What Does The Prayer Really Say?
W D T P R S

On a Sunday afternoon, it is nice to visit a Museum. Here are some shots from the Minneapolis Institute of Art.

Here is a too brief clip from CTV of Pope Benedict’s vespers service in the Vatican Basilica for the beginning of Advent.

Today the Holy Father visited the parish San Lorenzo fuori le mura, St. Lawrence outside-the-walls.  This is a Minor Papal Basilica, rather than a Major, but it is an extremely important church in the history of Rome and our Roman liturgy.

As a deacon I once had the privilege of singing the Gospel from the ancient ambo of this basilica.  The mortal remains of Bl. Pius IX are venerated here.  The basilica is next to a great and ancient cemetery.  It was also here, during WWII that Pius XII came when some bombs had been dropped on Rome.  There are famous photos of that moment.

From a reader:

Hello Father Z
 
First let me thank you for your wonderful work with your blog. I am an young woman living in a parish with, well, an “interesting” liturgy. Thanks to the many Catholic blogs out there like yourself, I now know there is so much more!
 
Here is a link that I thought you would like! At a dutch seminary three Dutch seminarians are posting their gregorian chants on Youtube for the world to see it. Two are in their second year, one in his third.
 
http://www.youtube.com/user/cantor3s
 
They also posted a chant for the first Sunday of Advent. Hope you’ll enjoy it! Thanks and God’ Bless from the Netherlands. 

Here is a sample:

 

What would happen if a president-elect should die or be demonstrated definitively not to have been eligible for office under the requirements in the Constitution, before the electoral college meets?

I am getting various answers.

Anyone?   Something authoritative.

First Vespers of the 1st Sunday of Advent is on.

This is the first liturgical ceremony of the new liturgical year.

For fans of those books and certain movies:

An excerpt from this week’s article:

In the TLM, the “Prayer over the gifts”, in Latin Super oblata in the Novus Ordo, is called the Secret because it was spoken by the priest in a low voice inaudible to the congregation.

Remember that prayers for Mass are addressed by the priest primarily to God, not the congregation.  Only a shallow sense of “active participation” drives people to think they must hear everything, see everything, do everything that pertains to the priest’s own words and gestures. 

Anecdote: For years I said Holy Mass in Latin every morning in St. Peter’s Basilica in Rome.  Anyone in the Basilica could attend Mass simply by following priests as they exited the sacristy and headed to one the many altars in the basilica or the crypt below.  One day after Mass an irritated American woman reproached me with the fact that she couldn’t hear everything I was saying, that my voice was sometimes too low.  I explained that, not only didn’t I want to disturb the other Masses going on, some of the prayers are to be said silently.  Not satisfied, she advanced that she had the right to hear them.  After some patient backing and forthing I responded, “Ma’am, I really wasn’t talking to you. The prayers of Mass are said to God.”  The priest and the congregation have different roles at Mass.  They offer sacrifice in different modes. The silence of the Secret and other priestly prayers underscores the difference in the priesthood flowing from baptism and the priesthood of Holy Orders.

We must place our Secret in context in the Mass.  Mass begins with an entrance procession followed by a prayer that is “proper”, that is, changing with the day.  The “ordinary” parts of Mass are always the same. This is the pattern before our great orations: procession (entrance, gifts, Communion) – proper oration (Collect, Secret, Postcommunion).  

At the offertory in the ancient Church there was an elaborate procession. The subdeacons and deacons brought forward from the congregation bread, wine, money, other food and objects for the poor as sacrificial offerings.  By the time the ancient Sacramentaries developed (e.g., “Veronese”, “Gelasian” etc.) orations were fixed for the same Sundays each year in a cycle.  The offertory prayers logically had vocabulary for gifts and sacrifices (e.g., dona, sacrificia, munera, oblationem). 

Secrets follow the general structure of a prayer of petition: we offer things up so that God’s favor will come down on us.  You will see that these prayers are normally in the first person plural: we. The priest, even though he is inaudible, speaks as mediator for the whole congregation.

Keep in mind that today’s Secret is in the very first Mass of a new liturgical year.  It is now the season of “the Coming”, Advent. It is a time of muted joy in anticipation of remembering liturgically the First Coming of the Lord as an infant at Bethlehem. Advent is also, more significantly, a reminder that the Lord will have a Second Coming.  Like lightning across the heavens Christ will come from the East as just Judge and King of fearful majesty.  During Advent Holy Church dons purple vestments, in parallel with Lent before Easter.  From ancient times all feasts had penitential vigils. Advent purple is an outward sign of our joy-infused penitential preparation for both Comings, though especially for our sacramental veneration of the Word Incarnate, the Christ Child.

Ancient Roman prayers are distinguished by brevity.  They are dense, often with technical philosophical vocabulary and allusions to Scripture, which the better educated would have recognized. A single word would suggest a thousand.  The Latin spoken in the liturgy in the early Church was truly not the “vernacular” spoken by the common folk. 

Note the alliteration at first of “s” and “t” and then of “f/v” followed by “p”.  Watch at the end for hyperbaton, the separation of words which belong together.  Remember! You won’t hear this!  But Father will.

SECRET (1962MR):
Haec sacra nos, Domine, potenti virtute mundatos,
ad suum faciant puriores venire principium.

Like sap from the root, this oozes the ancient. 

Many ancient sacramentaries have this Secret, but there is a variation of sacra and sacrificia. When sacra is used, the Secret appears on the 4th Sunday before Christmas (they counted backwards).  When sacrificia appears, it’s on Friday of 4th Week of Lent. This oration survived the scissor and paste wielding liturgical experts of Fr. Bugnini’s Consilium, to survive, with sacrificia instead of sacra, as the Super oblata for Friday of the 4th Week of Lent.  On that day day Novus Ordo Mass goers will witness the near destruction of the original in the lame-duck version by

ICEL (1973 translation of the 1970MR):
All-powerful God,
may the healing power of this sacrifice [sacrificia]
free us from sin
and help us to approach you with pure hearts.

Our not yet outworn Lewis & Short Latin Dictionary shows that a principium is an “origin”.  Potens, a participle from possum used as an adjective, is “strong, mighty, powerful”.  A conceptual parallel is in virtus, “strength”, “the sum of all the corporeal or mental excellences of man”.  The ancient Romans used the phrase “Deum virtute … by the aid or merit of the gods, i.e. the gods be thanked”.  Sacra, neuter plural from sacer, is the term for the “secrets, mysteries” of religious rites.  Publica sacra were the Romans’ official rites of divine worship.  Thus, sacra were also the holy things used in the rites.

LITERAL TRANSLATION:
May these sacred mysteries, O Lord,
make us, cleansed by mighty power, come purer unto their Source.

Principium calls to mind not only that we are at the beginning of a new sacred cycle, but that everything happening around the altar has its true origin in Christ. 

The priest, wreathed in smoldering fragrance, is still. He raises his hands in ritual gesture.

This is an encounter with mystery in its deepest sense, the very One from whom and toward whom go all life and good things.  It embodies every higher impulse of man to be pure in the presence of the divine which is mighty beyond our ken. 

In hushed tones as if each word were too precious, too potent, for you he whispers “HAEC SACRA” over bread upon the linen corporal, wine in the chalice on the altar.

This weekend I will be in the Twin Cities to help with Masses for a priest who is under the weather.

From a reader:

I have a BA in Catholic Theology and A MA in Religious Studies;  however, my background is not strong in liturgy.  I focused on pastoral ministry, youth ministry and world religions. 
 
Could you help me answer a question with your background and expertise?
 
We occasionally visit a relative in _ who attends a Catholic Church that serves communion that looks, tastes and feels like wheat bread that you would serve at dinner, not the traditional wafer-hosts that we are used to here in _.  What I found disturbing was that these hosts at the _ Church produce crumbs, which we observed being wiped off of by numerous folks’ hands as they were walking back to their pews after communion line and these crumbs were on the floor.  My young son was appalled and whispered to me that "Those people are wiping Jesus onto the floor and stepping on Him."  Out of the mouths of babes…
 
It is my understanding  that hosts for communion must be of the appearance of bread, be recognizable as bread, and only wheat may be used.  It is also my understanding that crumbs should not be remaining with enough in quantity to cause communicants to wipe their hands off like they are "dusting off their hands."  Is this Ohio Church granted some special permission to use real wheat bread instead of wafer-hosts?  Are other parishes making this switch as well?
 
Needless to say, the few times that we do visit this relative when we are out of town, now we worship at another Catholic Church closer to our hotel that is more respectful of the Real Presence.  I found this behavior at the Ohio Church to be offensive.  I also have four small children and don’t want them confused or scandalized by the behavior of those at this Church who do not realize Whom it is that they are wiping onto the floor.
 
The relative who attends this Church is my brother-in-law and he labels his Church "progressive" and "up to date" with Church teaching and he says that my objections to the behavior of some people regarding the Eucharist are just "...your interpretations of Catholicism."
 
Why are some Catholic parishes allowed to get away with nonsense like this?
 
We attend a … Church in Michigan that is very traditional and has great reverence for the Eucharist.  Relatives call us Pre-Vatican II Catholics, but I’d prefer to think we are just respectful Catholics.
 
If you could point me to a reference about the matter and form of Eucharist for non-liturgist specialists to understand, it would help me better explain this to my husband, too.

I will let others dig up the specific references.

I think there is a problem here.  Your son noticed what was going on and said something.  It must be noticeable.  In this case, one of God’s little one’s was scandalized by what he saw.

Since you are not parishioners there, it is hard for you to intervene.  On the other had, it sounds like there is a serious risk of profanation of the Blessed Sacrament going on at that parish.

You could first write to the pastor of the place, and make your concerns known.  After that you would write to the local bishop, of the place where that parish is.  The difficulty in writing directly to the Congregation in Rome is that some "proofs" are needed before they can really act quickly.

Everyone has a responsibility to see that the Church’s liturgy is conducted well.  If there are liturgical abuses, we all have the duty to try to help correct them.  This is made clear in the CDW’s Redemptionis Sacramentum:

6. Complaints Regarding Abuses in Liturgical Matters

[183.] In an altogether particular manner, let everyone do all that is in their power to ensure that the Most Holy Sacrament of the Eucharist will be protected from any and every irreverence or distortion and that all abuses be thoroughly corrected. This is a most serious duty incumbent upon each and every one, and all are bound to carry it out without any favouritism.

[184.] Any Catholic, whether Priest or Deacon or lay member of Christ’s faithful, has the right to lodge a complaint regarding a liturgical abuse to the diocesan Bishop or the competent Ordinary equivalent to him in law, or to the Apostolic See on account of the primacy of the Roman Pontiff. It is fitting, however, insofar as possible, that the report or complaint be submitted first to the diocesan Bishop. This is naturally to be done in truth and charity.

If you write to anyone, keep in mind my tips.

Mass is at the top of the hour today, 1800 GMT, 1300 EST.

I will remember at the Memento of the living, you readers who have been so supportive of WDTPRS.

Please pray for the people in Mumbai.

Our friend Fr. Ray Blake, PP of St. Mary Magdalen parish in Brighton, has a great photo on his blog.

He must be in Rome, for this is the window of the famous, and over-priced, Gammarelli, near the Pantheon.

Note the rose vestment in the window.  Once upon a time is was hard to find rose, or rosacea.  Now it is easier and easier.

From VIS:

ALBUM BY PLACIDO DOMINGO INSPIRED BY POEMS OF JOHN PAUL II

VATICAN CITY, 28 NOV 2008 (VIS) – This morning in the Holy See Press Office, a press conference was held to present a new album of songs inspired by the poetry of John Paul II - Karol Wojtyla. The songs on the album – which is entitled "Amore infinito" (Infinite Love) and has been produced by "Deutsche Grammophon" – were recorded by Placido Domingo.

  Participating in today’s press conference were Bishop Giampaolo Crepaldi, secretary of the Pontifical Council for Justice and Peace; Placido Domingo; Msgr. Giuseppe A. Scotti, president of the management board of the Vatican Publishing House; Michael Lang, president of "Deutsche Grammophon"; Fernando Marin, president of "Tredici S.p.A.", and Adrian Berwick, executive producer of the "Amore infinito" project.

  Bishop Crepaldi indicated that "this unique initiative brings together two art forms, poetry and music which, brilliantly combined, have produced an album entitled ‘Amore infinito’".

  "Listening to these songs, so magnificently interpreted by Placido Domingo and the London Symphony Orchestra, brings back the memory of John Paul II and of an entire life, frequently marked by dramatic episodes, lived with a passion for God and for man. What is the secret of this ‘Wojtylian’ poetic, which he translated into so many poetical texts?" asked the bishop. "For John Paul II everything begins with God’s ‘yes’ to man, everything arises from God’s plan of ‘infinite love’. God’s ‘yes’ to man means ‘yes’ to his dignity, to his authentic needs. It means ‘yes’ to the world … and to everything that is beautiful, good and just in life".

  The secretary of the Pontifical Council for Justice and Peace went on to highlight how, "with His ‘yes’, it is as if God takes man by the hand and raises him above all other creatures. He assigns him an eternal destiny. The light of God’s ‘yes’ to man illuminates all of existence, it gives us a better understanding of who man is and what is his destiny. It also gives us a better understanding of the authentic value of relations among men. Referring to our shared status of ‘children’ and of ‘brothers’ helps the ‘grammar’ of human relations, conforming them to the dignity of human beings and their true good.

  "God’s original ‘yes’", he added, "tells us that He calls man because He loves him, He calls him sacrificing Himself and this is something unheard of among religions, save for Christianity. At the root of Christianity there is not a ‘yes’ of man to God, but the opposite".

  Bishop Crepaldi concluded by noting that the texts of the songs "cover many subjects: family affections, work, war, homeland, etc, but all of them", he said, "are inspired by God’s ‘yes’ to man, by the Infinite Love of God".

  Msgr. Scotti then explained that the "Amore infinito" album "draws respectfully from the words of Karol Wojtyla’s poetry to exalt them and make them flow through music and song. ... Yet", he noted, "at the core is an encounter. The encounter of Placido Domingo with a man, a believer, a Pope, who showed him a certain outlook on life. Here, hence, is an artist, a person accustomed to scrutinising men and things through the spectrum of art, who could not but be attracted and fascinated by a great man, a Pope, who showed his a point of view that was true and worthy of attention".

  "In echoing Karol Wojtyla, Placido Domingo can tell us all, with the overwhelming power … of his song, that ‘the world is full of hidden powers which courageously I identify and name’, ... that ‘this love has explained all things, this love is everything for me’ and then, fearlessly, to affirm with the same pride as John Paul II that ‘Jesus came into the world to show us all the love of God’.

  "In a certain sense", Msgr. Scotti added, "Placido Domingo has achieved in this album what Benedict XVI wrote on 24 November for the 13th public session of the Pontifical Academies: ‘we must regain an understanding of the intimate link binding the search for beauty to the search for truth and goodness’".

  "This work by Placido Domingo makes us aware that we have not yet fully delved into the rich human, cultural and spiritual heritage which Wojtyla showed us glimpses of. This heritage can help us to better understand … that the world and history are entrusted to us, and that it is up to us, now, to become architects and builders of a future in which mankind and nature are reconciled with one another and with God, as has been made even more clear by the dramatic events we are seeing over these days".

Our friend John Sonnen of Orbis Catholicus posted a photo worth a thousand words, asking

“What’s wrong with this picture?”

I believe this is in the Basilica of the XII Apostles, near P.za Venezia.
 

From a reader… something really interesting!

Apparently, the great Fr. Eduard Perrone, of Assumption Grotto Church in Detriot, has written the score for musical.  There will soon be performances of this musical. 

Go here for the details.

But here is a bit of the information.

Coming Next Week: The Heritance – An Assumption Grotto Theatrical Production (includes Detroit Free Press interview with Fr. Perrone)

 

I have been wanting to tell you about the latest original, theatrical production at Assumption Grotto which will take place on the following days:

Wednesday, December 3, 2008 (7:00 pm)
Friday, December 5, 2008 (7:00 pm)
Sunday, December 7, 2008 (3:00 pm)

For tickets and more information: 313 372-0762

Parking can be an issue at Assumption Grotto. There is a secure lot, but I would encourage you to get there early. Last year, the final performance had so many people, they had to delay the start of the show as people looked for a place to park.

I was also alerted to this wonderful interview in the Detroit Free Press with our pastor, Fr. Eduard Perrone who wrote the music. Several members of the Detroit Symphony will be in the orchestra, as they were in Palla Eius. I’m providing a link to the article

Fun! If you are anywhere near Detroit, think about going to this.

A reader send the following:

I known that you have a number of South African readers and I would appreciate it if you could publicize this event on your blog.
 
The Traditional Latin Mass will begin to be offered at the Cathedral of Christ the King, Saratoga Ave and End  Street, Johannesburg from December 2008.
 
The celebrant will be the cathedral administrator, Rev Fr. Shaun Mary von Lillienfeld.
 
The Traditional Latin Mass schedule for the first week in December is as follows:
 
Tuesday (2nd December) 17:30
Thursday (4th December) 17:30
Saturday (6th December) 7:30
 
These will all be low masses.
 
This is likely to to be the schedule throughout December. In addition, we are hoping to have mass on one Sunday. Changes to the schedule and any additions can be found at http://unavocesa.blogspot.com/
 
As you say Father "brick by brick".

Today is the anniversary of the death  8 B.C. of the ancient Roman poet Quintus Horatius Flaccus – Horace.