Articles tagged with transcendence

Life in the Spirit

May 22, 2021

“For what person knows a man’s thoughts except the spirit of the man which is in him?” [1 Corinthians 2: 11]

When Beethoven was a young man, one of his principal patrons, Count Waldstein, predicted that he would inherit the spirit of Mozart. Music historians will often make statements to the effect that the first half of the nineteenth century in Europe was dominated by the spirit of Beethoven himself, and that the second half was strongly informed by the spirit of Wagner. The negative expression of this latter reality belongs to the iconoclastic composer Claude Debussy, who said that his task was the exorcism of the “ghost of old Klingsor, alias Richard Wagner.”

Beethoven’s spirit is often connected to the rise in democratic movements following the French Revolution. He famously erased Napoleon’s name from the manuscript of the Eroica symphony when he heard that Napoleon had crowned himself as emperor.

To what does all of this refer? Two aspects come to light. The music of Mozart, Beethoven, and Wagner was experienced by many of their near-contemporaries (and many of us today) as touching on something profoundly true and beautiful. The crystalline perfection of Mozart’s symphonies and the heroic pulses of Beethoven’s symphonies inspired (in-spirited!) many young composers to take up the quill and try their own hand at composing. Musical composition is always a process of interior listening, testing to see how musical ideas imply other musical ideas, and how these in turn touch ineffably on the meaning of the human and divine. When one is immersed in the music of a Mozart, one learns from him how to listen and how to discern the true from the false, the profound from the trivial.

The first practical effect of this discernment is that early Beethoven sounds very much like Mozart’s music. Wagner’s earliest compositions sound eerily similar to Beethoven’s middle and late periods. Notice that Wagner’s music would almost never be mistaken for Mozart’s though. Something has changed with the appearance of Beethoven. This fact points us to the second important idea of the “spirit” of a man. However much Beethoven inherited Mozart’s spirit, as this spirit entered into another unique individual, Beethoven’s own creativity was quickened into life, an unrepeatable life. Thus emerged Beethoven’s own spirit that he bequeathed to the varying compositions of Schubert, Schumann, Liszt, Brahms, and Wagner.

“God’s love has been poured into our hearts through the Holy Spirit who has been given to us.” [Romans 5: 5]

Wagner’s spirit led him to reconnect with a heroic past in mythology, a similar intuition to that of J.R.R. Tolkien in a later generation.

All the baptized partake of an analogous reality. But instead of inheriting the spirit of a fellow creature, we have received the Spirit of Christ, the Son of God. This is a true inheritance: “all who are led by the Spirit of God are sons of God.” Being led by the Spirit does not mean in any way that we become marionettes, any more than Wagner robotically reproduced Beethoven’s music. The Spirit quickens what is latent in us, and we develop into ourselves. This is why Scripture speaks of the Spirit as both our inheritance, and a pledge of a future inheritance into which we have yet to enter. “[You] were sealed with the guarantee of our inheritance until we acquire possession of it.” [Ephesians 1: 13-14] Led by the Spirit, we are already God’s children and yet something still greater awaits: “Beloved, we are God’s children now; it does not yet appear what we shall be.” [1 John 3: 2]

Who among us is as free as the saint of God?

Just as a composer infused with the spirit of Beethoven learns from studying the master’s work, we will grow in the Holy Spirit to the extent that we accompany Jesus Christ in our daily lives, make Him our model and learn from Him how to discern the true from the false. We do this by participation in His mysteries in the liturgy, by meditating on Holy Scripture, and by recognizing Christ’s presence in His Body the Church. Many of us resist this with a false understanding of what it means to take responsibility for our own lives. Critics of religion will claim that the Church’s morality deadens our individuality, infantilizes us by scripting our own lives for us. But as my examples of composers demonstrate, the spirit of Mozart did the opposite for Beethoven. It freed Beethoven to develop into the great light for so many who came after him. If this is so with the spirit of a man, how much more will the Spirit of the Creator God free us to mature into true individuals, as articulated members of Christ’s Body? As C.S. Lewis well expressed the freedom of those led by the Spirit, “How monotonously alike all the great tyrants and conquerors have been: how gloriously different are the saints.”

Come Holy Spirit!

Prior Peter Funk
Pentecost, A.D. 2021

A Summons to Encounter in Unhurried Beauty

August 23, 2020

Prelude 1: Danseuses de Delphes (Dancers of Delphi)

Imagine a healthy person moving slowly. How can you tell if such a person is hesitant, or dawdling, being sneaky, or being solemn? Where someone is attempting to move at a solemn pace, how might we distinguish between genuine piety, sanctimony, and lumbering?

In almost every wedding rehearsal I’ve attended, the priest or minister has had to instruct the bridal party to walk more slowly. We are not accustomed to the solemnity and dignity of well-executed ritual. What makes a hasty bride appear gauche? I suspect that it is related to what George Steiner called “ceremonials of encounter” in his important book Real Presences. As I suggested in an earlier post, all beauty promises an encounter. Do we miss this encounter because we have lost the feel for ceremony?

With these thoughts in mind, I suggest that you listen to this three-minute piece, which was inspired by the “Acanthus Column.” Debussy was familiar with a replica of this column, which depicts the ritual dance of worshippers of Apollo at the god’s shrine at Delphi. In my hearing, this dance also takes the form of a procession toward the shrine.

[image: by Ricardo André Frantz (User:Tetraktys), editing by User:Jastrow – cropped and colour-adjusted from Image:019MAD Room.jpg taken by Ricardo André Frantz, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=3370119]

Danseuses de Delphes is to be played slowly and seriously, and the opening measures are also marked “soft and sustained,” or, perhaps, “elevated.” The piece is an imagined accompaniment to a pagan liturgy. Debussy would have had no direct experience of pagan ritual, so it is safe to assume that he borrows from his experience of traditional Catholic liturgy, with its slow processions and deliberate gestures. He was an admirer of the restrained craft of Palestrina, considering it the true sacred music of the Church. This sense of a public liturgy is reinforced by an interesting performance direction at measure 11 (1:12 in the video), doux mais en dehors, which would indicate something like, “soft but outward,” meaning that the quiet dynamic is not a sign of privacy or introversion. It is a sacred hush, as the dancers move nearer the shrine.

The opening melody is played twice, at :02 and at :37. There is an important difference in the second version. After each of the slow notes of the ascending melody, an echo in the upper register is introduced, almost as if the god has heard the prayer of the dancers and is responding from a distance. At 1:12, a new theme is introduced. In this new section, the melody and echo have switched places, with the high carrying the melody, and the middle range responding. Notice too, that the two parts are now moving toward each other, toward an “encounter.” The high notes descend gently and the middle notes ascend in response. It is very much like the ascent of the Catholic priest to the altar, and his prayer that the Holy Spirit might descend upon the gifts presented there.

The arrival or encounter proper takes place at measures 15-17 (1:34-1:50). Such a beautiful moment! The mysterious music in measures 21-24 (2:13-2:38) perhaps represents the withdrawal of the god back into the sky.

Let me compare this piece to two other “liturgical” pieces. In the work of Palestrina, the careful balance of dissonance and consonance gives the listener a sense of directionality. Whenever a dissonant interval is introduced, it awakens a desire that finds its temporary resolution in the following consonance. This practice develops within a religion that arises out of a certain “problematic,” the question of sin, alienation, and suffering, which have been overcome so as to point the way to a consummation in the Kingdom of Heaven.

Debussy’s style in the first Prelude abstains from functional dissonance. He uses clusters of notes, but often in such a way as to deepen musical color rather than to suggest an unfinished desire. This suggests a religion that is a mystical projection of simpler desires, not so obviously concerned with questions of justice and suffering.

The lack of any haste or drive in the piece suits the worship of Apollo. His cult was frequently contrasted in the 19th century (most famously by Nietzsche) with the Bacchic, frenetic, emotionally suffused worship of Dionysus. Three years after the publication of Debussy’s first book of Preludes, Stravinsky shocked the world with his very different depiction of pagan liturgy, the Dionysian Rite of Spring.

The lack of haste suggests reverence and confident self-possession. How does our fast-paced society not only rob us of our personal dignity, but make it difficult for us to show reverence when it is time to pray? Does our rushing about constrain us by betraying a lack of confidence in God’s nearness? What can contemporary Catholic liturgy learn from Debussy’s imaginative scenario, which borrows from an earlier Catholic sensibility?

Might the addition of ceremony into more areas of life also introduce meaning? Many of my friends and family members who are tea drinkers attest to the importance of ceremony in brewing and drinking tea. Nearly everything in monastic life is ceremonialized. Is this a sign of a nervous, controlling culture? Or the expressed desire to encounter?

***

Note: I’ve linked Barenboim’s performance because his observance of Debussy’s instructions is the most scrupulous of the performances that I could find. However, it is always worthwhile to hear others’ interpretations. We should bear in mind that the performed piece is the best interpretation, and that my written comments are only meant to open the ear to the performers’ interpretations, and the eye to the world that inspired (in-spirited) both Debussy and his interpreters.

If you have the time, I recommend listening to each piece two or three times, perhaps in different versions.

Here is Palestrina’s most famous motet, on the text (apt, for this post) “As the hart desires after fountains, so my soul desires after You, O God.” The use of dissonance to suggest desire and resolution is clearest where the text anima mea (my soul) appears at 2:13. If you can read the music, you will see that the first syllable of anima is often tied over a barline. When the barline hits, a new note, dissonant with the one being held on anima, creating that sense of tension. Note that the resolution of anima is downward, creating a sense of rest and repose.

And here is Stravinsky’s “Dionysian” ritual. Notice how restraint is gone, and ceremony has been transformed into something fearsome, especially at 3:00. This ritual will end with human sacrifice:

Remember Beauty: God Is Near

August 2, 2020

Beauty is an epiphany. Encountering someone or something beautiful opens a sudden abyss before me. The arrestingly beautiful object arrives as an answer to a question I had not thought to ask. And yet the answer is not the end, but the door into a cascade of mysteries. In other words, the right kind of aesthetic experience is theological.

Our first experiences of the beautiful are always embodied. They are encounters with real objects: sunsets, the Milky Way, Lake Michigan, forests, cardinals, orchids. Artists use their inspiration and ingenuity to craft beauty in artifacts: paintings, music, cathedrals, gardens, vestments. By a process of abstraction, we can think of ideas as beautiful. For example, I find a number of mathematical equations strikingly beautiful. But this “disembodied” version of beauty is always analogous to the embodied version of beauty.

So we are presented with an important paradox involving beauty. It is, on the one hand, theological and mysterious. At the same time, beauty is embodied and real. I opened by saying that beauty is an epiphany. An epiphany happens when a material object reveals a spiritual meaning. We see the object, and then we also see “beyond” it to significance. Beautiful objects are bridges between the material world and the infinite.

The Fibonacci sequence present in the interior of a sunflower.

For several reasons, I am planning a series of posts on beauty, particularly beautiful music. The goal is not to distract, but to model ways in which we can redirect our focus from the virtual to the real. This idea began with a request from a friend who was encouraging me to write more after my posts of April and May. Then, last week, a pastor from a non-denominational church addressed the brothers on various topics relating to his ministry in a neighborhood that faces challenges of poverty and violence. The two of us briefly discussed the role of anxiety in outbreaks of violence, and he urged me to write more on this topic. I will do that, and one way into this topic is through what the ancient monks called natural contemplation, and what I might call “beauty and the real.”

Beauty is often thought to be a luxury of a leisured wealthy class, irrelevant, say, to a community dealing with with poverty. To me, this sidelining of beauty is a major mistake. Beauty is a patrimony, even a right, of all human beings. More importantly, the loss of beauty produces anxiety and despair, the very ingredients that continue the cycle of violence and poverty.

Now let me tie a few things together. The visiting pastor shared a number of very helpful insights. He noted that the uptick in violence in Chicago has been fueled, in no small part, by the increase in social media use during the coronavirus lockdown. A key source of harm of the lockdown has been the retreat by larger and larger groups from the real into the virtual.

The Garden of the Phoenix in Chicago’s Jackson Park, a gift of the people of Osaka, Japan.

Remembering beauty can help to bring us back to the real, to ground us. Moreover, beauty can reawaken in us a desire for a genuine life of the spirit. Beauty reminds us that we are made for a life that transcends insipid materiality. Beauty awakens hope, a very important theological virtue for us to cultivate at the moment.

In follow-up posts, I am going to be speaking more about “natural contemplation.” This practice, seemingly forgotten in recent centuries, consists in the habit of seeing things as God intended them to be seen. Since all things were created through God’s Word, all things reveal God, if we learn to view them properly. This would further imply that all things that exist are beautiful at some level, and that the experience of beauty can be a reliable indicator of God’s nearness and the soundness of our best intuitions. Once again, the created world needn’t be reduced to pedestrian materiality, but should instead, through faith and hope, be elevated and “sacramentalized.”

For today, I would invite each of my readers to take time to notice beautiful things around us. Take a few moments to contemplate the beautiful persons you’ve known and the beautiful experiences that you have had. Perhaps you could go further and think about the eternal beauty that the faithful believe awaits us in heaven, a beauty that breaks through even now when we gather to pray and celebrate God in the holy liturgy.

Jesus first manifested His glory by the gift of fine wine at Cana.

Understanding Christ’s Kingship

November 24, 2018

The concept of kingship, considered throughout history and in multiple cultural contexts, varies quite a bit. Contemporary Americans tend to equate kings with tyrannical figures wielding huge amounts of arbitrary governmental power, whether it be the power of taxation exercised unhappily by George III at the expense of the Colonies, or the power of complete policy control as brandished by the Sun King, Louis XIV (“I am the state,” “L’état, c’est moi,” was his memorable way of expressing it).

The Ascension

May 10, 2018

Poetry tills and harvests in the fields of metaphor.

When Shakespeare’s Romeo muses, “Juliet is the sun,” he is not making a statement that is literally true. But it is true. How so? Oddly enough, answering this question involves us in more metaphorical speech.

Going to the Father 7: Icon and Altar as Ascension

July 22, 2015

The Ascension of Jesus Christ to the right hand of the Father is the founding moment of the liturgy. The Good Shepherd went off in search of His lost sheep–us–by laying aside His dignity and prerogatives as Son of God and becoming flesh for our sake. Becoming obedient to the Father even unto death, He won our salvation and returned to the Father as the pioneer of our salvation. In our baptisms, we are united with Christ, and in the liturgy, we participate, really experience our own ascensions to the Kingdom of Heaven, as daughters and sons of God in the Holy Spirit.

Christ’s Ascension is the founding movement of every liturgical celebration. Now He intercedes for us at the right hand of the Father [Romans 8: 34].

What an astonishing claim! And yet, it is our faith, the faith we profess every time we enter a church, recall our baptisms by signing ourselves with holy water in the form of the cross, and enter into the everlasting dialog of love between Father and Son. Yet because it is such an astonishing claim, we need practice in order to continually realize the Truth into which we have been received. Our minds need constant renewal, lest we fall back by a preoccupation with the earthly appearance of things. As I mentioned in the previous post, this vigilance requires us to hold in tension God’s transcendence, the goal toward which we move in our ascension in Christ, with God’s immanence, His real presence to us in all things through the eyes of faith. Thus the things of the world are transformed by contemplation, a gaze informed by faith, and this informing faith is oriented toward the Father “who is above all and through and in all [Ephesians 4: 6].”

In Gothic church buildings, this symbolism of ascent is signified by the long “vertical” shape of the nave. One enters at the baptismal font, the gateway to life in Christ, and moves toward the altar through stages, not necessarily “closer to God,” Who is in any case not at all bound to the sanctuary, but through the purification of the soul, the understanding and the will, so as to be more and more conformed to God. Christ the Mediator is symbolized variously by the direction East (from whence He shall come at the parousia), the altar (incised with five crosses, the five wounds by which the risen Christ is recognized), the priest (whose initial movement to the altar is a representation of Christ’s Ascension), and finally by the Blessed Sacrament Itself.

Christ goes forth from the sanctuary at two crucial moments in the liturgy. The first is the gospel procession, where the Word becomes flesh, as it were, in the human voice of the priest of deacon who proclaims it. The gospel book is carried in procession from the altar to the people. The second movement “outward” is the carrying of the Body and Blood of Christ from the altar (again!) to the people, who now receive Christ Incarnate in Holy Communion. In this latter case, there is a complementary movement of the faithful toward the altar, “caught up together with [those who have died in Christ]…to meet the Lord [1 Thessalonians 4: 17].”

Christ in glory represents the Lord both ascending and returning (see Acts 1: 11). Note the two interlocking four-pointed stars and white rays, representing the divine energies radiating in and through the Son.

Here I am describing a dynamic liturgy, with a lot of movement. It is not what most Catholics think of when they think of liturgy, which unfortunately seems to bring to mind standing and sitting in one pew and watching while the priest does a bunch of things far away. What I have described is quite possible, even desirable in the present “ordinary” form of the Mass, and to a certain extent the reforms that followed Vatican II have made this latent dynamism more obvious (and this represents a restoration of certain elements of the Mass that had fallen away in the Tridentine period, which I personally consider to have been a bit ‘bureaucratized’, with a liturgy too much influenced by the Roman Curia and not enough by monks!). Orthodox liturgy tends to display this dynamism more openly, and often Orthodox liturgists will draw connections between the in-and-out motion of the priests and deacons with the mysterious energies of God, that go forth and return to Him [cf. Isaiah 55: 11]. And this connection in turn is sometimes reinforced with references to Eastern theologians like Gregory Palamas (1296-1359). But this dynamism is everywhere evident in Catholic sources, especially through the thirteenth century. The Summa Theologica of St. Thomas Aquinas is entirely patterned on what is called the “exitus-reditus” movement of God’s creative and restorative Word and Spirit, breathing outward into creation and gathering inward toward salvation and exaltation.

Our monastery church is a neo-gothic structure. The first altar that we had built for the church was slightly larger than four feet square and stood in the center of the sanctuary, at the eastern end of the building. Though it served us well, it was slightly small both for the space and for the number of concelebrants typical at our Eucharistic liturgy. After a benefactor came forward to commission the great iconostasis that you see on our home page (and above), we knew that it was time to commission as well a new altar. Present liturgical discipline favors a stone mensa or “table” on the altar. If we were to do have a stone altar constructed, we had two choices, necessitated by the weight of the potential structure. We could first of all restore it as a ‘high altar’ against the easternmost wall of the church. This would be easier and more cost effective, since there was already an iron and brick support in place there, and since we were already celebrating Mass ad orientem. The other option was keeping it in place and building a new support. This would have been quite costly. Moreover, the building itself calls for the altar to be at the very head of the structure, as the “Head” Who is Christ.

Our new iconostasis and altar, with four concelebrating priests. One gets a sense of the size of the church that we received from the Archdiocese and its orientation.

When the iconostasis and altar were installed last year (and I will have much more to write about the icons, so stay tuned!), the architecture of the church really came into strong focus. I can say with some assurance that all of the brothers have found this new arrangement to be a tremendous blessing and aid to prayer. The danger of such an arrangement is that the very strong vertical thrust might lead guests to feel faraway from the action and left out, as if God had retreated somewhere relatively inaccessible and only peeked out for communion. How could we help newcomers to feel more welcomed, to have a sense of God’s nearness without undoing the brilliance of the transcendent recaptured in our high altar and iconostasis? This was the challenge that we took up when we began to plan the last phase of our renovation of the church, the construction of the new choir.

Going to the Father 6: On Transcendence and Immanence

July 20, 2015

Before we tackle the installation of the new altar, the iconostasis and the choir, we will need to deal with two tensions within monastic life. The first is transcendence versus immanence, and the second, closely related, is between cloister and hospitality. Let’s begin with the latter.

A cloister garden with central fountain and four walkways representing the four rivers of Eden. Courtesy geograph.org.uk

The cloister is the area of the monastery reserved for monks or nuns. It is the concrete sign of withdrawal from the world for the sake of the Kingdom of God. In the stronger parts of our tradition, the cloister is even equated with heaven, or at the very least, with a restored Garden of Eden. Cloisters have traditionally been built with four corners with a fountain at the center, embodying Genesis 2: 10-14. To enter the cloister requires the death and resurrection of monastic vows, and this death has frequently been indicated by the use of a funeral pall to cover the monk while the litany of saints is sung at his profession. Entrance into the cloister involves the renunciation of worldly thoughts, preoccupations, and behaviors, and the embrace of a holy life, even an angelic life, keeping watch like the sleepless angels and joining their constant praise of God in song.

One common misunderstanding of the symbolic value of the cloister conflates withdrawal from the world with mere privacy. Monks have nothing of their own, not even their wills, and so to imagine that the cloister is the private area of the monks where they can ‘be themselves’ and not bothered by guests is missing the point. Monks only leave the cloister (in theory) reluctantly, and out of obedience directed toward the welfare of the church. Nuns who practice papal enclosure almost never leave at all, for any reason. It is not because they “keep to themselves” or are unconcerned with the world. Rather, the world needs reminding that its values are not lasting, and that the things of the world are of value only as the open onto the ultimate realities of God’s coming reign. So the separate, cloistered lives of contemplatives are meant to model for the church and the world the transcendent values of Christ’s kingdom, not a retiring life in this world.

If the cloistered life requires this separation from the world, how is it that “monasteries are never lacking for guests?” In fact, the tension between cloister and hospitality only apparent. We monks and nuns certainly want to welcome others to share in the joy of serving God in the liturgy and in a life that focuses on constant prayer and gratitude. And so monasteries normally have areas for guests to stay and eat, and places where they can meet with the monks, if that is desirable (plenty of our guests in Chicago are happy with silence!). Clear boundaries make hospitality possible, even easy, since mutual expectations can be clear and all involved can relax in the confidence that we are together doing God’s will. Sometimes communities today allow guests more free access to the cloister. I can’t say whether or not this is a good practice in every case. In our particular case, it has not worked in the past because our cloister is so small that any compromise of it tends to flatten the sense of transcendence to which I referred above. Guests who have not undergone monastic formation usually don’t know how to comport themselves within the cloister in such a way as to maintain the atmosphere of prayer and recollection that is the goal of the separation from external anxieties.

Joseph Fiennes as Luther. After his gig as Shakespeare, opposite Gwyneth Paltrow, his rebound tossed him into the slough of despond opposite _deus absconditus_. If you aren’t into geeky theological jokes, just ignore me.

And if we monks are not able to maintain this sense of recollection, of God’s immanent presence in all things, we will not be able to communicate to others. And so we see how it can be that the apparent tension between transcendence and immanence is also only apparent, once properly understood. We need ways to symbolize God’s transcendence for ourselves so that His immanence does not become something bland and taken for granted. And we need ways of symbolizing His immanence that avoid taming God or reducing His presence to something this-worldly. God’s presence everywhere should be a routine surprise, and this requires an alertness and special discipline. The cloister is set up in such a way as to make this discipline possible.

I have mentioned in a couple of earlier posts that our monastery church is robustly ‘vertical’, and an emphasis on the verticality of the architecture means an emphasis on God’s transcendence. When theologians argue about God’s transcendence, there is commonly today a certain fearfulness that this majestic God will retreat into a faraway place, leaving us all but orphaned, anxiously sending up prayers in the blind hope that they will somehow reach him in spite of our feebleness. There is reason to think that this kind of theology was present, even dominant, in the Western Church from the end of the Middle Ages until recently (this is a very complex question!), and certainly the distance between God and ourselves has been felt by figures like Martin Luther and Cornelius Jansen. The reforms of the liturgy that began in the nineteenth century and culminated after Vatican II, were meant, in part, to address this imbalance.

And so when we began celebrating Mass facing the East and began talking about restoring the high altar, a few of our knowledgeable friends expressed concern, and understandably so. The task facing us as monks was to find a way to communicate, in symbol, the reality that a robust sense of God’s transcendence can very much be at the service of a joyful, felt experience of God’s loving and merciful nearness. This complementarity needs to be kept in mind as I describe, in the next few posts, how we came to commission our beautiful iconostasis, restore the high altar, and help design a new choir, installation of which begins today!

Going to the Father 4: An Assist from Saint Paul

July 15, 2015

For the first three installments of this series, see here, here, and here.

Our community organized a pilgrimage for the Holy Year of 2000. We began in Istanbul, where we visited the ancient churches of the great Eastern see and had a private audience with Patriarch Bartholomew. From there we journeyed to Rome where we attended Mass on the 80th birthday of Pope John Paul II, a sweltering day in late May. The Holy Father somehow got stronger as the day heated up, in spite of his advanced Parkinson’s at the time.

His All-Holiness Ecumenical Patriarch Bartholomew. As a young man, he studied in Rome with the Benedictines! So he surprised the Greek pilgrims with us that day with an eloquent teaching on St. Benedict. Pray for his persecuted church!

On the other days in Rome, we celebrated Mass at the other papal basilicas. The three priests of our community took turns being the principal celebrant. On the last day, we were scheduled to offer Mass at a side chapel at Saint Paul’s Outside the Walls. This was personally significant. During the planning stages of the pilgrimage, it was uncertain whether we would attract enough interest to be able to afford to go. So I prayed fervently to Saint Paul to ask his help in attaching more pilgrims to our trip. When we finally arrived in Rome, I looked forward to visiting his tomb and saying, “Thank you.”

St. Paul's Outside the Walls, built over the grace of The Apostle. Carbon 14 and DNA tests carried out eight years ago on remains from a sarcophagus in the crypt convinced Pope Benedict XVI that they really were Paul's.

St. Paul’s Outside the Walls, built over the grave of The Apostle. Carbon 14 and DNA tests carried out eight years ago on remains from a sarcophagus in the crypt convinced Pope Benedict XVI that they really were Paul’s.

The day before we were to visit St. Paul’s, the priest who had been scheduled to offer Mass there came down with a toothache. It got so bad the next morning that he was rushed to a dentist and had a root canal performed. He would not make it back for Mass. So the priest who was leading the tour decided to step in and offer Mass in his place.

As I mentioned yesterday, we were at that time in the midst of a passionate discussion about experimenting with Mass ad orientem. Two of the three priests wanted to try it and one was opposed–the opposing priest happened to be the one leading the pilgrimage. So it was with delightful irony that we strode together into Saint Paul’s and headed for the side chapel that had been assigned to us, only to discover that the altar there was fixed to the eastern wall. As this dawned on our trusty guide, he stopped in his tracks, turned to me and the other priest, rolled his eyes and grinned. Of all of us, he would be the first priest to celebrate Mass ad orientem.

He took the hint and agreed to go along with an experimental use of Mass facing East. When we returned to Chicago, we began to face East twice a week, on Mondays and Saturdays just to try it out. It felt awkward at first. There were questions about when to turn, which way to turn, and so on. However, this brought out more clearly certain indicative phrases within the rubrics of the current Roman Rite. At a few places in the Missal, the rubrics included the Latin phrase, “sacerdos conversus ad populum” which literally means, “the priest, having turned towards the people.” The implication is that his typical stance is not towards the people. I may at some point weigh in on the various controversies that beset the translation of this phrase and others (such as paragraph 299 from the General Instruction on the Roman Missal, where there is a dispute about the normativity of Mass facing the people, based on a potentially ambiguous Latin pronoun, a problem aggravated the low level of Latin knowledge in the clergy at large), but let me continue with anecdotes.

It is important to note that we wanted, if possible, to steer clear of polarizing “left” or “right” issues. As monks in the cloister, we didn’t feel that these were battles in which we needed or even ought to take sides. We saw value in either orientation at Mass, which is why we used both. Neither affects the validity of the sacrament, and Christ is present in either case.

After a couple of years, we sensed a growing desire to use the Easter orientation more regularly. Why? In those days I said that our community life was so intense that the last thing we needed was to look at each more. I was half joking, but this captured some of our experience. When the presider turned around, we all faced the same direction. The symbolism intended is that we all together face toward the place of Christ’s expected return. The principal celebrant becomes one with everyone else, rather than someone separated out and facing a different direction.

We also were slowly discovering certain given features of our church’s architecture. In the year that the parish had been closed, before the brothers arrived from Paris to begin monastic life in Chicago, the building had been stripped almost entirely of furnishings. Where the tabernacle had been, in the center of the sanctuary stood the old predella, now badly damaged. So at first we kept the tabernacle on the side of the church. We did this until we noticed that people would walk right by it and fail to notice it was there. So we shored up the predella and moved the tabernacle back to the center of the sanctuary.

The architecture of our basilica-style church invites those entering to journey toward God, along a strong ‘vertical’ axis running the length of the church and (now) culminating at the altar.

This brought about an almost tactile sense of the connection of the altar of sacrifice and the reserved Sacrament in the tabernacle. And it was especially apparent when celebrating Mass ad orientem, since the priest was no longer standing between the altar and the tabernacle. All of this gradually led us to a greater appreciation of the strong vertical thrust of our neo-gothic church. And this verticality connected to our desire to encounter and communicate God’s transcendence.

Now, it needs to be said that God is also immanent, and this is especially important to grasp in the exercise of the common priesthood of the faithful gathered at the liturgy. Our attempts to realize this aspect of the liturgy will appear in a few installments as we get closer to the construction of our new choir. First, however, it will benefit us to keep working away at the transcendent and eschatological dimensions of the liturgy. Next: the commissioning of the iconostasis that you can see on our home page.