





































46 Delos

Will Kesling,  “Day of  . . .  WHAT?”   

Toward a Viable Translation of Verdi’s Requiem 
 

Sigmund Freud claimed to be afraid of music. He conceded to 
a personal “resistance to the enigmatic power of music.”1  Freud was 
not afraid of other artistic forms:  he could stand in front of a sculpture 
and reflect upon what he saw. Freud was moved by literature.  But with 
music it was different. In Freud’s mind music is abstract.2   Freud could 
not comprehend its meaning nor understand how music could have 
such an emotional impact on him.  

So what happens when a text is added to music?  Now the 
music is put into a context which is no longer abstract.  The music 
suddenly becomes related to the meaning of the words, the message 
of the text, and the intellectual and imaginative depths of the poetry.  
The words provide a concrete context for the music to relate to.  Music 
can illustrate and even animate the words. Tone-painting and word-
painting are cases of illustration.   

The text provides impetus to the creation of the music. The 
music expresses the composer’s emotional reaction to the words. This 
may be a very romantic notion for we know that in differing stylistic 
periods various composers demonstrate a more detached approach to 
the written word. Often Broadway lyric writers have created libretti as 
inspired by music already composed.  In either case textual meaning is 
further unveiled and enlarged through its musical association.    

Freud possessed some level of fear of music.  On a more 
serious note, was the famous opera composer Giuseppe Verdi afraid 
of death?  This conductor is convinced that he was.  Even more, he 
fears the possibility of facing a Final Judgment. Verdi's Manzoni 
Requiem is a stirring testament of his personal philosophy of life. Verdi 
professed no personal belief in God, and often is described as an 
atheist. In Verdi’s Requiem death is punishment.  Was this punishment 
from God or from some featureless universal fate?     

 
To assert that Verdi feared death is a rather bold declaration 

that is not inscribed in any musicological treatise nor found in his 
biographies.  However, the answer to this assertion lies in the music; 
the musically graphic portrayal of the Sequence text of the Requiem 
Mass. All humans must face the moment of death.  Some face this 

                                                           
1 Oliver Sacks, Musicophilia; Tales of Music and the Brain, Vintage, 2007, 2008, p. 293. 
2 Ibid. 



 Kesling 47

event having faith in a Supernal Being and hope for a future life in 
eternal realms. Others may have no further expectations at the 
moment the heart stops.  It is well documented that Verdi is at least a 
free thinker.  Verdi’s wife Giuseppina writes:   

He is a jewel among honest men; he 
understands and feels himself every delicate and 
elevated sentiment.  And yet this brigand permits 
himself to be, I won’t say an atheist, but certainly very 
little of a believer, and that with an obstinacy and 
calm that make me want to beat him.  I exhaust 
myself in speaking to him about the marvels of the 
heavens, the earth, the sea, etc.  It’s a waste of 
breath!  He laughs in my face and freezes me in the 
midst of my oratorical periods and my divine 
enthusiasm by saying ‘you’re all crazy,’ and 
unfortunately he says it with good faith.3  
                                                                                                                                        

Verdi's Requiem is a unique work for a number of reasons.  To 
begin, Verdi was first and foremost an operatic composer. For Verdi 
theatrical expression was his compositional style.  His setting of the 
liturgical text was no less dramatic and picturesque within the musical 
requiem idiom than any of his operas.  The Requiem is not an opera 
however, because it does not have a plot, dialog, or characters. 
Nevertheless, it uses the style of Italian opera: dramatic music, big-
voiced soloists, a chorus, a strong orchestra presence, and thematic 
recurrences, textually and musically, to theatrically explore the issues 
pertaining to death and a final judgement.     

Indeed, Hans von Bulow, the world’s first professional 
conductor, once mockingly referred to the Requiem as Verdi's “latest 
opera in church vestments.”  Unlike the funeral masses of his most 
important predecessors, Verdi's Requiem is not structured around the 
traditional Catholic Church service, and was never intended to be 
performed as an integral part of this service.  In the latter half of 
the 19th century massive numbers of performers were required to 
perform these works.  The length of the performance and the virtuosic 
demands on soloists made it no longer possible to mandate that 
composers follow church canon literally.  For many reasons, large 
works with liturgical texts had long since left churches for the concert 
stage in Verdi’s day.   

                                                           
3 http://www. patheos.com/blogs/daylightatheism/2008/05/the-contributions-of-
freethinkers-i/#sthash.I2G3e378.dpuf 



48 Delos

Verdi’s Requiem stands apart from most works of the genre for 
its vivid theatricality coupled with its expressions of human frailty and 
fear.  Why? Perhaps it was the strict liturgical Latin text that gave the 
Requiem the freedom from operatic clichés. This freedom allowed 
Verdi to concentrate on the most important thing – human emotions at 
that fateful instant between life and death.  Verdi expresses them 
in perfect musical form where moments of fiery passion are equaled by 
moments of heavenly, noble serenity.  Verdi’s apprehensions about the 
great unknown that lay beyond this life and his terror over the 
possibility of a final judgment for which he might be unprepared are 
laid bare in the liturgical section of the Requiem known as the 
Sequence, Dies Irae (“Day of Wrath”), to which he gave the greatest 
emphasis.  

Mass is one of the names by which the sacrament of the 
Eucharist is commonly called in the Catholic Church.  The Missa pro 
defunctis, “Mass for the dead” is better known as the Requiem Mass 
and is offered for the repose of the souls of the dead.  The Sequence 
is a liturgical poem; when used during the celebration of the Eucharist 
is chanted or recited after the Tract or Alleluia, if present, and always 
before the reading of the Gospel.  The most famous Sequence from 
the Mass is the hymn for Pentecost, Veni Sancte Spiritus (“Come Holy 
Spirit”).   

The Sequence text with the incepit (meaning “he began”) Dies 
Irae is a poem commonly ascribed to Thomas of Celano, the 13th 
century Franciscan friar and St. Francis of Assisi’s biographer.  This 
sacred poetry is considered one of the most exquisite treasures of 
Roman Catholic Church literature. The poem brings out some of the 
forceful powers of the Latin language and the solemn effect of the triple 
rhyme scheme.  Also, the poet persuasively drives home the 
universality of his theme; the significance of man in the eternal scheme 
of things, death, eternal judgment, and the sinner pleading for 
salvation.  The Dies Irae and Veni Sancte Spiritus hold a foremost 
place among the masterpieces of sacred song from any age.  

In his monumental Dictionary of Hymnology (1925), the Rev. 
John Julian states that “the hold which this Sequence has had upon 
the minds of men of various nations and creeds has been very great.”4  
Carefully selected portions of the Sequence appear with great effect in 
Scene 20 “Cathedral” of Goethe’s Faust.  Additionally, the Sequence 
provides a magnificent climax to Canto VI in Sir Walter Scott’s Lay of 
the Last Minstrel.  The structure of the original Sequence as used in 

                                                           
4 Julian, John, ed.   A Dictionary of Hymnology.  2nd Edition (New Jersey: Dover 
Publications, 1954), Volume I, p. 295. 



 Kesling 49

the Roman Catholic liturgy consists of seventeen three-line stanzas in 
accentual, trochaic meter with two syllabic rhymes followed by three 
couplets:  the first two having two-syllabic rhymes and the last being 
assonant and catalectic.   Scott’s poem is the embodiment of the Latin 
poem but expressed in only twelve lines.  

That day of wrath, that dreadful day,  
When heaven and earth shall pass away,  
What power shall be the sinner's stay?  
How shall he meet that dreadful day?  
 
When, shriveling like a parched scroll,  
The flaming heavens together roll;  
When louder yet, and yet more dread,  
Swells the high trump that wakes the dead:  
 
Oh! on that day, that wrathful day,  
When man to judgment wakes from clay,  
Be Thou the trembling sinner's stay,  
Though heaven and earth shall pass away! 

The Sequence forms the Second Movement of the Requiem.  
For the sake of dramatizing his death theme, Verdi divides the 
seventeen verses and five closing rhymes and couplets of the 
Sequence into ten textual subdivisions and assigns these sections to 
various musical forces.   Only the sections that convince this conductor 
that Verdi feared death and a final judgment as based on the 
translation are discussed.  

Section 1.   Dies irae (“Day of wrath” for chorus & orchestra)   

The Sequence commences with the chorus wrathfully 
‘screaming’ out the Dies Irae (“Day of wrath”).  Verdi gives the full-
voiced chorus a demanding ascending chromatic line in octaves.  This 
can barely be heard in the midst of a cataclysm of thundering drums, 
hammer stroke down bow chords in the strings, and diving and 
ascending runs in the rest of the orchestra.  The uproar abates 
temporarily for the second stanza, Quantus tremor est futurus (“How 
great a trembling will be”).  Here the orchestra is soft and staccato-like 
as the chorus, sotto voce (literally “under voice”, but meaning “in a 
quiet voice”), stutters in fright.   Verdi compensates for the lack of 
a stage plot by deliberately stressing specific aural images.   

For the first time in the Requiem we get a hint of Verdi’s fear.   Here 
Verdi repeats this first stanza four times and places a particular 
emphasis on “Day of wrath” as he repeats that phrase seven times.   



50 Delos

 
   Day of wrath . . . 
   that day . . . 
   shall dissolve the world into embers, 
       witness David with Sibyl. 

   Day of wrath . . . 
   Day of wrath . . . 
   that day . . . 
   shall dissolve . . .   
   shall dissolve the world into embers, 
           
   Day of wrath, that day shall dissolve the world into embers, 
   witness David with Sibyl. 

Day of wrath, that day shall dissolve the world into embers, 
   witness David with Sibyl. 
 
   Day of wrath . . . Day of wrath. 

Section 2. Tuba mirum spargens sonum (“The trumpet, 
spreading its wondrous sound” for chorus & 
orchestra) 

Section 3. Mors stupebit et natura (“Death will be 
stunned” for bass soloist & orchestra)  
 

Section 4. Liber scriptus proferetur (“The written book 
shall be brought forth” for mezzo- 
soprano soloist, chorus & orchestra)  

Liber scriptus proferetur (“The written book shall be brought 
forth”) is the fifth stanza of the poem and is a long aria for the mezzo-
soprano soloist. It is followed by stanza 6, Judex ergo cum sedebit 
(“When therefore the Judge is seated”). The chorus reacts to the 
mezzo-soprano’s sobering description of the contents of the great book 
containing all things to be judged and mutters “dies irae” on a single 
pitch.  Spiraling figurative writing in the strings swells up into a 
breakneck reprise of the opening.  The fear of the Final Judgment 
looms large as is seen in Verdi’s three repetitions of Stanza 5 and the 
repeated fragment of Stanza 6.  Again, note the interjection of Dies 
irae.  



 Kesling 51

A written book will be brought forth, 
in which all shall be contained, 
for which the world will be judged. 
 
Day of wrath . . . 

A written book will be brought forth, 
in which all shall be contained, 
for which the world will be judged. 
 
Day of wrath . . . 

Therefore when the Judge takes His seat, 
whatever lies concealed will be revealed, 

Day of wrath . . . 

No wrong shall remain unavenged. 

A written book will be brought forth, 
in which all shall be contained, 
for which the world will be judged. 
 
Day of wrath . . . 

Section 5. Quid sum miser tunc dicturus? (“What then 
am I, a poor wretch going say?” for  
soprano, mezzo-soprano & tenor soloists & 
orchestra) 
 

With Quid sum miser tunc dicturus? (“What then am I, 
a poor wretch going say?“) is Stanza 7. Here the poetic 
perspective changes from that of a narrator to the first-person 
introspective queries made by a penitent sinner.  This 
conductor can imagine Verdi’s barely audible almost 
wearisome voice saying over and over 

What am I then, a wretch, to say? 
Which protector shall I ask for, 
even when the just are scarcely secure? 

What am I then, a wretch, to say? 
   Which protector shall I ask for? 



52 Delos

   What am I then, a wretch, to say 
   even when the just are scarcely secure? 

What am I then, a wretch, to say? 
Which protector shall I ask for, 
even when the just are scarcely secure? 

What am I then, a wretch, to say? 
Which protector shall I ask for, 
even when the just are scarcely secure? 

Section 6. Rex tremendae majestatis (“King of terrifying 
majesty” for soprano, alto, tenor    
& bass soloists, chorus & orchestra) 
 

In a striking contrast, the choral basses boom Rex tremendae 
majestatis (“King of terrifying majesty”) which is Stanza 8. The third line 
of the stanza, Salva me, fons pietatis (“Save me, fount of pity”) can be 
imagined as Verdi’s personal supplication.  He uses all four soloists 
and the full chorus singing a soaring melody. The basses interpose 
their ominous Rex tremendae, but the repetitions of Salva me continue 
until the phrase finally blossoms to a stunning climax using the 
combined forces of soloists and chorus.  Note the emphasis Verdi 
gives to “save me”. 

King of fearful majesty 
who freely saves the saved: 
Save me, fount of pity. 

   King of fearful majesty, save me. 

    Who freely saves the saved, save me. 
    Save me, fount of pity. 

    Save me . . . Save me . . .  Save me 

    Save me, fount of pity. 

King of fearful majesty 
who freely saves the saved: 
Save me, fount of pity. 

     Save me . . . Save me . . . Save me fount of pity. 
 



 Kesling 53

 

Section 7. Recordare Jesu pie Jesu (“Remember, 
merciful Jesus” for soprano & mezzo-      
soprano soloists & orchestra) 
 

Section 8. lngemisco tanquam reus (“I groan, like one 
who is guilty” for tenor soloist &      
orchestra) 

Section 9. Confutatis (“When the accursed are 
confounded” for bass soloist, chorus & 
orchestra) 

Sections 7-9 comprising Stanzas 9-17 are still represented 
from a first-person perspective. A beautiful duet for the soprano and 
the mezzo, Recordare Jesu pie Jesu (“Remember, merciful Jesus”), 
and a lyrical arioso for tenor, lngemisco tanquam reus (“I groan, like 
one who is guilty”), all acknowledge the sinner’s guilt and continues the 
plea for salvation.  A woeful aria for bass Confutatis maledictis (“When 
the accursed are confounded”) brings back the terror of the Final 
Judgement.  But the bass soloist continues with a prayer of contrition 
in the last stanza of the poem Oro supplex et acclinis (“I pray, suppliant 
and kneeling”).   The Dies irae returns with all of its original fury, only to 
dissolve into the beautiful Lacrymosa dies illa (“O how tearful that day”). 
The reader may judge for him/herself if text repetition gives insight to 
Verdi’s spiritual notions. 

    When the accursed are confounded, 
    consigned to harsh flames, 
    call me with the blessed. 

   I pray, suppliant and kneeling, 
    with a heart contrite as ashes: 
    take my ending into your care. 
 
    I pray, suppliant and kneeling, 
    with a heart contrite as ashes: 
    take my ending into your care. 

When the accursed are confounded, 
   consigned to harsh flames, 
  call me with the blessed . . . 
  call me with the blessed . . . 



54 Delos

 

   Call me . . . call me with the blessed . . . 

   I pray, suppliant and kneeling, 
    with a heart contrite as ashes: 
    take my ending into your care. 

  I pray, suppliant and kneeling, 
    with a heart contrite as ashes: 
    take  . . . my ending into your care . . .  
  take  . . . my ending into your care. 

    I pray, suppliant and kneeling, 
    take me in your care. 

    Day of wrath . . . 
    that day . . . 
    shall dissolve the world into embers, 
   witness David with Sibyl. 

   Day of wrath, that day . . . day of wrath, that day. 
 

Section 10. Lacrymosa dies illa (“O how tearful that day”) and Pie 
Jesu Domine (“Merciful Lord Jesus” for soprano, alto, 
tenor & bass soloists, chorus & orchestra) 

One would think that existing translations of this Latin poem 
would be as dramatic as the musical description of Verdi’s setting of it.  
Published translations of the Requiem are numerous and in the case of 
the Sequence, translations range far from the original character of the 
poem.  Having conducted a dozen performances of this masterpiece 
both in the United States and Europe, and revisiting this mammoth 
score, spending many untold hours studying the Latin text, I decided 
that a more precise translation be prepared for the listener for an April 
18, 2015 performance of the work in Gainesville, Florida.  

First, most translations available are poetic paraphrases of the 
Ordinary text.  Second, this conductor was moved to provide the 
audience with supertitles.  This is a rather common feature of opera 
productions but rare for presentations of choral master works. The 
main objective was to create a literal, word for word translation and 
then carefully select the precise English word to match its Latin 
counterpart.   The English words were carefully organized to make 



 Kesling 55

grammatical sense. Only for prosaic and poetic exigencies were 
alternate words chosen, taking the utmost care to ensure the purity of 
the Requiem text.  The Sequence is through-composed.  Verdi ignored 
the poem’s strophic structure and did not use the stanza repeating 
method of composition where each verse of the hymn is set to the 
exact same music. Disregarding meter and rhyme scheme; he freely 
repeated stanzas, phrases, and words all for the sake of dramatizing 
the text.  This translator made no attempt to adhere to the poetic 
features of the poem and focused completely on meaning.  

It is rare that audiences are provided with supertitles for choral 
master works such as Verdi’s Requiem.  A translation is normally 
provided in the concert program. Interestingly, as the stage lights go up 
on the performers, the house lights go down on the audience.  The 
listeners sit in a darkened concert hall incapable of reading the 
translation printed in the program.   

Here we return to Freud’s concerns about music. Would 
Sigmund Freud, sitting in a darkened concert hall, find fear and be 
incapable of gleaning the maximum meaning from hearing the 
Requiem without a translation available?  The ancient Sequence text 
elicits the emotion of fear in this conductor’s opinion.  The whole 
purpose of Verdi’s musical setting of the Dies Irae was to dramatize 
that terror. In the philosophy of the medieval period the best way to 
prepare for death was to continually remind oneself of its inevitability.  
One of the ways to remember death was to contemplate the pains of 
hell in the afterlife the sinner might suffer.  Both Thomas of Celano’s 
text and Giuseppe Verdi’s music dwell on that theme.  This was the 
inspiration for creating supertitles for a performance of this amazing 
masterwork. 

 In most opera houses a translated sentence or several 
sentences of the text being sung are put on a screen above or 
sometimes to the side of the stage proscenium. No matter how often 
the sentence(s) or phrases/fragments are repeated by the singer(s), 
that single slide of the text will remain there, sometimes for several 
minutes.  This conductor was determined to present the text as it 
unfolds in real time throughout the score.  Here the listener can see 
which words; phrases, etc. are repeated by Verdi for dramatic effect as 
witnessed above.  The translation of the complete Requiem fills 287 
PowerPoint slides.  Verdi’s personal struggle over the fear of death is 
laid bare when the non-Latin speaker is made privy to Verdi’s 
exploitation of various portions of the text.   

     The common problem when translating poetry like the 
Sequence is attempting to match the original poetic form (rhyme 



56 Delos

schemes, etc.) while endeavoring to preserve the original literary 
meaning.  Below the reader will see a charted version of the Sequence 
placed in four columns to facilitate comparisons.  The first column 
contains the Latin text taken from the Requiem Mass as found in the 
1962 Roman Missal.  The second column shows an English version 
translated by the Anglican Priest William Josiah Irons in 1849 and is 
found in the English Missal.  Although Irons’ version is from a slightly 
different Latin text, his translation replicates the rhyme and meter of 
the original. The translation presented in the third column more closely 
conforms to the official Latin and is approved by the Catholic Church 
for use as the funeral mass in the liturgy of the Anglican ordinariate.5  
This English version is a more formal equivalence translation but does 
not replicate the rhyme and meter.    

The fourth column contains the writer’s translation.  Here the 
attempt was made to present the most literal representation of the text 
possible.  The literal representation of the poem took president over 
form, rhyme and meter.  In this translation we can see how Verdi made 
use of the Sequence text for dramatic purposes. The reader can see 
the dramaturgy of the Dies Irae translation even without the 
enhancement of Verdi’s ultra-dramatic musical score sounding in our 
ears.  Each phrase represents one slide, each slide changing as the 
music unfolds.   

All music is essentially dramatic.  Poetry is created to elicit 
emotions.  To Verdi there is no difference.  For Verdi there exists 
drama when pondering death.  Will any of this help allay Freud’s ‘fear’ 
of music? If he could follow the Sequence text as it unfolds with Verdi’s 
musical score, Freud would know that his fears were justified.   

  

                                                           
5The Order of Funerals for use by the Ordinariates erected under the auspices of the 
Apostolic Constitution Anglicantorum coetibus (PDF) United States:  US Ordinariate.  



 Kesling 57

SEQUENCE TRANSLATION CHART

 

 

SEQUENCE TRANSLATION CHART

Roman Missal (1962) 

Dies iræ, dies illa, 
Solvet sæclum in  favilla: 
Teste David cum Sibylla. 

Quantus tremor est futurus, 
Quando Judex est venturus, 
Cuncta stricte discussurus! 

Tuba mirum spargens  
    sonum, 
Per sepulchra regionum, 
Coget omnes ante thronum. 

Mors stupebit et natura, 
Cum resurget creatura, 
Judicanti responsura. 

. William Josiah Irons 
      (1849) 

Day of wrath and doom  
    impending. 
David's word with Sibyl's  
    blending, 
Heaven and earth in ashes  
    ending. 

Oh, what fear man's bosom  
    rendeth, 
When from heaven the  
    Judge descendeth, 
On whose sentence all  
    dependeth. 

Wondrous sound the  
    trumpet flingeth; 
Through earth's sepulchres  
    it ringeth; 
All before the throne it  
    bringeth. 

Death is struck, and nature  
    quaking, 
All creation is awaking, 
To its Judge an answer  
    making. 

English Missal 

The day of wrath, that day 
will dissolve the world in  
    ashes 
As foretold by David and  
    the Sibyl! 

How much tremor there  
    will be, 
when the Judge will come, 
investigating everything    
    strictly! 

The trumpet, scattering a  
    wondrous sound 
through the sepulchres of  
    the regions, 
will summon all before the  
    Throne. 

Death and nature will  
    marvel, 
when the creature arises, 
to respond to the Judge. 

 Will Kesling 
    (2015) 

Day of wrath . . . 
that day . . . 
shall dissolve the world     
     into embers, 
witness David with Sibyl. 

Day of wrath . . . 
Day of wrath . . . 
that day . . . 
shall dissolve . . .   
shall dissolve the world  
    into embers, 

Day of wrath, that day shall  
    dissolve the world into   
    embers, 
witness David with Sibyl. 

Day of wrath, that day shall  
    dissolve the world into 
    embers, 
witness David with Sibyl. 

Day of wrath . . . Day of  
    wrath . . . 

How great the trembling  
    will be, 
when the Judge shall come, 
the strict investigator of all  
    things! 

The trumpet, scattering a  
    marvelous sound . . . 
through the tombs of every  
    land, 
will summon all before the  
    throne. 

Death will be stunned,   
    likewise nature, 
When all creation shall rise  
  again, 
to answer to the One  
   judging. 

death . . . death . . . 
death . . . 
shall be stunned. 

SEQUENCE TRANSLATION CHART

Roman Missal (1962) 

Dies iræ, dies illa, 
Solvet sæclum in  favilla: 
Teste David cum Sibylla. 

Quantus tremor est futurus, 
Quando Judex est venturus, 
Cuncta stricte discussurus! 

Tuba mirum spargens  
    sonum, 
Per sepulchra regionum, 
Coget omnes ante thronum. 

Mors stupebit et natura, 
Cum resurget creatura, 
Judicanti responsura. 

. William Josiah Irons 
      (1849) 

Day of wrath and doom  
    impending. 
David's word with Sibyl's  
    blending, 
Heaven and earth in ashes  
    ending. 

Oh, what fear man's bosom  
    rendeth, 
When from heaven the  
    Judge descendeth, 
On whose sentence all  
    dependeth. 

Wondrous sound the  
    trumpet flingeth; 
Through earth's sepulchres  
    it ringeth; 
All before the throne it  
    bringeth. 

Death is struck, and nature  
    quaking, 
All creation is awaking, 
To its Judge an answer  
    making. 

English Missal 

The day of wrath, that day 
will dissolve the world in  
    ashes 
As foretold by David and  
    the Sibyl! 

How much tremor there  
    will be, 
when the Judge will come, 
investigating everything    
    strictly! 

The trumpet, scattering a  
    wondrous sound 
through the sepulchres of  
    the regions, 
will summon all before the  
    Throne. 

Death and nature will  
    marvel, 
when the creature arises, 
to respond to the Judge. 

 Will Kesling 
    (2015) 

Day of wrath . . . 
that day . . . 
shall dissolve the world     
     into embers, 
witness David with Sibyl. 

Day of wrath . . . 
Day of wrath . . . 
that day . . . 
shall dissolve . . .   
shall dissolve the world  
    into embers, 

Day of wrath, that day shall  
    dissolve the world into   
    embers, 
witness David with Sibyl. 

Day of wrath, that day shall  
    dissolve the world into 
    embers, 
witness David with Sibyl. 

Day of wrath . . . Day of  
    wrath . . . 

How great the trembling  
    will be, 
when the Judge shall come, 
the strict investigator of all  
    things! 

The trumpet, scattering a  
    marvelous sound . . . 
through the tombs of every  
    land, 
will summon all before the  
    throne. 

Death will be stunned,   
    likewise nature, 
When all creation shall rise  
  again, 
to answer to the One  
   judging. 

death . . . death . . . 
death . . . 
shall be stunned. 

SEQUENCE TRANSLATION CHART

Roman Missal (1962) 

Dies iræ, dies illa, 
Solvet sæclum in  favilla: 
Teste David cum Sibylla. 

Quantus tremor est futurus, 
Quando Judex est venturus, 
Cuncta stricte discussurus! 

Tuba mirum spargens  
    sonum, 
Per sepulchra regionum, 
Coget omnes ante thronum. 

Mors stupebit et natura, 
Cum resurget creatura, 
Judicanti responsura. 

. William Josiah Irons 
      (1849) 

Day of wrath and doom  
    impending. 
David's word with Sibyl's  
    blending, 
Heaven and earth in ashes  
    ending. 

Oh, what fear man's bosom  
    rendeth, 
When from heaven the  
    Judge descendeth, 
On whose sentence all  
    dependeth. 

Wondrous sound the  
    trumpet flingeth; 
Through earth's sepulchres  
    it ringeth; 
All before the throne it  
    bringeth. 

Death is struck, and nature  
    quaking, 
All creation is awaking, 
To its Judge an answer  
    making. 

English Missal 

The day of wrath, that day 
will dissolve the world in  
    ashes 
As foretold by David and  
    the Sibyl! 

How much tremor there  
    will be, 
when the Judge will come, 
investigating everything    
    strictly! 

The trumpet, scattering a  
    wondrous sound 
through the sepulchres of  
    the regions, 
will summon all before the  
    Throne. 

Death and nature will  
    marvel, 
when the creature arises, 
to respond to the Judge. 

 Will Kesling 
    (2015) 

Day of wrath . . . 
that day . . . 
shall dissolve the world     
     into embers, 
witness David with Sibyl. 

Day of wrath . . . 
Day of wrath . . . 
that day . . . 
shall dissolve . . .   
shall dissolve the world  
    into embers, 

Day of wrath, that day shall  
    dissolve the world into   
    embers, 
witness David with Sibyl. 

Day of wrath, that day shall  
    dissolve the world into 
    embers, 
witness David with Sibyl. 

Day of wrath . . . Day of  
    wrath . . . 

How great the trembling  
    will be, 
when the Judge shall come, 
the strict investigator of all  
    things! 

The trumpet, scattering a  
    marvelous sound . . . 
through the tombs of every  
    land, 
will summon all before the  
    throne. 

Death will be stunned,   
    likewise nature, 
When all creation shall rise  
  again, 
to answer to the One  
   judging. 

death . . . death . . . 
death . . . 
shall be stunned. 

SEQUENCE TRANSLATION CHART

Roman Missal (1962) 

Dies iræ, dies illa, 
Solvet sæclum in  favilla: 
Teste David cum Sibylla. 

Quantus tremor est futurus, 
Quando Judex est venturus, 
Cuncta stricte discussurus! 

Tuba mirum spargens  
    sonum, 
Per sepulchra regionum, 
Coget omnes ante thronum. 

Mors stupebit et natura, 
Cum resurget creatura, 
Judicanti responsura. 

. William Josiah Irons 
      (1849) 

Day of wrath and doom  
    impending. 
David's word with Sibyl's  
    blending, 
Heaven and earth in ashes  
    ending. 

Oh, what fear man's bosom  
    rendeth, 
When from heaven the  
    Judge descendeth, 
On whose sentence all  
    dependeth. 

Wondrous sound the  
    trumpet flingeth; 
Through earth's sepulchres  
    it ringeth; 
All before the throne it  
    bringeth. 

Death is struck, and nature  
    quaking, 
All creation is awaking, 
To its Judge an answer  
    making. 

English Missal 

The day of wrath, that day 
will dissolve the world in  
    ashes 
As foretold by David and  
    the Sibyl! 

How much tremor there  
    will be, 
when the Judge will come, 
investigating everything    
    strictly! 

The trumpet, scattering a  
    wondrous sound 
through the sepulchres of  
    the regions, 
will summon all before the  
    Throne. 

Death and nature will  
    marvel, 
when the creature arises, 
to respond to the Judge. 

 Will Kesling 
    (2015) 

Day of wrath . . . 
that day . . . 
shall dissolve the world     
     into embers, 
witness David with Sibyl. 

Day of wrath . . . 
Day of wrath . . . 
that day . . . 
shall dissolve . . .   
shall dissolve the world  
    into embers, 

Day of wrath, that day shall  
    dissolve the world into   
    embers, 
witness David with Sibyl. 

Day of wrath, that day shall  
    dissolve the world into 
    embers, 
witness David with Sibyl. 

Day of wrath . . . Day of  
    wrath . . . 

How great the trembling  
    will be, 
when the Judge shall come, 
the strict investigator of all  
    things! 

The trumpet, scattering a  
    marvelous sound . . . 
through the tombs of every  
    land, 
will summon all before the  
    throne. 

Death will be stunned,   
    likewise nature, 
When all creation shall rise  
  again, 
to answer to the One  
   judging. 

death . . . death . . . 
death . . . 
shall be stunned. 



58 Delos

Liber scriptus proferetur, 
In quo totum continetur, 
Unde mundus judicetur 

Judex ergo cum sedebit, 
Quid quid latet apparebit: 
Nil inultum remanebit. 

Quid sum miser tunc 
dicturus? 
Quem patronum rogaturus, 
Cum vix justus sit securus? 

Lo, the book, exactly  
    worded, 
Wherein all hath  
    been recorded, 
Thence shall judgement be  
    awarded. 

When the Judge his seat  
    attaineth, 
And each hidden deed  
    arraigneth, 
Nothing unavenged  
    remaineth. 

What shall I, frail man, be 
pleading? 
Who for me be interceding, 
When the just are mercy 
needing? 

The written book will be  
    brought forth, 
in which all is contained, 
    from which the world 
shall be judged. 

When therefore the Judge  
    will sit, 
whatever hides will appear: 
nothing will remain  
    unpunished. 

What am I, miserable, then 
to say? 
Which patron to ask, 
when [even] the just may 
[only] hardly be sure? 

A written book will be  
    brought forth, 
 in which all shall be  
    contained, 
 for which the world will be  
    judged. 

Day of wrath . . . 

A written book will be     
    brought forth, 
in which all shall be  
    contained, 
for which the world will be  
    judged. 

Day of wrath . .  

Therefore when the Judge  
    takes His seat, 
whatever lies concealed  
    will be revealed, 

Day of wrath . . . 

No wrong shall remain  
    unavenged. 

A written book will be  
    brought forth, 
in which all shall be  
    contained, 
for which the world will be  
    judged. 

Day of wrath . . . 

What am I then, a wretch,  
    to say? 
Which protector shall I ask  
    for, 
even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for? 

What am I then, a wretch,  
    to say 
even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for, 

Liber scriptus proferetur, 
In quo totum continetur, 
Unde mundus judicetur 

Judex ergo cum sedebit, 
Quid quid latet apparebit: 
Nil inultum remanebit. 

Quid sum miser tunc 
dicturus? 
Quem patronum rogaturus, 
Cum vix justus sit securus? 

Lo, the book, exactly  
    worded, 
Wherein all hath  
    been recorded, 
Thence shall judgement be  
    awarded. 

When the Judge his seat  
    attaineth, 
And each hidden deed  
    arraigneth, 
Nothing unavenged  
    remaineth. 

What shall I, frail man, be 
pleading? 
Who for me be interceding, 
When the just are mercy 
needing? 

The written book will be  
    brought forth, 
in which all is contained, 
    from which the world 
shall be judged. 

When therefore the Judge  
    will sit, 
whatever hides will appear: 
nothing will remain  
    unpunished. 

What am I, miserable, then 
to say? 
Which patron to ask, 
when [even] the just may 
[only] hardly be sure? 

A written book will be  
    brought forth, 
 in which all shall be  
    contained, 
 for which the world will be  
    judged. 

Day of wrath . . . 

A written book will be     
    brought forth, 
in which all shall be  
    contained, 
for which the world will be  
    judged. 

Day of wrath . .  

Therefore when the Judge  
    takes His seat, 
whatever lies concealed  
    will be revealed, 

Day of wrath . . . 

No wrong shall remain  
    unavenged. 

A written book will be  
    brought forth, 
in which all shall be  
    contained, 
for which the world will be  
    judged. 

Day of wrath . . . 

What am I then, a wretch,  
    to say? 
Which protector shall I ask  
    for, 
even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for? 

What am I then, a wretch,  
    to say 
even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for, 

Liber scriptus proferetur, 
In quo totum continetur, 
Unde mundus judicetur 

Judex ergo cum sedebit, 
Quid quid latet apparebit: 
Nil inultum remanebit. 

Quid sum miser tunc 
dicturus? 
Quem patronum rogaturus, 
Cum vix justus sit securus? 

Lo, the book, exactly  
    worded, 
Wherein all hath  
    been recorded, 
Thence shall judgement be  
    awarded. 

When the Judge his seat  
    attaineth, 
And each hidden deed  
    arraigneth, 
Nothing unavenged  
    remaineth. 

What shall I, frail man, be 
pleading? 
Who for me be interceding, 
When the just are mercy 
needing? 

The written book will be  
    brought forth, 
in which all is contained, 
    from which the world 
shall be judged. 

When therefore the Judge  
    will sit, 
whatever hides will appear: 
nothing will remain  
    unpunished. 

What am I, miserable, then 
to say? 
Which patron to ask, 
when [even] the just may 
[only] hardly be sure? 

A written book will be  
    brought forth, 
 in which all shall be  
    contained, 
 for which the world will be  
    judged. 

Day of wrath . . . 

A written book will be     
    brought forth, 
in which all shall be  
    contained, 
for which the world will be  
    judged. 

Day of wrath . .  

Therefore when the Judge  
    takes His seat, 
whatever lies concealed  
    will be revealed, 

Day of wrath . . . 

No wrong shall remain  
    unavenged. 

A written book will be  
    brought forth, 
in which all shall be  
    contained, 
for which the world will be  
    judged. 

Day of wrath . . . 

What am I then, a wretch,  
    to say? 
Which protector shall I ask  
    for, 
even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for? 

What am I then, a wretch,  
    to say 
even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for, 

Liber scriptus proferetur, 
In quo totum continetur, 
Unde mundus judicetur 

Judex ergo cum sedebit, 
Quid quid latet apparebit: 
Nil inultum remanebit. 

Quid sum miser tunc 
dicturus? 
Quem patronum rogaturus, 
Cum vix justus sit securus? 

Lo, the book, exactly  
    worded, 
Wherein all hath  
    been recorded, 
Thence shall judgement be  
    awarded. 

When the Judge his seat  
    attaineth, 
And each hidden deed  
    arraigneth, 
Nothing unavenged  
    remaineth. 

What shall I, frail man, be 
pleading? 
Who for me be interceding, 
When the just are mercy 
needing? 

The written book will be  
    brought forth, 
in which all is contained, 
    from which the world 
shall be judged. 

When therefore the Judge  
    will sit, 
whatever hides will appear: 
nothing will remain  
    unpunished. 

What am I, miserable, then 
to say? 
Which patron to ask, 
when [even] the just may 
[only] hardly be sure? 

A written book will be  
    brought forth, 
 in which all shall be  
    contained, 
 for which the world will be  
    judged. 

Day of wrath . . . 

A written book will be     
    brought forth, 
in which all shall be  
    contained, 
for which the world will be  
    judged. 

Day of wrath . .  

Therefore when the Judge  
    takes His seat, 
whatever lies concealed  
    will be revealed, 

Day of wrath . . . 

No wrong shall remain  
    unavenged. 

A written book will be  
    brought forth, 
in which all shall be  
    contained, 
for which the world will be  
    judged. 

Day of wrath . . . 

What am I then, a wretch,  
    to say? 
Which protector shall I ask  
    for, 
even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for? 

What am I then, a wretch,  
    to say 
even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for, 



 Kesling 59

Rex tremendæ majestatis, 
Qui salvandos salvas gratis, 
Salva me, fons pietatis. 

Recordare, Jesu pie, 
Quod sum causa tuæ viæ: 
Ne me perdas illa die. 

Quærens me, sedisti lassus: 
Redemisti Crucem passus: 
Tantus labor non sit cassus. 

Juste Judex ultionis, 
Donum fac remissionis, 
Ante diem rationis. 

King of Majesty  
    tremendous, 
Who dost free salvation 
    send us, 
Fount of pity, then befriend  
    us! 

Think, kind Jesu, my  
    salvation 
Caused Thy wondrous  
    Incarnation; 
Leave me not to  
    reprobation. 

Faint and weary, Thou hast  
    sought me, 
On the Cross of suffering  
    bought me. 
Shall such grace be vainly  
    brought me? 

Righteous Judge, for sin's 
pollution 
Grant Thy gift of absolution, 
Ere the day of retribution. 

King of tremendous  
    majesty, 
Who freely savest those  
    that have to be saved, 
save me, Source of mercy. 

Remember, merciful Jesus, 
That I am the cause of Thy  
    way: 
Lest Thou lose me in that  
    day. 

Seeking me, Thou sattest  
    tired: 
Thou redeemedst [me]  
    having suffered the Cross: 
let not so much hardship  
    be lost. 

Just Judge of revenge, 
give the gift of remission 
before the day of 
reckoning. 

even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for, 
even when the just are  
    scarcely secure? 

King of fearful majesty who 
freely saves the saved: 
Save me, fount of pity. 

King of fearful majesty.  
    Save me. 

Who freely saves the saved,   
    save me. 
Save me, fount of pity. 

Save me . . . Save me . . .  
    Save me 

Save me, fount of pity. 

King of fearful majesty 
who freely saves the saved: 
Save me, fount of pity. 

Save me . . . Save me . . .  
    Save me fount of pity. 

Remember, merciful Jesus, 
that I was the reason for 
your sojourn: 

Remember, merciful Jesus, 
that I was the reason for  
    your sojourn: 
do not cast me out on that  
    day. 

Seeking me, you sat down  
    weary;  
having suffered the Cross,  
    you redeemed me. 
May such labor not be in  
    vain. 

Just Judge of vengeance, 
grant the gift of  
    remission . . .  
before the day of  
    reckoning. 

Rex tremendæ majestatis, 
Qui salvandos salvas gratis, 
Salva me, fons pietatis. 

Recordare, Jesu pie, 
Quod sum causa tuæ viæ: 
Ne me perdas illa die. 

Quærens me, sedisti lassus: 
Redemisti Crucem passus: 
Tantus labor non sit cassus. 

Juste Judex ultionis, 
Donum fac remissionis, 
Ante diem rationis. 

King of Majesty  
    tremendous, 
Who dost free salvation 
    send us, 
Fount of pity, then befriend  
    us! 

Think, kind Jesu, my  
    salvation 
Caused Thy wondrous  
    Incarnation; 
Leave me not to  
    reprobation. 

Faint and weary, Thou hast  
    sought me, 
On the Cross of suffering  
    bought me. 
Shall such grace be vainly  
    brought me? 

Righteous Judge, for sin's 
pollution 
Grant Thy gift of absolution, 
Ere the day of retribution. 

King of tremendous  
    majesty, 
Who freely savest those  
    that have to be saved, 
save me, Source of mercy. 

Remember, merciful Jesus, 
That I am the cause of Thy  
    way: 
Lest Thou lose me in that  
    day. 

Seeking me, Thou sattest  
    tired: 
Thou redeemedst [me]  
    having suffered the Cross: 
let not so much hardship  
    be lost. 

Just Judge of revenge, 
give the gift of remission 
before the day of 
reckoning. 

even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for, 
even when the just are  
    scarcely secure? 

King of fearful majesty who 
freely saves the saved: 
Save me, fount of pity. 

King of fearful majesty.  
    Save me. 

Who freely saves the saved,   
    save me. 
Save me, fount of pity. 

Save me . . . Save me . . .  
    Save me 

Save me, fount of pity. 

King of fearful majesty 
who freely saves the saved: 
Save me, fount of pity. 

Save me . . . Save me . . .  
    Save me fount of pity. 

Remember, merciful Jesus, 
that I was the reason for 
your sojourn: 

Remember, merciful Jesus, 
that I was the reason for  
    your sojourn: 
do not cast me out on that  
    day. 

Seeking me, you sat down  
    weary;  
having suffered the Cross,  
    you redeemed me. 
May such labor not be in  
    vain. 

Just Judge of vengeance, 
grant the gift of  
    remission . . .  
before the day of  
    reckoning. 

Rex tremendæ majestatis, 
Qui salvandos salvas gratis, 
Salva me, fons pietatis. 

Recordare, Jesu pie, 
Quod sum causa tuæ viæ: 
Ne me perdas illa die. 

Quærens me, sedisti lassus: 
Redemisti Crucem passus: 
Tantus labor non sit cassus. 

Juste Judex ultionis, 
Donum fac remissionis, 
Ante diem rationis. 

King of Majesty  
    tremendous, 
Who dost free salvation 
    send us, 
Fount of pity, then befriend  
    us! 

Think, kind Jesu, my  
    salvation 
Caused Thy wondrous  
    Incarnation; 
Leave me not to  
    reprobation. 

Faint and weary, Thou hast  
    sought me, 
On the Cross of suffering  
    bought me. 
Shall such grace be vainly  
    brought me? 

Righteous Judge, for sin's 
pollution 
Grant Thy gift of absolution, 
Ere the day of retribution. 

King of tremendous  
    majesty, 
Who freely savest those  
    that have to be saved, 
save me, Source of mercy. 

Remember, merciful Jesus, 
That I am the cause of Thy  
    way: 
Lest Thou lose me in that  
    day. 

Seeking me, Thou sattest  
    tired: 
Thou redeemedst [me]  
    having suffered the Cross: 
let not so much hardship  
    be lost. 

Just Judge of revenge, 
give the gift of remission 
before the day of 
reckoning. 

even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for, 
even when the just are  
    scarcely secure? 

King of fearful majesty who 
freely saves the saved: 
Save me, fount of pity. 

King of fearful majesty.  
    Save me. 

Who freely saves the saved,   
    save me. 
Save me, fount of pity. 

Save me . . . Save me . . .  
    Save me 

Save me, fount of pity. 

King of fearful majesty 
who freely saves the saved: 
Save me, fount of pity. 

Save me . . . Save me . . .  
    Save me fount of pity. 

Remember, merciful Jesus, 
that I was the reason for 
your sojourn: 

Remember, merciful Jesus, 
that I was the reason for  
    your sojourn: 
do not cast me out on that  
    day. 

Seeking me, you sat down  
    weary;  
having suffered the Cross,  
    you redeemed me. 
May such labor not be in  
    vain. 

Just Judge of vengeance, 
grant the gift of  
    remission . . .  
before the day of  
    reckoning. 

Rex tremendæ majestatis, 
Qui salvandos salvas gratis, 
Salva me, fons pietatis. 

Recordare, Jesu pie, 
Quod sum causa tuæ viæ: 
Ne me perdas illa die. 

Quærens me, sedisti lassus: 
Redemisti Crucem passus: 
Tantus labor non sit cassus. 

Juste Judex ultionis, 
Donum fac remissionis, 
Ante diem rationis. 

King of Majesty  
    tremendous, 
Who dost free salvation 
    send us, 
Fount of pity, then befriend  
    us! 

Think, kind Jesu, my  
    salvation 
Caused Thy wondrous  
    Incarnation; 
Leave me not to  
    reprobation. 

Faint and weary, Thou hast  
    sought me, 
On the Cross of suffering  
    bought me. 
Shall such grace be vainly  
    brought me? 

Righteous Judge, for sin's 
pollution 
Grant Thy gift of absolution, 
Ere the day of retribution. 

King of tremendous  
    majesty, 
Who freely savest those  
    that have to be saved, 
save me, Source of mercy. 

Remember, merciful Jesus, 
That I am the cause of Thy  
    way: 
Lest Thou lose me in that  
    day. 

Seeking me, Thou sattest  
    tired: 
Thou redeemedst [me]  
    having suffered the Cross: 
let not so much hardship  
    be lost. 

Just Judge of revenge, 
give the gift of remission 
before the day of 
reckoning. 

even when the just are  
    scarcely secure? 

What am I then, a wretch,  
    to say? 
 Which protector shall I ask  
    for, 
even when the just are  
    scarcely secure? 

King of fearful majesty who 
freely saves the saved: 
Save me, fount of pity. 

King of fearful majesty.  
    Save me. 

Who freely saves the saved,   
    save me. 
Save me, fount of pity. 

Save me . . . Save me . . .  
    Save me 

Save me, fount of pity. 

King of fearful majesty 
who freely saves the saved: 
Save me, fount of pity. 

Save me . . . Save me . . .  
    Save me fount of pity. 

Remember, merciful Jesus, 
that I was the reason for 
your sojourn: 

Remember, merciful Jesus, 
that I was the reason for  
    your sojourn: 
do not cast me out on that  
    day. 

Seeking me, you sat down  
    weary;  
having suffered the Cross,  
    you redeemed me. 
May such labor not be in  
    vain. 

Just Judge of vengeance, 
grant the gift of  
    remission . . .  
before the day of  
    reckoning. 



60 Delos

Ingemisco, tamquam reus: 
Culpa rubet vultus meus: 
Supplicanti parce, Deus. 

Qui Mariam absolvisti, 
Et latronem exaudisti, 
Mihi quoque spem dedisti. 

Preces meæ non sunt  
    dignæ; 
Sed tu bonus fac benigne, 
Ne perenni cremer igne. 

Inter oves locum præsta. 
Et ab hædis me sequestra, 
Statuens in parte dextra. 

Confutatis maledictis, 
Flammis acribus addictis, 
Voca me cum benedictis 

Guilty, now I pour my  
    moaning, 
All my shame with anguish  
    owning; 
Spare, O God, Thy  
    suppliant groaning! 

Through the sinful woman  
    shriven, 
Through the dying thief  
    forgiven, 
Thou to me a hope hast  
    given. 

Worthless are my prayers  
    and sighing, 
Yet, good Lord, in grace  
    complying, 
Rescue me from fires  
    undying. 

With Thy sheep a place  
    provide me, 
From the goats afar divide  
    me, 
To Thy right hand do Thou  
    guide me. 

When the wicked are  
    confounded, 
Doomed to flames of woe  
    unbounded, 
Call me with Thy saints  
    surrounded. 

I sigh, like the guilty one: 
my face reddens in guilt: 
Spare the supplicating one,  
    God. 

Thou who absolvedst Mary, 
and heardest the Robber, 
gavest hope to me, too. 

My prayers are not worthy: 
however, Thou, Good  
    [Lord], do good, 
lest I be burned up by  
    eternal fire 

Grant me a place among  
    the sheep, 
and take me out from  
    among the goats, 
setting me on the right side. 

Once the cursed have been  
    rebuked, 
sentenced to acrid flames: 
Call Thou me with the  
    blessed. 

Grant the gift of  
    remission . . .    
before the day . . . before  
    the day. 

I groan, like a guilty one; 
my face blushes with guilt. 
Spare the supplicant, O  
    God. 

You, who absolved Mary  
    Magdalen, 
and heeded the thief, 
have given me hope also. 

My prayers are not worthy, 
but Thou, benevolent one,  
    kindly grant  
that I not burn in  
    everlasting fire. 

Grant me a place of  
    eminence among the  
    sheep, 
and separate me from the  
    goats. 

Grant me a place of  
    eminence among the  
    sheep, 
 and separate me from the  
    goats, 
 placing me . . . 
 placing me at Thy right  
    hand. 

. . . and separate me from 
the goats, 
 placing me at Thy right 
hand. 

When the accursed are   
    confounded, 
consigned to harsh flames, 
call me with the blessed. 

Ingemisco, tamquam reus: 
Culpa rubet vultus meus: 
Supplicanti parce, Deus. 

Qui Mariam absolvisti, 
Et latronem exaudisti, 
Mihi quoque spem dedisti. 

Preces meæ non sunt  
    dignæ; 
Sed tu bonus fac benigne, 
Ne perenni cremer igne. 

Inter oves locum præsta. 
Et ab hædis me sequestra, 
Statuens in parte dextra. 

Confutatis maledictis, 
Flammis acribus addictis, 
Voca me cum benedictis 

Guilty, now I pour my  
    moaning, 
All my shame with anguish  
    owning; 
Spare, O God, Thy  
    suppliant groaning! 

Through the sinful woman  
    shriven, 
Through the dying thief  
    forgiven, 
Thou to me a hope hast  
    given. 

Worthless are my prayers  
    and sighing, 
Yet, good Lord, in grace  
    complying, 
Rescue me from fires  
    undying. 

With Thy sheep a place  
    provide me, 
From the goats afar divide  
    me, 
To Thy right hand do Thou  
    guide me. 

When the wicked are  
    confounded, 
Doomed to flames of woe  
    unbounded, 
Call me with Thy saints  
    surrounded. 

I sigh, like the guilty one: 
my face reddens in guilt: 
Spare the supplicating one,  
    God. 

Thou who absolvedst Mary, 
and heardest the Robber, 
gavest hope to me, too. 

My prayers are not worthy: 
however, Thou, Good  
    [Lord], do good, 
lest I be burned up by  
    eternal fire 

Grant me a place among  
    the sheep, 
and take me out from  
    among the goats, 
setting me on the right side. 

Once the cursed have been  
    rebuked, 
sentenced to acrid flames: 
Call Thou me with the  
    blessed. 

Grant the gift of  
    remission . . .    
before the day . . . before  
    the day. 

I groan, like a guilty one; 
my face blushes with guilt. 
Spare the supplicant, O  
    God. 

You, who absolved Mary  
    Magdalen, 
and heeded the thief, 
have given me hope also. 

My prayers are not worthy, 
but Thou, benevolent one,  
    kindly grant  
that I not burn in  
    everlasting fire. 

Grant me a place of  
    eminence among the  
    sheep, 
and separate me from the  
    goats. 

Grant me a place of  
    eminence among the  
    sheep, 
 and separate me from the  
    goats, 
 placing me . . . 
 placing me at Thy right  
    hand. 

. . . and separate me from 
the goats, 
 placing me at Thy right 
hand. 

When the accursed are   
    confounded, 
consigned to harsh flames, 
call me with the blessed. 

Ingemisco, tamquam reus: 
Culpa rubet vultus meus: 
Supplicanti parce, Deus. 

Qui Mariam absolvisti, 
Et latronem exaudisti, 
Mihi quoque spem dedisti. 

Preces meæ non sunt  
    dignæ; 
Sed tu bonus fac benigne, 
Ne perenni cremer igne. 

Inter oves locum præsta. 
Et ab hædis me sequestra, 
Statuens in parte dextra. 

Confutatis maledictis, 
Flammis acribus addictis, 
Voca me cum benedictis 

Guilty, now I pour my  
    moaning, 
All my shame with anguish  
    owning; 
Spare, O God, Thy  
    suppliant groaning! 

Through the sinful woman  
    shriven, 
Through the dying thief  
    forgiven, 
Thou to me a hope hast  
    given. 

Worthless are my prayers  
    and sighing, 
Yet, good Lord, in grace  
    complying, 
Rescue me from fires  
    undying. 

With Thy sheep a place  
    provide me, 
From the goats afar divide  
    me, 
To Thy right hand do Thou  
    guide me. 

When the wicked are  
    confounded, 
Doomed to flames of woe  
    unbounded, 
Call me with Thy saints  
    surrounded. 

I sigh, like the guilty one: 
my face reddens in guilt: 
Spare the supplicating one,  
    God. 

Thou who absolvedst Mary, 
and heardest the Robber, 
gavest hope to me, too. 

My prayers are not worthy: 
however, Thou, Good  
    [Lord], do good, 
lest I be burned up by  
    eternal fire 

Grant me a place among  
    the sheep, 
and take me out from  
    among the goats, 
setting me on the right side. 

Once the cursed have been  
    rebuked, 
sentenced to acrid flames: 
Call Thou me with the  
    blessed. 

Grant the gift of  
    remission . . .    
before the day . . . before  
    the day. 

I groan, like a guilty one; 
my face blushes with guilt. 
Spare the supplicant, O  
    God. 

You, who absolved Mary  
    Magdalen, 
and heeded the thief, 
have given me hope also. 

My prayers are not worthy, 
but Thou, benevolent one,  
    kindly grant  
that I not burn in  
    everlasting fire. 

Grant me a place of  
    eminence among the  
    sheep, 
and separate me from the  
    goats. 

Grant me a place of  
    eminence among the  
    sheep, 
 and separate me from the  
    goats, 
 placing me . . . 
 placing me at Thy right  
    hand. 

. . . and separate me from 
the goats, 
 placing me at Thy right 
hand. 

When the accursed are   
    confounded, 
consigned to harsh flames, 
call me with the blessed. 

Ingemisco, tamquam reus: 
Culpa rubet vultus meus: 
Supplicanti parce, Deus. 

Qui Mariam absolvisti, 
Et latronem exaudisti, 
Mihi quoque spem dedisti. 

Preces meæ non sunt  
    dignæ; 
Sed tu bonus fac benigne, 
Ne perenni cremer igne. 

Inter oves locum præsta. 
Et ab hædis me sequestra, 
Statuens in parte dextra. 

Confutatis maledictis, 
Flammis acribus addictis, 
Voca me cum benedictis 

Guilty, now I pour my  
    moaning, 
All my shame with anguish  
    owning; 
Spare, O God, Thy  
    suppliant groaning! 

Through the sinful woman  
    shriven, 
Through the dying thief  
    forgiven, 
Thou to me a hope hast  
    given. 

Worthless are my prayers  
    and sighing, 
Yet, good Lord, in grace  
    complying, 
Rescue me from fires  
    undying. 

With Thy sheep a place  
    provide me, 
From the goats afar divide  
    me, 
To Thy right hand do Thou  
    guide me. 

When the wicked are  
    confounded, 
Doomed to flames of woe  
    unbounded, 
Call me with Thy saints  
    surrounded. 

I sigh, like the guilty one: 
my face reddens in guilt: 
Spare the supplicating one,  
    God. 

Thou who absolvedst Mary, 
and heardest the Robber, 
gavest hope to me, too. 

My prayers are not worthy: 
however, Thou, Good  
    [Lord], do good, 
lest I be burned up by  
    eternal fire 

Grant me a place among  
    the sheep, 
and take me out from  
    among the goats, 
setting me on the right side. 

Once the cursed have been  
    rebuked, 
sentenced to acrid flames: 
Call Thou me with the  
    blessed. 

Grant the gift of  
    remission . . .    
before the day . . . before  
    the day. 

I groan, like a guilty one; 
my face blushes with guilt. 
Spare the supplicant, O  
    God. 

You, who absolved Mary  
    Magdalen, 
and heeded the thief, 
have given me hope also. 

My prayers are not worthy, 
but Thou, benevolent one,  
    kindly grant  
that I not burn in  
    everlasting fire. 

Grant me a place of  
    eminence among the  
    sheep, 
and separate me from the  
    goats. 

Grant me a place of  
    eminence among the  
    sheep, 
 and separate me from the  
    goats, 
 placing me . . . 
 placing me at Thy right  
    hand. 

. . . and separate me from 
the goats, 
 placing me at Thy right 
hand. 

When the accursed are   
    confounded, 
consigned to harsh flames, 
call me with the blessed. 



 Kesling 61

Oro supplex et acclinis, 
Cor contritum quasi cinis, 
Gere curam mei finis. 

Lacrymosa dies illa, 
Qua resurget ex favilla, 
Judicandus homo reus. 
Huic ergo parce, Deus: 

Low I kneel, with heart's  
    submission, 
See, like ashes, my  
    contrition, 
Help me in my last  
    condition. 

Ah! that day of tears and  
    mourning, 
From the dust of earth  
    returning 
Man for judgement must  
    prepare him, 
Spare, O God, in mercy  
    spare him. 

I meekly and humbly pray, 
[my] heart is as crushed as  
    the ashes: 
perform the healing of  
    mine end. 

Tearful will be that day, 
on which from the ash  
    arises 
the guilty man who is to be  
    judged. 
Spare him therefore, God. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

When the accursed are  
    confounded, 
consigned to harsh flames, 
call me with the blessed . . . 
call me with the blessed . . . 

Call me . . . call me with the  
    blessed . . . 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take  . . . my ending into  
    your care . . . 
take  . . . my ending into  
    your care. 

I pray, suppliant and  
    kneeling, 
take me in your care. 

Day of wrath . . . 
that day . . . 
shall dissolve the world  
    into embers, 
witness David with Sibyl. 

Day of wrath, that day . . .  
    day of wrath, that day. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

Oro supplex et acclinis, 
Cor contritum quasi cinis, 
Gere curam mei finis. 

Lacrymosa dies illa, 
Qua resurget ex favilla, 
Judicandus homo reus. 
Huic ergo parce, Deus: 

Low I kneel, with heart's  
    submission, 
See, like ashes, my  
    contrition, 
Help me in my last  
    condition. 

Ah! that day of tears and  
    mourning, 
From the dust of earth  
    returning 
Man for judgement must  
    prepare him, 
Spare, O God, in mercy  
    spare him. 

I meekly and humbly pray, 
[my] heart is as crushed as  
    the ashes: 
perform the healing of  
    mine end. 

Tearful will be that day, 
on which from the ash  
    arises 
the guilty man who is to be  
    judged. 
Spare him therefore, God. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

When the accursed are  
    confounded, 
consigned to harsh flames, 
call me with the blessed . . . 
call me with the blessed . . . 

Call me . . . call me with the  
    blessed . . . 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take  . . . my ending into  
    your care . . . 
take  . . . my ending into  
    your care. 

I pray, suppliant and  
    kneeling, 
take me in your care. 

Day of wrath . . . 
that day . . . 
shall dissolve the world  
    into embers, 
witness David with Sibyl. 

Day of wrath, that day . . .  
    day of wrath, that day. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

Oro supplex et acclinis, 
Cor contritum quasi cinis, 
Gere curam mei finis. 

Lacrymosa dies illa, 
Qua resurget ex favilla, 
Judicandus homo reus. 
Huic ergo parce, Deus: 

Low I kneel, with heart's  
    submission, 
See, like ashes, my  
    contrition, 
Help me in my last  
    condition. 

Ah! that day of tears and  
    mourning, 
From the dust of earth  
    returning 
Man for judgement must  
    prepare him, 
Spare, O God, in mercy  
    spare him. 

I meekly and humbly pray, 
[my] heart is as crushed as  
    the ashes: 
perform the healing of  
    mine end. 

Tearful will be that day, 
on which from the ash  
    arises 
the guilty man who is to be  
    judged. 
Spare him therefore, God. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

When the accursed are  
    confounded, 
consigned to harsh flames, 
call me with the blessed . . . 
call me with the blessed . . . 

Call me . . . call me with the  
    blessed . . . 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take  . . . my ending into  
    your care . . . 
take  . . . my ending into  
    your care. 

I pray, suppliant and  
    kneeling, 
take me in your care. 

Day of wrath . . . 
that day . . . 
shall dissolve the world  
    into embers, 
witness David with Sibyl. 

Day of wrath, that day . . .  
    day of wrath, that day. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

Oro supplex et acclinis, 
Cor contritum quasi cinis, 
Gere curam mei finis. 

Lacrymosa dies illa, 
Qua resurget ex favilla, 
Judicandus homo reus. 
Huic ergo parce, Deus: 

Low I kneel, with heart's  
    submission, 
See, like ashes, my  
    contrition, 
Help me in my last  
    condition. 

Ah! that day of tears and  
    mourning, 
From the dust of earth  
    returning 
Man for judgement must  
    prepare him, 
Spare, O God, in mercy  
    spare him. 

I meekly and humbly pray, 
[my] heart is as crushed as  
    the ashes: 
perform the healing of  
    mine end. 

Tearful will be that day, 
on which from the ash  
    arises 
the guilty man who is to be  
    judged. 
Spare him therefore, God. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

When the accursed are  
    confounded, 
consigned to harsh flames, 
call me with the blessed . . . 
call me with the blessed . . . 

Call me . . . call me with the  
    blessed . . . 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take my ending into your  
    care. 

I pray, suppliant and  
    kneeling, 
with a heart contrite as  
    ashes: 
take  . . . my ending into  
    your care . . . 
take  . . . my ending into  
    your care. 

I pray, suppliant and  
    kneeling, 
take me in your care. 

Day of wrath . . . 
that day . . . 
shall dissolve the world  
    into embers, 
witness David with Sibyl. 

Day of wrath, that day . . .  
    day of wrath, that day. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 



62 Delos

Pie Jesu Domine, 
Dona eis requiem. Amen. 

Lord, all-pitying, Jesus blest, 
Grant them Thine eternal  
    rest. Amen. 

Merciful Lord Jesus, 
grant them rest. Amen. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

Merciful Lord Jesus, grant 
them rest. 
. . . rest . . . rest . . .    
 grant them rest. 

Amen. 

Pie Jesu Domine, 
Dona eis requiem. Amen. 

Lord, all-pitying, Jesus blest, 
Grant them Thine eternal  
    rest. Amen. 

Merciful Lord Jesus, 
grant them rest. Amen. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

Merciful Lord Jesus, grant 
them rest. 
. . . rest . . . rest . . .    
 grant them rest. 

Amen. 

Pie Jesu Domine, 
Dona eis requiem. Amen. 

Lord, all-pitying, Jesus blest, 
Grant them Thine eternal  
    rest. Amen. 

Merciful Lord Jesus, 
grant them rest. Amen. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

Merciful Lord Jesus, grant 
them rest. 
. . . rest . . . rest . . .    
 grant them rest. 

Amen. 

Pie Jesu Domine, 
Dona eis requiem. Amen. 

Lord, all-pitying, Jesus blest, 
Grant them Thine eternal  
    rest. Amen. 

Merciful Lord Jesus, 
grant them rest. Amen. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

O how tearful that day, 
on which shall rise from  
    those embers . . . 
the guilty to be judged. 
Therefore, spare this one,  
    O God. 

Merciful Lord Jesus, grant 
them rest. 
. . . rest . . . rest . . .    
 grant them rest. 

Amen. 




