The Divine Office by Edward J. Quigley (cool books to read .txt) 📕

once became evident among Catholics that error was mixed with truth and that a sifting of the one from the other was necessary, and, in many cases, possible" (Kellner, Heorlology, pp. 209-210). "It was not the intention of the Church or of the compilers and authors of the service books to claim historical authority for their statements. And so, the Popes themselves have directed many emendations to be made in the legends of the Breviary, although many others still remain to be effected" (Dom Baumer, Histoire Du Breviare Roman). Cf. Dom Cabrol, Le Reforme du Breviare, pp. 61-63.

Responsories. (Title XXVII.). In the new Breviary the responsories to the lessons have been restored to their place of honour. They are of ancient origin, but "how they came to have a place in the Divine Office, who was responsible for their composition, what was the process of development until they reached their present form, are questions upon which liturgical writers are not quite agreed" (Rev. M. Eaton, Irish Eccles. Record, January, 1915). Amalare of Metz found them fully formed and placed. The rule of St. Benedict, written about 530 A.D., mentions them as a recognised part of Matins. In solemn vigils, in the early Church, the congregation took part in the psalm singing, and hence we find psalmi responsorii mentioned, and we still have a typical instance in the Invitatory Psalm of our Office. Probably, some similar practice existed in the readings from Sacred Scripture. "At those primitive vigils, then, after the reading of the Sacred Scripture, the responsory was given by the precentor and the assembled faithful took up the words and chanted them forth in the same simple melody. Next, a verse was sung frequently echoing the same sentiment, and the choir again, as in the psalmi responsorii, repeated the refrain or the responsorii proper. Frequently other verses were added according to the dignity of the festivals, and after each the faithful struck in with the original refrain…. At first those responsories would probably have been extempore … left to the genius or to the inspiration of the individual chanter, but gradually, by a survival of the fittest, the most beautiful ones became stereotyped and spread throughout several churches…. Later they were carefully collected, arranged and codified by St. Gregory or one of his predecessors and passed into all the books of liturgy" (Rev. M. Eaton, loc. cit.). Monsignor Battifol (History of the Roman Breviary, Eng, trans., p. 78) says that these parts of the liturgy, in beauty and eloquence rival the chorus dialogues of Greek drama, and quotes as an example the Aspiciens a longe from the first Sunday of Advent.

Rubrics. The responsories, as a rule, are said after each lesson of Matins. When the Te Deum is said after the ninth lesson, there are only eight responsories. At the end of the third, sixth and eighth lesson the Gloria Patri with a repetition of part of the responsory is said. It is said in the second responsory in offices of three lessons only. In Passiontide the Gloria Patri is not said, but the responsory is repeated ab initio. In the Requiem Office Gloria Patri is replaced by "requiem aeternam." In the Sundays of Advent, Sundays after Septuagesima until Palm Sunday, and in the triduum before Easter, there are nine responsories recited.

Perhaps an explanation of the rubric may not be useless. The asterisk (*) indicates the part which should be repeated first after the verse and immediately after the Gloria Patri. The Gloria Patri should be said to include the word sancto, and sicut erat should not be said. Some responsories have two or three asterisks, and then the repetitions should be made from one asterisk to another and not as far as the verse ending. Examples may be seen in the responsories for the first Sunday of Advent and in the Libera nos of the Requiem Office. The responsories of the Requiem Office—which is almost the only Office which missionary priests have an opportunity of reciting in choir—are highly praised for their beauty of thought and expression. They were compiled by Maurice de Sully (circa 1196), Bishop of Paris.

Symbolism of the Rubric. The responsories are placed after the lessons, the old writers on liturgy say, to excite attention and devotion, to thank God for the instruction given in the lessons, to make us realise and practise what has been read and to teach us that "Blessed are they who hear the word of God and keep it." Again, those writers knew why the chanter said only one verse and the worshippers replied in chorus—to show that all their souls were united and free from schism.

Te Deum (Title XXXI.). Author. In the Breviary prior to the reform of Pius X., this hymn was printed under the words "Hymnus SS. Ambrosii et Augustini." However, "no one thinks now of attributing this canto to either St. Ambrose or St. Augustine" (Battifol, op. cit., p. 110). Formerly, it was piously believed to have been composed and sung by these saints on the evening of Augustine's baptism. The question of the authorship of this hymn has led to much study and much controversy. Some scholars attribute it to St. Hilary, others to Sisebut, a Benedictine; others to Nicetas, Bishop of Treves, in the year 527. To-day, the opinion of the learned Benedictine, Dom. Morin—who follows the readings of the Irish manuscripts—that the hymn was written by Nicetas of Remesiana (circa 400 A.D.), is the most probable. This opinion has been criticised by several Continental scholars (V. Cath. Encly., art. "Te Deum").

Rubrics. The Te Deum is always said at the end of Matins, unless in
Matins of Feast of Holy Innocents, of Sundays of Advent, and from
Septuagesima to Palm Sunday, and ferias outside Eastertide (from Low
Sunday to Ascension Day).

The Structure of the Hymn. In this wonderful composition, there are probably two hymns connected, and followed by a set of versicles and. responses, which might be used with any similar hymn. It is probable that the first hymn (Te Deum … Paraclitum Spiritum), lines 1 to 13 of Te Deum are older than the second part, which was written probably as a sequel to the early hymn. The rhythm of the hymn is very beautiful, being free from abruptness and monotony. Students of poetry may note that seven lines have the exact hexameter ending, if scanned accentually, as voce proclamant; Deus sabbaoth, etc. Seven have two dactyls, as laudabilis numerus, laudat exercitus; one ends with spondees, apostolorum chorus. The other six lines have a less regular ending.

This hymn of praise to the Blessed Trinity is divided into two parts and seems to be modelled on the lines of the Psalm 148, Laudate Dominum de coelis (see Sunday Lauds I.). The verses 1 to 6 of the hymn, like the opening verses of the psalm, record the worship and adoration of the angels. The second part of the hymn records the worship of human beings living or dead—Apostles, Prophets, Martyrs. The second hymn, Tu Rex gloriae Christi, etc., is a prayer to Christ, the God Incarnate, the Redeemer now in Glory, to aid His servants and to aid them to be of the number of His saints in everlasting glory.

The third part of the hymn, vv. 22-29 (Salvum fac … in aeternum) is considered by scholars to be simply versicles, responses and prayers; the verses 22-23 (Salvum fac… usque in aeternum). being the versicle, and verses 24-25 (Per singulos dies… saeculi), verse 2 of Psalm 144 being the response before the beautiful verses of prayer "Dignare Domine die isto sine peccato nos custodire," etc. "Vouchsafe, O Lord, to keep us this day from sin; O Lord, have mercy on us," etc., etc.

This hymn has a special interest for Irish priests, as the Irish recensions of it, found in the Bangor Antiphoner (to be seen in the Library of Trinity College, Dublin) are of the greatest value to scholars engaged in critical study. They date from the tenth century, and give Nicetas as the author. The wording in the old Irish Antiphoner differs in some verses from the text given in our Breviary. Thus, in verse 6, the Bangor text has, universa before the word terra; again, in verse 18, the Breviary reads "Tu ad deteram Dei sedes," Bangor, and probably more correctly, reads sedens. Verses 26-29, "Dignare Domine… confundar in aeternum" are not found in the Irish book. Those who wish to study these old Irish MSS. may receive great help from Warren's Bangor Antiphoner (II., pp.83-91) and light comes too from Julian's Dictionary of Hymnology (pp. 1120-1121).

SOME TEXTS AND INTENTIONS WHICH MAY HELP TOWARDS THE WORTHY RECITATION
  OF MATINS (vide pages 4, 120).

  "Matutina ligat Christum qui crimina purgat."
  "Although I should die with Thee, I will not deny Thee."
  "And in like manner also said they all."
  "Pray, lest you enter into temptation,"
  "And being in agony He prayed the longer."
  "Friend, whereunto art thou come?—"
  "And they holding Jesus led Him away"—the Garden.
  "Art thou one of His disciples?"
  "My kingdom is not of this world"—Before the High Priest.

General Intentions:-Exaltation of the Church; the Pope; the Mission to the heathen; Christian nations; the conversion of the heretics, infidels and sinners; the Catholic laity; the Catholic priesthood.

Personal Intentions:-Lively faith; a greater hope; ardent charity.

Special Intentions:-For parents; for benefactors; for those in sorrow; dying sinners; deceased priests of Ireland; for the conversion of England; for vocations to the priesthood.

CHAPTER II. LAUDS.

Etymology, Definition, Symbolism. The word "Lauds" is derived from the Latin laus, praise. It is applied to this Hour, as it is par excellence, the hour in which God's praises are chanted by His Church. This Hour succeeds Matins and precedes Prime. The name is said to have been given to this Hour on account of the last three Psalms, which formerly formed part of the Office. In these Psalms, 148, 149, 150, the word Laudate recurs several times. Before the eighth century the Hour was called "Matutinum," or morning Office, and sometimes it was called Gallicinum or Galli cantus from being recited at cock-crow. This is the Office of daybreak and hence its symbolism is of Christ's resurrection. "Christ, the light of the world, rose from the tomb on Easter morning, like a radiant sun, trampling over darkness and shedding His brightness upon the earth. The hymns, psalms, antiphons and versicles of Lauds, all proclaim the mystery of Christ's Resurrection, and the light which enlightens our souls. The reform of the Psalter in 1911 has not always preserved this liturgical idea; nevertheless, the character of the Office has not been altered. Lauds remains the true morning prayer, which hails in the rising sun, the image of Christ triumphant—consecrates to Him the opening day. No other morning prayer is comparable to this" (Dom. F. Cabrol, The Day Hours of the Church, London, 1910).

Antiquity. The Christians, in their night vigils, followed the pious practices of the Jews, as to prayers at dead of night and at dawn, Hence, the Hour, Lauds is of great antiquity, coming, perhaps, from Apostolic times. It is found well established in the very earliest accounts of Christian liturgy.

The old writers on liturgy loved to dwell on pious congruities and parallelisms. They ask the questions, why did the early Christians pray at dawn and why is the practice continued? They answer at great length, I will try to summarise their holy themes. The early Christians prayed at dawn, 1. that in the New Law the figures of the Old may be fulfilled; 2. to honour the risen Saviour and to remind us of our resurrection; 3. to glorify Jesus typified by the physical light. "I am the Light of the world" (St. John, viii. 12); 4. because at dawn, after rest, body and soul are refreshed and ready to devote all their powers to God, free from distractions and noise. Each dawn, revealing God's wondrous work, should hear God's praises in the most sublime words ever uttered, the Psalms (e.g., Dominus regnavit, Jubilate Deo, etc., etc.); 5. because God seems more disposed to hear prayers made at that hour. For, He has said, "Yet if thou wilt arise early to God and wilt beseech the Almighty… He will presently awake unto thee and make the dwelling of thy justice peaceable" (Job, viii. 5-6). "I love them that love me; and they that in the morning early watch for me shall find me" (Proverbs viii. 17).

Structure. If Lauds succeeds Matins immediately, Pater Noster and Ave Maria are omitted, and the Hour begins with Deus in adjutorium. At these words it is a practice but not an obligation to make the sign of the cross from head to breast (see Vespers, infra). Then the Gloria Patri, Sicut erat, Amen, Alleluia are said before the antiphons and psalms. But if a notable delay—say, of ten minutes' duration—be made between the end of Matins and the start of