Archbishop Chaput and Religious Liberty

George Weigel writes in his National Review column about reaction to Archbishop Charles Chaput's support of a Catholic school upholding Catholic teaching about the reality of marriage:

It consisted in part of vile e-mail. One “correspondent” advised the mild-mannered Capuchin archbishop (whom he described as a “CHILD MOLESTING SACK OF SH*T”) to “GO F**K YOURSELF,” adding the eschatological note that he hoped Chaput would “ROT IN HELL.”

This is the peace that was supposed to follow a live-and-let-live adjudication of the “same-sex marriage” question?

Michael Newall, a columnist for the Philadelphia Inquirer, was less vulgar but no less angry and equally mindless. Waving the bloody shirt of sexual abuse, as if this had anything to do with what had happened at Waldron Mercy Academy, he accused the archbishop of “hypocrisy” (a term he evidently understands in an Alice in Wonderland sort of way) before dismissing Chaput as a “relic” who stands in poor contrast to the embracing, affirming Pope Francis — although, Newall went on to write, the pope is “far from perfect on the subject” of “LGBT acceptance” because even he “still opposes gay marriage itself.”

Mr. Newall buttressed his calumnies of both the archbishop and the pope by adverting to his “12 years in Catholic schools and another four at a Catholic college,” although he declined to identify his almae matres — which may be a relief to the schools in question.

Some may consider me a suspect witness in the case of Archbishop Chaput, who has been a close friend for decades. But I fear no conviction on the charge of special pleading when I say that Chaput has been a stalwart, courageous, and unflinching reformer of the Church in the three dioceses he has served, where he has made clear that, as John Paul II said to the U.S. cardinals in 2002, “there is no room” in the clergy “for those who would abuse the young”; that he is widely respected by his peers in the American hierarchy as one of the best bishops of his generation; and that he has saved the Archdiocese of Philadelphia from utter financial — and thus evangelical — catastrophe by dint of performing wonders since his arrival in Philadelphia in 2011. No other bishop envies him the job he took on then; more than one American bishop believes that he is the only one of their number who could have pulled it off in Philadelphia, in terms of both the Church’s public credibility and the stabilization of its finances.

But now this good, decent, compassionate, and holy man — a bishop who truly knows “the smell of the sheep,” in Pope Francis’s formula — is the target of vicious attacks privately and wicked canards publicly. Why? Because he believes that the Catholic Church has a better answer to the human longing for happiness than the false promises of the sexual revolution in a society-without-aberrant-behavior — the New Normal. Because he thinks that Catholic institutions and those who work in them should embody the truths about life and love that the Catholic Church professes on the basis of both revelation and reason. Because he understands that, when the state demands that we believe something that we know is not true, all sorts of bad consequences for democracy follow.

Archbishop Chaput is an admirer of St. Thomas More and wrote an excellent review of Travis Curtright's The One Thomas More in which he highlighted More's importance today and also mentioned St. John Fisher, who I think is the model all our Catholic bishops and priests are going to have to follow:

Having said all this, Thomas More has been dead nearly 500 years. Why should his legacy matter today?

Barring relief from the courts, Christian entities, employers, and ministers in the coming year will face a range of unhappy choices. As the Affordable Care Act takes force and the HHS contraceptive mandate imposes itself on Christian life, Catholic and other Christian leaders can refuse to comply, either declining to pay the consequent fines in outright civil disobedience, or trying to pay them; they can divest themselves of their impacted Christian institutions; they can seek some unexplored compromise or way of circumventing the law; or they can simply give in and comply with the government coercion under protest.

Good people can obviously disagree on the strategy to deal with such serious matters. But the cost of choosing the last course—simply cooperating with the HHS mandate and its evil effects under protest—would be bitterly high and heavily damaging to the witness of the Church in the United States. Having fought loudly and hard for religious liberty over the past year, in part because of the HHS mandate, America’s Catholic bishops cannot simply grumble and shrug, and go along with the mandate now, without implicating themselves in cowardice. Their current resolve risks unraveling unless they reaffirm their opposition to the mandate forcefully and as a united body. The past can be a useful teacher. One of its lessons is this: The passage of time can invite confusion and doubt—and both work against courage. . . .

But readers might nonetheless profit in the coming months from some reflection on the life of Sir Thomas. We might also take a moment to remember More’s friend and fellow martyr, John Fisher, the only bishop who refused to bend to the king’s will; the man who shortly before his own arrest told his brother bishops: “. . . the fort has been betrayed even [by] them that should have defended it.”

Pray God that none of our bishops betray the fort.

Something More and Tyndale Would Agree Upon!

As you might know, St. Thomas More and William Tyndale exchanged sometimes rather vituperative arguments and personal attacks on the relationship between the Church and the Holy Bible. More defended the consistent Catholic view that the Church preceded the Bible, teaching according to the oral tradition of Jesus Christ and the Apostles, and that the Church was therefore most qualified to interpret the Bible; after all, she wrote it, she canonized its contents, she read it and taught it. As this Christianity Today posts notes, Tyndale argued the opposite:

Sir Thomas More, who had been commissioned by the Church to refute Tyndale, had published his Dialogue Concerning Heresies in 1529. Tyndale’s Practice of Prelates includes brief rebuttals of More’s assertions in this book, and his Answer to Sir Thomas More’s Dialogue, published in 1531, was a fuller response. One man was staunchly Catholic, the other staunchly Protestant and, indicative of the vicissitudes of chameleon-like Henry, both would be executed within five years for their differing views of the faith.

Their debate centered on the relation of the church, or Church, and Scripture. Tyndale argues that the gospel preceded the church, formed the church, and now provides the test for discerning the true church—made up of those people who read the Scriptures with eyes of faith. “For the whole Scripture and all believing hearts testify that we are begotten through the Word.”

Viewed from the 20th-century perspective, Tyndale’s polemics might seem harsh, full of personal attacks, occasionally illogical, and at times almost paranoid. His language is frequently rough, and he often abuses his opponents in personal-attack terms.

He calls Wolsey “Cardinal Wolfsee” because the cleric occupied more than one church office at the same time; he baits Sir Thomas More for his friendship with the Dutch scholar Erasmus (“His darling Erasmus” is Tyndale’s mocking phrase). He begs the question, assuming as true the point he is trying to prove. When the histories do not record clerical intrigue, he assumes that the writers, clergymen themselves, have covered their own tracks.

Yet this was the prevailing style of religious argumentation during the 16th century.

If you want to read Tyndale's work answering More's Dialogue, it's wonderful and ironic to note that the Catholic University of America Press is the publisher! Scepter Publishers provides a modernized version of More's Dialogue.

Unlike this balanced and scholarly analysis of the More-Tyndale debates/conflict, I have seen some posts, including comments on Wolf Hall stories about St. Thomas More, that offer the ridiculous suggestion that Thomas More, while in the Tower of London, orchestrated the arrest and trial and subsequent execution of William Tyndale. There is no evidence of this and if More had a part in Tyndale's burning at the stake in Vilvoorde, it was from beyond the grave, as Tyndale's execution took place more than a year after More was beheaded. More had resigned all authority in England, had no influence upon Henry VIII, and was not active in any search or arrest of Tyndale on the Continent: his goods and life were forfeit to the king!

All that background aside, I think St. Thomas More would be glad to hear that Tyndale Publishers, named for the reforming translator, has been granted a reprieve from the HHS contraception mandate, according to this CNA story:

A Bible publisher based in Illinois has won its lawsuit against the federal contraception mandate, with a final ruling delivered July 15 by a federal district court.

The ruling means that Tyndale House Publishers cannot be subject to the mandate, which was issued four years ago by the U.S. Department of Health and Human Services (HHS).

“In America, citizens have always had the freedom to believe, the freedom to express those beliefs, and the freedom to operate their businesses accordingly,” said Matt Bowman, senior legal counsel for Alliance Defending Freedom, which was representing Tyndale House in court.

“The Supreme Court upheld that principle in its Conestoga/Hobby Lobby decision last year, and the district court has rightly done the same,” Bowman said.

Tyndale House is the world’s largest privately-held Christian publisher of books, Bibles, and digital media. It gives more than 95 percent of its profits each year to religious non-profit causes across the globe.

The U.S. Supreme Court will have to defend the religious liberty of the Little Sisters of the Poor, however, since "the Tenth Circuit Court of Appeals rul[ed] against the Little Sisters, saying that they must follow the demands of the contraceptive mandate or else face fines of up to $2.5 million a year, or about 40 percent of the $6 million the Sisters beg for annually to run their ministry."

Church History Apologetics: Blessed Junipero Serra

It's the third Monday of the month, so I'll be talking Church History Apologetics with Matt Swaim on the Son Rise Morning Show during the last national segment on EWTN: after the 7:45 a.m. Eastern/6:45 a.m. Central news break with Annie Mitchell. We'll discuss the controversy over Blessed Junipero Serra and Spanish colonization in California.

Pope Francis will canonize the Mallorca-born missionary priest when he visits the United States in September this year. There has been some controversy about this because some people accuse Blessed Junipero Serra of abusing the natives in California while establishing the missions. The first thing to establish is that critics are chronologically confused, according to Professor Ruben Mendoza of California State University, Monterey Bay, in this National Catholic Reporter article:

The professor has been involved in research and conservation projects at several California missions founded by Serra. He said many of the Spanish missionary's critics are confusing the impact of Spanish colonizing and missionary activity on the native communities with what happened after California became a U.S. territory in 1848.

"A decimation of the Native American population," Mendoza said, occurred "in the period after 1850; Serra had no connection to that phenomenon. Those who criticize Serra the most tend to conflate the American period with that of the missionaries."

Another major objection to Serra's canonization involves reports that Native American adults at his mission were beaten.

"There is no documentation that Serra himself abused any Native American," Mendoza said. "The system under which he operated did use corporal punishment, but that was also used for transgressors from all walks of life, including soldiers."

Mendoza supports the canonization and said he believes it "has much to offer the peoples of Latin America, especially those of us of Mexican-Indian heritage who currently live under a shadow of doubt and denigration."

Just as with St. Thomas More during the Wolf Hall controveries, I've seen some articles with the headline or comment: "Saint or sinner?" and the answer, just as with St. Thomas More, is: both! Sainthood does not mean that the canonized confessor or martyr was perfect or never sinned; it means that the Church has determined that the confessor practiced the theological virtues heroically and that, by evidence of both devotion and miracles through the intercession of the saint, the Church is certain that the confessor is in heaven. Everyone in heaven is a saint, canonized and recognized by the Church or not; that's one reason we have the glorious feast of All Saints Day.

As the head of the Knights of Columbus noted, these attacks on Father Serra are part of the "Black Legend":

The “black legend” is a term historians use to explain a propaganda war of English speaking nations against Spain. It originally arose when Spain had a vast empire and England was competing with Spain.

We all know, for example, the story of the Spanish Armada trying to invade England. It has come down through history as a prejudice against Spaniards as being unusually cruel, unusually greed, unusually untrustworthy. . . .

The presumption of the black legend is that the Indians — the native peoples — were treated cruelly, maybe were tortured, were exploited. When the fact of the matter is, what drove and motivated Junípero Serra and the other missionaries was the message of Our Lady of Guadalupe, that these people have dignity. When she appeared to Juan Diego, she said: “Am I not your Mother?” Did she not come with their appearance, as one of them. She also said: “I have the honor to be your mother.”

Disciples of Our Lady of Guadalupe understand that she is coming out of respect. And therefore, evangelization does not mean domination; it doesn’t mean exploitation. It means bringing the Gospel to people and cultures that you respect.

And Carl Anderson notes that it was the State of California, in the days of the 49ers, that abused the natives:

And that’s the key to understanding Junípero Serra. In fact, many of the horrible things that people want to say occurred under the Spanish missionaries actually occurred after Spain and Mexico were driven out of California. It is during the gold rush — in 1849 and 1850 — that you see the suppression of the Indian people, i.e. the natives of California. . . .

You even have the governor of the time saying the Indians must be exterminated. There was no thought of treating the native people with the kind of respect and multiculturalism that Junípero Serra wanted. The governor stated this quite clearly and used the word ‘extermination’, so it’s very clear what was going on.

The Black Legend is one of those sloppy, easy ways to think (or not think) about history, using some simplistic, generalized framework to sort out the heroes and the villains. We know that history is more complex than that but this propaganda device is hard to dislodge from popular culture.

A final aspect of this issue is the statue of Blessed Junipero Serra in the U.S. Capitol’s National Statuary Hall Collection (pictured above/public domain)--there was a move to have it replaced with one of Sally Ride, but that has been put on hold, at least until after Pope Francis' visit. St. Damien of Molokai, the Leper priest, is the other Catholic saint depicted in the hall. Do you know which historic figures represent your state? Perhaps I'll quiz Matt on who represents Ohio!

St. Thomas More on How a Christian Responds to Suffering

In the Introduction to this edition of A Dialogue of Comfort Against Tribulation from Scepter Publishers, Gerard Wegemer comments that this English masterpiece of Thomas More is less well known than his famous Latin work, Utopia. That's because Utopia has been translated from Latin into accessible English while this Dialogue's Renaissance era English has been an obstacle. So this "translation" into modern English by Mary Gottschalk is very helpful, as are the indices, outline, and other supporting material.

There are two good reasons for reading this book:

First, because of its content and purpose: explaining how Christians should respond to trials, suffering, poverty, and even persecution. Uncle Anthony helps his nephew Vincent deal with his fears of suffering in the course of the Turkish invasion of Hungary. While he is on his sickbed, he counsels the younger man on facing those fears by relying on his faith in Jesus Christ. Anthony and Vincent discuss many aspects of life on earth: poverty, riches, ambition, power, charity, the four last things (death, judgment, Heaven, and hell), purgatory, repentance, torture, imprisonment, etc. In every situation, Anthony reminds Vincent that our time here on earth is short and that what really matters is how we prepare for the life to come. Blessed John Henry Newman offers a famous summary of what Anthony tells Vincent: "Life is short; death is certain; and the world to come is everlasting." Ever tribulation we may suffer should be considered in the context of eternal life. We have to imitate the early Christians as described in the Letter to Diognetus:

Christians are indistinguishable from other men either by nationality, language or customs. They do not inhabit separate cities of their own, or speak a strange dialect, or follow some outlandish way of life. Their teaching is not based upon reveries inspired by the curiosity of men. Unlike some other people, they champion no purely human doctrine. With regard to dress, food and manner of life in general, they follow the customs of whatever city they happen to be living in, whether it is Greek or foreign.

And yet there is something extraordinary about their lives. They live in their own countries as though they were only passing through. They play their full role as citizens, but labor under all the disabilities of aliens. Any country can be their homeland, but for them their homeland, wherever it may be, is a foreign country. Like others, they marry and have children, but they do not expose them. They share their meals, but not their wives.

They live in the flesh, but they are not governed by the desires of the flesh. They pass their days upon earth, but they are citizens of heaven. . . . 

We all face tribulation: my brother and sister and I have been helping our elderly mother settle into a nursing home. The transition may have been easier for her than it has been for us; a little thing like cancelling her phone service and eliminating our parents' home phone number for the past 56 years and more is troubling to us--and there are bigger things to come with the dissolution of our family home. But as I've read this dialogue, I'm reminded that these little burdens, oppressive as they might seem to us, are nothing compared to the joys of the life to come. Our bearing them with patience and fortitude prepares us for those joys, detaches us from our life here on earth, and reminds us that we have no lasting city here on earth. Much as we love our life, love all our family and friends, love the earth and nature, our true and first love must be for God--He loved us first, He wants what is best for us; we should and must trust Him.

Second, because reading this dialogue, which Gerard Wegemer calls one of More's greatest works in the introduction, helps the reader appreciate the wit and wisdom of Thomas More. Throughout the text, he demonstrates his knowledge of Scripture and the teaching of the Church. He also displays great experience both in secular life and in the spiritual life, understanding the realities of public life and the depths of private life. More knows the weaknesses of humanity: one example is his description of sinners kept awake by the thought of their sins and the need to amend their lives. Finally, they turn over their pillows, plump them up a little, get comfortable, and go back to sleep! More is also aware of the pitfalls of power and influence; no matter how much power and control a statesman may achieve, unless he is the monarch, there will be someone else who tells him what to do and how. Even as he fulfills his ambition to achieve higher and higher rank, he still encounters setbacks and tribulations. 

By using the dialogue form, writing a fictional conversation between two characters, More thoroughly explores the themes of suffering and comfort. He also displays his humor through funny stories about people, like the nun who talks so much that her visiting brother can't get a word in; or the doctor who can cure others but not himself; or the prisoner who notes the incongruity of a visitor who locks herself in every night in her own house being upset that he is locked in his cell every night, or the man who plans to please him self during his life, planning to say words of repentance at the last moment to safe himself: his last words are "Well, I'll be damned", etc.

If we read this dialogue for its autobiographical insight, it shows us that Thomas More--just as he did in The Sadness of Christ and just as he told Cromwell and his daughter Meg--was distancing himself from worldly cares and preparing for death. He was thinking about Jesus in His Passion and how he should imitate his Savior. Many of the anecdotes are about his family, including his wife Alice and adopted ward, Meg Giggs, so he was thinking about them too.

Highly recommended. Scepter only has a few copies left, so order today!

Music from the Court of Charles I

From Linn Records, this two CD set of the complete The Royal Consort of Williams Lawes presents music from the Court of one of England's most cultured monarchs, King Charles I. Per the liner notes:

With Lawes’s Royal Consort, one mustn’t mince words. To put it frankly, this is one of the greatest collections of ensemble dance music ever composed. In it one finds 10 ‘Setts’ or suites of dances boasting a range and depth of expression on a par with Dowland’s Lacrimae, J.S. Bach’s orchestral suites, Rameau’s orchestral dances, even the waltzes of Johann Strauss, Jr. The Royal Consort deserves such a status because of the startlingly individual way Lawes crafts his pieces: in every sett there are astounding moments that excite both mind and body. Not only are you touched by the striking musical invention, but you feel summoned to dance. And all this Lawes achieves with four bowed string instruments and a plucked theorbo.

A theorbo is a kind of lute, developed in the sixteenth century, with an elongated neck and a second peg box as shown on the cover of the cd of Bach and De Visee works at right. It was used for bass continuo in Father Claudio Monteverdi's operas, for example, including Orfeo.

According to Wikipedia, based on the entry in The Oxford Dictionary of National Biography:

Lawes was born in Salisbury, Wiltshire and was baptised on 1 May 1602. He was the son of Thomas Lawes, a vicar choral at Salisbury Cathedral, and brother to Henry Lawes, a very successful composer in his own right.

His patron, Edward Seymour, Earl of Hertford, apprenticed him to the composer John Coprario, which probably brought Lawes into contact with Charles, Prince of Wales at an early age. Both William and his elder brother Henry received court appointments after Charles succeeded to the British throne as Charles I. William was appointed as "musician in ordinary for lutes and voices" in 1635 but had been writing music for the court prior to this.

Lawes spent all his adult life in Charles's employ. He composed secular music and songs for court masques (and doubtless played in them), as well as sacred anthems and motets for Charles's private worship. He is most remembered today for his sublime viol consort suites for between three and six players and his lyra viol music. His use of counterpoint and fugue and his tendency to juxtapose bizarre, spine-tingling themes next to pastoral ones in these works made them disfavoured in the centuries after his death; they have only become widely available in recent years.

When Charles's dispute with Parliament led to the outbreak of the Civil War, Lawes joined the Royalist army and was given a post in the King's Life Guards, which was intended to keep him out of danger. Despite this, he was "casually shot" by a Parliamentarian in the rout of the Royalists at Rowton Heath, near Chester, on 24 September 1645. Although the King was in mourning for his kinsman Bernard Stuart (killed in the same defeat), he instituted a special mourning for Lawes, apparently honouring him with the title of "Father of Musick." The author of his epitaph, Thomas Jordan, closed it with a lachrymose pun on the fact that Lawes had died at the hands of those who denied the divine right of kings: "Will. Lawes was slain by such whose wills were laws." Lawes' body was lost or destroyed and his burial site is unknown.

Happy Birthday, Father Edward Caswall

According to John Julian in the 1907 Dictionary of Hymnology:

Caswall, Edward, M.A., son of the Rev. R. C. Caswall, sometime Vicar of Yately, Hampshire, born at Yately, July 15, 1814, and educated at Brasenose College, Oxford, graduating in honours in 1836. Taking Holy Orders in 1838, he became in 1840 Incumbent of Stratford-sub-Castle, near Salisbury, and resigned the same in 1847. In 1850 (Mrs. Caswall having died in 1849) he was received into the Roman Catholic communion, and joined Dr. Newman at the Oratory, Edgbaston. His life thenceforth, although void of stirring incidents, was marked by earnest devotion to his clerical duties and a loving interest in the poor, the sick, and in little children. His original poems and hymns were mostly written at the Oratory. He died at Edgbaston, Jan. 2, 1878, and was buried on Jan. 7 at Redwall, near Bromsgrove, by his leader and friend Cardinal Newman. Caswall's translations of Latin hymns from the Roman Breviary and other sources have a wider circulation in modern hymnals than those of any other translator, Dr. Neale alone excepted. This is owing to his general faithfulness to the originals, and the purity of his rhythm, the latter feature specially adapting his hymns to music, and for congregational purposes. His original compositions, although marked by considerable poetical ability, are not extensive in their use, their doctrinal teaching being against their general adoption outside the Roman communion.

In other words, Father Caswall was a Catholic, writing hymns for Catholics! English Catholics needed these hymns for their renewed worship and devotion in the nineteenth century. His translations have been influential outside England too, as they are commonly used at Benediction (his translations of St. Thomas Aquinas), for the few Sequences that remain for Sunday Mass (for example, Veni, Creator Spiritus and Pange lingua gloriosi), and during the Stations of the Cross (the Stabat Mater/At the cross her station keeping).

He translated St. Bernard of Clairvaux's Je­su, Rex ad­mi­ra­bil­is for his Lyra Catholica: Containing All the Hymns of the Roman Breviary and Missal, with Others from Various Sources: Arranged for Every Day in the Week, and the Festivals and Saints' Days Throughout the Year: with a Selection of Hymns, Anthems, and Sacred Poetry, from Approved Sources, published in 1849:

O Jesus, King most wonderful,

Thou Conqueror renowned,
Thou Sweetness most ineffable,
In Whom all joys are found!

When once Thou visitest the heart,
Then truth begins to shine,
Then earthly vanities depart,
Then kindles love divine.

O Jesus, Light of all below,
Thou Fount of life and fire,
Surpassing all the joys we know,
And all we can desire!

Thy wondrous mercies are untold,
Through each returning day;
Thy love exceeds a thousand fold,
Whatever we can say.

May every heart confess Thy Name;
And ever Thee adore;
And seeking Thee, itself inflame,
To seek Thee more and more.

Thee may our tongues forever bless;
Thee may we love alone;
And ever in our lives express
The image of Thine own.

Here is the text of the original and here is setting by Palestrina!

At Last! The Irish May Criticize Henry VIII's Marriage to Anne Boleyn!

News from Ireland (via The Irish Times):

A proclamation of 1533 prohibiting criticism of the marriage of Henry VIII to his second wife, Anne Boleyn, after he divorced Catherine of Aragon, is one of almost 6,000 obsolete laws in Ireland that have finally been repealed.

A reward for the capture or death of the “arch traitor” Earl of Tyrone Hugh O’Neill is no longer available, after the 1601 proclamation offer was finally revoked more than 500 years later.

A 1618 proclamation ordering the Irish to depart with all their belongings from lands given to planters during the Plantation of Ulster has also been revoked, as part of an overhaul of Irish laws that began 13 years ago.

In the first paragraph, the writer could be referring to a proclamation of England's Parliamentary act, 25 Hen 8 c 22: "An Act declaring the Establishment of Succession of the King's most Royal Majesty in the Imperial Crown of this Realm", also referred to as the First Succession Act.

The English Parliament went through this process in 1969, removing many of the crucial acts of Henry VIII, Edward VI, and Elizabeth I in establishing the Anglican/Protestant Church of England, including the latter's Acts of Supremacy and Uniformity (almost entirely). The Penal Laws against Irish Catholics were repealed in 1920 with the Government of Ireland act (10 & 11 Geo. 5 c. 67) in section Section 5(2) which eliminated: 'any existing enactment by which any penalty, disadvantage, or disability is imposed on account of religious belief or on a member of any religious order'.

Monsignor Robert Hugh Benson, Novelist

Ann Applegarth surveys all of the fiction, historical and contemporary by the convert son of the Archbishop of Canterbury, Monsignor Robert Hugh Benson for The Catholic World Report:

Both Pope Francis and Pope Benedict XVI (when he was Joseph Cardinal Ratzinger) have encouraged Catholics to read Lord of the World, Msgr. Robert Hugh Benson’s 1907 novel that eerily predicted the state of the world at the beginning of the 21st century.

Catholics have listened. Back in print and apparently selling well, Benson’s dystopian tale that, as Pope Francis said, depicts “the spirit of the world which leads to apostasy almost as if it were a prophecy,” is generating much talk and not a few articles, including Dorothy Cummings McLean’s pithy commentary in Catholic World Report (January 15, 2014).

But Benson—Hugh, as his family called him—was not a one-novel novelist. During the years from his ordination to the Catholic priesthood in 1904 until his death in 1914, a month shy of his 43rd birthday, he published 16 novels—in addition to writing several non-fiction books, hundreds of homilies, devotionals, plays, apologetics, essays, children’s books, poetry, letters, and introductions to books of other authors!

Should we read Robert Hugh Benson’s other novels, too?

She answers "yes" with a list and brief summary of each novel. I would answer "yes" too, although I have not read all of his novels. Read the rest here.

I do have one recommendation regarding his historical novels set in the English Reformation era: Read The King's Achievement first and By What Authority second. They have common characters and the chronological order is important.

Emeritus Pope Benedict's Honorary Degrees and Sacred Music

From Vatican Radio:

Pope-emeritus Benedict XVI received Doctorates honoris causa on Saturday from the Pontifical John Paul II University of Krakow and the Krakow Academy of Music. The motivation for the honors issued by the University’s Academic Senate specifies five contributions Pope Benedict has made to knowledge and culture: his great respect for the musical tradition of the Church and remarkable sensitivity to the music of faith; the life-long and constant demonstration of a special concern for the noble beauty of sacred music and its proper place in the celebration of the sacred liturgical rites of the Church; his constant insistence on the didactic importance of the via pulchritudinis – the way of beauty – which can become a way of knowing and worshiping God for the modern man; his lifelong commitment to Truth, which strengthens the Christian faith in times of spiritual confusion caused by liberalism, postmodernism and relativism, and his tireless efforts to restore the spiritual dimension of Europe; his kind support for the work of transforming the schools of the Pontifical Academy of Theology into the Pontifical John Paul II University.

Father Benedict had some prepared remarks. In The Spectator, Damian Thompson writes:

One of the finest speeches Benedict XVI ever delivered was about sacred music. It is a small masterpiece, in which Benedict recalls his first encounter with Mozart in the liturgy. ‘When the first notes of the Coronation Mass sounded, Heaven virtually opened and the presence of the Lord was experienced very profoundly,’ he said.

Benedict robustly defended the performance of the work of great composers at Mass, which he insisted was necessary for the fulfilment of the Second Vatican Council’s wish that ‘the patrimony of sacred music [is] preserved and developed with great care’.

Then he asked: what is music? He identified three places from which it flowed. First, the experience of love, opening ‘a new grandeur and breadth of reality’ that inspires music. Second, ‘the experience of sadness, death, sorrow and the abysses of existence’. These open ‘in an opposite direction, new dimensions of reality that can no longer find answers in discourses alone’. Third, the encounter with the divine. ‘I find it moving to observe how, in the Psalms, singing is no longer enough for men — an appeal is made to all the instruments: reawakened is the hidden music of creation, its mysterious language.’

Our musical Pope Emeritus changed liturgical music practices at St. Peter's, as this Crisis article notes, and those changes have reverberated throughout the Church:

Cardinal Joseph Ratzinger was different. He had written an entire book on the music issue. He had written another book on the liturgical question. He had spoken about the subject on many occasions. He never feared the subject and this is for two reasons: 1) he understood the goals of Vatican II and saw that they had been seriously distorted, and 2) he was a trained music (sic) of the highest calibre who understood the role of music in the Roman Rite.

When he became Pope, the changes began and they were relentless. We started hearing chant in Papal liturgy, just a bit at first and then more as time went on. With Summorum Pontificum (2007) he took away the stigma that had been attached to traditional chant by granting full permission to the liturgical structure that had originally given rise to chant. This was deeply encouraging for a generation that was ready to move forward. We started seeing chant workshops fill up. Groups began to form at the parish level. New resources started to be published by independent publishers. A real fire had been lit in the Catholic music world. And it all happened without any impositions or legislation.

The musical program of St. Peter’s Basilica began to attract the attention of serious musicians. A new standard came to be applied to visiting choirs: you must know the basics of Gregorian chant or you cannot sing at St. Peter’s. This was a gigantic decision that fundamentally upset the dynamic that had long developed between Rome and traveling choirs. Now choirs had to learn and discover chant if they hoped to take that long-sought pilgrimage to Rome.

Meanwhile, Joseph Ratzinger’s writings on music were selling more than ever, and having an ever larger influence. Benedict XVI spoke about the topic often in homilies and spontaneous remarks following concerts. He worked to elevate high art to a new status on his travels. His team worked hard to encourage groups that sang for liturgy for his trips to embrace chant and polyphonic music of the Renaissance. It didn’t always work but the progress was obvious.

Read the rest there. The issue that Pope Benedict addressed was that the Church, in the wake of the Second Vatican Council, had mistakenly jettisoned our great heritage of beautiful Gregorian chant, Renaissance polyphonic Mass settings, and even high classical Masses, like Mozart's Coronation Mass. The fathers at Vatican II had said positively that Gregorian chant should have pride of place in the celebration of the liturgy, and yet I grew up never hearing chant at all--until it became popular as background music and the different chant discs (for Meditation, Relaxation, etc) came out. 

This reminds me of course of that "Agatha Christie Indult" letter, the one sent from England to Pope Paul VI, descrying the elimination of the traditional Latin Mass. Remember that it was signed by many non-Catholics and several musicians and they were concerned of the loss of so much culture:

The rite in question, in its magnificent Latin text, has also inspired a host of priceless achievements in the arts - not only mystical works, but works by poets, philosophers, musicians, architects, painters and sculptors in all countries and epochs. Thus, it belongs to universal culture as well as to churchmen and formal Christians. In the materialistic and technocratic civilisation that is increasingly threatening the life of mind and spirit in its original creative expression - the word - it seems particularly inhuman to deprive man of word-forms in one of their most grandiose manifestations. The signatories of this appeal, which is entirely ecumenical and non-political, have been drawn from every branch of modern culture in Europe and elsewhere.

Perhaps along with the Anglican Ordinariate, this revival in sacred and liturgical music will be one of Pope Benedict's greatest legacies, God bless him!

St. Benedict of Nursia, pray for us!

Purcell and Cowley

We purchased this album of Purcell "catch songs", a cantata set to a poem by Abraham Cowley, and an ode to Saint Cecilia at one of the used record stores in Wichita. The LP was from the Musical Heritage Society, the budget mail-order record company, and the music is performed by The Deller Consort. The Musical Heritage Society licensed the material from Harmonia Mundi, which released the recording as a CD. The theme of the album is that composers like Purcell had to be active both in the secular and the sacred world--the "ale-house and the Chapel Royal, as well as the playhouse and the church."

The songs on A side of the LP combine "strict counterpoint and scatological verse", according to Denis Stevens' liner notes, while the B side contains the more serious works, including the setting of Cowley's poem:

If ever I more riches did desire

Than cleanliness and quiet do require, 

If e'er Ambition did my fancy cheat, 

With any wish so mean as to be great, 

Continue, Heav'n, still from me to remove 

The humble blessings of that life I love. 

Upon the slipp'ry tops of human state, 

The gilded pinnacles of fate, 

Let others proudly stand, and for awhile 

The giddy danger to beguile, 

With joy and with disdain look down on all, 

Till their heads turn, and down they fall. 

Me, O ye Gods, on earth, or else so near, 

That I no fall to earth may fear, 

And, O ye gods, at a good distance seat 

From the long ruins of the great. 

Here wrap'd in the arms of Quiet le me lie; 

Quiet, companion of Obscurity. 

Here let my life with as much silence slide 

As time, that measures it, does glide. 

Nor let the breath of Infamy or Fame 

From town to town echo about my name, 

Nor let my homely death embroider'd be 

With scutcheon or with elegy: 

An old plebeian let me die. 

Alas, all then are such as well as I. 

To him, alas, to him, I fear, 

The face of Death will terrible appear, 

Who in his life flatt'ring his senseless pride 

By being known to all the world beside, 

Does not himself, when he is dying, know, 

Nor what he is, nor whither he's to go.

Abraham Cowley was one of the Metaphysical poets and a friend and admirer of Richard Crashaw. According to this biography:

Poet and essayist Abraham Cowley was born in London, England, in 1618. He displayed early talent as a poet, publishing his first collection of poetry, Poetical Blossoms (1633), at the age of 15. Cowley studied at Cambridge University but was stripped of his Cambridge fellowship during the English Civil War and expelled for refusing to sign the Solemn League and Covenant of 1644. In turn, he accompanied Queen Henrietta Maria to France, where he spent 12 years in exile serving as her secretary. During this time, Cowley completed The Mistress (1647). Arguably his most famous work, the collection exemplifies Cowley’s metaphysical style of love poetry. After the Restoration, Cowley returned to England, where he was reinstated as a Cambridge fellow and earned his MD before finally retiring to the English countryside.