Hymns as Acclamations: The Case of Ambrose of Milan

摘要

The hymns of Ambrose of Milan may usefully be seen in the context of\udother forms of rhythmic chant and song found in the social world of the\udRoman Empire: above all, they may be connected with popular songs and\udwith acclamations, whether theatrical, political, or religious. Ambrose’s\udhymns in particular share with songs and acclamations a number of formal\udfeatures, being regular in form and based on accentual stress patterns\udrather than quantitative meter, and being similarly intended for popular\udand untrained participation. The most important parallel, however, lies\udin what may be called their function or effect: for just as did songs and\udacclamations, Ambrose’s hymns demonstrated and articulated the unity\udof a diverse population by allowing the constituents to express themselves\udin a single voice. What the hymns may have lacked in spontaneity — being\udcomplex and pre-composed — they gained in direction and discipline, so\udthat Ambrose was able to exploit the unity and harmony of his congregation\udin support of his own political and religious aims. Ambrose’s hymns\udthus reconfigured songs and acclamations as a means of establishing and\udpromoting a Milanese Christian identity and of affirming his own popular\udauthority and legitimacy.