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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.
Payne, supposing from his letter that Burton had made considerable progress with his translation, wrote on November 28th to Burton, and, using the words Tantus labor non sit cassus, suggested collaboration. Thus commenced one of the most interesting friendships in the annals of literature. Before relating the story, however, it will be helpful to set down some particulars of the career of Mr.
Thrale says that when he repeated the Dies Irae "he never could pass the stanza ending Tantus labor non sit cassus without bursting into a flood of tears"; and another witness records how one night at a dinner where some one quoted the nineteenth psalm his worn and harsh features were transformed, and "his face was almost as if it had been the face of an angel" as he recited Addison's noble version of that psalm.
But the supreme point even of Doomsday, of the Dies Irae, has not been seized. We do not hear the still small voice of pathos and of human hope which thrills through Thomas a Celano's hymn: Quaerens me sedisti lassus, Redemisti crucem passus: Tantus labor non sit cassus.
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