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Written by Mozart, the Requiem necessarily abounds in tender touches: the trebles at "Dona eis" immediately after their first entry; the altos at the same words towards the end of the number, and at the twenty-eighth bar of the "Kyrie"; the first part of the "Hostias," the "Agnus Dei," the wonderful "Ne me perdas" in the "Recordare."
"Nasutus sis usque licet, sis denique nasus, Quantum noluerit ferre rogatus Atlas; Et possis ipsum to deridere Latinum, Non potes in nugas dicere plura mess, Ipse ego quam dixi: quid dentem dente juvabit Rodere? carne opus est, si satur esse velis. Ne perdas operam; qui se mirantur, in illos Virus habe; nos haec novimus esse nihil."
Clare sang the more pathetic parts. Tom would have sympathized more heartily, if he had known the meaning of the beautiful words: Recordare Jesu pie Quod sum causa tuar viae Ne me perdas, illa die Querens me sedisti lassus Redemisti crucem passus Tantus laor non sit cassus.* St.
He closed his eyes, but still retained his hold; for, in the gates of eternity, the black hand and the white hold each other with an equal clasp. He murmured softly to himself, at broken intervals, "Recordare Jesu pie Ne me perdas illa die Querens me sedisti lassus."
Imparibus meritis pendent tria corpora ramis: Dismas et Gesmas, media est divina potestas; Alta petit Dismas, infelix, infima, Gesmas; Nos et res nostras conservet summa potestas. Hos versus dicas, ne tu furto tua perdas. These verses in sixth century Latin raise the question whether the two thieves of Calvary were named, as is commonly believed, Dismas and Gestas, or Dismas and Gesmas.
Recordare, Jesu pie, Quod sum causa tuae viae; Ne me perdas ilia die. * Lacrymosa dies illa Qua resurget ex fa villa, Judicandus homo reus; Huic ergo parce, Deus! Pie Jesu, Domine, Dona eis requiem.
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