Time for the Soul to Absorb the Mysteries — Part 1: From the Entrance to the Interlectional Chants

The season of Advent has always felt to me as if it is, and should be, a time of quiet meditation. Moving in a direction contrary to that of secular society in its frenzied rush towards Christmas exhaustion, a Catholic ought to be able to push away the distractions and focus on preparing inwardly for the mystery of the coming of Christ — the One who has come into the world as Savior, the One who will come at the end of time as Judge, the One who comes into my soul by His grace. And the sacred liturgy, it seems to me, ought to help us to be still, to be receptive, to be attuned to His voice. Ideally, it should immerse us in an expectant silence from which true and redemptive joy can proceed.

As the liturgy developed historically and its ritual and aesthetic elements became more fully developed, it seems that the Christian clergy and people followed an unerring instinct towards the creation of prayers, chants, and ceremonies that allow TIME for the soul to absorb the meaning of what is happening.

This psychological-spiritual opening up of space and time for the soul’s growth is accomplished in many ways in different rites or rituals. It is done through repetitious prayers, as in the Byzantine litanies, many of them redundant, though always eloquently worded; it is done through periods of silence in between periods of proclamation; it is done through motions, processions, non-verbal actions; it is done most of all through meditative chants that do not seem to be in any hurry to be finished, and which allow the mind a certain holy leisure or rest. There are repetitions, gaps, spaces, pauses, and visual signs that do not demand of the mind the constant tackling of new ideas or concepts, but permit it to dwell or linger somewhere before moving on.

The liturgy is like a winding path up a steep mountain, with open ledges on which one can rest before continuing. In this way, it emulates the spiral motion, the combination of the straight and the circular, that Pseudo-Dionysius envisages as the soul’s path into God. There is a forward progression, yes, but it takes its time winding around, in order to move up at a human pace. Attempting to go straight up or straight in would defeat us.

The classical Roman Rite of Mass, particularly in the form of the High Mass or Solemn Mass, admirably displays the spiritual pedagogy of the spiral motion, the frequent ledges, the moments of prayerful repose before continuing on with our climb up Mount Calvary, Mount Tabor, Mount Sion. In contrast, the Novus Ordo is designed in a manner contrary to this spiritual pedagogy, and thwarts the soul’s ascent up the holy mountain.

The Processions

Traditional liturgical rites of East and West are fertile in processions. We are pilgrims and we act out our condition. A town, the grounds of a church, the church building inside, offer a symbolic geography to be covered and converted as we move from point to point. The time it takes for a leisurely procession is one of the most important “burnt offerings” we can raise up, since our time is, in a way, our life and energy.

The Holy Sacrifice of the Mass, in particular, should open with a stately, unrushed procession of splendidly vested ministers towards the sanctuary, accompanied by grand music (instrumental or choral or both). Those ministers represent us, and we are walking with them towards the Holy of Holies. This is a solemn and wonderful moment, with its own distinctive meaning and satisfaction. Why do we completely spoil the effect by asking people to put their noses in a hymn book? The choir or schola should be lifting up our minds to God and allowing us to experience this procession as a procession, with all our senses in act. Where the procession is well done, it becomes one of these occasions of journeying without the baggage of the nagging necessities of the workaday world.

The Prayers at the Foot of the Altar

Then we come to those marvelous preparatory prayers, which I always miss so much in any Novus Ordo Mass, where we suddenly start BANG!, without taking time to prepare well for what is to come. The traditional liturgy pauses for a breath at the end of the procession and, rather than rushing into the sanctuary, recites Psalm 42, the Confiteor (twice), and versicles and prayers expressive of the forthcoming sacrifice. We are suspended between the entrance and the commencement, the intention and the execution, and our souls can expand, adjust, collaborate, get ready to move on. It reminds me of the process whereby one’s eyes adjust themselves to the indoors when one enters a dark room from a bright sunny day outside. Our spiritual sight is accustomed to the garish day, with its obvious objects and confident navigation. At divine worship we are being drawn into the interior, the innermost, the mystery that is luminously dark, caliginously blazing, and we do not know our way. We need some time to adjust. What blessed minutes, which carry us so gently and yet so irresistibly into the sphere of the divine!

From the Introit to the Lesson

Whether we are at a Low Mass or a High Mass, one of the greatest blessings of the TLM is that, on the one hand, we are gently drawn into prayer, as if by an invisible hand nudging us forward, and, on the other hand, we are not immediately talked to and expected to talk back. We are surely participating in the unfolding drama, but we are not targeted and harried; the activity does not get bogged down in a closed circle, like a boring classroom. The liturgy seems to be going on over our heads or around us or in front of us, and we can relate to it all the more deeply because it is outside our grasp, beyond what we can access, with no possible illusions that we are the ones driving it forward. Of course we have a role to play, and this will sometimes include verbal responses; but the overall effect is one of a giant motion that we can join, if we will, that will take us somewhere our own resources could never get us. The unfailing Introit, announcing the day’s mystery, throws down a sort of spiritual gauntlet: “Friend, wherefore art thou come?” (Mt 26:50).[1] The cascading Kyries, the exultant Gloria, the richly compact Collect, the apt Lesson, invite us to come deeper and deeper into worship, putting on the mind of Christ.

The Interlectional Chants

If the preparatory prayers seal the door to the world and habituate us to the new climate of worship, and if the subsequent prayers and lesson demand of us the exercise of our spiritual capacities, it is the interlectional chants, sung in full, that have the special power to plunge us into meditation and even contemplation.[2] At other points in the Mass, multiple things can be happening at once (the peculiar perfection called “parallel liturgy”), but here, during the Gradual and Alleluia  —  or the Gradual and Tract in Lent, or the double Alleluia in Paschaltide  —  the ministers take their seats, the people are seated. A restfulness descends with the sound of the chant; time stands still. The melismatic melodies draw out lovingly, syllable by syllable, the exquisitely beloved words of God, so that we cannot rush past them, or treat them in a utilitarian way, or think of them as mechanical responses made to a dreary rehearsal of psalms. They exist in and for themselves, living monuments of God’s faithfulness and love, and we are permitted to have them on our lips, in our ears, in our hearts. They are a ladder let down from above on which we are bidden to climb up. In this way, the Lesson and all that has come before has a chance to sink in, and the soil is plowed with deep furrows for the Gospel and all that will come after.

I shall continue next week with the Offertory and the Canon of the Mass.


NOTES

[1] Interestingly, St. Benedict cites this verse in chapter 60 of his Rule when speaking about a priest who desires admission into the monastery. He says that the priest may be admitted only on condition of agreeing to abide by the entire rule, as if to say: Why are you coming here, unless to embrace and benefit from the monastic discipline? The liturgy, too, is something we should approach only if we are ready to embrace its discipline, which is the only way to obtain its benefits.

[2] I am indebted to Dr. William Mahrt for opening my eyes and ears to the theological and liturgical significance of the interlectional chants (Gradual, Tract, Alleluia). They are the contemplative and musical high-point of the Gregorian Mass prior to the consecration.

True Poverty of Spirit in the Splendor of Worship: Why We Pay Deference to the Celebrant

The reactions to my article of two weeks ago (“A Defense of Liturgy as ‘Carolingian Court Ritual’”) displayed a wide range of opinions on the “baroque” or “rococo” aspects of the Tridentine Roman liturgy. Some even suggested that the difference between medieval rites and the Tridentine rite is that in the former, the focus remains on God throughout, with the ministers merely having various jobs to perform in carrying out the work, while in the latter, the focus shifts to everyone paying homage to the celebrant. I think this is a crucial issue that deserves further thought, as it exposes foundational questions about the iconicity or representationalism of the liturgy.

Last January, I published a defense of the cappa magna (“The Cappa Magna in the Light of Nature, Rationality, and Mystery”), in the course of which I claimed that this garment is “fully consistent with the logic of creation, the Incarnation, and the grammar of worship as the most special of all special occasions,” and that

As Catholics, we rejoice in the natural beauty of colors and forms; we rejoice in the rational capacity to highlight personal dignity, elevated office, and earnest ritual; we rejoice in the supernatural symbolism that draws our minds beyond this earthly realm to the heavenly kingdom and its majestic Sovereign. It is a perfect example of the harmony of nature and grace — the hidden depths of visible nature and the sensible signs of invisible grace.

What I argued about the cappa magna may be extended to all the aspects of the greatest of historic Latin liturgies after the Papal Mass, namely, the Pontifical Mass. This liturgy features elaborate pre- and post-ceremonies of divesting and vesting, in addition to special touches throughout the Mass bound up with the episcopal standing of the celebrant. How we should understand these things may be gathered from a luminous statement in the Holy Rule of St. Benedict: “Let the abbot, since he is believed to hold the place of Christ, be called Lord and Abbot, not for any pretensions of his own, but for the honour and love of Christ.”[1] As with the abbot, so with the sacerdos magnus: all attentions are being given to Christ, who is present in a special way in His ordained ministers. For our Lord could have said of His animate instruments just what He said of the poor, with no less truth: “Whatsoever you do to the least of my pontiffs, that you do unto Me.” And we know that “he who honoureth not the Son, honoureth not the Father, who hath sent him” (Jn 5:23).

With the widespread loss of faith in the Real Presence of Christ in the Holy Eucharist, we lose our faith in His real presence in the priests; religious exercises come to be about us, about the community. Naturally, in this false perspective, it is absurd to wear beautiful vestments, much less a cappa magna — who are we to dress up like this? But it is not about us; it is all about Jesus, directed to His honor and reflective of His glory. How would we treat Our Lord if He were the one offering the High Mass? Yet He is the one offering it; the Eternal High Priest is present in and working through His earthly high priest, whom we confess to be alter Christus.

No one has been granted the privilege of seeing this truth more fully than St. Gertrude the Great, who beheld in many of her visions the Lord Jesus Himself celebrating the liturgy of the Mass and of the Divine Office, with hosts of angels as his acolytes.

As He [Christ] sat on His royal throne, St. Gertrude cast herself at His feet and embraced them. Then He chanted the Kyrie eleison, in a clear and loud voice …
       The Son of God then rose from His royal throne and turning towards God the Father, intoned the Gloria in excelsis in a clear and sonorous voice. At the word Gloria, He extolled the immense and incomprehensible omnipotence of God the Father. At the words in excelsis, He praised His profound wisdom. At Deo, He honored the inestimable and indescribable sweetness of the Holy Spirit. The whole celestial court then continued in a most harmonious voice, Et in terra pax bonae voluntatis. …
       At the conclusion of the Gloria in excelsis, the Lord Jesus, who is our true High Priest and Pontiff, turned to Gertrude, saying Dominus vobiscum, dilecta — “The Lord be with you, beloved,” and she replied Et spiritus meus tecum, praedilecte — “And may my spirit be with Thee, O most Beloved.” After this she inclined towards the Lord, to return Him thanks for His live in uniting her spirit to His Divinity, whose delights are with the children of men. The Lord then read the Collect …
       Gertrude saw our Lord rise from His royal throne and present His blessed Heart to His Father, elevating it with His own Hands and immolating it in an ineffable manner for the whole Church, At this moment the bell rang for the Elevation of the Host in the Church [where St. Gertrude was on earth], so that it appeared as if our Lord did in heaven what the priest did on earth. …
       And our Lord communicated Himself to her with a love and tenderness which no human tongue could describe, so that she received the perfect fruit of His most precious Body and Blood. After this He sang a canticle of love for her and declared to her that had this union of Himself with her been the sole fruit of His labors, sorrows, and Passion, He would have been fully satisfied.[2]

Admittedly, Gertrude was caught up in rapture and saw visions that are seldom granted to mortals. Nevertheless, a Pontifical Mass truly does convey something of the burning intensity, the royal majesty, the celestial beauty, the overwhelming holiness of the Mass of Our Lord that she beheld. If our Mass on earth does not hint at this, if it is not capable of being a springboard to mystical communion with the High Priest, if it is antithetical to the truth Gertrude saw momentarily unveiled, it is being false to its essence.

I remember with great inner warmth how it felt to be at the Mass celebrated by His Eminence Raymond Leo Cardinal Burke at Strahov Abbey on the Feast of St. Teresa of Jesus in October 2016. Between the sanctuary full of ministers going about their many and varied tasks of service and the choir loft whence flowed the milk of chant and the honey of polyphony, I was suspended in an enormous net of prayer, the Church in heaven and the Church on earth, into which I, though unworthy, was invited to participate, along with the hundreds of souls packed into the narrow wooden benches of the nave.[3] Prayer was not a mental construct but a pulsing, palpable thing going on above me, before me, and yet within me, something much greater and more real than myself in that it came from God and carried me to God, infusing a sense of wonder and humility. “Who am I, that the mother of my Lord should come to me?” — this mother that the liturgy is for our spiritual life.

The two hours of the Pontifical Mass passed as quickly as if time had stepped aside in deference to its master, waiting to be summoned again when he should wish it. The liturgy ended with a monumental improvisation on the pipe organ, so that my last impressions were an anarchic blend of banners carried in procession, music seizing hold of all space, and the bustle of men, women, and children streaming forth to the courtyard. I had been present at the tearing of the veil in the temple, the veil of His flesh, and for a moment the heavens were opened. I had worshiped with the angels, knelt with sinners, felt the balm of beauty, tasted the sacrament of love. Never have I been more proud to be a Catholic — or more aware of my smallness and dependency, my unworthiness as a member of the Mystical Body.

From those heights, let us return once more to pontifical regalia and look at the question from the opposite angle. While it is sometimes possible that a saintly priest or bishop would choose to rid himself of anything valuable in order to give the money to the poor, in our own times it is much more common to encounter what might be called “ostentatious bad taste” or “hypocritical poverty,” when a priest or bishop who claims to be renouncing pomp and circumstance for the sake of the Gospel is really drawing attention to himself as a paragon of social justice, whose ugly garments or clumsy chalices in fact still cost a great deal of money — money that could have been spent on something truly beautiful, which spiritually enriches all who behold it, including the poor. We could put it this way: a priest or bishop who does not see himself as essentially a symbol of another and therefore as able to accept and promote liturgical beauty for the sake of that other will, perforce, see himself as —himself, in front of the people, on display. At this point, two roads are open to him: to be ostentatiously wealthy for the sake of worldly glory, or to be ostentatiously poor and virtuous. In either case, it’s all about him, and the result is thoroughly disedifying. In contrast, when a man of God really acts and speaks as a man of God, one who totally belongs to Christ the Eternal High Priest, it is extremely edifying to see him robed in splendor, uplifted in honor. When Our Lord said: “Whatsoever you do to the least, you do unto Me” (cf. Mt 25:40), He was certainly not excluding the truth that whatsoever you do to the greatest, you do to Him as well.

We can see in the simplicity of St. Benedict’s faith the reason why so many in the Church today object to “pomp and splendor” — namely, their lack of the same faith. “Let the abbot, since he is believed to hold the place of Christ, be called Lord and Abbot…” If one does not believe firmly and unshakably with one’s mind and heart that the ministerial priest is alter Christus, a priest forever according to the order of Melchizedek; if one does not believe that the bishop is Christ as ruling, teaching, and sanctifying; if one does not believe that the hierarchs of the Church are the authoritative voice and healing hands of the Word made flesh, the King of Kings and Lord of Lords who suffered and is now exalted gloriously in heaven above the cherubim and seraphim, then it is perfectly reasonable to be repelled by signs of pomp and splendor.

Charles Coulombe makes this insightful observation about the difference in “style” between Benedict XVI and Francis: 

The generation of westerners of which he [Francis] is a part was marked — in Church, State, and indeed, in every field — by what can only be called a sort of “personalization” of authority. That is to say, that the traditional division in perception between an office and the current holder of that office — which allowed people of wildly differing, sometimes even opposed, views to collaborate out of shared respect for the office under whose direction they functioned — has been blurred or even obliterated. Such folk, when in authority, tend to downgrade or do away with traditional symbols of their office while emphasizing their own personalities in pursuit of some nebulous “authenticity.” So it is that morning dress and uniforms disappear from presidential inaugurations and legislative openings, and royals love to appear in casual wear. The difficulty with such an approach is that it tends to weaken respect for the office in the eyes of its subjects, who in turn begin to believe that their loyalty to it is dependent purely on their personal feelings for the occupant of the moment. Seeing the problems this had created, Benedict XVI began to restore the symbolic side of the Papacy, for all that formalism and display ran extremely counter to his nature. But it is not an issue that one of Francis’s generation could be expected to understand — quite the contrary.[4]

Pope Benedict, says Coulombe, attempted to show the “hermeneutic of reform in continuity” by his very apparel; it was not a mental construct or an eccentric opinion, but a lived reality, displayed on the outside:

What is certain is that he did try to use the hermeneutic of reform himself. Despite the lack of tiara noted earlier, piece by piece he restored bits of the papal wardrobe that his immediate predecessors had discarded: the fur-lined mozzetta, the camauro, the fanon, and — most annoying to some — the traditional red shoes, symbolizing the fact that as Pope he walked in the footsteps of the martyrs.

This humble Bavarian who shied away from the limelight saw that paradoxically it was necessary to elevate and accentuate the sacramental iconicity of the pontiff in order to move beyond the cult of personality inadvertently started by John XXIII and vastly augmented in the charismatic athlete, actor, poet, and playwright John Paul II. With Pope Francis, we see a return both of the cult of personality and of the false conception of poverty, this time applied not only to liturgy but also to doctrine itself.[5]

When we look back over the criticisms made of episcopal vestments by certain fathers of the Second Vatican Council and by our minimalists of today, we must ask ourselves: Why would a bishop who protests about wearing gauntlets or buskins not likewise protest about the mitre and crook? Why is a bishop or a priest still wearing clerical attire of any sort? Did not the chasuble begin as a typical Roman garment, of which jeans and a T-shirt would be our equivalent? Why is a cleric still using prescribed rituals and ceremonies at all?

Joseph Ratzinger saw that the post-modern critique of structures and institutions extends to everything — there is no logical reason to stop at the cappa magna or the gold chalice or the medieval chant, as opposed to carrying the deconstruction of religion all the way to its entire visible material system of power.[6] For this reason, therefore, the post-modern critique has to be rejected at its root. In its place we must put the Pseudo-Dionysian principle of excess, even super-excess. While we may not prefer the results of the Baroque aesthetic to those of the Byzantine, the Romanesque, or the Gothic, we can recognize in it the Christ-loving, creation-loving exultation of the Catholic soul, which serves as an antidote to the poisonous reductionism of our time and an exemplar of the disciplined abandon to holy things, rejoicing in every pound of spikenard it can spill out to anoint the feet of the Lord.

NOTES

[1] Holy Rule, ch. 63 (McCann trans.). Perhaps the most astonishing example of Benedict's analogical thinking is found in ch. 7, under the fifth degree of humility. The chapter begins: "The fifth degree of humility is that he [the monk] humbly confess and conceal not from his abbot any evil thoughts that enter his heart, and any secret sins that he has committed." Straightforward. But then Benedict backs up this advice with three authorities: "To this does Scripture exhort us, saying: Make known thy way unto the Lord and hope in him. And again: Confess to the Lord, for he is good, and his mercy endureth for ever. And further: I have made known my sin to thee, and my faults I have not concealed. I said: I will be my own accuser and confess my faults to the Lord, and with that thou didst remit the guilt of my sin." The patriarch has virtually equated "confessing to the Lord" with "confessing to the abbot." This can make sense only because the abbot is a true and authoritative 'icon' of the Lord, an alter Christus, along the lines of Jesus' statement: "He who hears you, hears me."

[2] William J. Doheny, C.S.C., The Revelations of  Saint Gertrude, Part III, ch. LXI.

[3] It was thought that hardly anyone would come to this Mass. When it began, the church was so full that no seats were left and latercomers had to stand or sit wherever they could. It is doubtful that this abbey has seen so many worshipers for a very long time. It is almost always this way with Pontifical Masses: the People of God are famished and they come to the feast whenever and wherever it is set forth.

[4] Vicars of Christ: A History of the Popes (Arcadia: Tumblar House, 2014), 389–90.

[5] By “poverty of doctrine” I refer to the superficiality, messiness, ambiguities, contradictions, and unclarity of this pope’s teaching, in contrast to the rich truthfulness of those of his predecessors who took seriously the Lord’s command to “let what you say be simply ‘yes’ or ‘no’” (Mt 5:37); cf. 2 Cor 1:17–19, Jas 5:12.

[6] For more thoughts about the deconstruction of symbolism, see the superb recent article on Alfred Lorenzer's 1981 study The Council of the Bookkeepers.

Dionysius Alive and Well: On Hierarchical Incensation

At the Solemn Vespers held on the opening day of the Sacra Liturgia conference, June 1, 2015, I witnessed a memorable sign of the true nature of the Church and of the cosmos: the elaborate incensation during the Magnificat.

I have seen incense used at Vespers before, but never so elaborately, or, one might say, to such a Baroque extent (with “Baroque” as an altogether laudatory appellation). After all, incensing, like every sign used in worship, must be done properly, according to the order of persons involved — and we had in our midst a major prelate at the throne, His Eminence Raymond Leo Cardinal Burke; several bishops and an abbot; ranks of clergy; platoons of religious, seminarians, and laity. It was a microcosm of the Church universal.

The incensations commenced during the Canticle of Our Lady, beginning with Our Lord at the high altar; then moving to Cardinal Burke at the throne; and then, cascading downwards, in their various echelons, the celebrant, clergy in choir, the other ministers, the religious, the laity. The censer must change hands at certain times so that ministers may both give and receive according to their specified place. It was slow, solemn, and beautiful — a real representation of ecclesiastical hierarchy and a perfect ceremonial reflection of cosmic hierarchy. As Dionysius the Areopagite teaches us: “God radiates upon inferior natures through superior natures: and to say all in one word, it is by the ministry of the highest powers that He comes forth from the depths of His adorable obscurity.”

As the days of the week went on, each liturgy of the conference featured the same lengthy, graceful, comprehensive incensation of every rank, every person, from the Head of the Mystical Body to its lowliest member. The fire burned in the thurible and the clouds of smoke rose up as a sensible sign of an ardent offering of wordless praise, of our desire to raise our prayers to God in humble homage, and of Christ’s perfect mediation on our behalf, since He offered Himself as a holocaust for our sins and a pleasing fragrance before the Most Blessed Trinity. As a contemporary commentator on Dionysius says:

Christ offers the very source and norm of ecstatic being within the order of hierarchy. Finite, hierarchical being now shows itself as a being through which we stand within ourselves as outside of ourselves—offered up, or given over, in sacrifice. . . . To die with Christ (and thus to be saved) is to become an offering through fire, a burnt sacrifice. The desire that burns within all hierarchical beings is the fire of holocaust, in which those beings are offered ecstatically to their source. Such an offering ignites the true movement of death, realized first in Christ and offered through Christ for imitation. Christ saves the finite being whose very identity consists in self-transcendence.[1]

Taking one’s time with an action like this gives it its full weight. There are no excuses or apologies for the lengthy ceremony. No one is in a rush; no one’s private agenda is permitted to dictate that we must get done as quickly as possible. If individuals need to come and go, they are free to do so; but the liturgy proceeds on its own time, in its own domain, with a blessed freedom and a sort of holy indifference to the world. Spurning the utilitarianism of our time, we should not want to “get things over with” as quickly as possible, so that we can get back to our oh-so-important secular lives; and the liturgies in New York City taught us that preeminently valuable lesson.

The world is tearing itself apart in a demonic frenzy of self-indulgence, envy, and violence, and we cannot stop it from lying and killing, for its father is the father of lies, and a murderer from the beginning (John 8:44). But we can do the one thing for which we were made: praise, adore, glorify, magnify the Lord, for His own name’s sake, and for our salvation. This is why our Lord Jesus Christ came into the world: to save sinners, of whom I am the first (1 Tim 1:15). This is why He ascended into heaven: that, in spite of the world, the flesh, and the devil, we who are His faithful disciples would follow Him heavenward in our thoughts, desires, actions — above all, in the theandric action of the liturgy, which joins man to God, earth to heaven, sinner to salvation.

I saw this throughout the conference liturgies: each was of a mighty stature that seemed to be a slice of the eternal motions of the heavens, or like a living thing breathing on the scale of the redwood forests or the ocean reefs. We were catching a glimpse of something far greater, far more ancient and at the same time well ahead of us and beyond us, into which we were permitted to enter for a time, as a gracious favor. The liturgy was what it had to be and we submitted our minds and hearts to its rhythms, its logic, its mysteries. God was present and we served Him. That is all — and that is enough to make everything else real and worthwhile.

Near the conclusion of an absolutely sublime Votive Mass in Honor of the Holy Angels (in the usus antiquior), I was struck by the paradox of the Postcommunion prayer: “We who are filled with the heavenly blessing humbly beseech Thee, O Lord, that the mysteries we celebrate with this poor worship [fragili officio] of ours may be profitable to us by the help of Thy holy angels and archangels.” This — all that we had just done, all the glorious music, the noble prayers handed down to us by countless saints, the very offering up of the Holy Sacrifice in a church filled with worshipers in rapt and adoring silence — was our poor worship? And yet, it was a poor service compared to the bright, sleepless, ecstatic worship of the angels in the heavenly Jerusalem, compared to the perfect intercession of the wounds of Jesus Christ in His divine humanity at the right hand of the Father. But it took the very splendor of this liturgy to throw into bold relief the distance between us and the ineffable vision of peace for which we long.

Shakespeare’s Duke Orsino famously says: “If music be the food of love, play on. / Give me excess of it” (Twelfth Night, I, 1.1-3). For Abbot John of Ford, “praise is the food of love,” and there can never be too much of it:

Without any doubt, praise awakens love and preserves it. Hence it is that the citizens of Jerusalem feed the flame of eternal love by eternal praises. They cease not to cry aloud so as to be steadfast in love. Their cry has no rest, because love knows no intermission. So praise is the food of love.  And you, too, if deep within you there is a little spark of sacred love, do all you can to apply to this spark the oil of your praise, so that your tiny fire may live and grow.[2]

NOTES

[1] Thomas A. Carlson, Indiscretion: Finitude and the Naming of God (Chicago: University of Chicago Press, 1999), 173-74.

[2] Commentary on the Song of Songs, Sermo III, Corpus Christianorum, Continuatio Maediavalis, Vol. XVII, 48; courtesy of Sancrucensis.

Photos courtesy of Stuart and Jill Chessman/Sacra Liturgia.