctoris in Trajecto, anno 1425, in sociatu provincialatus.” ^ But of all the manuscripts of this celebrated book the most precious is the autograph manu- script of Thomas a Kempis, the humble monk whose claim to the authorship of the work re- mained for two centuries undisputed, and has at last, after a prolonged and heated controversy, been triumphantly vindicated. The venerable codex is now preserved among the manuscript treasures of the Royal Library at Brussels, where it is numbered 5855—5861. It is a small volume, composed of 192 leaves of paper, intermixed at irregular intervals with leaves of vellum, and written entirely by the hand of Thomas a Kempis, as is attested by the following inscription which ends the manuscript Finitus et completus anno domini mcccc XL i. per manus fratris thome Kempis in monte sancte Agnetis prope Zwollis. The writer has placed at the beginning of the volume a table of the treatises therein contained all of which are of his own composition. It is as follows w-- In hoc volumine hi libelli continentur : Qui sequitur me non ambulat in tenebris (i). Regnum Dei intra vos est dicit Dominus (2). De Sacramento. Venite ad me omnes qui laboratis (3). Audiam quid loquatur in me Dominus Deus (4). De disciplina claustralium. Apprehendite dis- ciplinam, Epistola devota ad quemdam regularem. Renovamini autem spiritum mentis vestre. Cognovi Domine quia equitas judicia tua. Recommendatio humilitatis. Discite a me. De mortificata vita. Gloriosus apostolus Paulus. De bona pacifica vita. Si vis Deo dignus. De elevatione mentis. Vacate et videte cum ceteris. Brevis ammonicio. Ab exterioribus. Although the different treatises are written on separate sheets of paper, and divided by one or two blank leaves, the manuscript is quite homo- geneous. The whole is transcribed by the same hand, and no doubts have ever existed as to its authenticity and integrity. The date affixed to the last page is therefore applicable to the entire volume ; it was finished and completed in the year 1441. The manuscript is clad in its original binding of calf, blackened by the effect of time, covering worm-eaten oak boards. The back has been re- cently repaired, but the traces of an impressed orna- ment and the brass attachments of a clasp are still (1) First Book of the Imitation. (2) Second Book. (3) Fourth Book. (4) Third Book. 8 visible on the sides. The whole volume, and espe- cially the books of the “Imitation,” has been much used, but it is, nevertheless, on the whole, in good condition. Two leaves, numbered 99 and 100, and containing chapter 44 and part of chapter 45 of Book III., down to the words, “sonare vide- tur,” are missing, and have been replaced in the sixteenth century. Some pages, owing to the wear and tear of ages or to their being written upon vellum, are much more illegible than others, thus causing certain portions of the facsimile to be very indistinct. The story of its wanderings may be gleaned from the following notes which occur on the first fly-leaf : — Soc. lesu Antv. d.p. Liber monasterii canoi coru regulariu in mote Soe Agnetis Virgis ac mar tiris ppe Swollis. Quern F. Joan. Latomus professus Ord. Regularium in Throno B. Mariae prope Herentals, eiusdem ordinis generalis minister, facta visitatioiie monasterii S. Agnetis prope Swollam eiusdem Monas- terii minis ereptum ne penitus interiret Antverpiain illatum Joanni Bellero amico veteri et fi- deli D.D. anno salutis 1577. Porro Joann. Bellerus P.P. Societatis Jesu in gratiam suoruiii filiorum quos eadem Societas religiosos fovet, lubens donavit Kalen. Junii 1590. 9 Thus it appears that the manuscript belonged originally to the monastery of the Canons Regular of Mount St. Agnes, situated on the Nemeien- berg, near Zwolle, between the rivers Yssel and Vechte. This monastery appertained to the Con- gregation of Windesheim, and its monks followed the rule of St, Augustine. Thomas Haemmer- lein, a native of Kempen, in the diocese of Co- logne, was received there as a novice in the year 1400, and died there in 147,1, at the age of ninety- two. He became the historian of the monastery, and during his long career he there composed numerous works, and transcribed a few volumes for the use of the community, notably a Bible and a Missal, both now either mislaid or lost. The only volumes in his handwriting, which are known to be in existence, are — 1st. A volume containing a collection of treatises written in 1441, of which the “ Imitation” is here published. 2nd. A volume containing another collection of treatises composed by Thomas himself, written in 1456, and removed from Mount St. Agnes to the House of the Jesuits at Courtrai, and after- wards to that of the same society at Antwerp. It is now in the Royal Library at Brussels. 3rd. A volume containing the “Sermones ad Novi- tios” and “Vita sancte Ledewegis,” now pre- served in the University Library at Louvain. During the rising of the Netherlands against the dominion of Spain, the monastery of St. Agnes was frequently attacked, and at last de- stroyed. In 1559, its possessions and revenues were bestowed on the Bishopric of Deventer ; and towards 1570, many of the Brethren took refuge in St. Martin’s Priory at Louvain, which belonged to their order. In ,1577, Johannes Latomus, Prior of the Monastery of the Throne, near Keren- lo thals, and Visitor-General of the Congregation of Windesheim, visited the monastery of St. Agnes, then in ruins and almost deserted ; and in December of that year he unsuccessfully petitioned the States of Over-Yssel to restore the property of the monastery, and to rebuild the fabric. Johannes Latomus was a man of worth, and well knew that in rescuing from the ruins of the old monastery Thomas a Kempis's autograph manu- script of the “Imitation” he was preserving a priceless treasure. He took the volume to Antwerp, whither he had retired to the Priory of the Canon- esses Regular of St. Augustine of the valley of St. Mary in Falckenborch, commonly called of the Falcons, a convent of which the Priors of Corsen- donck were Rectors. There he died in 1578, having a short time before his death given the manuscript to Jean Bellere. Many may feel surprised that this treasure was given to a private individual and not to St. Mar- tin’s Priory at Louvain, which already possessed the principal relics of the library of Mount St. Agnes. But it must be remembered that the state of the country was then most insecure : war was raging more furiously than ever, and Latomus probably foresaw that the monasteries in the southern provinces would soon share the fate of those which had already been destroyed in the north. Besides, when Latomus entrusted the manuscript to the custody of Jean Bellere he placed it in good hands, for Bellere was a very learned man, and one of the chief printers of the city of Antwerp. He was, moreover, an accom- plished linguist, and to him is attributed a French translation of the work published in 1565, under the title : “ L’art et maniere de parfaite- ment connoitre Jesus Christ et mespriser toutes les vanites de ce monde autrement dite I’internelle consolation. ” Bellere died at Antwerp in 1595, leaving two sons who were Jesuits, and it was doubtless owing to their influence that five years before his death he gave the precious volume to the House of the Society of Jesus in Antwerp, whence on the suppression of the order it passed into the Burgundian Library at Brussels. What, then, is the high authority vested in the manuscript of 1441 ? It is twofold : the manu- script affords the most decisive proof of Thomas h Kempis’s claim to the authorship, and furnishes the best text of the work. There arose in 1604 a controversy, the object of which was to erase the name of the friar of Mount St. Agnes from the title-page of the little book, and to replace it either by the hame of Jean Charlier de Gerson, the celebrated Chancellor of the University of Paris, or by that of an Italian named Gessen or Gersen, whose very existence is matter of doubt. All the re- sources which learning could command were brought to bear on this question by the re- spective champions : the contest was long and desperate, and fills a noted page in the history of literature. The manuscript of 1441 necessarily played a leading part during this prolonged discussion. None could deny that it was written by the hand of Thomas ; but his antagonists argued that he was but the copyist and not the author, and that he himself claimed no other title, for the words, Finitus et coinpletus per manus Fratris Thoince Kempis, contained no assertion of authorship. His partisans replied, that although the inscription taken by itself might indicate the name t)f the 12 transcriber only, yet when interpreted by the aid of collateral evidence, it afforded a proof of authorship, which the late Monseigneur Malou, Eishop of Bruges, one of Thomas’s most able advocates, has thus well stated;— “It is quite im- possible that so modest and so pious a writer as Thomas a Kempis could have desired to tran- scribe at the head of his works four very remark- able treatises which were not his own. There are extant several copies of the works of this author written by his own hand, but there is not one in which his treatises are mixed in the same volume with the works of other divines. By copy- ing the four books of the Imitation at the head of his works, Thomas a Kempis has declared himself to be their author. In this matter his testimony becomes a proof to which no one can reasonably take exception.” Hitherto the excellence of the text, and the neatness of the handwriting of the modest little volume, have alone challenged admiration : now it reveals unexpected proofs, and may even be said to compel us to hear its voice. ^ A critic of great learning and of rare penetra- tion, Dr. Carl Hirsche, of Hamburg, happened some time ago to be engaged in studying the text, for the purpose of publishing a new and critical edition. While minutely collating the manuscript, he was struck by certain palseogra- phical peculiarities. He discovered signs of the division of chapters, and a perfectly original system of punctuation, the existence of which he afterwards recognised in all the undoubted works of Thomas, whether transcribed by himself or by others, although in none was its application so complete as in those written by his own hand. These marks of punctuation are as follow : — The 13 full stop followed by a small capital, the full stop followed by a large capital, the colon followed by a small letter, the usual sign of interrogation, and lastly, an unusual sign, Ihe clivis or Jiexa. used in the musical notation of the period, f. All these are used in a systematic manner, and Dr. Hirsche soon discovered the rules according to which they are employed. He also observed other peculiarities of which some few authors appear to have had a faint per- ception ; the rhythmical periods, the cadenced sentences, and the numerous rhymes which run through the treatise, and which cannot be ascribed to chance. He also discovered that Thomas made use of the signs of punctuation not only to mark the limits of the sense of his propositions, but also to imitate their rhythm. They serve in his writings the same purpose as do in music the signs which indicate the modulations of the voice ; they mark the pauses which the reader must observe in order that he may recite the sentence in accordance with the intention of the author, and give it that effect, that cadence, that charm which speech requires to make it penetrate into the hearer’s soul. The mystical authors belonging to the school of Johannes Ruysbroek and Gerard Groote often adopted the same means to charm the ears of those to whom they addressed their lessons. But none among them made use of those signs in so charac- teristic a manner as did Thomas a Kempis. With him it was a complete and studied system, which he applied most carefully to the transcription of all his religious writtings. His style of punctuation is quite unique ; it indicates the external struc- ture of the sentence, marks its outline, and esta- blishes the most complete harmony between the 14 sentence and the internal structure of the ideas. If we listen to a Netherlander reading a pas- sage from the “ Imitation,” pronouncing the Latin according to the usage of his country, and follow- ing the rhythm marked by the accentuation, we recognise at once the existence of a decided melody, sought after by the author, and full of charm. This system of rhythmical accentuation might well ere this have been discovered from evidence as old as the work itself, but hitherto unexplained. The Brussels Library possesses a manuscript of the “Imitation,” dating from the fifteenth century (No. 15,138), of which the title is as follows : — Hie est libellus qui vocatur musica eccle- siastica. It contains the three first Books of the “ Imitation,” and ends thus : — Explicit liber in- terne consolationis id est tertius lib^'i M tisice eccle- siastice. These expressions seemed so strange that they have been thought to be an error or a freak of fancy on the part of the scribe. But even more remarkable are the words of Adriaan de But, an old chronicler who lived in the days of Thomas, and who, writing under the year 1480, says : “ Hoc anno frater Thomas de Kempis de monte Sanctae Agnetis, professor ordinis regu- larium canonicorum, multos, scriptis suis divul- gatis, sedificat ; hic vitam sanctae Lidwigis de- scripsit et quoddam volumen metrice super illud : * This rhythmical arrangement is more clearly exhibited in Dr. Hirsche’s edition of the Latin text, which is to be had of the publisher of the present volume. An English rhythmical translation, follow- ing as nearly as possible "the lines of the original text, is also in preparation, and will be issued shortly. 15 Qui seqiiitur me.'' The qualifying term of metrice was until lately an enigma ; but now we see that it applies with perfect truth to the books of the “Imitation.” Dr. Hirsche’s discoveries afford a conclusive means of distinguishing the writings of Thomas from those of all other pretenders to the author- ship of the “Imitation.” The peculiar system of punctuation, the rhyme and the rhythm, which pervade alike the “Imitation” and all the un- doubted works of Thomas, are well-defined cha- racteristics which mark an identity of style which is most remarkable, and which cannot be mis- taken. If to this new evidence we add that derived from historical and palaeographical sources, that deduced from the author’s nationality, so easily detected by the frequent Germanisms which occur, that gathered from his condition as a priest and friar, and that drawn from the parallelism of doctrine and ideas which occur in all Thomas’s works, we have a chain the links of which are not easily to be broken. The last embers of the controversy are dying out, yet some still try to rekindle the fire. But their attempts are powerless. Truth is a sun- beam and not a firebrand, and never did a block of marble or a bronze colossus constitute an argu- ment. Holland erected two statues to the memory of Laurens Koster, the supposed inventor of the art of printing ; but recent researches have proved that this fictitious personage had no right to such an honour. Such must also be the fate of the pretenders who have been set up in opposition to the friar of Mount St. Agnes. The facsimile has been executed with all the accuracy which photography can ensure, and i6 has been printed upon paper made in Holland to imitate as closely as possible that upon which the original manuscript is written. The pattern of the binding has been taken from that of a contemporary Dutch Horae. The gratitude of all who are interested in the controversy respecting the authorship of the “ Imitation ” is due to M. Louis Alvin, the chief librarian of the Royal Library at Brussels, for his kind permission to reproduce the celebrated manuscript, the proofs contained in which they will now be able to examine for themselves : while those who find in the work nourishment for the soul will possess the author’s thoughts clad in their outward form by the author’s own hand, and will be imbued with a yet deeper veneration for the humble little book. C. RUELENS. J / .fw^wS wJt tnm. 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