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(b.) Aredius Tropes
There are three sets of tropes for the Introit (Table 5-9) Christocolae laudum,
Emicat ecce dies, and Inclita dauitica, respectively. The set Christocolae ends with
Carmina iam reboent (marked Ad Prosula) in the rubric. The texts of Christocolae are
loosely written in dactylic hexameter, replete with images of musical rejoicing and
visions of Aredius in heaven. This set refers also to the writers of psalmody and to
music brought forth by the plectrum.
The set Emicat invokes majestic visions of Aredius as witness and prophet,
exerting the power of righteousness. In its closing phrase the company of St. Yrieix is
found in reverent song, introducing and joining in the Gloria patri. The third set Inclita
davidica invokes Old Testament references to David and Aredius, justified by his service
to God, rejoicing on arriving in heaven with the band of angels. 42
While these tropes are for the Introit Os iusti, not found in the Aredius Proper of
Pa903 (see Chapter IV), they introduce the Aredius introit, portraying Aredius as a
vigorous patron of St. Yrieix.
4. Summary
The neo-Gregorian chants of the Aredius Mass reflect visions of Aredius
deservedly rejoicing in his arrival in paradise. His power is invoked for the spiritual
welfare of the people; the embellishing chants of the prosas project these visions in
euphoric metaphors of reward, power, and joy. The texts of the tropes self-consciously
call attention to the presence and importance of music, singing, and musical instruments,
following the conventions of the Limousin. 43
42 The full text and music of the Aredius tropes are provided in Appendix A5-2.
43 Gunilla Iversen, “A Thematic Study on Tropes from Different Traditions,” in Pax et Spientia
Studies in the Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson, Corpus
Troporum Acta Universitatis Stlckholmiensis, Studia Latina Stockholmiensia Vol. XXVIIII (Stockhom:
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