Friday, April 2, 2010 \AM\.\Fri\.
I thank you Marcus for taking on the onerous task of acting as my secretary, in addition to your regular duties as my aide, in regard to this portion of the report. The Greek, Aristides, is competent, and like most Greek secretaries his Latin is quite graceful, but also like most Greek secretaries he does not know when to keep his mouth shut. I want him kept away from this work, and I want you to observe the strictest security. Caiaphas was playing a nefarious game, and I do not think we are out of the woods yet. I do not want his spies finding out what I am telling the Imperator and Caiaphas altering the tales his agents are now, no doubt, spreading in Rome. Let us take the Jew by surprise for once!
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Thursday, September 3, 2009 \AM\.\Thu\.
Composed by Saint Thomas Aquinas for the Office of Corpus Christi (see CORPUS CHRISTI, FEAST OF). Including the last stanza (which borrows the words “Genitori Genitoque”—Procedenti ab utroque, Compar” from the first two strophes of the second sequence of Adam of St. Victor for Pentecost) the hymn comprises six stanzas appearing in the manuscripts
Pange, lingua, gloriosi corporis mysterium,
Sanguinisque pretiosi quem in mundi pretium
Fructus ventris generosi Rex effudit gentium.
Written in accentual rhythm, it imitates the triumphant march of the hymn of Fortunatus, and like it is divided in the Roman Breviary into stanzas of six lines whose alternating triple rhyming is declared by Pimont to be a new feature in medieval hymnody. In the Roman Breviary the hymn is assigned to both Vespers, but of old the Church of Salisbury placed it in Matins, that of Toulouse in First Vespers only, that of Saint-Germain- des-Prés at Second Vespers only, and that of Strasburg at Compline. It is sung in the procession to the repository on Holy Thursday and also in the procession of Corpus Christi and in that of the Forty Hours’ Adoration.
 (1911). Pange Lingua Gloriosi. In The Catholic Encyclopedia. New York: Robert Appleton Company. Retrieved September 3, 2009 from New Advent: http://www.newadvent.org/cathen/11441c.htm
Note: For more information click here.
Friday, April 10, 2009 \PM\.\Fri\.
When Pilate saw that he was not succeeding at all, but that a riot was breaking out instead, he took water and washed his hands in the sight of the crowd, saying, “I am innocent of this man’s blood. Look to it yourselves.”
And the whole people said in reply, “His blood be upon us and upon our children.”
Then he released Barabbas to them, but after he had Jesus scourged, he handed him over to be crucified.
These short lines have, through the fallen nature of humanity, caused their fair share of trouble over the centuries. The gospel message, through primarily one of hope and redemption, contains one dark undertone: Christ died for our sins. The one truly perfect being suffered horrifically because of our too clear imperfection.
It is in our nature to shy away from that which is unpleasant, and so it is perhaps no surprise that throughout history some Christians have attempted to assuage their own consciences by pointing the finger of blame at an obvious target: the Jews.
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Friday, April 10, 2009 \AM\.\Fri\.
Paraclete Press has done us all the service of making available for free listening on Good Friday a recording of the passion narrative from the Gospel of St. John in beautiful chant tones.
Paraclete invites you to take part in a Good Friday tradition that dates back to the eighth century, with the chanting of the Passion Narrative according to Saint John. Take half an hour apart from the events of the day, and listen to these sacred words, chanted by monastic members of the Gloriae Dei Cantores Schola, in Latin, in Gregorian chant.
[Click the small “Play Passion Narrative” or “download music” links in the top header of the page — they can be a little hard to find.]
Saturday, April 4, 2009 \AM\.\Sat\.
Something for the weekend. O Sacred Head Now Wounded sung by Fernando Ortega with scenes from The Passion of the Christ. The lyrics of this hymn derive from the latin poem Salve Mundi Salutare. The authorship is open to doubt although I agree with those who attribute at least part of the poem to Saint Bernard of Clairvaux, based upon stylistic similarities with portions of his other writings. The sanctity and eloquence of Saint Bernard alloyed with the musical genius of Johann Sebastian Bach makes a potent combination indeed.
On a personal note this hymn has always moved me as no other does. It reminds me that God died for me, something I find absolutely stunning. Love and sacrifice begin and end with God, who regards each man as if there were no other.