Eleison Comments

Getting Serious

Getting Serious on February 28, 2009

Another good friend will not mind if I quote recent correspondence of ours, because he asked a question which a number of souls may be asking: “What to do now?”

He quoted back to me from a letter of mine to him two years ago: “As for the ability of Catholic Tradition and naturally sensible people to respond adequately to this unprecedented crisis of human nature, I think that if these days are not shortened, everybody will go under. Of course the Catholic Church will survive, but maybe in a rather smaller remnant, by a severe purge of what today goes under the name of ‘Tradition’ .” And I went on to wonder how many good souls in 2007 had a sufficient grasp on the big picture (not just on the mechanics of Tradition) to prevent their being in effect left high and dry, not to say positively undermined, “by the corruption sweeping on, around and beneath them.”

After this quote of mine, my friend then asked, “Where do we go from here? With the horrible effects of the economic implosion reaching down to Main Street and the political upheaval naturally following in its wake, where are we in history and what do men like myself now do? I have not spent my life fighting for the Faith to finish up defending an American Indian-style reservation for Catholics!”

As to the economic disaster, I replied to him a week ago that it is now only starting, and that it means that family fathers like him must look to ensuring the basics of survival for their families. I said it will surely come to hunger and starvation, and I could have added, to blood in the suburbs. The Western peoples and therefore their politicians are so far out of touch with reality that only an appalling Third World War can begin to bring them back to it. War will present itself to such politicians as the only possible way out of the insoluble economic problems. Another 9/11 risks being fabricated to start it.

As for the disaster in the Church and our situation in history, I replied that it means we must pray quietly, steadily and seriously, as though the Lord God is important. With the 313 AD victory of the Roman Emperor Constantine at the Battle of the Milvian Bridge, Catholics switched from fighting lions to fighting heresies, but with Vatican II rotting out both Faith and minds, the official Church gave up fighting heresy, so for Catholics it is back to fighting mindless beasts in the arena. Another Age of Martyrs is upon us. “Today’s Catholic Church,” I concluded, “desperately needs friends of God as serious as are his enemies,” because such seriousness is alone capable of conquering them for Our Lord. Moreover such seriousness “can no longer be proved with mere words, which have been worn bare of meaning, but only with” – and we come back to – “blood.”

Dear friend, pray the family Rosary, plant potatoes in the garden and teach your children about the martyrs of the Early Church, whose testimony reaches way back beyond any native reservations.

Kyrie eleison.

God’s Grandeur

God’s Grandeur on February 21, 2009

To celebrate the return of a native to his English homeland after 35 years of wandering abroad, let us take a brief look at a famous sonnet of the 19th century English Jesuit priest and poet, Fr. Gerard Manley Hopkins. Most suitably the sonnet commemorates the greatness of God. Let anyone who has never met with Hopkins prepare for a bumpy ride, but let him stay with it, because the ride is worth it. Here is “God’s Grandeur”:

The world is charged with the grandeur of God.

It will flame out, like shining from shook foil;

It gathers to a greatness, like the ooze of oil

Crushed. Why do men then now not reck his rod?

Generations have trod, have trod, have trod;

And all is seared with trade; bleared, smeared with toil;

And wears man’s smudge and shares man’s smell: the soil

Is bare now, nor can foot feel, being shod.

And for all this, nature is never spent;

There lives the dearest freshness deep down things;

And though the last lights off the black West went

Oh, morning, at the brown brink eastward, springs—

Because the Holy Ghost over the bent

World broods with warm breast and with ah! bright wings.

Hopkins was born in 1844, the first of nine children of a High Anglican couple. A bright schoolboy, he obtained a scholarship to Balliol College, Oxford, where he became the star scholar in classical studies. Coming under the influence of John Henry Newman, famous Oxford convert to Catholicism 20 years earlier, Hopkins became Catholic one year before leaving Oxford, and at the age of 23 entered the Society of Jesus. In the course of his studies he came across the theology and philosophy of Duns Scotus which revived his interest in writing, and there rose up from within him a wholly personal vision of unchanging nature and English poetry. In 1877 he was ordained priest and did parish work in England. In 1884 he was moved to Dublin, where in 1889 he died of typhus, saying, “I am so happy.”

Therefore Hopkins’ life was wholly framed within the 19th century, hey-day of English Liberalism and Romanticism. However, that within him which made him convert to Catholicism and become a priest made his Romanticism quite different from that of his contemporaries, who could mostly hear only “the melancholy, long, withdrawing roar” of faith, of God, of hope. “God’s Grandeur” is full of God, and full of hope.

Cast in classic sonnet form, the poem’s first four lines tell of God’s greatness flashing and oozing forth from all Creation. Then how (line 4) can modern man be paying him so little attention? The answer (l.5–8) is that centuries of living for money (“trade”) have cut man off from nature (“nor can foot feel”), and stripped both man and nature (“soil is bare”) of God. Yet (l.9–14) God is still there, deep within natural things, as ever. Man may be putting out the lights of Western civilisation, still God is constantly recreating the world with brightness and warmth.

On a first reading, the originality of Hopkins’ language and imagery may be off-putting. Who ever heard for instance of the Lord God being compared to tin-foil or to oil? But inside Hopkins is a new wine which will not go into old bottles. To get his message across, the lifelessness of modern man, he resorts to repetitions (“trod . . .trod . . .trod”: “seared . . . bleared . . .smeared”), and in 12 of the 14 lines he uses old-fashioned alliterations (“smudge,smell,”“foot, feel,”etc.).

As for the rhythm, instead of the classic English iambic pentameter (te-tum,te-tum,te-tum,te-tum,te-tum), we have a variety of feet and a varying number of beats to a line, from three (L9,13), to five (l.10), mostly four (e.g. the first line).

However, let nobody think Hopkins is indisciplined. He has chosen the Petrarchan sonnet form which allows of only four different rhymes for the 14 lines (here:— od, – oil, – ent and – ings), which for an English poet is quite demanding. And notice how carefully crafted is the last line of the sonnet, its climax:— “World broods” matches “warm breast” and balances “bright wings” (wb, wb, bw), while the spondees (tum, tum) “World broods” and “bright wings” at each end frame two anapaests (te-te-tum) “with warm breast” and “and with ah!.” Read the line slowly aloud, and see if you do not get a kick out of Fr. Hopkins!

Clearly he has no interest in being original for its own sake. Rather from within the liberal 19th century, decadent and growing tired, the convert-priest has a fresh vision of Creation and its Creator which calls for fresh language and rhythms. In truth, whoever recovers God will recover originality!

Could weary men but once more find their way

To God, how light and fresh would dawn the day!

Kyrie eleison.

Church Godless

Church Godless on February 14, 2009

An interesting portrait of the pre-Conciliar Catholic Church is drawn in a recent film, called “Doubt.” The film contains no nudity, bad language or violence, except verbal in a few heated conversations, and it earned for the famous lead actress, Meryl Streep, a prestigious award for her playing of the part of Mother Superior of a Brooklyn convent in the New York of 1964.

The film centres around the clash between herself and the local parish priest. Both are directly concerned in the running of the parish school, where Mother Superior discovers that Father may be molesting one of the boys. She sets out to track him down, and arrives at the conviction that he is guilty. However, the result of her inquest is merely that the priest is promoted by his bishop to a rather better parish in the diocese. The film ends with the woman of iron breaking down in tears.

At first sight the clash is between a nun of the old Church and a priest of the Conciliar Church. She is shown as a strict disciplinarian with an old-fashioned knowledge of human nature and of children, using a time-honored bag of methods and tricks to keep them under control, and to keep the priest in line.

He, on the contrary, is shown doubting the old certainties – hence the film’s title – and treating the children and Sisters with a much more modern emphasis on love, spelt luv!

Now for sure and certain the priest in trouble, and the hierarchy that covers up for him to get out of trouble, belong to the Conciliar Church, and foreshadow a scene all too familiar. But when we see Mother Superior in tears because he has been promoted, we have to ask ourselves, why is she crumbling? – she is not shown then pulling herself together. Does she believe in God or in her bishop?

If she believed in God, how could she let herself be so shaken? If she is so shaken, she must have believed all too humanly in the human hierarchy, which sure enough has let her down. Thus while the merely human drama is between two people, the real drama for Catholics with eyes to see is a whole Church collapsing for lack of God.

Mother Superior clings humanly to a decent discipline, but nothing in Meryl Streep’s performance suggests that that discipline is anchored in God. Still less anchored in God is the priest making merely human love float on top of doubt.

The Church of 1964, as here portrayed to the life, was doomed.

Kyrie eleison.

Heroic Harmonies

Heroic Harmonies on February 7, 2009

Just before the media uproar of the last two weeks a dear friend asked me to write about any piece of music that I especially liked. It would have to be a piece by Beethoven (1770 – 1827). Then I might single out the first movement of his Third Symphony, known as the “Eroica,” or Heroic Symphony.

Really the whole symphony is heroic. It is the musical portrait of a hero, originally Napoleon, until Beethoven learned that from First Consul of the French Republic he had made himself into an old-style Emperor of the French Empire, whereupon Beethoven ripped out the dedication page to Napoleon and dedicated the symphony instead to a hero. But the music remained unchanged: the revolutionary expression of Beethoven’s ardent hopes for a heroic new age of mankind to emerge from a tired old order of kings and cardinals.

It was however that old order, as expressed by Haydn (1732 – 1809) and Mozart (1756 – 1791) in particular, that gave to Beethoven the musical structures within which to shape and contain his dramatic new emotions. The first movement of the “Eroica” was unprecedentedly long in Beethoven’s own day – over 600 bars, lasting in performance anywhere around a quarter of an hour. Yet from first bar to last, the varied wealth and dynamic force of the musical ideas owe their tight unity and overarching control to the classical sonata form which Beethoven had inherited from the 18th century: Exposition, Development and Recapitulation (ABA), with a Coda mighty enough (innovation of Beethoven) to balance the Development (ABAC).

Leaping into action with two E flat major chords, the hero strides forth with his main theme, the first subject, built solidly out of that chord. The theme goes to war. A valiant re-statement precedes several new ideas of varying rhythms, keys and moods until moments of calm come with the classically more quiet second subject. But war soon returns, with off-beat rhythms and violent struggle, culminating in six hammering chords in two-time cutting right across the movement’s three-time. A few vigorous bars close the Exposition.

Upheavals and calm alternate for the rest of the movement. Notable in the Development is the most tremendous upheaval of all, culminating in a threefold shattering discord of F major with E natural in the brass, out of which mouth of the lion comes the honey of a brand-new lyrical melody, but still striding! Notable in the Coda is the fourfold repetition of the hero’s triumphant main theme, climaxing with inexorable logic in a blaze of glory. Lord, grant us heroes of the Faith, heroes both tender and valiant, heroes of the Church!

Kyrie eleison.

A Letter

A Letter on January 31, 2009

Following in the steps of Our Lord (Jn. XVIII, 23) and St. Paul (Acts, XXIII, 5), Archbishop Lefebvre gave his Society the example of never so cleaving to God’s Truth as to abandon respect for the men holding God’s Authority. In the midst of last week’s media uproar, surely aimed rather at the Holy Father than at a relatively insignificant bishop, here is a letter written to Cardinal Castrillón Hoyos on January 28 by that bishop:

To His Eminence Cardinal Castrillón Hoyos

Your Eminence,

Amidst this tremendous media storm stirred up by imprudent remarks of mine on Swedish television, I beg of you to accept, only as is properly respectful, my sincere regrets for having caused to yourself and to the Holy Father so much unnecessary distress and problems.

For me, all that matters is the Truth Incarnate, and the interests of His one true Church, through which alone we can save our souls and give eternal glory, in our little way, to Almighty God. So I have only one comment, from the prophet Jonas, I, 12:

“Take me up and throw me into the sea; then the sea will quiet down for you; for I know it is because of me that this great tempest has come upon you.”

Please also accept, and convey to the Holy Father, my sincere personal thanks for the document signed last Wednesday and made public on Saturday. Most humbly I will offer a Mass for both of you.

Sincerely yours in Christ,

+Richard Williamson

“Excommunications” Lifted

“Excommunications” Lifted on January 24, 2009

As of course a large number of readers already know, a Decree dated Jan. 21 from the Congregation of Bishops in Rome (not Ecclesia Dei) “remitted” the “excommunicating” Decree of July 1, 1988, so that the four Society of St. Pius X bishops, then declared to be “excommunicated,” are now “re-incommunicated.” In my opinion this latter Decree is a great step forward for the Church without being a betrayal on the part of the SSPX.

It is a great step forward for the Church because if the Church’s problem ever since Vatican II has been a separation of Catholic Authority from Catholic Truth, with this Decree Catholic Authority has taken a decisive step back towards their re-union. Just as after the Motu Proprio of July, 2007, nobody could any longer say that the true rite of Mass was banned by Rome, even if they can still behave as though it is, so too now nobody can any longer say that Catholics holding to Tradition are “outside the Church.” Certainly a number of Conciliarists will go on behaving as though they are, but they clearly no longer have the Pope on their side only. The difference is enormous!

Of course there is still a long way to go before the neo-modernists in Rome, conscious or unconscious, realize – if ever! – how they mistake the Faith, but as the old proverb says, “Rome was not built in a day,” and it will not be repaired in a day. The fact is that “Half a loaf is better than no bread” – ask a hungry man! – so meanwhile let us know how to thank God for this major shift of the rudder of the Conciliar Church. Let us then thank the Blessed Virgin Mary whose intervention will have been decisive, thanks to the nigh on one and three quarter million rosaries offered to her for this intention, by a number of yourselves amongst others. And let us thank and pray for Benedict XVI and all his collaborators who helped to push through this Decree, despite, for instance, a media uproar orchestrated and timed to prevent it.

However, by asking for and accepting such reconciliation with the Conciliar Church, is not the SSPX threatening to lead the way back into Conciliarism? In no way! No doubt some Conciliarists in Rome are hoping that the Decree will serve to draw the SSPX back into the fold of Vatican II, but the Decree itself, as it stands, commits the Society to nothing more than to entering into those discussions to which the Society committed itself in 2000 when it proposed the liberation of the Mass and the ending of the “excommunications” as pre-conditions in the first place.

Then are such discussions without danger? Certainly not! But St. Peter says we should always be “ready to satisfy every one that asks you for a reason of that hope which is in you” (I Pet. III, 15). How can the SSPX not rejoice in the opportunity to lay out in Rome, before the Roman authorities themselves, the profound doctrinal reasons which we believe to be at the root of the Church’s present distress? Woe unto us Catholics of Tradition if we were not ready to give reason for that hope which is in us for the rescue of the Church! So continue to pray the Rosary, dear Catholics, for the possible realization and outcome of such discussions, so that they may serve first, last and foremost, the interests of God, of God, of God.

Kyrie eleison.