E05215: A hymn, almost certainly by Ambrose of Milan, is written in Latin in Milan (northern Italy) after 386 (Grates tibi, Iesu, nouas). It is dedicated to *Gervasius and Protasius (martyrs of Milan, S00313).
‘To you, O Jesus, I sing new thanks, I who unearthed a new gift when the martyrs Protasius and Gervasius were discovered.
The pious victims were lying hidden, [5] but the holy source was not concealed; for the blood that cries to God the Father cannot be hidden.
Grace shining in the sky revealed their holy limbs; [10] we cannot be martyrs, but we discover martyrs.
What sort of person would demand witnesses’ reports, when what has happened is proof? The healing of those who lost their sense [15] acknowledges the work of the martyrs.
The blind man who received his sight proves the value of their holy death. The man’s name is Severus, He is employed as a servant of the state. [20]
As he touched the martyrs’ garb and he rubbed his cloudy eyes, immediately his eyes shone and blindness, beaten, fled.
The crowd was released from chains, [25] And freed from the serpents’ coils, they emerged from all the cities and returned home with thanks.
We saw again the days of old Semi-girdles were thrown off, [30] and by the touch and shadow of the bodies health was restored to the weak.’
Miracle after death
Healing diseases and disabilities
Cult Activities - Protagonists in Cult and Narratives
Ecclesiastics - bishops
Other lay individuals/ people
Heretics
Officials
Cult Activities - Relics
Bodily relic - entire body
Contact relic - saint’s possession and clothes
Bodily relic - blood
Discovering, finding, invention and gathering of relics
Transfer, translation and deposition of relics
Source
This hymn was most likely composed to be sung on the feast day of Gervasius and Protasius. In this hymn Ambrose recounts many of the events which he described in Letter 77 (E05211). Ambrose discovered the relics of these previously unknown martyrs before the shrine of *Nabor and Felix (soldiers and martyrs, buried in Milan, S00609). Their bones,which were discovered amongst much blood, effected several miracles and were translated to the newly built Basilica Ambrosiana in Milan. The doubters referred to are the Homoian/Arian Christians, with whom Ambrose had being in conflict throughout 385 and 386. The revelation of the two martyrs to the Nicene Christians demonstrated that they followed the true faith.
This hymn is one of several, which is attributed to Ambrose and dedicated to saints. The majority of these saints are martyrs with a special connection with Rome, or in this case, Milan. As a group, they can be associated with the conflict with the Homoian/Arian Christians in Milan in the 380s, which came to a head with the conflict over the basilicas in 385 and 386 (for a full account of this conflict see the discussion on E05211). In his Confessions, Augustine referred to the way Ambrose encouraged the congregation to sing together ‘in the eastern manner’ (mores orientalium, Confessions 9.7) during this period. Scholars have identified many motivations which led to the composition of these hymns, and it is likely they served multiple purposes. The hymns promoted a specifically Nicene form of Christianity and were likely composed by Ambrose to respond to doctrinal rivals. This is a view promoted by Brian Dunkle and Daniel Williams. The hymns on the martyrs in particular should be seen in the context of Ambrose’s use of the cult of the martyrs to bolster his own authority in the conflicted Milanese church. He also sought to connect his Nicene followers with the Roman church, in contrast to the ‘foreign’ Homoian church. Additionally, they promoted a sense of unity and group identity amongst the singers, particularly in the face of a hostile Homoian sect. Michael Williams refers to this motivation as he draws parallels between the hymns and late Roman acclamations.
The attribution of the hymns on the martyrs to Ambrose has been questioned over the years. Yet more recent work, especially by Cécile Lanéry has argued that the manuscript witness for the hymns supports the argument that they were composed by Ambrose.
Bibliography
Edition:
Fontaine, J., Ambroise de Milan: Hymnes (Paris: Cerf, 1992).
Translation:
Dunkle, B., "Appendix," in: Enchantment and Creed in the Hymns of Ambrose of Milan (Oxford: Oxford University Press, 2016).
Further Reading:
Dunkle, B., Enchantment and Creed in the Hymns of Ambrose of Milan (Oxford: Oxford University Press, 2016).
Lanéry, C., Ambroise de Milan hagiographe (Paris: Institut d’Études Augustiniennes, 2008).
McLynn, N., Ambrose of Milan: Church and Court in a Christian Capital (Berkeley: University of California Press, 1994).
Williams, D., Ambrose of Milan and the End of the Arian-Nicene Conflicts (Oxford: Clarendon Press, 1995).
Williams, M., The Politics of Heresy in Ambrose of Milan: Community and Consensus in Late Antique Christianity (Cambridge: Cambridge University Press, 2017).