Mažvydo „Gesmes Chriksczoniskas“ ir „Geistliche Lieder“

LIETUVIŲ KALBOTYROS KLAUSIMAI XXXIX (1998) Guido MICHELINI University of Parma, Italy MAŽVYDAS’S GESMES CHRIKSCZONISKAS1 AND GEISTLICHE LIEDER2 About 40% of the texts presented in Mažvydas’s hymnal Gesmes Chriksczoniskas, published in 1566–1570, have counterparts in the German hymnal Geistliche Lieder. This is a well-known fact, as can be seen from the Bibliography of the Lithuanian SSR3, J. Lebedys’s Old Lithuanian Literature4, and Z. Zinkevičius’s History of the Lithuanian Language5. However, little more specific information about these counterparts is to be found, except perhaps in D. Pociūtė’s monograph Sixteenth- and Seventeenth-Century Protestant Church Hymns6; even this, however, cannot be considered a fully comprehensive and definitive study, since it lacks an overview of the psalm adaptations, and the relationship between the Lithuanian texts and their German sources is discussed only rather approximately. Therefore, an attempt will be made here to examine this question from a wider range of perspectives. Twenty hymns in Mažvydas’s collection are translations of Luther’s texts included in the book Geistliche Lieder. We shall now review them, briefly presenting the German sources used by the translator and discussing the main features of their relationships. We will distinguish two groups: the first comprises those hymns (13 in all) whose every stanza has a counterpart in the German source, while the second (7 hymns) comprises those to which one or more stanzas have been added. A) Cases in which all the stanzas of a work have counterparts in the German source. Jesus Christus sunus Diewa: Smerti pergaleia: Keles isch grabba (pp. 268–270). The title in Mažvydas’s hymnal is: Giesme dienoje Prikelima Pona […] Jesus Christus unser Heiland/ der den Todt/ & c. The opening stanza of Luther’s text7: 1 The texts from Mažvydas’s hymnal (Gesmes Chriksczoniskas) are cited in this article according to Gerulis’s edition, Mažvydas. The Earliest Monuments of the Lithuanian Language up to 1570, Kaunas, 1922. 2 We quote from the 1545 edition, using the facsimile text Das Babstsche Gesangbuch von 1545, Kassel, 1966. 3 Vilnius, 1969, I, 243. 4 Vilnius, 1977, 49. 5 Vilnius, 1988, III, 46–47. 6 Vilnius, 1995, 26. 7 Geistliche Lieder, 47–48. The text is an original composition (cf. E. E. Koch, Geschichte des Kirchenlieds und Kirchengesangs der christlichen, insbesondere der deutschen evangelischen Kirche, Stuttgart, 1866–76 (3rd ed.), I, 242). 3 Jhesus Christus unser Heiland/ der den tod uberwand/ Jst aufferstanden/ die sund hat er gefangen/ Kyrieeleison (> Jesus Christus sunus Diewa: Smerti pergȧleia: Keles isch grabba: Mus ghreschnus atwadawa: Kyrieeleison) The Lithuanian text is not an entirely literal translation of Luther’s work: it diverges somewhat from it in the quoted opening stanza and elsewhere, for example in the second stanza (Jesus be ghreka ußgime: Diewa narsa nesche: Mus suderina: Malonen sugrabina: Kyrieeleison <Der on sunden war geborn/ trug für uns Gotts zorn/ Hat uns versönet/ das uns Gott sein huld gönnet/ Kyrieeleison). The tenor melody essentially coincides with the melody of Geistliche Lieder, only a fifth lower, and the last five notes differ (a “lighter” sequence was chosen). Be gracious to us, God,and bless us yourself (pp. 346–348). The title in Mažvydas’s hymnal: PSALMAS LXVI DEUS misereatur nostri. Es wolt uns Gott gnedig sein. The opening stanza of Luther’s text8: Es wolt uns Gott gnedig sein/ unn seinen segen geben/ Sein antlitz uns mit hellem schein/ erleucht zum ewigen leben/ Das wir erkennen seine werck/ und was jm liebt auff erden/ Unn Jhesus Christus heil und sterck/ bekand den heiden werden/ und sie zu Gott bekeren (> Be gracious to us, God, and bless us yourself: Shine your face upon us: Lead us to eternal life: So that we may know his works and what is dear to him on earth; and Jesus Christus, savior and strength, shall be made known to the heathens and turn them to God). The Lithuanian text is not an entirely literal translation of Luther’s work: it diverges somewhat from it in the quoted opening stanza and elsewhere, for example in the final stanza (Let the people praise you and glorify you, God, in good works. The world brings forth its best fruit; the holy word flourishes well. Bless us, God the Father, the Son, and the Holy Spirit, whom all the world glorifies and greatly fears; now let us say “Amen” from the heart < Es dancke Gott und lobe dich/das volck in guten thaten/ Das land bringt frucht und bessert sich/ dein wort ist wol geraten/ Uns segen Vater und der Son/ uns segen Gott der heilig Geist/ dem alle welt die ehre thul/ für jm sich fürchte allermeist/ nu sprecht von hertzen Amen). The melody coincides with Geistliche Lieder. Our God is a mighty defense, and a strong deliverance (pp. 394–396). The title in Mažvydas’s hymnal: Psalmas XLVI. Deus noster refugium & virtus, etc. Ein feste Burg ist unser Gott. The opening stanza of Luther’s text9: Ein feste burg ist unser Gott/ ein gute wehr und waffen/ Er hilfft uns frey aus aller not/ die uns itzt hat betroffen/ Der alt böse feind/ mit ernst ers itzt meint/ gros macht unn viel list/ sein grausam rüstung ist/ auff erd ist nicht seins gleichen (> Our God is a mighty defense, and a strong deliverance; he helps us freely in all distress that has now befallen us; the old evil enemy now means it in earnest; great is his power and much his cunning; his dreadful armor is such as has no equal on earth ( 8Geistliche Lieder, 115–17. The text is an adaptation of the Latin psalm Deus misereatur nostri (cf. Koch, op. cit., I, 241; VIII, 113–14). 9Geistliche Lieder, 112–14. The text is an adaptation of the Latin psalm Deus noster refugium (cf. Koch, op. cit., I, 241; VIII, 119–31). 4 has fallen upon us. The old evil enemy thirsts for our downfall; with great cunning he strikes swiftly; on earth there is none like him). The Lithuanian text is not an entirely literal translation of Luther’s work: it diverges somewhat from it in the quoted opening stanza and elsewhere, for example in the final stanza (The word remains mighty, and the world is without fear; he is with us on the field, fighting with the Holy Spirit; they may take body, goods, children, and wife, leave them be; they gain nothing from it; the kingdom will remain ours < Das wort sie söllen lassen stan/ und kein danck dazu haben/ Er ist bey uns wol auff dem plan/ mit seinem Geist und gaben/ Nemen sie den leib/ Gut/ ehr/ kind und weib/ las faren dahin/ sie habens kein gewin/ das Reich mus uns doch bleiben). The melody coincides with that in Geistliche Lieder, except that at the twenty-second note after the end of the refrain the interval of a second is changed to a third (a proofreading error?). Let us praise the tomb of JESU Christ: the son of the pure Virgin Mary: (pp. 177–180). The title in Mažvydas’s hymnal: Hymnus A solis ortu cardine. Christum wir sollen loben schon. The opening stanza of Luther’s text10: Christum wir sollen loben schon/ der reine magd Marien Son/ So weit die liebe sonne leucht/ und an aller welt ende reicht (> Let us praise the tomb of JESU Christ: the son of the pure Virgin Mary: as far as the dear sun shines and reaches to all the ends of this world). The Lithuanian text is essentially a literal translation of Luther’s work: it sometimes departs from it slightly, for example in the third stanza from the end (He lay in poverty on straw; he did not disdain the manger; the Virgin nursed him with her milk, he who does not let the birds go hungry < Er lag im hew mit armut gros/ die Krippen hart in nicht verdros/ Es ward ein kleine milch sein speis/ der nie kein vög lin hungern lies). The melody has many similarities to Geistliche Lieder. It diverges in many places, but almost always only slightly (sometimes one note corresponds to notes in Geistliche Lieder that are two seconds apart, and sometimes the reverse is true); larger differences have been observed at the thirty-third and thirty-fourth notes. Blessed be Jesus Christ, who took on human nature (pp. 180–183). Title in Mažvydas’s hymnbook: The praise of the Lord Jesus for his holy birth […] Blessed be thou, Jesus Christ. The opening stanza of Luther’s text11: Blessed be thou, Jesus Christ, that thou wast born a human being, of a virgin maid, this is true; the host of angels rejoices at it; Kyriole is (> Blessed be Jesus Christ, who took on human nature: of the virgin pure Mary, the host of angels rejoices, Kyrie eleison). The Lithuanian text is essentially a literal translation of Luther’s work: it sometimes departs from it slightly, for example in the third stanza from the end (God is the true Son of God/ He was born on earth/ He leads us out of great misery and gives 10Geistliche Lieder, pp. 19–23. The text is a free translation of the well-known hymn A solis ortus cardine Ad usque terrae limitem (cf. Koch, op. cit., I, 240). 11Geistliche Lieder, 23–25. The text is an adaptation of an old German translation of the Latin original (cf. Koch, op. cit., I, 240–41; VIII, 18–21). 5 this place for us in heaven/ Kyrieeleison < Der Son des Vaters, Gott von art/ ein gast in der werlet ward/ Und fürt uns aus dem jamertal/ er macht uns erben in seim saal/ Kyriòleis). The melody has many similarities with Geistliche Lieder; since the fourth interval after the fifth note and the fifth interval after the twenty-third are omitted, it may be assumed that this is a simplified version of the melody of Geistliche Lieder. Diewe Tiewe saugok mus nedūk mumus praβuti (pp. 237–238). Title in Mažvydas’s hymnal: Giesmie graži ape ischgielbeghima nug wissa pikta […] Gott der Vatter wohn uns bey &c. The opening sequence of Luther’s text12: Gott der Vater won uns bey/ und las uns nicht verderben/ Mach uns aller sunden frey/ und helff uns selig sterben (>Diewe Tiewe saugok mus nedūk mumus praβuti Dūk mums be ghrieku buti/ir dūk müms linx̄smai nūmirti). The Lithuanian text is an almost literal translation of Luther’s work; it departs from it especially in the sequence Tau mes wissi mus dūme su wissais teiseis Chriksčzoneis isch wenkti βabagu welna/Per apginima Diewa Amen (<dir uns lassen gantz unn gar/ mit allen rechten Christen/ entfliehen Teuffels listen/ mit waffen Gotts uns fristen/ Amen). No melody is provided, only the direction ant to balsą Kaip giest wokischkai. Deschimts schwentu priesakimu/kurius dawe Pons Diews musu (pp. 387–390). Title in Mažvydas’s hymnal: DECEM PRAECEPTA Dis sind die Heiligen Zehn Gebot. The opening stanza of Luther’s text13: Dis sind die heilgen zehen Gebot/ die uns gab unser Herre Gott/ durch Mosen seinen diener trew/ hoch auff dem berg Sinai/ Kyriòleis (>Deschimts schwentu priesakimu/kurius dawe Pons Diews musu/ per Mayseschu tarna werna/ant auksčta kalna Sinai/Kyrieleison). The Lithuanian text is not a completely literal translation of Luther’s work: it departs from it especially in the seventh stanza (Wenczawone turiek czista/moters negeiski artima/ laikik tu wieβliba kuna/patogu beigi mierna/Kyrieleison < Dein Ehe soltu bewaren rein/das auch dein hertz kein andre mein/ Unn halten keusch das leben dein/ mit zucht und messigkeit fein/ Kyrioleïs). No melody is provided. Jsch dangaus ateimi aukschta/Neschu iums nu daug gera (pp. 183–187). Title in Mažvydas’s hymnal: Waikèlu Gesme ape berneli JESU […] Von Himel hoch da kom ich her. The opening stanza of Luther’s text14: Vom Himel hoch da kom ich her/ ich bring euch gute newe mehr/ der guten mehr bring ich so vil/ davon ich singen und sagen wil (>Jsch dangaus ateimi aukschta/Neschu iums nu daug gera/Taip daug gera asch neschu/Ape tatai asch gedosiu). The Lithuanian 12 Geistliche Lieder, 62–64. The text is an adaptation of an old German hymn (cf. Koch, cited work, I, 241; VIII, 100–104). 13 Geistliche Lieder, 67–70. The text is a free adaptation based on the Bible (cf. Koch, cited work, I, 241; VIII, 420–23. 14 Geistliche Lieder, 26–30. The text is a free adaptation based on the Bible (cf. Koch, cited work, I, 241). 6 The text is not a completely literal translation of Luther’s work: it departs from it especially in the penultimate stanza (Todel asch nu linxmas busiu/Walnai pleschedams gedosui/Jr rodas subdams tawe/Gedosiu saldze gesme < Dawon ich allzeit frölich sey/ zu springen, singen immer frey/ das rechte Sussaninne schon/ mit hertzen lust den süssen thon.). The melody differs from the edition of Geistliche Lieder that we used, but is quite similar to the melody in the 1531 edition. Pagarbints buki ir paczestawotas: Kurs nu est mus papeneies (pp. 377–379). Title in Mažvydas’s hymnal: Malonus dekawoghimas Ponui Diewui [...] ischwersta isch D. Mart. Luth. [...] Gott sey gelobet und gebenedeiet/& c. The opening stanza of Luther’s text15: Gott sey gelobet und gebenedeiet/ der uns selber hat gespeiset/ Mit seinem fleische und mit seinem blute/ das gib uns Herr Gott zu gute/ Kyrieleison (> Pagarbints buki ir paczestawotas: Kurs nu est mus papeneies: Su sawa karuu sawa brangu krauiu: Dük Diewe ant ischganima: Kyrieeleison). The Lithuanian text is not a completely literal translation of Luther’s work; cf. the stanza Pone per meile tawa dide: Schwentasis kraus tawa mus ischgane: Kaltes užmokeia: Bei Diews mums sussimila/Kyrieleison (< Herr dein lieb so gros dich zwungen hat/ das dein blut an uns gros wunder that/ Und bezalt unser schuld/ das uns Gott ist worden hold/ Kyrieleison). The melody agrees with Geistliche Lieder, except that after the sixtieth note the second interval is changed to a fourth (a proofreading error?). Tewe musu danguiessis: Tu mums wissiems/ liepes essi (pp. 381–385). Title in Mažvydas’s hymnal: Pateris giesmen sugulditas nūg Dactara Martina Luthera. The opening stanza of Luther’s text16: Vater unser im himelreich/ der du uns alle heissest gleich/ brüder sein und dich ruffen an/und wilt das beten von uns han/ Gib das nicht bet allein der mund/ hilff das es geh von hertzen grund (>Tewe musu danguiessis: Tu mums wissiems/ liepes essi: Broleis buti tawesp schaukti/Tawe wiena liepei melsti: Dük ieng musu kopßna malda: Eis nūg schirdes musu dugna). The Lithuanian text is not translated completely literally17: it departs from Luther especially in the final stanza (Amen taip stosis ischtiesos: Stiprink wiera musu duschas: Jeib ant to neabejiosim: Ko prascham mes tai wijs gausim: Ant bada tawa ir warda: Amen kalbam stipra wiera < Amen/ das ist/ es werde war/ sterck unsern glauben imerdar/ Auff das wir ja nicht zweifeln dran/ das wir hiemit gebeten han/ Auff dein wort in dem namen dein/ so sprechen wir das amen fein). The melody agrees with Geistliche Lieder. 15 Geistliche Lieder, 100–102. The text is an adaptation of an old German hymn (cf. Koch, cited work, I, 241). 16 Geistliche Lieder, 76–81. The text is a free adaptation based on the Bible (cf. Koch, cited work, I, 241; VIII, 320–23. 17 The corresponding text in the Catechism (pp. 48–53) is based not on Luther’s work but on Seklucjan’s Polish translation, as Stang had already noted, Die Sprache des litauischen Katechismus von Mažvydas, Oslo, 1929, 32–35. 7 In the midst of life, death seizes us (pp. 563–566). Title in Mažvydas’s hymnbook: MEDIA VITA In the midst of life we are/ & c. The opening stanza of Luther’s text18: In the midst of life we are, encompassed by death; whom do we seek to help us, that we may obtain grace? Thou alone art that, Lord. Our misdeeds grieve us, which have angered thee, Lord. Holy Lord God, holy mighty God, holy merciful Savior, thou eternal God, let us not sink in the anguish of bitter death; Kyrieleison. (>In the midst of life, death seizes us: Whom shall we seek for help, that we may receive grace? From thee alone, Jesus, we seek it; we grieve for our sins, which have angered thee. Holy Lord God, holy mighty God, holy merciful Savior, thou eternal God, do not let us sink in the distress of bitter death; Kyrieleison). The Lithuanian text is a partly free translation of Luther’s work: it departs from it in the quoted first stanza and elsewhere, for example in the opening part of the second stanza (In the midst of death, it now assails us/with hell’s hot fire: Who will free us from the torments of hell/and make our souls pure?/Thou alone, Jesus, wilt save us/for thy mercy grieves for our hardships and sufferings < In the midst of death, hell’s jaws assail us. Who will free and deliver us from such distress? Thou alone, Lord; thy mercy grieves over our sin and great suffering). The melody essentially agrees with Spiritual Songs, with slight differences in only three places: a sixth note is added (repeating the fifth); the fourteenth corresponds to two notes in Spiritual Songs separated by a third; the three notes before the second from the end correspond to two notes in Spiritual Songs (allowing one third interval to be replaced by two second intervals). Perhaps this is a simplified version of the melody in Spiritual Songs? Wicked enemy Herod, why do you fear Jesus Christ? (pp. 222–224). Title in Mažvydas’s hymnbook: Hostis Herodes Impie. Was fürchst u feindt Herodes. The opening stanza of Luther’s text19: Was fürchstu feind Herodes seer/ das uns geborn kompt Christ der Herr? Er sucht kein sterblich königreich/ der zu uns bringt sein himelreich (>Wicked enemy Herod, why do you fear Jesus Christ? He does not seek an earthly kingdom, but brings us the kingdom of heaven). The Lithuanian text is in part a free translation of Luther’s work, especially in the penultimate stanza (When six stone jars were filled with water, a new miracle took place there: from water, red wine became < Ein wunderwerck da new geschach/ sechs steinern krüge man da sach/ vol wassers das verlor sein art/ roter wein durch sein wort draus ward). It is possible that the Lithuanian translation 18Geistliche Lieder, pp. 139–41. The text is an adaptation of an old German translation from the Latin original (cf. Koch, cited work, I, 241; VIII, 573–79). 19Geistliche Lieder, 34–35. The text is a free adaptation of the Latin hymn Hostis Herodes impie, Christum venire quid times (cf. Koch, cited work, I, 241). 8 It also draws on other sources. The melody differs from that in Geistliche Lieder, but matches that of the Latin hymn A solisortus cardine. Grant us grace for peace, in these our times, O God (pp. 390–392). Title in Mažvydas’s hymnbook: DA PACEM Lietuwischkai. The Lithuanian text combines two different works by Luther. The first stanza agrees with Da pacem Domine/Deutsch20 (Grant us peace graciously, Lord God, in our times; for there is indeed no one else who can fight for us but you alone, our God >Grant us grace for peace, in these our times, O God; for there is no one on earth who can fight for us, but you alone, our God). The following stanzas draw on the hymn Erhalt uns Herr bey deinem wort21 (>Preserve us, Lord, by your word). The Lithuanian text is not a completely literal translation of the German sources: it departs from them especially in the final stanza (Holy Spirit, our comforter, grant your people concord on earth; support us in times of hardship; lead us to heaven after this death < Gott heilger Geist du tröster werd/ gib deim volck einerley sinn auff erd/Steh bey uns in der letsten not/gleit uns ins leben aus dem tod). The melody of the first stanza has many similarities to that of the Geistliche Lieder hymn Da pacem Domine; a fifth lower, it diverges at the sixteenth note (the fifteenth is repeated), and also from the twenty-fifth to the twenty-ninth (the fifth interval is omitted, thereby making it easier to sing). The melody of the other stanzas is essentially the same as that of the Geistliche Lieder hymn Erhalt uns Herr bey deinem wort, except that two notes (the sixth and twelfth) have been inserted. B) Cases in which one or more stanzas have been added. I depart with peace and joy: from this world in God’s love (pp. 224–227). Title in Mažvydas’s hymnbook: Laupsinimas Simeona schwentoia Senia [...] Luce. ² Mit fried und freud ich far dahin Nunc dimittis & c. The opening stanza of Luther’s text22: Mit fried und freud ich far dahin/ in Gottes wille/ Getrost ist mir mein hertz und sinn/ sanfft und stille/ Wie Gott mir verheissen hat/ der tod ist mein schlaff worden (>I depart with peace and joy: from this world in God’s love; my heart and mind are now joyful and at rest, as God promised me; death has become my gentle sleep). The final stanza of the Lithuanian translation has no counterpart in Geistliche Lieder; it differs markedly from the final stanza of the version given in Spangenberg’s hymnbook (Glory be to God the Father and the Son, and to the Holy Spirit, who grants us his grace in this wicked world. As Geistliche Lieder, 129. The stanza is a translation of the Gregorian antiphon Da pacem, Domine, in diebus nostris … Alleluia. Quia non est alius qui pugnet pro nobis, nisi tu Deus noster … Alleluia (cf. Koch, cited work, VIII, 159–161). Geistliche Lieder, 127–28. The text is an original work (cf. Koch, cited work, I, 242). Geistliche Lieder, 35–38. The text is a free adaptation based on the Bible (cf. Koch, cited work, I, 241; VIII, 579–85). 9 it was and is now, and shall remain forever. AMEN). The Lithuanian text is not a wholly literal translation of Luther; compare the third stanza (You showed us your love so greatly/ You loved us dearly/ You commanded all the world in heaven/ To call kindly/ Through your precious and holy Word/ Revealed to this world <You have set it before everyone with great grace/ inviting the whole world to his kingdom/ through your precious, saving word, proclaimed everywhere). The melody essentially matches Geistliche Lieder. It differs slightly in two places: the ninth note corresponds to two notes a second apart, while after the thirty-fifth note the note repeating it is missing. O God of heaven, look down/ And have mercy on this plight (pp. 348–351). Title in Mažvydas’s hymnal: PSALMAS II. Salvum me fac. Ach Gott von Himel sich darein. The opening stanza of Luther’s text23: Ah God in heaven, look down/ and let this move you to pity/ How few are your saints/ we poor are abandoned/ Your word is no longer held true/ faith too has quite vanished/ among all the children of men (>O God of heaven, look down/ And have mercy on this plight/ How few are your holy ones/ We poor are abandoned. Your word is not upheld/ faith has already quite vanished/ Among the children of men). The final stanza of the Lithuanian translation has no counterpart in Geistliche Lieder; it differs considerably from the final stanza of the version given in other hymnals (Glory be to God the Father forever/ also to Christ, the Only-Begotten/ and to the Comforter, the Holy Spirit/ most high in the heavenly choirs/ As it was in the beginning and is now/ and shall remain forever/ world without end. Amen). The Lithuanian text is not a wholly literal translation of Luther; it departs from it, for example, in the second stanza (They teach false doctrines/ from their own inventions: Their hearts are not united/ grounded in God’s word/ One chooses this, another that/ they divide us without measure/ and make a fine show outwardly <They teach nothing but false doctrine, what their own wit devises/ their hearts are not of one mind/ founded on God’s word/ One chooses this, another that/ they divide us without measure/ and put on a fine show outwardly). The melody matches Geistliche Lieder. Christ came to the Jordan/ As his Father willed (pp. 231–236). Title in Mažvydas’s hymnal: Spiritual hymn […] composed by D. Mart. Luther, Christ unser Herr zum Jordan kam. The opening stanza of Luther’s text24: Christ our Lord came to the Jordan/ according to his Father’s will/ and received baptism from St. John/ to fulfill his work and office/ There he wished to establish a bath for us/ to wash us from sins/ and also to drown bitter death/ through his own blood and wounds/ it brought a new life (>Christ came to the Jordan/ As his Father willed/ Received 23 Geistliche Lieder, 106–109. The text is an adaptation of the Latin psalm Salvum me fac, Domine (cf. Koch, op. cit., I, 241; VIII, 521–26). 24 Geistliche Lieder, 85–89. The text is a free adaptation based on the Bible (cf. Koch, op. cit., I, 241; VIII, 142–46). 10 baptized by John/ fulfilling his office/ So that he might strengthen our baptism/ For the cleansing of sins/ And drowning death/ With his blood and wounds/ Giving us new life). A final stanza has been added in the Lithuanian translation: Let us give glory to God the Father and praise Jesus Christ, and laud the Holy Spirit. Let us give thanks to the one God, who instituted baptism for the confession of sins and eternal salvation, promised through Christ. To him be eternal glory. Amen. The Lithuanian text, which reproduces without alteration the hymn printed at the end of Forma Chrīkstima, is almost a literal translation of Luther, though it sometimes departs slightly, for example, in the sixth stanza (For those who do not believe this grace/ sin will live forever/ they will find eternal death/ must burn in hellfire/ His holiness will not save him/ nor will all his works help him/ Original sin makes all deeds sinful. A man cannot save himself through his works or life < Whoever does not believe this great grace/ remains in his sins/ and is condemned to eternal death/ deep in the depths of hell/ His own holiness avails nothing/ all his works are lost/ original sin renders them nothing/ in it he was born/ he cannot help himself). The melody matches Geistliche Lieder. Christ endured death’s bonds: he was given up for our sins (p. 263–267). Title in Mažvydas’s hymnal: ABOUT CHRIST RISEN FROM THE DEAD […] Christ lag in Todes banden & c. The opening stanza of Luther’s text25: Christ lay in death’s bonds/ given for our sins/ He has risen again/ and brought us life/ Therefore we should be joyful/ praise God and be thankful/ and sing Halleluia/ Halleluia (>Christ endured death’s bonds: he was given up for our sins: Christ rose from death: He opened heaven’s gates for us: So that we might be joyful: give glory to God: and sing Halleluia: Halleluia). A final stanza has been added in the Lithuanian translation: O God, to you be glory: For Christ redeemed us: Praise to you with the Holy Spirit: For Christ rose from death: Wipe away our sins: Grant us your righteousness: Give us heaven’s joy: Halleluia. The Lithuanian text is not a wholly literal translation of Luther’s work; it departs from it especially in the third stanza (Lord Jesus, Son of God: came in our place: freed us from sins: thus defeated death: with all its power: only its sting remained: for it had been made bitter: Halleluia) <Jesus Christ, God’s Son/ came in our place/ and put away sin/ thereby taking away death/ all its right and power/ nothing remains but death’s form/ its sting he has lost/ Halleluia). The melody matches Geistliche Lieder. From the depths I cry to you: Lord, hear my voice (p. 340–343). Title in Mažvydas’s hymnal: PSALM CXXX De profundis clamavi ad te 25 Geistliche Lieder, 44–47. The text is an adaptation of the old German hymn Christ erstanden Von der marter aller (cf. Koch, op. cit., I, 241). 11 Domine. Aus tieffer noth schrey ich zu dir/ & c. The opening stanza of Luther’s text26: Aus tieffer not schrey ich zu dir/ Herr Gott erhör mein ruffen/ Dein gnedig ohren ker zu mir/und meiner bit sie öffnen/ Denn so du wilt das sehen an/ was sund und unrecht ist gethan/ wer kann Herr für dir bleiben? (>I cry to you from the depths: Hear my voice, Lord; incline your gracious ears toward me and hear my prayer. For if you wish to take account of what sin and wrong have been done, who can stand before you, Lord?). The Lithuanian translation adds a final stanza: Glory be to God the Father: And to his Son Jesus Christ. Glory be also to the Holy Spirit: The comforter of our souls: Who saves us from the depths of sin: In his own mercy: Him we shall praise forever. The Lithuanian text is not a fully literal translation of Luther’s work; cf. the differences in the fourth stanza (If the night should last: Or until the coming of morning: Yet the heart trusts firmly in God: And does not tire of hoping: Thus Israel, in good faith, whom the Holy Spirit guides: Will always await its God < And ob es werd bis in die nacht/ und wider an den morgen/ Doch sol mein hertz an Gottes macht/ verzweiu len nicht/ noch sorgen/ So thu Israel rechter art/ der aus dem geist erzeuget ward/ und seines Gotts erh arre). The melody coincides with that of Geistliche Lieder. Now the angel host from heaven comes to the shepherds, bright (pp. 187–189). The title in Mažvydas’s hymnal: Gesme Chrjkščzoniſchka […] Von Himel kam der engel schar.The opening stanza of Luther’s text27: Von Himel kam der engel schar/ erschien den hirten offenbar/ Sie sagten jn/ Ein Kindelein zart/ das ligt dort in der krippen hart (>Now the angel host from heaven comes to the shepherds, bright/They told them of a lovely little child/Lying there in a manger). The Lithuanian translation adds a final stanza: Hallelujah, let us sing/Let us give glory to the one God/Who gave us JESUS CHRIST/To him be everlasting praise. Amen. The Lithuanian text is not translated entirely literally from Luther; cf. the differences in the fifth stanza (He does not wish or intend to abandon you/You need only believe in him/Many may fight against you/But they cannot overcome you < Er wil und kan euch lassen nicht/ setzt jr auf in ewr zuuersicht/ Es mögen euch viel fechten an/ dem sey trotz ders nicht lassen kan).No melody is given, but other hymns are cited. Blessed is he who stands in fear of God (pp. 385–387). The title in Mažvydas’s hymnal: PSALMAS CXXVIII Beati qui timent Dominum Wol dem der in Gottes furchte steht.The opening stanza of Luther’s text28: Wol dem der in Gottes furcht steht/ und auch auff seinem wege geht/ Dein eigen hand dich nehren sol/ so lebstu recht und geht dir wol (>Blessed is he who stands in fear of God: and who walks in his ways. Your own hands shall sustain you: then you will live rightly and prosper 26Geistliche Lieder, 121–23. The text is an adaptation of the Latin psalm De profundis clamavi ad te (cf. Koch, cited work, I, 241; VIII, 211–16). 27Geistliche Lieder, 30–31. The text is an original work (cf. Koch, cited work, I, 242). 28Geistliche Lieder, 119–20. The text is an adaptation of the Latin psalm Beati omnes qui timent dominum (cf. Koch, cited work, I, 241). 12 God’s way: Your hand feeds you: Thus you will prosper and fare well). The Lithuanian translation adds the two final stanzas: Soon, Lord, we shall hasten to you: Soon you will grant your love: Strengthen and bless your hand: The sacred crown of victory. Glory be to you, Lord of heaven: For your precious blessing: Faithfully praising him/Amen, let us all say. The Lithuanian text is not translated entirely literally from Luther: it deviates from him particularly in the second stanza (Your wife in your house/Will be fruitful like a honeycomb. And your children at your table: Like olive saplings <Dein weib wird in dein hause sein/ wie ein reben vol drauben fein/ Und dein kinder umb deinen tisch/ wie ölpf l anzen gesund und frisch). No melody is given. The differences between four of Mažvydas’s hymnal works (reprinted from the Catechism) and the text by Luther presented in Geistliche Lieder are explained by the fact that the translator relied on Polish sources for the Lithuanian translation. These are the hymns We believe in one God, Come to us, Holy Spirit, The supplications of the Holy Spirit, and Jesus Christ, our Redeemer. We believe in one God, Creator of the whole world (pp. 365–368)29. The title in Mažvydas’s hymnal: Patrem Lituwischkai Wir gleuben all an einen Gott. The principal source for the Lithuanian translation is Seklucjan’s text My wierz ymy w jednego Boga, stworzy ciela wszego świata30. The opening stanza of Luther’s text31: Wir gleuben all an einen Gott/Schöpffer himels unn der erden/ der sich zum vater geben hat/ das wir seine kinder werden/ Er wil uns allzeit ernehren/ leib und seel auch wol bewaren/ allem unfal wil er wehren/ kein leid sol uns widerfaren/ er sorget für uns/ hut und wacht/ es stet alles in seiner macht (≈ We believe in one God/Creator of the whole world/Who made himself our Father/And adopted us as his children/He will always nourish us/And protect body and soul as well/He will ward off every misfortune/No sorrow shall befall us/He cares for us, guards and watches/Everything stands under his power). The melody essentially coincides with that of Geistliche Lieder. Holy Spirit, come to us/Visit our souls (pp. 312–314)32. The title in Mažvydas’s hymnal: Hymnus Veni creator spiritus. Kom Gott Schöpffer Heiliger Geist. The principal source for the Lithuanian translation is Seklucjan’s text Święty Duchu zawitaj k nam, Serca nasze nawiedzi sam, Twą łaską je racz napełnić Któreś sam raczył stworzyć33. The opening stan- 29 The Catechism text is printed on pp. 68–71. 30 Cf. Stang, cited work, 38–39. 31Geistliche Lieder, 72–76. The text is an adaptation of a Latin hymn (cf. Koch, cited work, I, 240). 32 The Catechism text is printed on pp. 46–48. 33 Cf. Stang, cited work, 31. P. Dini also studied this hymn in the article “On the Phenomenology of Mažvydas’s Sources and Translations II” (Kalbotyra 40 (1), pp. 11–16). However, Dini mistakenly believes that the Lithuanian text was first published in the hymnal and does not take Stang’s work into account 13 fa34: Kom Gott schöpffer heiliger Geist/ besuch das hertz der menschen dein/ Mit gnaden sie füll wie du weist/ das dein geschöpff vorhin sein (≈ Schwenta Dwasse mūsump ateik/Duschas musu nu atlankik/Malone tawa papildik/Mus ghreschnus tu ischgidik). The melody corresponds only approximately to Geistliche Lieder; essentially, it coincides with the Enchiridion published in Erfurt in 152435, except that a ninth note is added and the second interval after the penultimate note goes downward rather than upward. Papraschaim schwentases Dwases/ Jeib butumbim tikras wieras (pp. 362–365)36. The title in Mažvydas’s hymnbook: Poprośmy świętego Ducha. Nu bitten wir den Heiligen Geist. The main source for the Lithuanian translation is Seklucjan’s text Poprośmy świętego Duchi, byśmy byli prawej wiary, jakoż to słusza, Aby był Pan Bóg37. The opening stanza of Luther’s text38: Nu bitten wir den heiligen Geist/ Umb den rechten glauben allermeist/ Das er uns behüte an unserm endel/ wenn wir heim farn aus disem elende/ Kyriole is. (≈ Papraschaim schwentases Dwases Jeib butumbim tikras wieras kaip ant ta uß gul/Jeib butu Pans Diews prieg ta czesa/ Kada skirsis nūg kuna Duscha taip diewe mums dūk). The melody corresponds approximately to Geistliche Lieder up to the sixteenth note, after which it differs completely; it is more similar to the version given by Seklucjan. Jhesus Christus ischgelbetois musu: Kursai nū malde Diewa Tewa narsų (pp. 372–375)39. The title in Mažvydas’s hymnbook: Graßi ir nobabna giesme S. Jona Hussa [...] pataisita nūg D. Martina Luthera. The translator into Lithuanian used Seklucjan’s text Jezus Chrystus nasze zbawienie Tenci nam uczyniū z Bogiem zjednanie40. The opening stanza of Luther’s text41: Jhesus Christus unser Heiland/ der von uns den Gottes zorn wand/ Durch das bitter leiden sein/ halff er uns aus der hellen pein (≈ Jhesus Christus ischgelbetois musu:Kursai nū malde Diewa Tewa narsu: Per sawa kartu kentegima: Nūg ambinas mukas mus ischgelbeia). The melody differs from Geistliche Lieder because its source is Seklucjan’s hymnbook. Two translations in Mažvydas’s hymnbook (one reprinted from an earlier publication by Mažvydas) rely more heavily on Latin originals (or their Polish translations). … presenting the analysis (although the article cites Stang’s work) as a novelty what the Norwegian linguist had already observed sixty years earlier. Geistliche Lieder, 53–55. The text is an adaptation of the Latin hymn Veni creator spiritus, mentis tuorum visita (cf. Koch, cited work, I, 240). Plg. Wackernagel Ph., Martin Luther und seine Geistliche Lieder, Stuttgart 1848, 181. The catechism text is printed on pages 43–45. Cf. Stang, cited work, 30. Geistliche Lieder, 58–59. The text is an adaptation of an old German hymn (cf. Koch, cited work, I, 241). The catechism text is printed on pages 75–77. Cf. Stang, cited work, 40–42. Geistliche Lieder, 97–100. The text is an adaptation of a hymn by Jan Hus. 14 (translations) than the texts by Luther published in Geistliche Lieder. These are the hymns Ateik atpirktoyau ßmoniu and Tawe Diewa garbinam42. Ateik atpirktoyau ßmoniu. Porodik pannos czistos waisu (pp. 152–154). The title in Mažvydas’s hymnal is: Himnus Sancti Ambrosij Veni redemptor gentium. & c. Nu kum der Heiden heil̄and. The opening stanza of Luther’s text43: Nu komm, der heiden Heiland/ der Jungfrawen kind erkand/ Das sich wunder alle welt/ Gott solch geburt jm bestel̄t (≈ Ateik atpirktoyau ßmoniu. Porodik pannos czistos waisu: Jęng stebetu wissas swetas: Jog taip Diewas est gimditas). The melody only approximately matches that in Geistliche Lieder; the ten notes from the end differ in particular. Tawe Diewa garbinam/ Tawe wieschpati pabinstam (pp. 544–552)44. The title in Mažvydas’s hymnal is: Giesme S. Ambraßeijaus bei S. Augustina. Te Deum laudamus O Gott wir loben dich. The opening stanza of Luther’s text45: Herr Gott dich loben wir/ Herr Gott wir danken dir. Dich Vater in ewigkeit/ Ehrt die welt weit und breit (≈ Tawe Diewa garbinam/tawe wieschpati pabinstam/Tawe amßinaghi Tęwa wissa ßeme schlowin). The melody differs from that in Geistliche Lieder and shares features with Gregorian chant46. The hymns in Mažvydas’s book whose counterparts in the collection Geistliche Lieder are not by Luther must be considered separately; they are old German texts (e.g., Jn dulci Jubilo, nun singet unn seid fro) or works by Luther’s contemporaries. Christus esti keles/ nūg mukas wissokias (pp. 256–257). The title in Mažvydas’s hymnal is: Sena Wokischka gesme […] Christ ist erstanden. The opening stanza of the text published in Geistliche Lieder47 is: Christ ist erstanden/ von der marter alle/ Des söllen wir alle fro sein/ Christ wil unser trost sein/ Kyriolēis (> Christus esti keles/nūg mukas wissokias/Jeib mes butumbim linxsmi/Christe dzauksmas mums essi/Kyrieleison). The Lithuanian text is translated almost word for word from the German; it occasionally departs slightly from it, for example in the second stanza (Jeib Christus ne keles/Swiets butu prapules/Bet iog ghis keles/Tiewui Christaus dūkem czesti < Wer er nicht erstanden/ So wer die welt vergangen/ Sint das er erstanden ist/ so lobn wir den Vater Jhesu Christ. Kyriolēis). Most of the melody essentially coincides with that in Geistliche Lieder; the greatest divergence is in the final six notes of the first 42 The phenomenology of the translation of the hymn Tawe Diewa garbiname was examined by P. Dini in several works, including the monograph L’Inno di S. Ambrogio di Martynas Mažvydas, Rome 1994 (cf. my review in “Linguistica Baltica” 5–6, 1996–1997, 250–51). The version of Te Deum laudamus given in P. Dini’s monograph (63–72) differs in places from the 16th-century version used by Mažvydas. 43 Geistliche Lieder, 16–18. 44 The text of the 1549 edition is printed on pages 82–90. 45 Geistliche Lieder, 144–52. 46 Cf. Turco A., Il canto gregoriano. Toni e modi, Rome³ 1996, 39 et seq. 47 Cf. pp. 264–65. The text is an old German hymn (cf. Koch, cited work, I, 207–8; VIII, 62–64). 15 stanzas in the notation, which indicate a completely different melodic progression; the Hallel uia melody differs only in that, after the fifth note from the end, there is a third rather than a second. Christus wiens Sunus Diewa: Amßinoija Tewa (pp. 343–346). Title in Mažvydas’s hymnbook: Sekase Duchawna Gesmae ape JESAus Christaus Dei wiste ir ßmogiste. Geistliche LiederThe opening stanza of the text in the edition⁴⁸: Herr Christ der ewig Gottes Son/ Vaters in ewigkeit/ Aus seinem hertzn entsprossen/ gleich wie geschrieben steht/ Er ist der Morgensterne/ sein glentze streckt er ferne/ für andern sternen klar (>Christus wiens Sunus Diewa: Amßinoija Tewa/Jsch ijo schirdies ischsp roga: Kaip schwents raschtas roda: Ghis esti auchros ßwaisde: Jo schwesums wis apschwiece: Schwesesnis usch ßwaisdes). The Lithuanian text is an almost word-for-word translation of the German work, departing from it slightly in the first stanza and elsewhere (e.g., in the second stanza: Usch mus ghis ßmogu gime: Czese paskuczeme: Motinas ghis palaike: Mergistes czistibe: Smerti/Czarta sutrine: Dangaus dzauksma atwere:Biwa ta mums dawe < Für uns ein mensch geboren/ im letzten teil der zeyt/ Der mutter unuerloren ir Jungfrewlich keuscheit/ Den tod für uns zubrochen/ den himel auffgeschlossen/ das leben widerbracht); the final stanza has been added (Garba būk Diewui Tewui: Jr Jesui ijo sunui: Garba būk schwentam Duchui: Duschu musu sargui: Kurs schirdims dust linxsmibe: Dūdams sawa saldibe: Tam būk dide garbe/ Amen). The melody coincides with that of Geistliche Lieder. Rejoice, rejoice in this time/ You are all becoming Christians (pp. 328–336). The title in Mažvydas’s hymnal: Spiritual Song about the Word of God […] Rejoice, rejoice in this time/ & c. Spiritual Songs The opening stanza of the text⁴⁹: Rejoice, rejoice in this time/ you shall all become Christians/ For now throughout all the lands/ God’s word resounds loudly⁵⁰/ There is no man who can resist it/ you have surely heard that/ For God’s word stands forever/ for the wicked as well as the righteous (> Rejoice, rejoice in this time/ You are all becoming Christians: For widely across all the earth/ God’s word goes forth; There is none who can forbid it/ You can understand this/ For God’s word will be eternal/ for the wicked as well as the good). The Lithuanian text is not translated entirely literally from the German work; cf. the third stanza from the end (Man, man, heed God/ Improve yourself, cast off thoughtlessness/ Believe the holy written word/ through which you will attain salvation/ Your conscience and deeds/ place upon it/ For God’s word will be eternal/ showing us the path of righteousness < O man, O man, now amend your ways/ let your darkness pass/ And believe the Scripture and its words/ so that you may be preserved/ 48 Cf. pp. 221–23. The text is an adaptation of the Latin hymn Corde natus ex parentis (cf. Koch, op. cit., I, 285). 49 Cf. Part 2, pp. 139–46. On this text, cf. Koch, op. cit., I, 306–7. 50Tingt = dringt. 16 Dein gwissen und auch all dein thun/ trewlich darauf verlassen/ Denn Gottes wort bleibt ewig stan/ zeigt uns an die weg und strasse). The melody has much in common with Geistliche Lieder51, but diverges from it especially in notes 39–42; the eighth note (which has no counterpart in the original) and the twenty-seventh note (which rises instead of descending) also differ, while one note from the German source is omitted after the eighth note. Jeib Pons Diews mums nepagelbas/ Kerschient nepretelėms (pp. 336–340). Title in Mažvydas’s hymnbook: PSALMAS CXXIIII Nisi quia Dominus erat in nobis, dicat nunc Israel. […] Wo Gott der Herr nich bey uns helt/ & c. Geistliche LiederThe opening stanza of the text52 included therein: Wo Gott der Herr nicht bey uns helt/ wenn unser feinde toben/ Und er unser sach nicht zu felt/ im himel hoch dort droben/ Wo er Israel schutz nicht ist/ und selber bricht der feinde list/ so ists mit uns verloren (> Jeib Pons Diews mums nepagelbas/Kerschient nepretelėms: Jeib bilas musu nesergas/ Tena ant aukschta dąngaus: Jeib Jsrael neapginas/Jr nepretelu neramdas/Jau butumbim praßuwe). The Lithuanian text is not a completely literal translation of the German work; it diverges especially in the seventh stanza (Nepretelus wissus ramdai/ Dumas iju wissas ardai/ju rodas wissa tu ßinai/Gink nug iju mus amßinai/Protas prisch tikeghima steng/Tawa ßodzui tiketi węng/Bet tu pats mus linksmsi < Die feind sind all in deyner hand/ dazu all jr gedancken/ Jr anschlag ist dir wol bekand/ hilff nur das wir nicht wancken/ Vernunfft wider den glauben ficht/ auffs künfftig wil sie trawen nicht/ da du wirst selber trösten). The melody coincides with that of Geistliche Lieder. Remember, poor man, what your life is like (pp. 154–159). The title in Mažvydas’s hymnal: Song about the Coming of God’s Son into the World/ to the tune of Ave Hierarchia coelestis & pia & c. Child of man, consider well/ what your life is. Spiritual Songs The opening stanza of the included text53: Child of man, consider well what your life is! Why God sent his Son from the highest throne, and let him become a man here on this earth (> Remember, poor man, what your life is/ Why God sent his Son/ From on high/ And made man/ To suffer in this world). The Lithuanian text is at times a free translation of the German, for example in the third stanza (That through his Word/ And through the Holy Spirit/ Our Lord God might come/ To us sorrowful ones, to our joy/ That he might be in our hearts/ And dwell in grace < And that through his Spirit, whom he calls a comforter, and through his word he might come to you for consolation and good, and dwell in your heart without pain); it is entirely possible that the Lithuanian 51 On this text, cf. Koch, op. cit., I, 467; VIII, 117–18. 52 See pp. 193–96. On this text, cf. Koch, op. cit., VIII, 117–18. 53 This hymn was included in Geistliche Lieder only from the fifth edition (1553). Its text is given here according to Wackernagel Ph. Das deutsche Kirchenlied von den ältesten Zeit bis zu Anfang des XVII Jhs., Leipzig 1864, III, 232–33. 17 the translation may have relied on other sources. The Lithuanian melody is taken from the Latin hymn Ave Hierarchia coelestis & pia54. O God, who art in heaven / O Jesus and Holy Spirit (pp. 567–74). Title in Mažvydas’s hymnal: Litania Nauiey suguldita nūg M. Georgiusa Zablotiusa. […] O Gott Vater im Himelreich & c. Geistliche Lieder text55 opening stanza: O Gott Vatter im hymelreich, Gott Son, Gott heylger geyst zugleich, Du heylige drifaltigkeyt, du einiger Gott in Ewigkeyt, Auff dein zusag wir bitten dich, wölst uns erhören gnediglich (> O God, who art in heaven / O Jesus and Holy Spirit / O Holy Trinity / One God everlasting / We pray to you according to your promise; graciously hear us). This hymn reprinted from the Catechism56 (omitting the stanza Mussu atpent dok kunigiei/Sweikatu ijr kunigaikstei […]) does not derive from the text of Geistliche Lieder, from which the Lithuanian translation (several stanzas longer) differs in many places. As Stang has already observed57, the Lithuanian translator relied on another version, matching the text of the hymnal published in Marburg in 154958. The Lithuanian hymn is a fairly free translation of this version, departing markedly from it in the first stanza and elsewhere, for example, in the sixth stanza (By your birth, O Jesus, / save us through your blood shed for us; / guard those whom you redeemed; / save us through your death, / and through your holy resurrection, / guard us as you ascend to heaven < Durch dein geburt, O Jesu Christ, hilff, der du unser mitler bist, Durch dein heylsam und thewres blut, welches uns vergossen ist zugut, Dein aufferstehen von tod so hart und durch dein gewaltig hymelfart); therefore, the possibility cannot be ruled out that the Lithuanian translation may have drawn indirectly on the source mentioned above. The melody differs from that of the hymn O Gott Vater im Himelreich and matches the melody of the hymn Tiewe musu Danguiesis. Now let us bury the human body / Let us not grieve over it (pp. 412–15). Title in Mažvydas’s hymnal: Graßij giesmie ijr raudinga ant giedoghima pakasanti kuna nūmirusia ßmogaus. Nu last uns den leib begraben. Geistliche Lieder text59 opening stanza: Now let us bury the body; we should have no doubt about it: it will rise on the Last Day and come forth incorruptible (>Now let us bury the human body; / Let us not grieve over it; / It must rise at the judgment / And must be immortal). The Lithuanian text is a partly free translation of the German work, especially in the first stanza; differences are also apparent elsewhere, for example, in the seventh stanza: Now let us go to sleep / We from here in our homes 54 For the melody, cf. Koch, cited work, II, 130. 55 Cf. Part 2, pp. 91–97. The text was composed in Low German, and only later translated into standard German (cf. Koch, cited work, I, 427). 56 The Catechism text is included in Gerulis’s edition on pp. 54–59. 57 Cited work, 43. 58 It was reprinted by Wackernagel Ph. Das deutsche Kirchenlied von den ältesten Zeit bis zu Anfang des XVII Jhs., Leipzig, 1864, III, 210–12. 59 Cf. pp. 343–45. The text is mistakenly attributed to Luther; it was composed by Weiße. 18 let us go home/ let us prepare ourselves fully/ for death will come (< Now let us leave them sleeping here, and go all home along our roads; let us also prepare ourselves with all diligence, for death comes to us all alike. The melody differs from Geistliche Lieder60. With sweet joy/ let us sing this song (pp. 198–200). The title in Mažvydas’s hymnal: In dulci iubilo Nu singet und seid fro. Geistliche Lieder’s text61 opening stanza: Jn dulci Jubilo, nun singet unn seid fro/ Unsers hertzen wonne/ leit in praesepio, Und leuchtet als die sonne/ matris in gremio, Alpha es et o, Alpha es et o (< With sweet joy/ let us now sing a song. The joy of our soul/ lies in the manger/ Shining like the bright sun/ in the mother’s womb/ Man and God/ Man and God. The Lithuanian text is not a wholly literal translation of the German work: it departs from it especially in the first stanza, and also in the second (O Jesu, gracious one/ my sinful heart longs for you/ now soothe my heart/ good little Child/ full of love, God, King of heaven/ draw us to you/ draw us to you < O Jhesu parvule, nach dir ist mir so weh/ Tröst mir mein gemüte/ o puer optime, Durch alle deine güte/ o princeps gloriae, Trahe me post te, trahe me post te); two final stanzas have been added (Sweet joy quickly passes away/ vanishes in the blink of an eye/ but give us everlasting joy/ Son of God/ soothe my soul/ before this sinful body/ Son of God/ Son of God. Let every human soul/ be joyfully glad/ at this birth/ of our Messiah/ honor be to the Holy Trinity/ and to the unity of God/ glory without end/ glory without end). The melody essentially agrees with Geistliche Lieder, differing only in the ninth note (which repeats the tenth rather than the eighth), in the intervals following the forty-second and forty-eighth notes, which are unisons rather than seconds; moreover, B after the twelfth note is omitted. Kyrie/ God, Father of all the world/ Eleison (pp. 246–248). The title in Mažvydas’s hymnal: Kyrie Paschale. Geistliche Lieder’s text62 opening: Kyrie/ Gott aller welt schöpffer und Vater/ Eleyson (>Kyrie/ God, Father of all the world/ Eleison). The Lithuanian text is essentially a literal translation of the German work; three lines have been added (Kyrie, Christ has risen from death/ Eleison ≈ Christe/ be our guide in life/ you have risen from death Eleison ≈ Kyrie, your Son has truly risen from death/Eleison). Most of the melody agrees with Geistliche Lieder. The line Kyrie … Eleison differs little: in the opening phrase the sixth note is repeated only twice (rather than three times); in the final phrase the sixth, eighth, and nineteenth notes are not repeated, while elsewhere (after the tenth and fifteenth notes), unlike in the German hymnal, the original note is repeated. Christe …. Eleison differs more in the ending, which may have been influenced by the model of Kyrie …. Eleison. 60 It agrees with the version in Lossius’s Psalmodia (1561 edition). 61 Cf. pp. 256–57. The text is a sixteenth-century German hymn (see Koch, cited work, VIII, 16–18). 62 Cf. pp. 266–68. 19 Christ ascended to heaven/ sent down to us on earth/ his Holy Spirit (pp. 305–308). The title in Mažvydas’s hymnal: GESME APE DANGUN zengima Christ fuhr gen Himel. Geistliche Lieder’s text63 opening stanza: Christ fuhr gen himel/ Da sand er uns ernieder/ Den tröster den heiligen Geist/ zu trost der armen Christenheit. Kyri eleis (>Christ ascended to heaven/ sent down to us on earth/ his Holy Spirit/ for the comfort of Christians/Kyrieleison). Only the first stanza of the Lithuanian text is based on the German work; the final four stanzas are an adaptation of the aforementioned hymn Christ ist erstanden. Since these stanzas (the second through the seventh) have no counterpart in the hymnal Geistliche Lieder, the possibility that the Lithuanian text draws on other sources cannot be ruled out. The melody differs from that of the hymn Christ fuhr gen himel and resembles the hymn Christ ist erstanden; it essentially agrees with the melody of the previously discussed hymn Christus esti keles. As separate cases, the hymns Erbarm dich mein o Herre Gott64 (a translation of Psalm 51), Christe der du bist tag und liecht65 (a translation of the Latin hymn Christ qui lux es et dies), and Mein zung erkling unn frölich sing66 (a translation of the Latin hymn Pange lingua), should be mentioned; they have counterparts in Mažvydas’s hymnal (where the first two texts are reprinted from the Catechism): Have mercy on us, God (pp. 355–60)67, Christ, you are the day and the light (pp. 481–83)68, and Ring out merrily, my voice (pp. 368–372). These Lithuanian translations draw not on the German texts but on other sources: the first is based on Seklucjan’s text69, while the second and third are based on the Latin originals. Nevertheless, there are significant similarities to Geistliche Lieder musically; indeed, the melody of the hymn Have mercy on us, God agrees completely with Geistliche Lieder, while the melodies of the other two hymns differ only slightly: in the melody of Christ, you are the day and the light, which is a fifth lower, three notes (the third, eighth, and sixteenth) have been added; the sequences A B after the twentieth note and B A after the twenty-fourth have been omitted; and several intervals have been changed (from a third to a second or vice versa). In the melody of Ring out merrily, my voice, only the sequence G G F is changed to G F G (notes 29–31), and the forty-sixth note is added. The other three works in Mažvydas’s hymnal are based on Latin texts reprinted from the collection Geistliche Lieder; in one case, this book also prints a German translation alongside the Latin original (Puer natus in Bethlehem). With it 63 Cf. p. 272. 64 Geistliche Lieder, 198–200. 65 Geistliche Lieder, 260–62. 66 Geistliche Lieder, II, 81–83. 67 The Catechism text is printed on pp. 63–67. 68 The Catechism text is printed on pp. 77–79. 69 Cf. Stang, cited work, 36–38. 20 was probably not used in translating into Lithuanian, since there are no striking correspondences. Schi diena est mums linxmibes/ Jog karalus ateia (pp. 189–193). Title in Mažvydas’s hymnal: Dies est leticiae Der tag der ist so freuden reich. The opening of the Latin text used for the Lithuanian translation70: Dies est laetitiae In ortu regali, Nam processit hodie De ventre virginali Puer admirabilis, Totus delectabilis in humanitate, Qui inestimabilis Est et ineffabilis In divinitate (>Schi diena est mums linxmibes/ Jog karalus ateia/Schę diena esti uβgimes/Jsch pannas βiwatelia/Bernelis stebuklingassis/ Jr didzei maloningassis/ Sawa βmogisteie/ Tas esti labai schwentas/Brangus irgi pargitas [emendare in pagirtas] Sawa deiwisteie). It should be noted that the third stanza (Bernelis paschwolwintassis/ Est mumus nu uβgimes) is based not on the Latin original, but on its German adaptation Der tag der ist so freuden reich, which is printed immediately after it in Geistliche Lieder71. The melody largely corresponds to that of the German hymn Der tag der ist so freuden reich, except that three second intervals (after the fifteenth, fifty-fifth, and sixty-first notes) ascend instead of descending, and after the fifty-seventh note there is a second interval instead of a third. Gedok koβnas Chriksčzonis/ Laupsink nu su giesmemis (pp. 206–209). Title in Mažvydas’s hymnal: Resonet in laudibus cum iucundis. The opening of the Latin text used for the Lithuanian translation72: Resonet in laudibus Cum iucundis plausibus Sion cum fidelibus; Apparuit quem genuit Maria. Sunt impleta Quae praedixit Gabriel (>Gedok koβnas Chriksčzonis/ Laupsink nu su giesmemis/ Syon ir kiek wernassis/Passirode kuri panna pagimde Jssipilde ką Gabrielas sake). It corresponds approximately to Ponas Christus saldussis. The melody has many similarities to Geistliche Lieder. A third higher, it diverges particularly in its structure in the similar phrases Jssipilde ką Gabrielas sake and in the motifs of Kaip noreia amβinoghi Deiwiste; elsewhere, only a different interval (a third instead of a second) after the seventh note from the end of the refrain is noticeable. Bernelis gime Bethlehem, gime Bethlehem (pp. 193–198). Title in Mažvydas’s hymnal: Gesme Sena Ape Uschgimima Jschganitoia musu Pona Jesaus Christaus; this title was probably influenced by Geistliche Lieder (Ein alt geistlich lied/von der geburt unsers Herrn und heilands Jhesu Christi). The opening of the Latin text used for the Lithuanian translation73: Puer natus in Bethlehem, in Bethlehem: Unde gaudet Ierusalem, Halleluiah, Halleluiah (> Bernelis gime Bethlehem, gime Bethlehem/Del to dzauges 70 Geistliche Lieder, 248–49. 71 Cf. pp. 249–52. 72 Geistliche Lieder, 252–54 73 Geistliche Lieder, 258–60 21 Jerusalem/Halleluiah/Aleluiah). The melody essentially coincides with the melody of Geistliche Lieder; only notes 6–9 differ (perhaps because of structural adjustment and the melodic progression of the tones marked by notes 10–16?). Twelve prayers in Mažvydas’s hymnbook correspond to the German texts in Geistliche Lieder, which were used only exceptionally in translating into Lithuanian. We shall now survey these prayers, briefly indicating the sources used by the translator and their relation to the Lithuanian text. Now let your servant, Lord, depart in peace (pp. 227–228). The title in Mažvydas’s hymnal: FIRST PRAYER. Spiritual Songs; the beginning of the text74: Now you let your servant, LORD, depart in peace. For my eyes have seen your Savior. Almighty eternal God, we ask you from the depths of our hearts: grant us that we may know and praise your dear Son (> Now let your servant, Lord, depart in peace/for my eyes have seen your Savior. We pray. Almighty eternal God/we ask you from the depths of our hearts/Grant us/that we may thus know and praise your dear Son). Most of the Lithuanian text is a literal translation; in one place (as Saint Simeon bodily saw and recognized him) it departs from the source (As Saint Simeon took him in his arms, and spiritually saw and recognized him), and the meaning has also been changed. Christ is wounded because of our sins (pp. 228–229). The title in Mažvydas’s hymnal: Second prayer about Christ’s suffering. Spiritual Songs; the beginning of the text75: Christ is wounded for our transgressions. And struck for our sins. Merciful, eternal God, who did not spare your own Son […] (> Christ is wounded because of our sins/And crushed because of our wickedness. Merciful, eternal God/Who did not spare your true and only-begotten Son […]). Translated into Lithuanian literally. The punishment fell upon him so that we might have peace (pp. 229–230). The title in Mažvydas’s hymnal: Third prayer. Spiritual Songs; the beginning of the text76: The punishment lies upon him so that we might have peace. And by his wounds we are healed. Almighty Father, eternal God, who for us let your Son suffer the pain of the cross […] (> The punishment fell upon him so that we might have peace/And by his wounds we have been healed. We pray. Almighty Father, eternal God/who let your Son/Christ endure the torment of the cross for us […]). The Lithuanian text is a literal translation. 74 Cf. pp. 38–39. 75 Cf. p. 41. 76 Cf. p. 42. 22 Christus isch nūmirusu keles iau netur numirti (pp. 267–268). Title in Mažvydas’s hymnal: MALDA. Geistliche Lieder the text77 begins: Christus von den toden erwecket/ stirbt hinfurt nimer/ Haleluia. Der tod wird hinfurt uber in nicht herrschen/ Haleluia. Allmechtiger Gott/ der du durch den tod deines Sons/ die sund und tod zu nicht gemacht/ unn durch sein aufferstehen unschuld unn ewiges leben widerbracht hast (> Christus isch nūmirusu keles iau netur numirti: Halleluia. Smertis ant ijo daugesni netur panowati: Halleluia. Wissagalis Diewe/kursai per Smerti tawa Sunaus/ghreka ir Smerti ing nieka pawertei/ bei per ijo prikelima/nekaltibe ir amßina ßiwata atpentz mumus sugrafbinai). The Lithuanian text is a literal translation. Uschzengdamş Christus ant auksta/ Halleluia (pp. 297–298). Title in Mažvydas’s hymnal: Versiculus […] MALDA. Geistliche Lieder the text78 begins: Christus ist auffgefahren in die höhe/ Haleluia. Und hat das Gefengnis gefangen/ Haleluia. Allmechtiger HERRE Gott/ verleihe uns/ die wir glauben […] (> Uschzengdamş Christus ant auksta/ Halleluia. Pagau dita nūwede pagaudima/ Hall.. MALDA Wissagalis Pone Diewe/dük mumus/kurie tikim […]). The Lithuanian text is a literal translation. How often you eat this bread/ and drink from this cup (p. 380). Title in Mažvydas’s hymnal: MALDA. Geistliche Lieder the text79 begins: So off jr von diesem Brod esset/ und von diesem Kelch trincket. Solt jr des HERRN tod verkündigen/ bis er komet. Ah du lieber Herr Gott/ der du unns bey diesem wunderbarlichen Sacrament deines leidens zu gedencken/ und predigen befohlen hast (> Kaip tankei dūna tą walgisit/ ir isch to kylika gersit: Halleluia. Smerti Pona atminsit ikkolei ghissai ateis: Halleluia. Ach tu mielausesis Pone Diewe/kursai mums prieg tos stebuklingas Swietastis tawa muka atminti ir scholwingai ischskelbti presakes essi). Translated literally into Lithuanian. Let us pray: O almighty God, who art a protector (pp. 490–491). Title in Mažvydas’s hymnal: Collecta. Geistliche Lieder the text80 begins: Almechtiger Gott/ Der du bist ein beschützer aller die auff dich hoffen/ on welches gnad niemand [n]ichts vermag/ noch etwas für dir gilt/ Lasse deine barmhertzigkeit uns reichlich widerfaren (> Let us pray: O almighty God, who art a protector of all who trust in thee, without whose grace no one can do anything of himself, nor is anything of worth before thee). The Lithuanian text is a literal translation, except for the ending, which is based on the Latin original: qui tecum vivit et regnat in unitate spiritus sancti deus. Per omnia saecula saeculorum. 77 Cf. pp. 48–49. 78 Cf. p. 51. 79 Cf. p. 103. 80 Cf. pp. 154–55. 23 The Word became flesh, Hallelujah (p. 212). Title in Mažvydas’s hymnal: ORATIO, Prayer. Geistliche Lieder opening81 of the text: The word became flesh/Hallelujah. And dwelt among us/Hallelujah. Help us, dear Lord God, that we may become partakers of the new bodily birth of your beloved Son and remain so (> The Word became flesh, hallelujah. And dwelt among us, hallelujah. Help us, dearest Lord God, that we may partake of the new birth according to humanity of your beloved Son, our Lord Jesus Christ). The Lithuanian text is an almost literal translation; its ending is based on the Latin original: qui tecum vivit et regnat in unitate spiritus sancti deus. Per omnia saecula saeculorum. Whoever eats that bread unworthily and drinks from the Lord’s cup (pp. 380–381). Title in Mažvydas’s hymnal: SECOND PRAYER. Geistliche Lieder opening82 of the text: Whoever unworthily eats of this bread or drinks of the cup of the LORD is guilty of the body and blood of the LORD. We thank you, almighty LORD God, that you have refreshed us through this salutary gift (> Whoever unworthily eats that bread and drinks from the Lord’s cup is guilty of the Lord’s body and blood. We thank you, Almighty Lord God, that through these saving gifts you have strengthened us […]). In the Lithuanian text, most of which is translated literally, two sequences (your holy body and precious blood and You, who live and reign with the Father in the unity of the Holy Spirit, forever and ever) have no counterpart in the German source; the second is based on the Latin model: qui tecum vivit et regnat in unitate spiritus sancti deus. Per omnia saecula saeculorum. We have sinned with our fathers (p. 562). Title in Mažvydas’s hymnal: Another Prayer. Geistliche Lieder opening83 of the text: We have sinned with our fathers. We have acted unjustly and done evil. Lord God, who art gracious, do not let us perish, but let us repent and live (> We have sinned with our fathers: We acted unjustly and did evil. God, who art gracious, do not let us perish, but let us repent and live). The Lithuanian text partly diverges from the German source after the two opening lines and in the phrase grant your mercy graciously for our sins (< deine barmhertzigkeit mildiglich verleihen). God, grant peace upon your earth (pp. 392–393). Title in Mažvydas’s hymnal: First Petition. Geistliche Lieder opening84 of the text: God, grant peace in your land. […] LORD God, heavenly Father, who [grant] holy courage, goodness 81 Cf. p. 32. 82 Cf. p. 104. 83 Cf. pp. 169–70. 84 Cf. p. 130. 24 rat/ and perform righteous works (> God, grant them success on your earth. Bless and keep your people healthy. We pray to you: Lord God in heaven, from whom holy desires, good counsels, and righteous deeds come). However, the phrase “from whom holy desires, good counsels, and righteous deeds come” is closer to the Latin original (a quo sancta desideria, recta consilia et iusta sunt opera). The Lithuanian text, whose second line has no counterpart in Geistliche Lieder, is in part a free translation of the German text; it departs from it especially in the sequence And may we, during our days, through your protection and defense, live peacefully and safely from our enemies, in your love (< Auff das unser hertze an deinen geboten hange/ und wir unser zeit/ durch deinen schutz/ stille und sicher für feinden leben). It is possible that the Lithuanian text draws on other sources (different from the Latin original). Send your Spirit and it will be created, Halleluia (pp. 310–311). The title in Mažvydas’s hymnal: Prayer from Psalm 103. Geistliche Lieder text85 begins (the verses of Psalm 103 are missing): Herr Gott lieber Vater/ der du (an diesem tage) deiner gläubigen hertzen/ durch deinen heiligen Geist erleuchtet und geleret hast (> We pray: O God, who have instructed the hearts of the faithful through the enlightenment of your Holy Spirit). The Lithuanian text is based more closely on the Latin original (Deus qui hodierna dei corda fidelium sancti spiritus illustratione docuisti: da nobis in eodem spiritu recta sapere: et de eius semper consolatione gaudere) than on the German translation. The other two prayers in Mažvydas’s hymnal are based on Latin texts reprinted in Geistliche Lieder. Lord, do not punish us according to our sins (pp. 560–562). The title in Mažvydas’s hymnal: Prayer after the Litanies. The opening of the Latin text used86: Domine non secundum peccata nostra facias nobis. Neque secundum iniquitates nostras retribuas nobis. Deus misericors Pater, qui contritorum non despicis gemitum et moerentium non spernis affectum, Adesto precibus nostris (> Lord, do not punish us according to our sins. Do not repay us according to our iniquities. Merciful God, Father, who do not disregard the sighs of the contrite and do not spurn the longing of the sorrowful, attend to our prayers). Help us, God our Savior (pp. 574–575). The title in Mažvydas’s hymnal: Prayer. The opening of the Latin text used87: Adiuva nos Deus salutaris noster. Et propter gloriam nominis tui libera nos, et propitius esto peccatis nostris, propter nomen tuum. Omnipotens aeterne Deus, cuius spiritu totum corpus Ecclesiae sanctificatur et regitur, Exaudi nos pro universis ordinibus supplicantes (> Help us, God our Savior: and for the glory of your name 85 Cf. p. 60. 86 Geistliche Lieder, 183–84. 87 Geistliche Lieder, 184. 25 your mercy toward us, and be gracious; for our sins, for the sake of your name. Almighty, eternal God, whose Spirit sanctifies and governs the bodies of all churches: hear us, who pray for all estates. The Lithuanian Litany (pp. 552–560), beginning with the sequence Kyrieeleison Christeeleison Kyrieeleison, was likewise translated from Latin: it was based chiefly on the Geistliche Lieder collection’s edition of Latina litania correcta88, whose basis is the Catholic Church litany (beginning: Kyrie eleison. Christe eleison. Kyrie eleison. Christe audi nos. Pater de coelis Deus. Miserere nobis. Fili redemptor mundi Deus. Miserere nobis. Spiritus sancte Deus. Miserere nobis). Most phrases are literal translations from Latina litania correcta; nevertheless, there are differences, for example: Nūg nogloses smertis (< A subitanea et improvisa morte), Nūg karaughima ir praleghima krauju (< A bello et caede; cf. the German translation89 Für krieg und blut), Per diwna ir schwenta priemima βmogistes tawa (< Per mysterium sanctae incarnationis tuae), Jdant gundintusius palinxmintumbi (< Ut pusillanimos et tentatos consolari et adiuvare digneris), Jdant musu βemes wieschpati/su ijo urednikais redittumbi ir apgintumbi (< Ut principem nostrum cum suis praesidibus, dirigere, et custodire digneris; here the influence of the German translation is evidentUnsern landherren mit allen seinen gewaltigen leiten und schüitzen), Jdant musu neprietelims griekus atleistumbi ir tawesp priewerstumbi (< Ut hostibus, persecutoribus et calumniatoribus nostris ignoscere, et eos convertere digneris), Jdant mus malonei per tawa sunu Jesu Christu ischklausitumbi (< Ut nos exaudire digneris; cf. the German translation Und uns gnediglich erhören); on the last page, after the sentence Awineli Diewa kursai neschi ghrekus sweta antro, one would expect the repeated phrase Sussimilk ant musu (< Latin Dona nobis pacem). In conclusion, it should be noted that a sequence of several sentences has no counterpart in the text of Latina litania correcta: Jdant mus nūg wissa pikta gelbetumbi. Praschom tawe ischklausik mus. Jdant ora sweika ir gera dūtumbi. Praschom tawe ischklausik mus. Jdant malonu litu dūtumbi. Praschom tawe ischklausik mus. Jdant malone gedra dūtumbi. Praschom tawe ischklausik mus. CONCLUSIONS On the basis of the analyses presented, several directions for future research may be suggested. 88 Cf. pp. 171–83. 89 Cf. Geistliche Lieder, 158–65. 26 One possible direction could be based on those (rather numerous) Lithuanian sentences that are translated directly from German without drawing on other sources: in most of these sentences (especially prayers), the syntactic and semantic structure of the German source is unchanged or changed only slightly; in other cases (especially songs), it is altered more substantially, but not so much that it cannot be recognized. Many of the differences of the latter type—above all those involving lexical substitutions and the omission or addition of individual syntactic units—were more likely dictated by metrical and musical requirements than by differences in the structural systems of Lithuanian and German; this is clearly evident in the following sentences already cited: Nūg ghreku mus atwadawa < And has taken away the sin; Keles isch grabba < Is risen; Ghi wissiems isch meiles dawei/ Sussimiles mums didei < You have bestowed great mercy upon all; Smertis man miegu saldu stoiha < death has become my sweet sleep; Schwents ßodis gerai waisoße < your word is well spoken; Kurę Dwasse schwentia pawaise < who was conceived by the Holy Spirit; Mums atliks karalista dangaus < the kingdom must nevertheless remain ours; Stiprink wiera musu duschas < strengthen our faith forever; Widui smertis nu mums kerschiy/Pekla karschtu ugnimi < In the midst of death the jaws of hell assail us; Dangaus dzauksma atwere < opened heaven; Peneia ghi panna pienelu < It became her food—a little milk; Schwentasis kraus tawa mus ischgane < that your blood worked a great wonder for us; Ponas Jesus Sunus Diewa: musu wieton ateija < Jesus Christ, Son of God, came in our place; Perßegnok mus Diewe Tiewe/Sunau ir schwenta Dwasse < May the Father and the Son bless us, may God the Holy Spirit bless us; moters negeiski artima < let no other love your heart; Diewa narsa nesche < bore God’s wrath for us; Smerti/Czarta sutrine < to break death for us; Malonei tai kurs netiki < Whoever does not believe this great grace; isch wenkti ßabagu welna/Per apginima Diewa < to escape the Devil’s wiles, to protect us with God’s weapons; Todel asch nu linxmas busiu/Wainai pleschedams gedosiu < Therefore I shall always be joyful, leaping and singing freely; Mokin ghie neteisos zdrodas/Jsch pik toses būk listas < They teach nothing but false tricks, whatever their own wit invents; Jr staliep tawa waikele: Kaip aliwas sczepelei < And your children around your table, like olive shoots, healthy and flourishing; 27 To the Father of Christ, let us give honor < so lobn wir den Vater Jhesu Christ. The cited examples allow us to conclude that a translation conditioned by artistic aims of this kind could not have been entirely mechanical: its phenomenology can be understood only by delving into questions of aesthetic and musical taste, a complex matter because it encompasses subjective elements that are harder to access. A complex phenomenon such as word order likewise cannot be explained solely through linguistic considerations, especially since word order in Old Lithuanian must have been quite free. Whenever the word order of a German source is altered in translation, the possibility cannot be ruled out that the translator’s choice was conditioned, at least in part, by different artistic aims. In such cases, it is truly difficult to determine the precise boundary between artistic aims and linguistic rules, since those aims are bound up with the free creative process of an individual. Only systematic research into the entire body of Lithuanian writing would allow more firmly grounded hypotheses to be proposed, although definitive conclusions will never be possible. When comparing the systems of Lithuanian and German, only straightforward, clearly mechanical differences can readily be explained, such as German article > Lithuanian ø; German werden + infinitive > Lithuanian future tense; German auxiliary verb + participle > Lithuanian past tense; German in + dative > Lithuanian locative; German in + accusative > Lithuanian instrumental. What has been said about direct translations from German applies in principle also to the much rarer phrases translated from Latin, except that in these cases mechanical processes play a smaller role, since Lithuanian is typologically more similar to Latin than to German. For the same reason, mechanical processes are also less important in the few sentences translated from Polish, as well as in those rare cases where the principal sources for a translation are texts in both Latin and Polish. A separate (much smaller) group consists of sentences with no counterpart in the sources and those rare phrases in which the source structure has been changed so much that it can no longer be recognized. The former should be regarded as original compositions. It is reasonable to assume that, in cases of original composition, the syntactic and semantic structure of the sentences essentially reflects the rules of Lithuanian. However, such an assessment would be overly simplistic and one-sided, especially given that in those days—when the traditions and norms of written Lithuanian were still taking shape, and Lithuanian grammars and style manuals did not yet exist—the translator’s choices could have been conditioned only in part by the unsettled rules of spoken Lithuanian. Since he was well versed in languages with an older written tradition and greater “prestige” (Latin above all), their syntactic rules could also have influenced his native language. It is worth recalling here that the translator, like all Renaissance intellectuals, had to study Latin for a long time and become thoroughly familiar with its syntax and style in order to use it fluently as the principal language of scholarship 28 language. Thus, it is impossible to prove conclusively whether the sentences devised by the translator reflect the norms of spoken Lithuanian at the time or were conditioned by the systems of other languages (e.g., Latin and German). The question becomes still more complex when the differences in the translator’s artistic aims are taken into account. This latter group might become smaller in the future if new sources for translation (German, Latin, or Polish) were discovered, and if it became clear that Lithuanian sentences whose precise counterparts—or any counterparts at all—in other languages have not yet been found are based on sources that remain unknown. This group is merely a starting point, showing what most needs to be sought. Turning to the musical component (of those hymns presented with melodies), we can distinguish the simplest group, whose origin poses no problem: these are cases in which the models in Mažvydas’s hymnal are presented without any changes to the melody from Geistliche Lieder. This group could also include those rare melodies whose incidental differences from the models in Geistliche Lieder can be regarded as printing errors. Among the other melodies, those that almost coincide with or bear significant similarities to the models in Geistliche Lieder should be examined separately; cf. the melodies of the hymns Jesus Christus sunus Diewa, Su pakaiu dzauksmu eimi, Widui gerausa ßiwata, Schwenta Dwasse mū̄sump ateik, Pagirtas buk Jesu Christe, Dūk mums pakaiuju malonei. Can the differences in the Lithuanian hymnal be regarded as deliberate departures from the melodies in Geistliche Lieder, thereby recognizing the musical creativity of the author or authors of Mažvydas’s hymnal (comparable to their linguistic creativity, which is beyond doubt in light of the facts already presented)? Or should we assume that those melodies in Mažvydas’s hymnal, without any alterations, were taken from other sources, perhaps associated with Geistliche Lieder (e.g., Polish Evangelical publications)90? It goes without saying that this latter assumption will have no empirical basis until those other possible sources are found. Seeking other sources is especially important in cases where the melodies cannot even be regarded as adaptations of the models in Geistliche Lieder, since they depart substantially or entirely from the latter: as our data show, such marked differences are generally not evidence of originality, but are explained by the fact that the contributors to Mažvydas’s hymnal used other melodies current at the time. Clearly, to investigate more fully the genesis of the texts discussed in this article and the reasons for choosing particular linguistic devices, it would be extremely useful to have a new edition of Mažvydas’s hymnal, in which alongside the Lithuanian 90 In this connection, cf. Pociūtė, op. cit., 15–16. 29 the text would be presented (in the case of hymns, also with the melody) Geistliche Lieder equivalents and other possible sources for the Lithuanian translation. Such an edition would not only provide a sound basis for new and diverse investigations of linguistic phenomena, but would also make it easy to determine which questions concerning the genesis of this important Lithuanian collection remain unresolved. Received 1998 02 18 THE GESMES CHRIKSCZONISKAS BY MAŽVYDAS AND THE GEISTLICHE LIEDER Summary The article investigates the relationship between the Gesmes Chriksczoniskas of 1566–70 and the Lutheran Geistlichen Liedern, which played a very important role as a source for this Old Lithuanian hymnbook: 40% of its texts have a counterpart in the Geistlichen Liedern. On the basis of a textual comparison, it can be established that in most cases the texts of the Geistlichen Lieder were probably used as the main source in preparing the Lithuanian version. This assumption is confirmed several times by the correspondence of the melodies printed alongside the texts. 30