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The Popes and the Arts

3 July 2024

The Popes & the Arts

By Joey Belleza, PhD (Cantab.)

One of the hallmarks of Christianity, rooted in the Incarnate Christ who entered into material existence, is its positive approach to the arts, recognizing that the Gospel can reach souls not only through the activity of preachers, but also through the works of painters, sculptors, architects, poets, and writers. There is no type of human expression which cannot become a vehicle for apostolic activity, and the Church–especially through the Roman Pontiffs–has happily extended her patronage to many of the greatest artists in history. Indeed, in every place where the Catholic faith has found a foothold, the arts have discovered new opportunities to express the harmony between the timeless Gospel of our Lord, on one hand, and the genius of local cultures, on the other hand.

Accordingly, nearly all recent popes have explicitly affirmed the necessity of the arts for the Church’s mission. Below are just a few examples from papal messages to the artistic community.

In order to communicate the message entrusted to her by Christ, the Church needs art. Art must make perceptible, and as far as possible attractive, the world of the spirit, of the invisible, of God. It must therefore translate into meaningful terms that which is in itself ineffable. Art has a unique capacity to take one or other facet of the message and translate it into colours, shapes and sounds which nourish the intuition of those who look or listen. It does so without emptying the message itself of its transcendent value and its aura of mystery….

It remains true that because of its central doctrine of the Incarnation of the Word of God, Christianity offers artists a horizon especially rich in inspiration. What an impoverishment it would be for art to abandon the inexhaustible mine of the Gospel!

Saint John Paul II, Letter to Artists, 4 April 1999

Ten years later, John Paul’s successor likewise exhorted artists to their highest vocation of manifesting the beauty which comes from God.

Beauty, whether that of the natural universe or that expressed in art, precisely because it opens up and broadens the horizons of human awareness, pointing us beyond ourselves, bringing us face to face with the abyss of Infinity, can become a path towards the transcendent, towards the ultimate Mystery, towards God. Art, in all its forms, at the point where it encounters the great questions of our existence, the fundamental themes that give life its meaning, can take on a religious quality, thereby turning into a path of profound inner reflection and spirituality.

Pope Benedict XVI, Meeting with Artists, 21 November 2009

Finally, in our own time, Pope Francis has reaffirmed the necessity of good art marked by a harmony between God and creation.

Beauty makes us sense that life is directed towards fullness, fulfilment. In true beauty, we begin to experience the desire for God. Many today hope that art can return more and more to the cultivation of beauty. Certainly, as I have said, there is also a kind of beauty that is futile, artificial, superficial, even dishonest. Cosmetic beauty.

I believe that there is an important criterion for discerning the difference, and that is harmony. True beauty is in fact a reflection of harmony. Theologians speak of God’s fatherhood and Christ’s sonship, but when they speak of the Holy Spirit they speak of harmony: Ipse harmonia est. The Spirit creates harmony. The human dimension of the spiritual… True beauty is always the reflection of harmony. If I may say so, harmony is the operative virtue of beauty, its deepest spirit, where the Spirit of God, the great harmonizer of the world, is at work.

Pope Francis, Address to Artists, 23 June 2023

These popes all affirm that art’s power to captivate and express creativity must be ordered to that invisible, transcendent Beauty which is God himself. Thus, there must be some properly theological criteria for creative endeavours, if they are to be truly considered art. Pope Francis’s words on the necessity of harmony especially indicate the need for creative contours and even limits, if art should not simply a product of independent self-expression. Rather, rooted in the mystery of the Incarnation and in the sacramentality of creation, the goodness of art depends on its correspondence with right reason, that is, reason ordered toward the truths of divinely revealed faith.

The Christian Heritage Centre is proud to encourage the deepening of faith through the appreciation and practice of Christian art. Our yearly Ancient Byzantine Iconography Course is one example of our commitment to the union of faith and reason as expressed in traditional artistic forms. 

In that light, we are also proud to offer an upcoming intensive study weekend on art, faith, and Catholic culture. Entitled “What We Have Seen And Heard in Heaven” and running 13-15 September 2024, this retreat examines art and Christian creativity through its various expression in music, dance, visual art, and poetry. To learn more and to register for this retreat, visit our event webpage by clicking here.

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Saint Teresa of Avila, part 4

1 July 2024

Saint Teresa of Avila, Part 4 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)
This instalment will sum up our mini-series on Saint Teresa of Avila. Thus far, we have examined the first three stages of prayer, which she compares, sequentially, to drawing water from a well, to drawing water from a mill or windlass, and to drawing water from a stream or river. Each stage represents an increasing facility in watering the garden of one’s prayer life. Finally, in the fourth stage of prayer, the garden is watered by rain that pours down from the heavenly Father himself. Here, the labour of the first three stages gives way to the pure gratuity of God’s grace, such that the Christian might even be flooded by the love of God to the point of a rapture. This is where “the faculties of the soul” remain “in a state of suspension,” and “all outward strength vanishes, while the strength of the soul increases so that it may better have the fruition of this bliss” (The Life of Saint Teresa, ch. 18). This temporary abstraction from sensible or intellectual experience, as Teresa describes it, seems similar to Saint Paul’s own ascent to “the third heaven” as recounted in 2 Corinthians 12. However, we should remember that such an experience of rapture is a special gift of God, and that the Christian who does not receive this gift is no less capable of union with God. In fact, Teresa distinguishes between the “elevation” or “rapture” of the soul, on one hand, and the union with God which one may experience in the fourth stage of prayer. Rapture is often a sign of a special union, but union with God is also manifested when the soul actively knows and loves God. Indeed, the benefits enjoyed after rapture continue to manifest the soul’s union with God. Such a soul, “without knowing it, and doing nothing consciously to that end, begins to benefit its neighbours, and they become aware of this benefit because the flowers now have so powerful a fragrance as to make the neighbours desire to approach them” (The Life of Saint Teresa, ch. 19). The garden of the soul flourishes without the fatigue of the first two stages, and this flourishing comes from the rain which God himself sends down. Let us see discover further what the saint means when distinguishing rapture from union.
In these raptures the soul seems no longer to animate the body, and thus the natural heat of the body is felt to be very sensibly diminished: it gradually becomes colder, though conscious of the greatest sweetness and delight. No means of resistance is possible, whereas in union, where we are on our own ground, such a means exists: resistance may be painful and violent, but it can always almost be effected. But with rapture, as a rule, there is no such possibility. Often it comes like a strong, swift impulse, before your thought can forewarn you of it or before you can do anything to help yourself. You see and feel this cloud, or this powerful eagle, rising and bearing up up with it on its wings.
Notice how Teresa distinguishes union as occurring “when we are on our own ground.” This passage also suggests that, while rapture consists of a certain disjunction of body and soul, union occurs when the body and soul are once again in active harmony, when we are possessed of our normal faculties, and thus when we are fully free to even “resist” union. Thus, rapture is never the end or purpose of mystical experience, but is only a further means toward the union wherein the entire human creature, in body and soul, participates actively in the life of virtue. As we close our reflections on Saint Teresa, let us not be discouraged if we never experience the extraordinary transverberations, ecstasies, and levitations granted to exceptional saints like her. Even for such famous mystics, such experiences were never everyday occurrences but gifts given by God at times and places of his choosing. Rather, let us enter the fourth stage of prayer by being mindful of all the graces which God already pours down abundantly on us, and to unite ourselves to him not only in moments of solitary prayer and contemplation, but also in every act of perfect charity toward our neighbours. Thus the fragrance of God’s grace will continue to attract more souls to the garden of heavenly delights. In the next three instalments, we will shift our focus to another high medieval Doctor of the Church and contemporary of Saint Thomas Aquinas: the Franciscan theologian Saint Bonaventure of Bagnoregio.
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Saint Teresa of Avila, part 3

15 June 2024

Saint Teresa of Avila, Part 3 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)

Proceeding along in our focus on St Teresa of Avila, we come to her third stage of prayer, which she likens to watering a garden from a river or spring. Unlike the first two stages—drawing from a well and using a water mill—in this stage, the difficulty is taken away almost completely, since a natural source of water supplies the garden by its own power. Here, the faculties of intellect and will are almost in complete harmony and union with God, receiving his consolation in greater measure while expending little effort. The soul reaches a level of humility surpassing that gained in the Prayer of Quiet, for “it sees clearly that it has done nothing at all of itself save to consent that the Lord shall grant it favours and to receive them with its will” (The Life of Teresa, ch. 17).

This third stage of prayer corresponds to the fifth of the seven mansions described by Teresa in The Interior Castle. The fifth mansion, marked by the “prayer of simple union,” is marked by the realization that a greater peace is bestowed when the soul no longer competes against God, but comes to work in cooperation with God, even if the soul does not understand the full extent and measure of God’s wisdom and love. In The Life of Teresa, this means that the memory and imagination remain free but operate in conjunction with God’s goodness, such that the mind continues to work toward contemplation of God throughout the experiences of life. Whereas in the previous stage, the soul rests in the “holy repose which belongs to Mary [of Bethany],” in the third stage this holy repose “can also be that of Martha” (The Life of Teresa, ch. 17). The active life is brought up into the contemplative life, and the synthesis of these two states represents a true flowering of the garden. “Already the flowers are opening: they are beginning to send out their fragrance” (The Life of Teresa, ch. 16).

Notice that, for Teresa, an increasing mystical union with God does not mean forgetting one’s place in the world in a flight from everyday existence, but in a virtuous growth that allows one to live well, no matter one’s state of life. Fortified by the life of prayer, the virtues are made incarnate in our own daily deeds, and the mind does not cease contemplating the things of God through the works of creation. In this mystical union, “the soul realizes that the will is captive and rejoicing, and that it alone is experiencing great quiet, while, on the other hand, the intellect and the memory as so free that they can attend to business and do works of charity” (The Life of Teresa, ch. 17). This description corresponds to the sixth mansion in The Interior Castle, wherein the gift of heavenly contemplation given to Teresa is poured forth and continues during her daily labours and tasks in the monastery.

In this Year of Prayer, let us consider what Teresa teaches us in this third stage. The mystic’s ascent to God through prayer involves the concretization of the life of virtue. Mysticism is not merely a heightened sense of self-awareness, nor an abstract emotional or affective state, nor elevation into a state of rapture alone. Instead, the life of prayer, fed directly by streams of living water flowing from the side of Christ, brings forth its flowers and fruit in the Spiritual and Corporal Works of Mercy. By doing so, we follow Christ’s own synthesis of the Law and Prophets, expressed in his two great commandments: to love God above all, and to love our neighbours as ourselves.

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Saint Teresa of Avila, part 2

28 May 2024

Saint Teresa of Avila, Part 2 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)

In the previous instalment, we introduced the four stages of prayer according to Saint Teresa of Avila, which she likens to four ways of watering a garden. The first stage, compared to the laborious act of drawing water from a well, requires the most effort: perseverance in the habit of prayer requires a habituation to its discipline and a concurrent struggle against the acedia or laziness which might hinder our ascent to God. One must face this initial stage of difficulty with courage and with joy, knowing that our endurance in the present will reap rewards in the future.

In this reflection, we consider the second stage of prayer, which Teresa likens to drawing water from a windlass or water mill. Once the trials of the first stage are passed, one advances in prayer with a little more ease, making use of a machine that draws water by harnessing the forces of nature. Here, the Lord grants more supernatural consolations as a recompense for the struggles of the first stage. The soul is now permitted to enter what Teresa calls “the Prayer of Quiet” or “Devotion of Peace,” a state which she describes as

a recollecting of the faculties of the soul [i.e., the intellect and the will], so that its fruition of that contentment may be of greater delight. But the faculties are not lost, nor do they sleep. The will alone is occupied in such a way that, without knowing how, it becomes captive. It allows itself to be imprisoned by God, as one who knows well itself to be the captive of Whom it loves. (The Life of Saint Teresa, chapter 14).

In other words, the intellect is no longer struggling to understand the reason why one ought to pray, as it may have done in the first stage. Rather, the intellect “rests” in its understanding of the new consolations which it enjoys in the present stage. The will, on the other hand, continues to love God, and this desire for him never ceases. This unceasing reach toward God is no longer a laborious struggle but a contentedness in recognizing that one’s humble position before God. Indeed, the will of human person becomes so completely conformed to the will of Father in imitation of Christ, that the Christian no longer struggles with competing desires. Rather, by uniting one’s desires to the desires of God, the false allure of competing desires is erased, and the soul more efficiently draws from wellspring of salvation.

In our prayer lives, let us seek the consolations gained by uniting our will to the will of God. As Christ taught to pray “thy will be done” in the Lord’s prayer, we live out that petition concretely by actively discerning God’s will and ordering our desires according to his heart. In doing so, we might enter the Devotion of Peace, and realize the truth which Dante Alighieri came to recognize in Paradiso: E ‘n la la sua voluntade è nostra pace—“in His will is our peace.”

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Pentecost and the Seven Gifts

19 May 2024

Pentecost and the Seven Gifts of the Spirit

By Joey Belleza, PhD (Cantab.)

In many churches on Pentecost, Catholics will hear sung the Veni Sancte Spiritus, a short poetic text which was one of the four sequences retained in the Roman Rite by Saint Pius V, and whose usage continues today. Addressing the Holy Spirit directly, the penultimate stanza of this text reads:

Da tuis fidelibus
in te confidentibus
sacrum septenarium.

Grant to your faithful ones
who confide in you
the sacred sevenfold gift.

This is a reference to the Seven Gifts of the Holy Spirit, which have been acknowledged from ancient times in the Church, but whose specific enumeration actually derives from the Old Testament.

A shoot will come up from the stump of Jesse;
from his roots a Branch will bear fruit.
The Spirit of the Lord will rest on him:
the Spirit of wisdom and of understanding,
the Spirit of counsel and of fortitude,
the Spirit of the knowledge and of piety, and he will delight in the fear of the Lord

(Isaiah 11:1-2)

As the above text shows, these gifts are first bestowed from all eternity upon the Root of Jesse, who is the prefigured Messiah of Israel. Christ therefore has these gifts in their fulness, as the eternal Second Person of the Trinity. How has the Catholic tradition come to understand these gifts in relation to us?

The gift of understanding empowers us to cognize the truths of the Christian faith not simply as abstract propositions, but to believe them as intuitively and firmly as we know the first principles of natural reason, like the principle of non-contradiction, or the fact that 1 + 1 = 2.

The gift of wisdom empowers us, following the truths given in understanding, to judge correctly the application of the faith in concrete circumstances.

The gift of knowledge empowers us to truly act in real, specific situations according to that right cognition and right judgment given in the previous two gifts.

The gift of counsel builds on the previous three gifts, allowing us to pass on what we have learned through understanding, wisdom, and knowledge for the sake of other persons

The gift of fortitude empowers us to act well whenever attaining a good or avoiding evil becomes difficult.

The gift of piety makes us disposed to honour those from whom we derive the principles of our being, and is thus related to the Fourth Commandment. We not only honour our parents, from whom we proximately receive life, but we also honour our families and our country, insofar as it they are realities beyond ourselves which sustain our common life.

Finally, the gift of fear of the Lord is related to the First and Second Commandments: we honour and worship God as the source and creator of all things. This fear is not a fear of danger, but a respectful and humble recognition of our status as creatures before God. It is also the most fundamental of the gifts, for example as Proverbs 9 reminds us: “Fear of the Lord is the beginning of wisdom.”

During this great Solemnity of Pentecost and in the days following, let us again beg the Holy Spirit for these sevenfold gifts, that they might be invigorated in us as when they were first given on the day of our Confirmation. By remaining in these gifts, may we more closely conform ourselves to Christ, the Root of Jesse who binds us to the Father, and thereby we might enter ever deeper into the mystery of the Triune God, which we celebrate next week on Trinity Sunday.

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Saint Teresa of Avila, part 1

18 May 2024

Saint Teresa of Avila, Part 1 | The Year of Prayer

By Joey Belleza, PhD (Cantab.)

In the next four instalments, we will look at prayer through the eyes of another great Doctor of the Church, the Spanish mystic and founder of the Discalced Carmelites, Saint Teresa of Avila. Born in 1515 and died in 1582, Teresa lived in a time wherein the Church in Europe was shaken by both the Protestant Reformation and by internal crises, and was in desperate need of reform. Such external tumult is often the sign of a severe spiritual malaise, and Saint Teresa responded to the crisis of her era through a deep attachment to the power of prayer, understanding this to be the only effective counter to the spiritual needs of the Church.

She considers prayer in her two major works, namely, the autobiographical Life of Teresa of Jesus and her devotional-mystical work The Interior Castle. In the following reflections on Saint Teresa and prayer, we will focus principally on insights from The Life of Teresa, with occasional references to the Interior Castle.

Particularly, we will look at the analogy Teresa offers in her autobiography of the development of the life of prayer. She considers four ways to water a garden, which are likened to four stages through which one’s life of prayer grows.

It seems to me that the garden can be watered in four ways: [1] by taking the water from a well, which costs us great labour; or [2] by a water wheel and buckets, when the water is drawn by a windlass (I have sometimes drawn it in this way: it is less laborious and gives more water; or [3] by a stream or brook, which waters the ground much better, for it saturates the ground more thoroughly; or [4] by heavy rain, when the Lord waters it with no labour of ours, a way incomparably better than any of this which have been described. (The Life of Teresa, Chapter 11)

The first stage, like drawing water from a well, is like the first stage of prayer. Put very simply, Teresa is saying that beginners in the life of prayer must work hard to make a habit of its practices, “because they have become accustomed to a life of distraction.” Distractions in prayer are familiar to all of us, but this can perhaps be understood at a deeper level too: the less one prays, the less one is focussed on the spiritual realm and the more one’s mind is occupied by the earthly. We are therefore not only more distracted when we come to pray, but we are also less motivated, insofar as we have not convinced ourselves sufficiently of the importance of prayer by the fact of not putting it into practice. Building up this habit of doing something that is not yet deeply embedded in our psyche as a necessary part of our daily life is hard work.

Indeed, for many days, one may experience “aridity, dislike, distaste, and so little desire to go and draw water that he would give it up entirely.” Yet, just as Christ endured the suffering of the Cross, the Christian is called to endure the little crosses of this first stage, confident that such labour is pleasing to God and thus truly important. As Teresa says of her own experience, “it is quite certain that a single one of those hours in which the Lord has granted me to taste of Himself has seemed to me a later recompense for all the afflictions which I endured over a long period while keeping up the practice of prayer.” Similarly, we can be confident that the fruits of prayer, especially those that emerge later on, will make the earlier struggles entirely worthwhile. And what greater model is there for this perseverance than Christ’s Passion, without which the fruits of Easter and Pentecost, which we have only just finished celebrating, would not have been possible.

Our present day also has crises of its own, and the Church is in no less need of faithful witnesses supported by steadfast prayer in order to enlighten a world that seeks solutions in human wisdom alone. Let us also persevere in our own lives of prayer, so that the difficulties we endure and the struggle we engage in presently might lead to the same future recompense granted to Teresa.

In the following instalments, we will focus on the successive three stages of prayer according to Saint Teresa.

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The Ascension of Our Lord

10 May 2024

The Ascension of the Lord

By Joey Belleza, PhD (Cantab.)

In an essay written before his election as Pope (but published in English in 2006), Joseph Cardinal Ratzinger briefly commented on a certain artistic motif which is often seen in paintings of Christ’s Ascension.

You are surely familiar with all those precious, naïve images in which only the feet of Jesus are visible, sticking out of the cloud, at the heads of the apostles. The cloud, for its part, is a dark circle on the perimeter; on the inside, however, blazing light. It occurs to me that precisely in the apparent naïveté of this representation something very deep comes into view. All we see of Christ in the time of history are his feet and the cloud. His feet—what are they?

We are reminded, first of all, of a peculiar sentence from the Resurrection account in Matthew’s Gospel, where it is said that the women held onto the feet of the Risen Lord and worshipped him. As the Risen One, he towers over earthly proportions. We can still only touch his feet; and we touch them in adoration. Here we could reflect that we come as worshippers, following his trail, close to his footsteps. Praying, we go to him; praying, we touch him, even if in this world, so to speak, always only from below, only from afar, always only on the trail of his earthly steps. At the same time it becomes clear that we do not find the footprints of Christ when we look only below, when we measure only footprints and want to subsume faith in the obvious. The Lord is movement toward above, and only in moving ourselves, in looking up and ascending, do we recognize him.

When we read the Church Fathers something important is added. The correct ascent of man occurs precisely where he learns, in humbly turning toward his neighbour, to bow very deeply, down to his feet, down to the gesture of the washing of feet. It is precisely humility, which can bow low, that carries man upward. This is the dynamic of ascent that the feast of the Ascension wants to teach us.

From “The Ascension: The Beginning of a New Nearness,” in Joseph Ratzinger, Images of Hope: Meditations on Major Feasts (Ignatius Press, 2006).

The future pope’s observations are, as one can expect, spot on. The theme of humility, seen in the washing of the feet at the Last Supper, the anointing of Christ’s feet by Mary Magdalene, and in the thanksgiving of the blind man healed by Christ are certainly operative in the traditional depiction of the Ascension, wherein the Apostles gaze upon the feet of the ascending Lord until he is taken from their sight. In this way, the apostles of the Lord, to include all who follow him, are invited to adopt a posture of humility before him, and in doing so, make his love present on earth even as he ascends bodily to the right hand of the Father. However, the profound insight of the Christian artistic tradition goes even deeper, reaching into the riches of the Old Testament and in doing so illuminating the data of revelation given in the New. To understand this, we must return to the book of Exodus (chs. 19-31), wherein Moses ascends the holy mountain to speak with God and to receive his commandments.

Whenever Moses goes up the mountain, the people must remain in the camp. Only Moses and Aaron, along with Nadab, Abihu, and seventy elders of Israel can accompany him. But these can only ascend partially; Moses alone is allowed to enter the cloud of the divine presence to converse with God. Meanwhile, Aaron and the elders remain at a distance some way up the mountain, where they must wait for Moses to return. Moses, therefore, is the first mediator between God and Israel as a whole, while Aaron and the elders mediate between Moses and the people in the camp.

Following important interpreters such as the Jewish writer Philo of Alexandria and Saint Gregory of Nyssa, the pseudonymous sixth century Greek-Syrian writer known as “Dionysius the Areopagite” reads the ascent of Moses as an allegory for both the ascent of the mystic to God as well as for the structure of the Church. In his brief treatise Mystical Theology, Dionysius interprets Moses as a high priestly character who mediates God’s revelation with the aid of elders or lower priests, who in turn communicate God’s power to the people. The “place” (topos) where the elders stop while Moses continues to ascend is understood by Dionysius, using ideas adapted from Neoplatonic philosophy, as the “place” of God’s powers, where the perfections of created being (such as goodness, unity, and truth) first emanate from God. Dionysius calls this the place “of the presence of that which walks upon the intelligible summits of the most holy places.” Deciphering his densely Platonic language may be difficult for the average reader, but here Dionysius simply means that this “place” where God walks is not identical to God himself, who is higher than any place. This intermediate location between the camp and the summit is also the place of the priests or elders, who form the bridge between Moses and the rest of the nation.

Moses must leave behind Aaron and the elders in this “place” before ascending to the cloud-draped summit of the holy mountain. Christ, as the new Moses, likewise enters into the clouds of heaven on the day of his Ascension, but he leaves behind a new set of elders–the Apostles–who continually mediate his presence to those who remain in the camp of the Church. The Christian artists who depicted the paintings of Christ’s feet at the Ascension certainly understood this ancient interpretive tradition very well. More than mere “precious, naive images,” the paintings of the Apostles looking at Christ’s feet recalls the ascent of Moses up the holy mountain, situating those first followers of Christ in the “place” of Aaron and the elders. They who were at the “place” where the incarnate God walked now continue to mediate God’s presence to us through their successors, who dispense the sacramental ministry of the Church. At the same time, those called to ordained ministry ought to be mindful of their place: they must exemplify the perfections of unity, truth, and goodness which they receive as sacramental emanations from the God above.

The great Solemnity of the Ascension, therefore, is not simply about a single event which closed the earthly mission of Christ. Rather, it points to the new mode of his enduring presence on earth through those who sat at his feet and followed where he trod. It is a key step in the development of the Church, which was already established in its basic form at the Last Supper, and which will be sent forth to all the world through the descent of the Holy Spirit on Pentecost. Through the Apostles who humbly remain low at his feet, the revelation first given to Moses and brought to fulfilment in Christ flows down from the mountain of God to the ends of the earth, and accordingly the final words of Christ to the Apostles continue to ring true in his Church: “Behold, I am with you always, even until the end of the age.”

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Our Lady, the Rosary and the Litte Office

1 May 2024

Our Lady, the Rosary, and the Little Office | Year of Prayer 2024

By Joey Belleza, PhD (Cantab.)

In our previous instalment, we considered the recitation of the psalms in the daily celebration of the Divine Office, or Liturgy of the Hours. As we enter the month of May—the month of Our Lady—it is now an opportune time to consider the relationship between the Divine Office and the Church’s devotion to the Mother of God.

The New Testament, specifically the Gospel of Luke, records only one “prayer” by the Blessed Virgin Mary: the Magnificat, or the great hymn of praise which she sung upon her Visitation to Elizabeth, her cousin and mother of John the Baptist. This perfect expression of humility and praise from the greatest woman in history has been of such importance to the Church that its recitation or singing occurs every day at the end of Vespers. In its literary form, it is very similar to many of the psalms of praise, and its various statements follow the typical parallelisms of Hebrew rhetoric, wherein two phrases which move in “opposite directions” actually convey the same meaning. For example, “He has cast down the mighty from their thrones, and has lifted up the lowly,” or “He has filled the hungry with good things; the rich he has sent away empty” express God’s power and mercy through the punishment of evil, on the one hand, and the concurrent exaltation of the poor, on the other. Such constructions are also seen in the Song of Hannah, which is itself a hymn of thanksgiving to God for the miraculous pregnancy which yielded the prophet Samuel. Like the psalms and the Song of Hannah, Mary’s Magnificat is a clear link to the heritage of the Old Testament, and the fact that we sing it daily in the Christian liturgy testifies to our enduring link to the faith of Israel. 

While from the early Middle Ages the recitation of the full Psalter according to the one-week cycle was often restricted to priests and religious (who were literate), the ordinary illiterate lay faithful often found ways to participate in daily prayer in their own ways. Repetitions of the Lord’s Prayer or the Hail Mary substituted for the long recitation of each Psalm, and the recitation of 150 Hail Marys (divided into the three sets of mysteries) in place of the 150 Psalms—what we now know as the Rosary—became the laity’s favoured counterpart to the full Divine Office sung by priests and religious. A further development of this practice led to the association of a smaller set of Psalms as mystically signifying some aspect of the Blessed Virgin’s role in salvation history. This became the so-called “Little Office of the Blessed Virgin Mary,” a practice so beloved that by the tenth century, clergy were required to pray the hours of the Little Office in addition to the hours of the full Divine Office. In some religious communities, their members were taught to pray “Our Lady’s Matins” in private upon waking up and while making one’s bed, in order to prepare for the communal recitation of Matins according to the Divine Office. 

In this Year of Prayer, perhaps we might delve into the mysteries of Mary’s life, not only by meditating upon the mysteries of the Rosary, but by exploring those Psalms which the Little Office has set aside for Our Lady. The Little Office might indeed be a way for us to get into the habit of praying the Psalms, so that eventually we might learn to pray the full Divine Office or Liturgy of the Hours with greater ease. In this way, the Psalms which point to the Blessed Virgin might lead us to the recitation of the full Psalter, which is itself a prefiguration of the life of Christ—and thus we might pass, as Saint John Paul II loved to say, ad Iesum per Mariam: to Jesus through Mary.

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The Psalms in the Divine Office

22 April 2024

The Psalms | Year of Prayer 2024

By Joey Belleza, PhD (Cantab.)

In the previous reflection, we considered the collects of the Roman Rite and how they are structured to express the four parts of prayer. Now, we can speak briefly about the Divine Office or Liturgy of the Hours. We can first note how the closing prayer of each hour is the same as the collect for the Mass of the day, such that the four parts of prayer often form an explicit aspect of the recitation of the Hours. However, we can go beyond the collects and think about the defining characteristic of the Hours: psalmody.

The recitation of the Psalms throughout the day (and the traditional practice of chanting all the psalms in a week) not only links us with the Jewish faith into which Christ, his Mother, and the Apostles were born; it moreover gets us thinking about why the Church continues to make the psalms a central part of her daily prayer. But whether we pray the Psalms according to the four-week cycle of the modern Liturgy of the Hours, or if we follow the ancient one-week cycle of the old Divine Office, it remains true that the Psalms govern the daily rhythm of the Church’s life. It is a timeless and in inexhaustible source of inspiration for all Christians. While countless books have already been written on this matter, here we can only make a brief indication.

There is no human emotion that isn’t addressed by a psalm. From joy in victory, exaltation in God’s glory, gratitude, and praising the beauty of the natural world, to dejection in defeat, depression, abandonment, and rage, and the psalms run through the full spectrum of human affectivity. So central were the psalms to the daily life of Christ and the Apostles that they often cite the psalms to make a point. Upon seeing the Lord drive the moneychangers from the Temple, Saint Peter paraphrased Psalm 69: “Zeal for your house will consume me.” When the chief priests and scribes were indignant at the praises of children on Palm Sunday (who themselves were echoing the cries of “Hosannah” from Psalms 118 and 148), Christ rebuked them for not knowing the meaning of Psalm 8: “From the mouths of children and suckling babes you have ordained praise, on account of your adversaries, to silence the enemy and avenger.” Finally, on the cross, one of the Lord’s final words, “My God, my God, why have you forsaken me” comes from the beginning of Psalm 22 which, although beginning with a cry of dereliction, ends with a statement of invincible hope and confidence in God’s power.

In this Year of Prayer, let us rediscover the glory of the psalms, to which the Church returns week after week, month after month, to address the breadth of human experience as we encounter the joys and sorrows which mark our earthly life.

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Collects and Liturgical Prayer

16 April 2024

Collects and Liturgical Prayer | Year of Prayer 2024

By Joey Belleza, PhD (Cantab.)

The four parts of prayer can be seen not only in the Lord’s Prayer, as we saw in the previous reflection, but also throughout the Church’s liturgy. Indeed, Saint Thomas Aquinas himself noted how “we may notice these four things many of the Church’s collects.” The “collect” of Mass, often called the “Opening Prayer” is conisdered the principal prayer for the Mass of the day and is even repeated throughout the Divine Office or Liturgy of the Hours of the same day. The Prayer Over the Gifts and the Postcommunion are also prayers which are molded on the collect. The collects of the Roman Rite, many of which are of ancient origin, follow a certain polished structural and rhetorical pattern that is characteristic of Christian Latin, and this structure manifests the four parts of prayer. To illustrate, Saint Thomas uses the example of the Collect for Trinity Sunday:

Almighty sempiternal God,
you who in the confession of the true faith
granted to your servants to know the glory of the eternal Trinity,
grant, we pray, that in the same firmness of faith,
we may always be protected from our enemies.
Through our Lord Jesus Christ, your Son, who lives and reigns, etc.

Let’s break this down according to the four parts of prayer.

Oration: “Almighty sempiternal God…” Here, the priest cries out to God the Father.

Thanksgiving: “…you who in the confession of the true faith granted to your servants to know the glory of the eternal Trinity…” The past deeds of God are recalled.

Petition: “…grant, we pray, that… we may always be protected…” A specific request is made to the Father.

Intercession: “Through our Lord Jesus Christ…” Our prayer is both Trinitarian and Christological, invoking all three Persons, but principally addressing the Father through the intercession of the eternal Son.

This same structure is seen in so many prayers which use the basic the structure of the Roman collect. See, for example, the prayer before meals:

Bless us [petition], O Lord [oration],
and these thy gifts which we are about to receive from thy bounty [thanksgiving].
Through Christ our Lord [intercession].

Let’s use another example: the postcommunion prayer of the fourth Sunday of Advent, which is also used on the Feast of the Annunciation and at the end of the Angelus:

Pour forth, we beseech thee [petition] O Lord [oration],
thy grace into our hearts,
that we to whom the Incarnation of Christ thy Son was made known by the message of an angel [thanksgiving],
may by his Passion and Cross be brought to the glory of the resurrection [specific petition]. Through Christ our Lord [intercession].

Whenever the priest prays the collects on our behalf at Mass, let us listen with attention, uniting ourselves with the priest’s words as he “collects” or “gathers” our oration, thanksgiving, petition, and intercession at the altar of God.

In the next reflection, we will look at another form of the liturgy: the Divine Office or Liturgy of the Hours.