Catholic Church

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