This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2011)

Jerome Robbins
Born	Jerome Rabinowitz (1918-10-11)October 11, 1918 New York City, USA
Died	July 29, 1998(1998-07-29) (aged 79) New York City, USA

Jerome Robbins (October 11, 1918 – July 29, 1998) was an American theater producer, director, and choreographer known primarily for Broadway Theater and Ballet/Dance, but who also occasionally directed films and directed/produced for television. His work has included everything from classical ballet to contemporary musical theater. Among the numerous stage productions he worked on were On the Town, Peter Pan, High Button Shoes, The King And I, The Pajama Game, Bells Are Ringing, West Side Story, Gypsy: A Musical Fable, and Fiddler on the Roof. Robbins is a five time Tony Award winner and a recipient of the Kennedy Center Honors. He also received two Academy Awards, including the 1961 Academy Award for Best Director with Robert Wise for West Side Story. A documentary about his life and work, Something to Dance About, featuring excerpts from his journals, archival performance and rehearsal footage and interviews with Robbins and his colleagues, premiered on PBS in 2009.^[1]

Biography[link]

Early years[link]

Robbins was born Jerome Wilson Rabinowitz, exactly one month before the end of World War I, in the Jewish Maternity Hospital in the heart of Manhattan’s Lower East Side – a neighborhood populated by many immigrants.^[2] The Rabinowitz family lived in a large apartment house at 51 East 97th at the northeast corner of Madison Avenue. Known as "Jerry" to those close to him, Robbins was given a middle name that reflected his parents' patriotic enthusiasm for the then-president. Rabinowitz, however, translates to “son of a rabbi”, a name Robbins never liked, since it marked him as the son of an immigrant. So he took the name "Robbins".

In the early 1920s, the Rabinowitz family moved to Weehawken, New Jersey. 10 years earlier, Fred and Adele Astaire had lived there briefly as children, only a block away from one of Robbins's boyhood homes. His father and uncle opened the “Comfort Corset Company,” a unique venture for the family, which had many show business connections, including vaudeville performers and theater owners.

Robbins began college studying chemistry at New York University (NYU) but dropped out after a year for financial reasons and to pursue dance. He studied at the New Dance League, learning ballet with Ella Daganova, Antony Tudor and Eugene Loring; modern dance; Spanish dancing with the famed Helen Veola; folk dance with Yeichi Nimura; and dance composition with Bessie Schonberg.

Career[link]

1930s and 40s[link]

Robbins in Three Virgins and a Devil, 1941

By 1939, Robbins was dancing in the chorus of such Broadway shows as Great Lady, The Straw Hat Revue, and Keep Off the Grass, which George Balanchine choreographed. Robbins was also dancing and choreographing at Camp Tamiment in the Poconos of Pennsylvania. Here he choreographed many dramatic pieces with controversial ideas about race, lynching, and war. But in 1940, he turned his back (albeit temporarily) on the theater and joined Ballet Theatre (later known as American Ballet Theatre). From 1941 through 1944, Robbins was a soloist with the company, gaining notice for his Hermes in Helen of Troy, the Moor in Petrouchka and Benvolio in Romeo and Juliet.

At this time, Broadway dance was changing. Agnes de Mille had brought not just ballet to Oklahoma! but had also made dance an integral part of the drama of the musical. Challenged, Robbins choreographed and performed in Fancy Free, a ballet about sailors on liberty, at the Metropolitan Opera as part of the Ballet Theatre season in 1944. The inspiration for Fancy Free came from Paul Cadmus' 1934 painting The Fleet's In! which is part of the Sailor Trilogy. Robbins was recommended for a ballet based on the art work by his friend Mary Hunter Wolf. Distancing himself from the implicit homosexuality of that depiction, an element of controversy, Robbins said in an interview with The Christian Science Monitor, "After seeing...Fleet's In, which I inwardly rejected though it gave me the idea of doing the ballet, I watched sailors, and girls, too, all over town." He went on to say "I wanted to show that the boys in the service are healthy, vital boys: there is nothing sordid or morbid about them." Oliver Smith, set designer and collaborator on Fancy Free, knew Leonard Bernstein and eventually Robbins and Bernstein met to work on the music. This would be the first of several collaborative efforts. Fancy Free was a great success.

Later that year, Robbins conceived and choreographed On the Town (1944), a musical partly inspired by Fancy Free, which effectively launched his Broadway career. Once again, Bernstein wrote the music and Smith designed the sets. The book and lyrics were by a team that Robbins would work with again, Betty Comden and Adolph Green. His next musical was Billion Dollar Baby (1945). He was reportedly so unpopular by this point, that the company of this show watched silently as he backed up to the orchestra pit – and fell in.^[3] Two years later, he received plaudits for his hilarious Keystone Kops ballet in High Button Shoes (1947), including his first Tony Award for choreography.

1950s[link]

During this period, Robbins continued to create dances for the Ballet Theatre, alternating between musicals and ballet for the better part of the next two decades. Barely a year went by without a new Robbins ballet and a new Robbins musical. With George Balanchine, he choreographed Jones Beach at the City Center Theater in 1950, and directed and choreographed Irving Berlin's Call Me Madam, starring Ethel Merman.

In 1951, Robbins created the now-celebrated dance sequences in Rodgers and Hammerstein's The King and I (including the March of the Siamese Children, the ballet The Small House of Uncle Thomas and the "Shall We Dance?" polka between the two leads). That same year, he created The Cage for the New York City Ballet, with which he was now associated. He also performed, uncredited, show doctoring on the musicals A Tree Grows in Brooklyn (1951), Wish You Were Here (1952), and Wonderful Town (1953).

Robbins collaborated with George Abbott on The Pajama Game (1954), which launched the career of Shirley MacLaine, worked on the 1955 Mary Martin vehicle, Peter Pan (recreated for the small screen in 1955, 1956 and 1960) and directed and co-choreographed (with Bob Fosse) Bells Are Ringing (1956), starring Judy Holliday. In 1957, he conceived, choreographed, and directed a show that some feel is his crowning achievement: West Side Story.

West Side Story is a contemporary version of Romeo and Juliet, set in Hell's Kitchen. The show, with music by Leonard Bernstein, marked the first collaboration between Robbins and Stephen Sondheim, who wrote the lyrics, as well as Arthur Laurents, who wrote the book. To help the young cast grow into their roles, Robbins did not allow those playing members of opposite gangs (Jets and Sharks) to mix during the rehearsal process. He also, according to dancer Linda Talcott Lee, "played psychological games" with the cast: “And he would plant rumors among one gang about the other, so they really hated each other.”^[4] The original Broadway production featured Carol Lawrence as Maria, Larry Kert as Tony and Chita Rivera as Anita. Although it opened to good reviews, it was overshadowed by Meredith Willson's The Music Man at that year's Tony Awards. West Side Story did, however, earn Robbins his second Tony Award for choreography, and is now hailed as a groundbreaking classic.

The streak of hits continued with Gypsy (1959), starring Ethel Merman. Robbins re-teamed with Sondheim and Laurents, and the music was by Jule Styne. The musical is based—loosely—on the life of stripper Gypsy Rose Lee.

House Un-American Activities Committee[link]

While Robbins's career seemed to be a charmed one, it was not without a period of difficulty. In the early 1950s, he was called to testify before the House Committee on Un-American Activities (HUAC), suspected of Communist sympathies. Threatened with the exposure of his homosexuality, Robbins named names along with Sterling Hayden, Burl Ives, Robert Montgomery, Elia Kazan and Lela Rogers (mother of Ginger Rogers). Because he cooperated with HUAC, Robbins's career did not visibly suffer and he was not blacklisted. Robbins named more names than any other HUAC witness.^[5]

1960s[link]

Robbins directed, with Robert Wise, the highly successful 1961 movie version of West Side Story. However, he took so long with rehearsals and filming of dances that he was fired during production, though he did receive credit as co-director.

In 1962, Robbins tried his hand at a straight play, directing Arthur Kopit's unconventional Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin' So Sad. The production ran over a year off-Broadway and was transferred to Broadway for a short run in 1963.

Robbins was still highly sought after as a show doctor. He took over the direction of two troubled productions during this period and helped turn them into smashes. In 1962, he saved A Funny Thing Happened on the Way to the Forum (1962), a musical farce starring Zero Mostel, Jack Gilford, David Burns and John Carradine. The production, with book by Burt Shevelove and Larry Gelbart, and songs by Stephen Sondheim, was not working. Robbins staged an entirely new opening number which explained to the audience what was to follow, and the show played beautifully from then on. In 1964, he took on a floundering Funny Girl and devised a show that ran 1348 performances. The musical helped turn lead Barbra Streisand into a superstar.

That same year, Robbins won matching Tony Awards for his direction and choreography in Fiddler on the Roof (1964). The show starred Zero Mostel as Tevye and ran for 3242 performances, setting the record (since surpassed) for longest-running Broadway show. The plot, about Jews living in Russia near the beginning of the 20th century, is based on the stories of Sholom Aleichem. The subject matter allowed Robbins to return to his religious roots.

1970s and 80s[link]

Never deserting the ballet, he continued to choreograph and stage productions for both the Joffrey Ballet and the New York City Ballet into the 1970s.

Robbins became ballet master of the New York City Ballet in 1972 and worked almost exclusively in classical dance throughout the next decade, pausing only to stage revivals of West Side Story (1980) and Fiddler on the Roof (1981). In 1981, his Chamber Dance Company toured the People's Republic of China.

The 1980s saw an increased presence on TV as NBC aired Live From Studio 8H: An Evening of Jerome Robbins' Ballets with members of the New York City Ballet, and a retrospective of Robbins's choreography aired on PBS in a 1986 installment of Dance in America. The latter led to his creating the anthology show Jerome Robbins' Broadway in 1989 which recreated the most successful production numbers from his 50-plus year career. Starring Jason Alexander as the narrator, the show included stagings of cut numbers like Irving Berlin's Mr. Monotony and well-known ones like the "Tradition" number from Fiddler on the Roof. For his efforts, he earned a fifth Tony Award. Jerome Robbins was a great choreographer. He liked to express emotion while dancing.

1990s[link]

Following a bicycle accident in 1990 and heart-valve surgery in 1994, in 1996 he began showing signs of a form of Parkinson’s disease, and his hearing was quickly deteriorating. He nevertheless insisted on staging Les Noces for City Ballet in 1998, his last project. He suffered a massive stroke two months later, and died at his home in New York on July 29, 1998. On the evening of his death, the lights of Broadway were dimmed for a moment in tribute. He was cremated and his ashes were scattered into the Atlantic Ocean.

Private life[link]

Robbins was bisexual. He had a relationship with Montgomery Clift^[6] and never married.^[2][5]

Notable awards[link]

On screen, Robbins recreated his stage dances for The King and I (1956) and shared the Best Director Oscar with Robert Wise for the film version of West Side Story (1961). In fact, Robbins was one of only six directors who won the Academy Award for Best Director for a film debut. That same year, the Academy of Motion Picture Arts and Sciences honored him with a special award for his choreographic achievements on film. By the end of his life in 1998, he was awarded with 5 Tony Awards, 2 Academy Awards, the Kennedy Center Honors (1981), the National Medal of Arts (1988), the French Legion of Honor, three Honorary Doctorates, and an Honorary Membership in the American Academy and Institute of Arts and Letters.

Robbins was inducted into the National Museum of Dance C.V. Whitney Hall of Fame in 1989.

Broadway productions[link]

• 1939 Stars In Your Eyes – musical – performer in the role of "Gentleman of the Ballet"
• 1939 The Straw Hat Revue – revue – performer
• 1941 Giselle – ballet – dancer in the role of a "Peasant"
• 1941 Three Virgins and a Devil – ballet to the music of Ottorino Respighi, dancer in the role of the "Youth"
• 1941 Gala Performance – ballet to the music of Serge Prokofiev – dancer in the role of an "Attendant Cavalier"
• 1944 On the Town – musical – choreographer and the originator of the idea for the show
• 1945 Common Ground – play – co-director
• 1945 Interplay – ballet to the music of Morton Gould – choreographer and dancer
• 1945 Billion Dollar Baby – musical – choreographer
• 1946 Fancy Free – ballet (revival) – original played at the Metropolitan Opera House in 1944
• 1947 High Button Shoes – musical – choreographer – Tony Award for Best Choreography
• 1948 Look, Ma, I'm Dancin'! – musical – choreographer, co-director, and the originator of the idea for the show
• 1949 Miss Liberty – musical – choreographer
• 1950 Call Me Madam – musical – choreographer
• 1951 The King and I – musical – choreographer
• 1952 Two's Company – revue – choreographer
• 1954 The Pajama Game – musical – co-director
• 1954 Peter Pan – musical – director and choreographer
• 1956 Bells Are Ringing – musical – director and co-choreographer with Bob Fosse – Tony co-Nominee for Best Choreography
• 1957 West Side Story – musical – choreographer, director – Tony Award for Best Choreography
• 1958 The Concert (or the Perils of Everybody) – ballet to the music of Frédéric Chopin – choreographer
• 1958 Afternoon of a Faun – ballet to the music of Claude Debussy – choreographer
• 1958 3 x 3 – ballet to the music of Georges Auric – choreographer
• 1958 New York Export: Opus Jazz – ballet to the music of Robert Prince, choreographer
• 1959 Gypsy – musical – choreographer and director – Tony Award Nomination for Best Direction of a Musical
• 1961 Moves – silent ballet – choreographer
• 1962 A Funny Thing Happened on the Way to the Forum – musical – uncredit directing and choreography assistant
• 1963 Mother Courage and Her Children – play – co-producer and director – Tony Award nomination for Best Play, and Best Producer of a Play
• 1963 Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feeling so Sad – play – director
• 1964 Funny Girl – musical – production supervisor
• 1964 Fiddler on the Roof – musical – director and choreographer – Tony Award for Best Direction of a Musical, and Best Choreography
• 1966 The Office – never officially opened – director
• 1989 Jerome Robbins' Broadway – revue – director and choreographer – Tony Award for Best Direction of a Musical

Bibliography[link]

• Lawrence, Greg (2001). Dance with Demons: The Life of Jerome Robbins. G.P. Putnam's Sons. ISBN 0-399-14652-0. OCLC 45015298. 
• Jowitt, Deborah (2005). Jerome Robbins: His Life, His Theater, His Dance. Simon & Schuster. ISBN 978-0-684-86986-5. 
• Vaill, Amanda (2006). Somewhere: The Life of Jerome Robbins. Broadway. ISBN 978-0-7679-0420-9. 
• Conrad, Christine (2001). Jerome Robbins: That Broadway Man', Booth-Clibborn ISBN 1-86154-173-2
• Emmet Long, Robert (2001). Broadway, the Golden Years: Jerome Robbins and the Great Choreographer Directors, 1940 to the Present. Continuum International Publishing Group. ISBN 0-8264-1462-1
• Altman, Richard (1971). The Making of a Musical: Fiddler on the Roof. Crown Publishers.
• Thelen, Lawrence (1999). The Show Makers: Great Directors of the American Musical Theatre. Routledge.ISBN 0415923468

References[link]

1. ^ Fick, David."Something to dance about: new Jerome Robbins documentary" Musical Cyberspace, November 12, 2008
2. ^ ^{a b} Anna Kisselgoff (July 30, 1998). "Jerome Robbins, 79, Is Dead; Giant of Ballet and Broadway". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9B0DEED81538F933A05754C0A96E958260. Retrieved September 18, 2008. 
3. ^ http://nymag.com/arts/theater/profiles/55341/index1.html
4. ^ Gihring, Tim; and Scott, Gregory J.. "July 2011 Arts Calendar". Minnesota Monthly. Greenspring Media Group Inc. http://www.minnesotamonthly.com/media/Minnesota-Monthly/July-2011/July-2011-Arts-Calendar/. 
5. ^ ^{a b} Vaill, Amanda (2006). Somewhere: The Life of Jerome Robbins. New York: Broadway. 
6. ^ American Dancer, Broadway, ballet, and Jerome Robbins, Joan Acocella, The New Yorker, May 28, 2001

Articles[link]

External links[link]

video[link]

• Archive footage of ABT (then Ballet Theatre) performing Robbins' ballet Interplay in 1949 at Jacob's Pillow

v t e Ballet General information ballets companies glossary history music timeline Ballet terminology Ballet d'action Barre Ballet blanc Comic ballet Contemporary ballet Ballets de cour Demi-soloist Divertissement Narrative ballet Neoclassical ballet Opéra-ballet Pas de deux Pas de quatre Pas de trois Pièce d'occasion Pointe shoes Romantic ballet Turnout Tutu Variation Ballet by genre character classical contemporary neoclassical Ballet by region British French Italian Russian Dancers American British French Russian Technique Balanchine Bournonville Cecchetti Royal Academy Vaganova Ballet apparel dance belt leotard pointe shoes slippers tights tutu unitard Schools The National Ballet School of Canada Stuttgart Ballet Cuban National Ballet School Elmhurst School for Dance English National Ballet School Moscow State Academy of Choreography Royal Ballet School School of American Ballet La Scala Theatre Ballet School Vaganova Academy of Russian Ballet Royal Winnipeg Ballet Companies American Ballet Theatre Anaheim Ballet Atlanta Ballet Ballet Manila Ballet Philippines Barcelona Ballet Berlin State Ballet Birmingham Royal Ballet Bolshoi Ballet Boston Ballet Cairo Opera Ballet Company Cape Town City Ballet Carolina Ballet Cincinnati Ballet Cuban National Ballet Dayton Ballet Donetsk Ballet Dutch National Ballet English National Ballet Finnish National Ballet Georgian National Ballet Greek National Opera Guangzhou Ballet Hamburg Ballet Hong Kong Ballet Houston Ballet Iaşi Romanian National Opera Iranian National Ballet Company Joffrey Ballet K-ballet Kiev Ballet Korea National Ballet Company La Scala Theatre Ballet Les Ballets de Monte Carlo Les Grands Ballets Canadiens Los Angeles Ballet Mariinsky Ballet Moldova National Opera Ballet National Ballet of Canada National Ballet of China National Ballet Theater of Puerto Rico National Opera and Ballet National Theatre Munich New Jersey Ballet New York City Ballet Norwegian National Opera and Ballet Oklahoma City Ballet Oregon Ballet Theatre Pacific Northwest Ballet Paris Opera Ballet Philippine Ballet Theatre Polish National Ballet Queensland Ballet Royal Danish Ballet Royal New Zealand Ballet Royal Swedish Ballet Royal Winnipeg Ballet San Francisco Ballet Scottish Ballet Shanghai Ballet Company Spanish National Dance Company Stuttgart Ballet The Australian Ballet The Royal Ballet Tokyo Ballet Tulsa Ballet Universal Ballet West Australian Ballet Ballet portal Did you know? today's news today's article today's biography today's picture recent news 2009 2008

Saint Jerome
Saint Jerome visited by angels by Bartolomeo Cavarozzi
Priest, Confessor, Theologian, Historian and Doctor of the Church: Doctor Biblicus[1]
Born	c. 347 Stridon (possibly Strido Dalmatiae, on the border of Dalmatia and Pannonia)
Died	420 Bethlehem, Judea
Honored in	Roman Catholic Church Eastern Orthodoxy Anglican Communion Lutheranism Oriental Orthodoxy Aglipayan Church
Major shrine	Basilica of Saint Mary Major, Rome, Italy
Feast	30 September (Western Christianity) 15 June (Eastern Christianity)
Attributes	lion, cardinal attire, cross, skull, trumpet, owl, books and writing material
Patronage	archeologists; archivists; Bible scholars; librarians; libraries; school children; students; translators
Major work(s)	The Vulgate De viris illustribus Chronicon

Saint Jerome (c. 347 – 30 September 420; (also Hierom or Jerom) (Latin: Eusebius Sophronius Hieronymus; Ancient Greek: Εὐσέβιος Σωφρόνιος Ἱερώνυμος) was a Roman Christian priest, confessor, theologian and historian, and who became a Doctor of the Church. He was the son of Eusebius, of the city of Stridon, which was on the border of Dalmatia and Pannonia. He is best known for his translation of the Bible into Latin (the Vulgate), and his list of writings is extensive.^[2]

He is recognised by the Catholic Church as a saint and Doctor of the Church, and the Vulgate is still an important text in Catholicism. He is also recognized as a saint by the Eastern Orthodox Church, where he is known as St. Jerome of Stridonium or Blessed Jerome.^[3]

Life[link]

St. Jerome in His Study (1480), by Domenico Ghirlandaio.

Eusebius Sophronius Hieronymus was born at Stridon around 347.^[4] He was not baptized until about 360 or 366, when he had gone to Rome with his friend Bonosus (who may or may not have been the same Bonosus whom Jerome identifies as his friend who went to live as a hermit on an island in the Adriatic) to pursue rhetorical and philosophical studies. He studied under the grammarian Aelius Donatus. There Jerome learned Latin and at least some Greek,^[5] though probably not the familiarity with Greek literature he would later claim to have acquired as a schoolboy.^[6]

As a student in Rome, he engaged in the superficial activities of students there, which he indulged in quite casually but suffered terrible bouts of repentance afterwards. To appease his conscience, he would visit on Sundays the sepulchers of the martyrs and the Apostles in the catacombs. This experience would remind him of the terrors of hell:

Often I would find myself entering those crypts, deep dug in the earth, with their walls on either side lined with the bodies of the dead, where everything was so dark that almost it seemed as though the Psalmist’s words were fulfilled, Let them go down quick into Hell.^[7] Here and there the light, not entering in through windows, but filtering down from above through shafts, relieved the horror of the darkness. But again, as soon as you found yourself cautiously moving forward, the black night closed around and there came to my mind the line of Vergil, “Horror ubique animos, simul ipsa silentia terrent”.^[8][9]

Jerome used a quote from Vergil — “The horror and the silences terrified their souls” — to describe the horror of hell. Jerome initially used classical authors to describe Christian concepts such as hell that indicated both his classical education and his deep shame of their associated practices, such as pederasty. Although initially skeptical of Christianity, he was eventually converted.^[10] After several years in Rome, he travelled with Bonosus to Gaul and settled in Trier where he seems to have first taken up theological studies, and where he copied, for his friend Tyrannius Rufinus, Hilary of Poitiers' commentary on the Psalms and the treatise De synodis. Next came a stay of at least several months, or possibly years, with Rufinus at Aquileia, where he made many Christian friends.

Some of these accompanied him when he set out about 373 on a journey through Thrace and Asia Minor into northern Syria. At Antioch, where he stayed the longest, two of his companions died and he himself was seriously ill more than once. During one of these illnesses (about the winter of 373–374), he had a vision that led him to lay aside his secular studies and devote himself to God. He seems to have abstained for a considerable time from the study of the classics and to have plunged deeply into that of the Bible, under the impulse of Apollinaris of Laodicea, then teaching in Antioch and not yet suspected of heresy.

St. Jerome reading in the countryside, by Giovanni Bellini

Seized with a desire for a life of ascetic penance, he went for a time to the desert of Chalcis, to the southwest of Antioch, known as the Syrian Thebaid, from the number of hermits inhabiting it. During this period, he seems to have found time for study and writing. He made his first attempt to learn Hebrew under the guidance of a converted Jew; and he seems to have been in correspondence with Jewish Christians in Antioch. Around this time he had copied for him a Hebrew Gospel, of which fragments are preserved in his notes, and is known today as the Gospel of the Hebrews, and which the Nazarenes considered was the true Gospel of Matthew.^[11] Jerome translated parts of this Hebrew Gospel into Greek.^[12]

Returning to Antioch in 378 or 379, he was ordained by Bishop Paulinus, apparently unwillingly and on condition that he continue his ascetic life. Soon afterward, he went to Constantinople to pursue a study of Scripture under Gregory Nazianzen. He seems to have spent two years there, then left, and the next three (382–385) he was in Rome again, attached to Pope Damasus I and the leading Roman Christians. Invited originally for the synod of 382, held to end the schism of Antioch as there were rival claimants to be the proper patriarch in Antioch. Jerome had accompanied one of the claimants, Paulinus back to Rome in order to get more support for him, and distinquished himself to the pope, and took a prominent place in his councils.

He was given duties in Rome, and he undertook a revision of the Latin Bible, to be based on the Greek manuscripts of the New Testament. He also updated the Psalter containing the Book of Psalms then at use in Rome based on the Septuagint. Though he did not realize it yet, translating much of what became the Latin Vulgate Bible would take many years and be his most important achievement (see Writings– Translations section below).

In Rome he was surrounded by a circle of well-born and well-educated women, including some from the noblest patrician families, such as the widows Lea, Marcella and Paula, with their daughters Blaesilla and Eustochium. The resulting inclination of these women to the monastic life and from the indulgent lasciviousness in Rome, and his unsparing criticism of the secular clergy of Rome, brought a growing hostility against him among the Roman clergy and their supporters. Soon after the death of his patron Damasus (10 December 384), Jerome was forced by them to leave his position at Rome after an inquiry was brought up by the Roman clergy into allegations that he had an improper relationship with the widow Paula.

Additionally, his condemnation of Blaesilla's hedonistic lifestyle in Rome had led her to adopt aescetic practices, but it affected her health and worsened her physical weakness to the point that she died just four months after starting to follow his instructions; much of the Roman populace were outraged at Jerome for causing the premature death of such a lively young woman, and his insistence to Paula that Blaesilla should not be mourned, and complaints that her grief was excessive, were seen as heartless, polarising Roman opinion against him.^[13]

In August 385, he left Rome for good and returned to Antioch, accompanied by his brother Paulinianus and several friends, and followed a little later by Paula and Eustochium, who had resolved to end their days in the Holy Land. In the winter of 385, Jerome acted as their spiritual adviser. The pilgrims, joined by Bishop Paulinus of Antioch, visited Jerusalem, Bethlehem, and the holy places of Galilee, and then went to Egypt, the home of the great heroes of the ascetic life.

At the Catechetical School of Alexandria, Jerome listened to the catechist Didymus the Blind expounding the prophet Hosea and telling his reminiscences of Anthony the Great, who had died 30 years before; he spent some time in Nitria, admiring the disciplined community life of the numerous inhabitants of that "city of the Lord," but detecting even there "concealed serpents," i.e., the influence of Origen of Alexandria. Late in the summer of 388 he was back in Israel, and spent the remainder of his life in a hermit's cell near Bethlehem, surrounded by a few friends, both men and women (including Paula and Eustochium), to whom he acted as priestly guide and teacher.

Painting by Niccolò Antonio Colantonio, showing St. Jerome's removal of a thorn from a lion's paw.

Amply provided by Paula with the means of livelihood and of increasing his collection of books, he led a life of incessant activity in literary production. To these last 34 years of his career belong the most important of his works; his version of the Old Testament from the original Hebrew text, the best of his scriptural commentaries, his catalogue of Christian authors, and the dialogue against the Pelagians, the literary perfection of which even an opponent recognized. To this period also belong most of his polemics, which distinguished him among the orthodox Fathers, including the treatises against the Origenism later declared anathema, of Bishop John II of Jerusalem and his early friend Rufinus. Later, as a result of his writings against Pelagianism, a body of excited partisans broke into the monastic buildings, set them on fire, attacked the inmates and killed a deacon, forcing Jerome to seek safety in a neighboring fortress (416).

It is recorded that Jerome died near Bethlehem on 30 September 420. The date of his death is given by the Chronicon of Prosper of Aquitaine. His remains, originally buried at Bethlehem, are said to have been later transferred to the basilica of Santa Maria Maggiore in Rome, though other places in the West claim some relics — the cathedral at Nepi boasting possession of his head, which, according to another tradition, is in the Escorial.

Translations and commentaries[link]

St Jerome, by Michelangelo Merisi da Caravaggio, 1607, at St John's Co-Cathedral, Valletta, Malta

Jerome was a scholar at a time when that statement implied a fluency in Greek. He knew some Hebrew when he started his translation project, but moved to Jerusalem to strengthen his grip on Jewish scripture commentary. A wealthy Roman aristocrat, Paula, funded his stay in a monastery in Bethlehem and he completed his translation there. He began in 382 by correcting the existing Latin language version of the New Testament, commonly referred to as the Vetus Latina. By 390 he turned to translating the Hebrew Bible from the original Hebrew, having previously translated portions from the Septuagint which came from Alexandria. He was aware the Council of Jamnia, or the mainstream rabbinical Judaism, had rejected the Septuagint as valid Jewish scriptural texts because of what were ascertained as mistranslations along with its Hellenistic heretical elements.^[14][15] He completed this work by 405. Prior to Jerome's Vulgate, all Latin translations of the Old Testament were based on the Septuagint not the Hebrew. Jerome's decision to use a Hebrew text instead of the previous translated Septuagint went against the advice of most other Christians, including Augustine, who thought the Septuagint inspired. Modern scholarship, however, has cast doubts on the actual quality of Jerome's Hebrew knowledge; the Greek Hexapla is now considered as still the main source also for Jerome's "iuxta Hebraeos" translation of the Old Testament.^[16]

For the next 15 years, until he died, Jerome produced a number of commentaries on Scripture, often explaining his translation choices in using the original Hebrew rather than suspect translations. His patristic commentaries align closely with Jewish tradition, and he indulges in allegorical and mystical subtleties after the manner of Philo and the Alexandrian school. Unlike his contemporaries, he emphasizes the difference between the Hebrew Bible "apocrypha" and the Hebraica veritas of the protocanonical books. Evidence of this can be found in his introductions to the Solomonic writings, the Book of Tobit, and the Book of Judith. Most notable, however, is the statement from his introduction to the Books of Samuel:

This preface to the Scriptures may serve as a helmeted [i.e. defensive] introduction to all the books which we turn from Hebrew into Latin, so that we may be assured that what is outside of them must be placed aside among the Apocryphal writings.^[17]

Jerome's commentaries fall into three groups:

• His translations or recastings of Greek predecessors, including fourteen homilies on the Book of Jeremiah and the same number on the Book of Ezekiel by Origen (translated ca. 380 in Constantinople); two homilies of Origen of Alexandria on the Song of Solomon (in Rome, ca. 383); and thirty-nine on the Gospel of Luke (ca. 389, in Bethlehem). The nine homilies of Origen on the Book of Isaiah included among his works were not done by him. Here should be mentioned, as an important contribution to the topography of Israel, his book De situ et nominibus locorum Hebraeorum, a translation with additions and some regrettable omissions of the Onomasticon of Eusebius. To the same period (ca. 390) belongs the Liber interpretationis nominum Hebraicorum, based on a work supposed to go back to Philo and expanded by Origen.
• Original commentaries on the Old Testament. To the period before his settlement at Bethlehem and the following five years belong a series of short Old Testament studies: De seraphim, De voce Osanna, De tribus quaestionibus veteris legis (usually included among the letters as 18, 20, and 36); Quaestiones hebraicae in Genesim; Commentarius in Ecclesiasten; Tractatus septem in Psalmos 10-16 (lost); Explanationes in Michaeam, Sophoniam, Nahum, Habacuc, Aggaeum. After 395 he composed a series of longer commentaries, though in rather a desultory fashion: first on Jonah and Obadiah (396), then on Isaiah (ca. 395-ca. 400), on Zechariah, Malachi, Hoseah, Joel, Amos (from 406), on the Book of Daniel (ca. 407), on Ezekiel (between 410 and 415), and on Jeremiah (after 415, left unfinished).
• New Testament commentaries. These include only Philemon, Galatians, Ephesians, and Titus (hastily composed 387-388); Matthew (dictated in a fortnight, 398); Mark, selected passages in Luke, Revelation, and the prologue to the Gospel of John. Treating Revelation in his cursory fashion, he made use of an excerpt from the commentary of the North African Tichonius, which is preserved as a sort of argument at the beginning of the more extended work of the Spanish presbyter Beatus of Liébana. But before this he had already devoted to the Revelation another treatment, a rather arbitrary recasting of the commentary of Saint Victorinus, with whose chiliastic views he was not in accord, substituting for the chiliastic conclusion a spiritualizing exposition of his own, supplying an introduction, and making certain changes in the text.

Jerome in the desert, tormented by his memories of the dancing girls of Rome.

The works of Hippolytus of Rome and Irenaeus greatly influenced Jerome's interpretation of prophecy.^[18] He noted the distinction between the original Septuagint and Theodotion's later substitution.^[19]

Jerome warned that those substituting false interpretations for the actual meaning of Scripture belonged to the “synagogue of the Antichrist”.^[20] “He that is not of Christ is of Antichrist,” he wrote to Pope Damasus I.^[21] He believed that “the mystery of iniquity” written about by Paul in 2 Thessalonians 2:7 was already in action when “every one chatters about his views.”^[22] To Jerome, the power restraining this mystery of iniquity was the Roman Empire, but as it fell this restraining force was removed. He warned a noble woman of Gaul:

“He that letteth is taken out of the way, and yet we do not realize that Antichrist is near. Yes, Antichrist is near whom the Lord Jesus Christ “shall consume with the spirit of his mouth.” “Woe unto them,” he cries, “that are with child, and to them that give suck in those days.”... Savage tribes in countless numbers have overrun all parts of Gaul. The whole country between the Alps and the Pyrenees, between the Rhine and the Ocean, has been laid waste by hordes of Quadi, Vandals, Sarmatians, Alans, Gepids, Herules, Saxons, Burgundians, Allemanni, and—alas! for the commonweal!-- even Pannonians.^[23]

His Commentary on Daniel was expressly written to offset the criticisms of Porphyry,^[24] who taught that Daniel related entirely to the time of Antiochus IV Epiphanes and was written by an unknown individual living in the 2nd century BC. Against Porphyry, Jerome identified Rome as the fourth kingdom of chapters two and seven, but his view of chapters eight and 11 was more complex. Jerome held that chapter eight describes the activity of Antiochus Epiphanes, who is understood as a "type" of a future antichrist; 11:24 onwards applies primarily to a future antichrist but was partially fulfilled by Antiochus. Instead, he advocated that the “little horn” was the Antichrist:

We should therefore concur with the traditional interpretation of all the commentators of the Christian Church, that at the end of the world, when the Roman Empire is to be destroyed, there shall be ten kings who will partition the Roman world amongst themselves. Then an insignificant eleventh king will arise, who will overcome three of the ten kings... after they have been slain, the seven other kings also will bow their necks to the victor.^[25]

In his Commentary on Daniel, he noted, “Let us not follow the opinion of some commentators and suppose him to be either the Devil or some demon, but rather, one of the human race, in whom Satan will wholly take up his residence in bodily form.”^[25] In interpreting 2 Thessalonians's claim that the Antichrist will sit in God's temple, Jerome preferred the view that the "temple" should be interpreted as the Church, not as the Temple in Jerusalem.^[26]

Jerome identified the four prophetic kingdoms symbolized in Daniel 2 as the Neo-Babylonian Empire, the Medes and Persians, Macedon, and Rome.^[27] Jerome identified the stone cut out without hands as "namely, the Lord and Savior".^[28]

Jerome refuted Porphyry's application of the little horn of chapter seven to Antiochus. He expected that at the end of the world, Rome would be destroyed, and partitioned among ten kingdoms before the little horn appeared.^[29]

Jerome believed that Cyrus of Persia is the higher of the two horns of the Medo-Persian ram of Daniel 8:3.^[30] The he-goat is Greece smiting Persia.^[31] Alexander is the great horn, which is then succeeded by Alexander's half brother Philip and three of his generals.

Historical and hagiographic writings[link]

This unreferenced section requires citations to ensure verifiability.

In the Middle Ages, Jerome was often ahistorically depicted as a cardinal.

Jerome is also known as a historian. One of his earliest historical works was his Chronicle (or Chronicon or Temporum liber), composed ca. 380 in Constantinople; this is a translation into Latin of the chronological tables which compose the second part of the Chronicon of Eusebius, with a supplement covering the period from 325 to 379. Despite numerous errors taken over from Eusebius, and some of his own, Jerome produced a valuable work, if only for the impulse which it gave to such later chroniclers as Prosper, Cassiodorus, and Victor of Tunnuna to continue his annals.

Important also is De viris illustribus, written at Bethlehem in 392, the title and arrangement of which are borrowed from Suetonius. It contains short biographical and literary notes on 135 Christian authors, from Saint Peter down to Jerome himself. For the first seventy-eight authors Eusebius (Historia ecclesiastica) is the main source; in the second section, beginning with Arnobius and Lactantius, he includes a good deal of independent information, especially as to western writers.

Four works of a hagiographic nature are:

• the Vita Pauli monachi, written during his first sojourn at Antioch (ca. 376), the legendary material of which is derived from Egyptian monastic tradition;
• the Vitae Patrum (Vita Pauli primi eremitae), a biography of Saint Paul of Thebes;
• the Vita Malchi monachi captivi (ca. 391), probably based on an earlier work, although it purports to be derived from the oral communications of the aged ascetic Malchus originally made to him in the desert of Chalcis;
• the Vita Hilarionis, of the same date, containing more trustworthy historical matter than the other two, and based partly on the biography of Epiphanius and partly on oral tradition.

The so-called Martyrologium Hieronymianum is spurious; it was apparently composed by a western monk toward the end of the 6th or beginning of the 7th century, with reference to an expression of Jerome's in the opening chapter of the Vita Malchi, where he speaks of intending to write a history of the saints and martyrs from the apostolic times.

Letters[link]

This unreferenced section requires citations to ensure verifiability.

Jerome's letters or epistles, both by the great variety of their subjects and by their qualities of style, form an important portion of his literary remains. Whether he is discussing problems of scholarship, or reasoning on cases of conscience, comforting the afflicted, or saying pleasant things to his friends, scourging the vices and corruptions of the time, exhorting to the ascetic life and renunciation of the world, or breaking a lance with his theological opponents, he gives a vivid picture not only of his own mind, but of the age and its peculiar characteristics.

The letters most frequently reprinted or referred to are of a hortatory nature, such as Ep. 14, Ad Heliodorum de laude vitae solitariae; Ep. 22, Ad Eustochium de custodia virginitatis; Ep. 52, Ad Nepotianum de vita clericorum et monachorum, a sort of epitome of pastoral theology from the ascetic standpoint; Ep. 53, Ad Paulinum de studio scripturarum; Ep. 57, to the same, De institutione monachi; Ep. 70, Ad Magnum de scriptoribus ecclesiasticis; and Ep. 107, Ad Laetam de institutione filiae.

Theological writings[link]

St. Jerome, by Palma il Vecchio

Practically all of Jerome's productions in the field of dogma have a more or less vehemently polemical character, and are directed against assailants of the orthodox doctrines. Even the translation of the treatise of Didymus the Blind on the Holy Spirit into Latin (begun in Rome 384, completed at Bethlehem) shows an apologetic tendency against the Arians and Pneumatomachoi. The same is true of his version of Origen's De principiis (ca. 399), intended to supersede the inaccurate translation by Rufinus. The more strictly polemical writings cover every period of his life. During the sojourns at Antioch and Constantinople he was mainly occupied with the Arian controversy, and especially with the schisms centering around Meletius of Antioch and Lucifer Calaritanus. Two letters to Pope Damasus (15 and 16) complain of the conduct of both parties at Antioch, the Meletians and Paulinians, who had tried to draw him into their controversy over the application of the terms ousia and hypostasis to the Trinity. At the same time or a little later (379) he composed his Liber Contra Luciferianos, in which he cleverly uses the dialogue form to combat the tenets of that faction, particularly their rejection of baptism by heretics.

In Rome (ca. 383) he wrote a passionate counterblast against the teaching of Helvidius, in defense of the doctrine of the perpetual virginity of Mary and of the superiority of the single over the married state. An opponent of a somewhat similar nature was Jovinianus, with whom he came into conflict in 392 (Adversus Jovinianum, Against Jovinianus) and the defense of this work addressed to his friend Pammachius, numbered 48 in the letters). Once more he defended the ordinary Catholic practices of piety and his own ascetic ethics in 406 against the Gallic presbyter Vigilantius, who opposed the cultus of martyrs and relics, the vow of poverty, and clerical celibacy. Meanwhile the controversy with John II of Jerusalem and Rufinus concerning the orthodoxy of Origen occurred. To this period belong some of his most passionate and most comprehensive polemical works: the Contra Joannem Hierosolymitanum (398 or 399); the two closely connected Apologiae contra Rufinum (402); and the "last word" written a few months later, the Liber tertius seu ultima responsio adversus scripta Rufini. The last of his polemical works is the skilfully composed Dialogus contra Pelagianos (415).

Reception by later Christianity[link]

Jerome is the second most voluminous writer (after St. Augustine) in ancient Latin Christianity. In the Roman Catholic Church, he is recognized as the patron saint of translators, librarians and encyclopedists.

He acquired a knowledge of Hebrew by studying with a Jew who converted to Christianity, and took the unusual position (for that time) that the Hebrew, and not the Septuagint, was the inspired text of the Old Testament. The traditional view is that he used this knowledge to translate what became known as the Vulgate, and his translation was slowly but eventually accepted in the Catholic Church.^[32] The later resurgence of Hebrew studies within Christianity owes much to him.

He showed more zeal and interest in the ascetic ideal than in abstract speculation. It was this strict asceticism that made Martin Luther judge him so severely. In fact, Protestant readers are not generally inclined to accept his writings as authoritative. The tendency to recognize a superior comes out in his correspondence with Augustine (cf. Jerome's letters numbered 56, 67, 102-105, 110-112, 115-116; and 28, 39, 40, 67-68, 71-75, 81-82 in Augustine's).

Despite the criticisms already mentioned, Jerome has retained a rank among the western Fathers. This would be his due, if for nothing else, on account of the great influence exercised by his Latin version of the Bible upon the subsequent ecclesiastical and theological development.

In art[link]

The vision of Saint Jerome by Louis Cretey, 17th century, oil on canvas, 150,5 x 127 cm, private collection.

In art, he is often represented as one of the four Latin doctors of the Church along with Augustine of Hippo, Ambrose, and Pope Gregory I. As a prominent member of the Roman clergy, he has often been portrayed anachronistically^[33] in the garb of a cardinal. Even when he is depicted as a half-clad anchorite, with cross, skull and Bible for the only furniture of his cell, the red hat or some other indication of his rank as cardinal is as a rule introduced somewhere in the picture.

He is also often depicted with a lion, "a figment" found in the thirteenth-century Golden Legend by Jacobus de Voragine,^[34] and less often with an owl, the symbol of wisdom and scholarship.^[35] Hagiographies of Jerome talk of his having spent a lot of his years in the Syrian desert, and multiple artists have titled their works "St Jerome in the wilderness"; some of them include Pietro Perugino and Lambert Sustris.^[36] Writing materials and the trumpet of final judgment are also part of his iconography.^[35] He is commemorated on 30 September with a memorial.

See also[link]

Wikisource has original works written by or about: Jerome

• Church Fathers
• Bible translations
• Order of St. Jerome
• Genesius of Arles
• Letter of Jerome to Pope Damasus
• Ferdinand Cavallera

References[link]

Notes

Bibliography

• J.N.D. Kelly, "Jerome: His Life, Writings, and Controversies" (Peabody, MA 1998)
• S. Rebenich, "Jerome" (London and New York, 2002)
• "Biblia Sacra Vulgata," Stuttgart, 1994. ISBN 3-438-05303-9
• This article uses material from Schaff-Herzog Encyclopedia of Religion.

External links[link]

Wikiquote has a collection of quotations related to: Jerome

Wikimedia Commons has media related to: Saint Jerome

• St. Jerome (pdf) from Fr. Alban Butler's Lives of the Saints
• The Life of St. Jerome, Priest, Confessor and Doctor of the Church
•  "St. Jerome". Catholic Encyclopedia. New York: Robert Appleton Company. 1913. 
• Jewish Encyclopedia: Jerome
• St. Jerome – Catholic Online
• St Jerome (Hieronymus) of Stridonium Orthodox synaxarion
• Early Church Fathers. Jerome: Great Translator
• Further reading of depictions of Saint Jerome in art
• What happened on July 21, 365 A.D.? Jerome vindicated

Latin texts[link]

Latin Wikisource has original text related to this article: Biblia Sacra

• Chronological list of Jerome's Works with modern editions and translations cited
• Opera Omnia (Complete Works) from Migne edition (Patrologia Latina, 1844-1855) with analytical indexes, almost complete online edition

Facsimiles[link]

• Migne volume 23 part 1 (1883 edition)
• Migne volume 23 part 2 (1883 edition)
• Migne volume 24 (1845 edition)
• Migne volume 25 part 1 (1884 edition)
• Migne volume 25 part 2 (1884 edition)
• Migne volume 28 (1890 edition?)
• Migne volume 30 (1865 edition)

English translations[link]

• English translations of Biblical Prefaces, Commentary on Daniel, Chronicle, and Letter 120 (tertullian.org)
• Jerome's Letter to Pope Damasus: Preface to the Gospels
• English translation of Jerome's De Viris Illustribus
• The Perpetual Virginity of Blessed Mary
• Lives of Famous Men (CCEL)
• Apology Against Rufinus (CCEL)
• Letters, The Life of Paulus the First Hermit, The Life of S. Hilarion, The Life of Malchus, the Captive Monk, The Dialogue Against the Luciferians, The Perpetual Virginity of Blessed Mary, Against Jovinianus, Against Vigilantius, To Pammachius against John of Jerusalem, Against the Pelagians, Prefaces (CCEL)

v t e History of Christianity Centuries:1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th 16th 17th 18th 19th 20th 21st Eras: Early Roman Medieval Modern Jesus & Apostolic Age Background Ministry Good News Crucifixion & Resurrection Holy Spirit Gospels Acts The 12 Paul Acts 15 Ante-Nicene Period Judaism split Justin Martyr Ignatius Persecution Fathers Irenaeus Marcionism Canon Tertullian Montanism Origen Christian Empire Constantine the Great Monasticism Councils: Nicaea I Creed Athanasius Arianism Jerome Augustine Councils II III IV Eastern Christianity Orthodoxy Greece Church of the East Oriental Orthodoxy Coptic Nestorianism Syria Armenia Ethiopia Chrysostom Iconoclasm Bulgaria Great Schism Fall Ottoman Russia America 20th century Middle Ages Pelagianism Gregory I Celtic Germanic Scandinavian Kievan Rus' Investiture Anselm Abelard Bernard of Clairvaux Crusades Inquisition Scholasticism Dominic Francis Bonaventure Aquinas Wycliffe Avignon Papal Schism Hus Conciliarism Protestant Reformation Protestantism Erasmus Five solas Eucharist Calvinist v. Arminian Arminianism Dort Wars Lutheranism Martin Luther 95 Theses Diet of Worms Melanchthon Orthodoxy Eucharist Book of Concord Reformed Zwingli Calvin Calvinism history Scotland Knox TULIP Dort Westminster Anglicanism Timeline Henry VIII Cranmer Settlement 39 Articles Common Prayer Puritans Civil War Anabaptism Radical Reformation Grebel Swiss Brethren Müntzer Martyrs' Synod Menno Simons Smyth Catholicism Primacy development Papacy Timeline Lateran IV Trent Counter-Reformation Thomas More Leo X Guadalupe Jesuits Jansenists Xavier Monastery dissolution Wars Teresa Vatican I & II Modernism Modern Christianity and Revivalism English denominations Baptists Congregationalism Great Awakening Methodism Millerism Pietism Neo- & Old Lutherans Restoration Movement Jehovah's Witnesses Mormonism Seventh-day Adventism Industrial Age Camp meeting Holiness movement Independent Catholic Churches Second Great Awakening Third Great Awakening After World War I Azusa Revival Ecumenism Evangelicalism Jesus movement Mainline Protestant Pentecostalism Charismatics Liberation Theology Christian Right Timeline Missions Timeline Martyrs Theology Eastern Orthodoxy Oriental Orthodoxy Protestantism Catholicism