This secret of association and artistic setting must always be taken into account if we would measure the peculiar power of the music of the Catholic Church. We must observe that music is only one of many means of impression, and is made to act not alone, but in union with reinforcing agencies. These agencies—which include all the elements of the ceremony that affect the eye and the imagination—are intended to supplement and enhance each other; and in analyzing23 the attractive force which the Catholic Church has always exercised upon minds vastly diverse in culture, we cannot fail to admire the consummate24 skill with which she has made her appeal to the universal susceptibility to ideas of beauty and grandeur and mystery as [72] embodied25 in sound and form. The union of the arts for the sake of an immediate26 and undivided effect, of which we have heard so much in recent years, was achieved by the Catholic Church centuries ago. She rears the most sumptuous27 edifices29, decorates their walls with masterpieces of painting, fills every sightly nook with sculptures in wood and stone, devises a ritual of ingenious variety and lavish30 splendor31, pours over this ritual music that alternately subdues32 and excites, adjusts all these means so that each shall heighten the effect of the others and seize upon the perceptions at the same moment. In employing these artistic agencies the Church has taken cognizance of every degree of enlightenment and variety of temper. For the vulgar she has garish33 display, for the superstitious34 wonder and concealment35; for the refined and reflective she clothes her doctrines36 in the fairest guise38 and makes worship an aesthetic39 delight. Her worship centres in a mystery—the Real Presence—and this mystery she embellishes40 with every allurement41 that can startle, delight, and enthrall42.
Symbolism and artistic decoration—in the use of which the Catholic Church has exceeded all other religious institutions except her sister Church of the East—are not mere43 extraneous44 additions, as though they might be cut off without essential loss; they are the natural outgrowth of her very spirit and genius, the proper outward manifestation45 of the idea which pervades her culture and her worship. Minds that need no external quickening, but love to rise above ceremonial observances and seek immediate contact with the [73] divine source of life, are comparatively rare. Mysticism is not for the multitude; the majority of mankind require that spiritual influences shall come to them in the guise of that which is tangible46; a certain nervous thrill is needed to shock them out of their accustomed material habitudes. Recognizing this fact, and having taken up into her system a vast number of ideas which inevitably require objective representation in order that they may be realized and operative, the Catholic Church has even incurred47 the charge of idolatry on account of the extreme use she has made of images and symbols. But it may be that in this she has shown greater wisdom than those who censure48 her. She knows that the externals of religious observance must be endowed with a large measure of sensuous49 charm if they would seize hold upon the affections of the bulk of mankind. She knows that spiritual aspiration50 and the excitement of the senses can never be entirely51 separated in actual public worship, and she would run the risk of subordinating the first to the second rather than offer a service of bare intellectuality empty of those persuasions52 which artistic genius offers, and which are so potent53 to bend the heart in reverence and submission54.
In the study of the Catholic system of rites55 and ceremonies, together with their motive56 and development, the great problem of the relation of religion and art meets us squarely. The Catholic Church has not been satisfied to prescribe fixed57 forms and actions for every devotional impulse—she has aimed to make those forms and actions beautiful. There has been no phase of art which could be devoted58 to this object that has not [74] offered to her the choicest of its achievements. And not for decoration merely, not simply to subjugate59 the spirit by fascinating the senses, but rather impelled60 by an inner necessity which has effected a logical alliance of the special powers of art with the aims and needs of the Church. Whatever may be the attitude toward the claims of this great institution, no one of sensibility can deny that the world has never seen, and is never likely to see, anything fairer or more majestic than that sublime structure, compounded of architecture, sculpture, and painting, and informed by poetry and music, which the Church created in the Middle Age, and fixed in enduring mould for the wondering admiration61 of all succeeding time. Every one who studies it with a view to searching its motive is compelled to admit that it was a work of sincere conviction. It came from no “vain or shallow thought;” it testifies to something in the heart of Catholicism that has never failed to stir the most passionate62 affection, and call forth63 the loftiest efforts of artistic skill. This marvellous product of Catholic art, immeasurable in its variety, has gathered around the rites and ordinances65 of the Church, and taken from them its spirit, its forms, and its tendencies;—architecture to erect66 a suitable enclosure for worship, and to symbolize67 the conception of the visible kingdom of Christ in time and of the eternal kingdom of Christ in heaven; sculpture to adorn68 this sanctuary69, and standing70 like the sacred edifice28 itself in closest relation to the centre of churchly life and deriving71 from that its purpose and norm; painting performing a like function, and also more definitely acting72 for instruction, vividly73 [75] illustrating74 the doctrines and traditions of the faith, directing the thought of the believer more intently to their moral purport75 and ideal beauty; poetry and music, the very breath of the liturgy itself, acting immediately upon the heart, kindling76 the latent sentiment of reverence into lively emotions of joy and love. In the employment of rites and ceremonies with their sumptuous artistic setting, in the large stress that is laid upon prescribed forms and external acts of worship, the Catholic Church has been actuated by a conviction from which she has never for an instant swerved77. This conviction is twofold: first, that the believer is aided thereby78 in the offering of an absorbed, fervent79, and sincere worship; and second, that it is not only fitting, but a duty, that all that is most precious, the product of the highest development of the powers that God has given to man, should be offered as a witness of man’s love and adoration80,—that the expenditure81 of wealth in the erection and decoration of God’s sanctuaries82, and the tribute of the highest artistic skill in the creation of forms of beauty, are worthy83 of his immeasurable glory and of ourselves as his dependent children. Says Cardinal84 Gibbons: “The ceremonies of the Church not only render the divine service more solemn, but they also rivet85 and captivate our attention and lift it up to God. Our mind is so active, so volatile86, and full of distractions87, our imagination is so fickle88, that we have need of some external objects on which to fix our thoughts. True devotion must be interior and come from the heart; but we are not to infer that exterior89 worship is to be condemned90 because interior worship is [76] prescribed as essential. On the contrary, the rites and ceremonies which are enjoined91 in the worship of God and in the administration of the sacraments are dictated92 by right reason, and are sanctioned by Almighty93 God in the old law, and by Christ and his apostles in the new.”[45] “Not by the human understanding,” says a writer in the Caecilien Kalendar, “was the ritual devised, man knows not whence it came. Its origin lies outside the inventions of man, like the ideas which it presents. The liturgy arose with the faith, as speech with thought. What the body is for the soul, such is the liturgy for religion. Everything in the uses of the Church, from the mysterious ceremonies of the Mass and of Good Friday, to the summons of the evening bell to prayer, is nothing else than the eloquent94 expression of the content of the redemption of the Son of God.”[46]
Since the ritual is prayer, the offering of the Church to God through commemoration and representation as well as through direct appeal, so the whole ceremonial, act as well as word, blends with this conception of prayer, not as embellishment merely but as constituent factor. Hence the large use of symbolism, and even of semi-dramatic representation. “When I speak of the dramatic form of our ceremonies,” says Cardinal Wiseman, “I make no reference whatever to outward display; and I choose that epithet95 for the reason that the poverty of language affords me no other for my meaning. The object and power of dramatic poetry consist [77] in its being not merely descriptive but representative. Its character is to bear away the imagination and soul to the view of what others witnessed, and excite in us, through their words, such impressions as we might have felt on the occasion. The service of the Church is eminently96 poetical97, the dramatic power runs through the service in a most marked manner, and must be kept in view for its right understanding. Thus, for example, the entire service for the dead, office, exequies, and Mass, refers to the moment of death, and bears the imagination to the awful crisis of separation of soul and body.” “In like manner the Church prepares us during Advent98 for the commemoration of our dear Redeemer’s birth, as though it were really yet to take place. As the festival approaches, the same ideal return to the very moment and circumstances of our divine Redeemer’s birth is expressed; all the glories of the day are represented to the soul as if actually occurring.” “This principle, which will be found to animate99 the church service of every other season, rules most remarkably100 that of Holy Week, and gives it life and soul. It is not intended to be merely commemorative or historical; it is, strictly101 speaking, representative.”[47] “The traditions and rules of church art,” says Jakob, “are by no means arbitrary, they are not an external accretion102, but they proceed from within outward, they have grown organically from the guiding spirit of the Church, out of the requirements of her worship. Therein lies the justification103 of symbolism [78] and symbolic104 representation in ecclesiastical art. The church of stone must be a speaking image of the living Church and her mysteries; the pictures on the walls and on the altars are not mere ornament105 for the eye, but for the heart a book full of instruction, a sermon full of truth. And thereby is art raised to be a participant in the work of edifying106 the believers; it becomes a profound teacher of thousands, a bearer and preserver of great ideas for the centuries.”[48] “Our Holy Church,” says a German priest, “which completely understands the nature and the needs of humanity, presents to us divine truth and grace in sensible form, in order that by this means they may be more easily grasped and more securely appropriated by us. The law of sense perception, which constitutes so important a factor in human education, forms also a fundamental law in the action of Holy Church, whereby she seeks to raise us out of this earthly material life into the supernatural life of grace. She therefore confers upon us redemptive grace in the holy sacraments in connection with external signs, through which the inner grace is shadowed forth and accomplished107, as for instance the inward washing of the soul from sin in baptism through the outward washing of the body. In like manner the eye of the instructed Catholic sees in the symbolic ceremonies of the holy sacrifice of the Mass the thrilling representation of the fall of man, our redemption, and finally our glorification108 at the second coming of our Lord. Out of this ground law of presentation to the senses has arisen the whole liturgy of the Church, [79] i. e., the sum of all religious actions and prayers to the honor of God and the communication of his grace to us, and this whole expressive109 liturgy forms at once the solemn ceremonial in the sanctuary of the Heavenly King, in which he receives our adoration and bestows110 upon us the most plentiful111 tokens of his favor.”[49]
These citations112 sufficiently113 indicate the mind of the Catholic Church in respect to the uses of ritual and symbolic ceremony. The prime intention is the instruction and edification of the believer, but it is evident that a necessary element in this edification is the thought that the rite is one composite act of worship, a prayer, an offering to Almighty God. This is the theory of Catholic art, the view which pious114 churchmen have always entertained of the function of artistic forms in worship. That all the products of religious art in Catholic communities have been actuated by this motive alone would be too much to say. The principle of “art for art’s sake,” precisely115 antagonistic116 to the traditional ecclesiastical principle, has often made itself felt in periods of relapsed zeal117, and artists have employed traditional subjects out of habit or policy, finding them as good as any others as bases for experiments in the achievement of sensuous charm in form, texture118, and color. But so far as changeless dogma, liturgic unity119, and consistent tradition have controlled artistic effort, individual determination has been allowed enough play to save art from petrifying120 into a hieratic formalism, but not enough to endanger the faith, morals, [80] or loyalty121 of the flock. He therefore who would know the spirit of Catholicism must give a large portion of his study to its art. From the central genius of this institution, displayed not merely in its doctrines and traditions, but also in its sublime faith in its own divine ordination122 and guidance, and in its ideals of holiness, have issued its liturgy, its ceremonial, and the infinitely123 varied124 manifestations125 of its symbolic, historic, and devotional art. The Catholic Church has aimed to rear on earth a visible type of the spiritual kingdom of God, and to build for her disciples126 a home, suggestive in its splendor of the glory prepared for those who keep the faith.
All Catholic art, in so far as it may in the strict use of language be called church art, separates itself from the larger and more indefinite category of religious art, and derives its character not from the personal determination of individual artists, but from conceptions and models that have become traditional and canonical127. These traditional laws and forms have developed organically out of the needs of the Catholic worship; they derive11 their sanction and to a large extent their style from the doctrine37 and also from the ceremonial. The centre of the whole churchly life is the altar, with the great offices of worship there performed. Architecture, painting, decoration, music,—all are comprehended in a unity of impression through the liturgy which they serve. Ecclesiastical art has evolved from within the Church itself, and has drawn its vitality128 from those ideas which have found their permanent and most terse129 embodiment in the liturgy. Upon the liturgy and the ceremonial functions attending it must be based all study of the system of artistic expression officially sanctioned by the Catholic Church.
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The Catholic liturgy, or text of the Mass, is not the work of any individual or conference. It is a growth, an evolution. Set forms of prayer began to come into use as soon as the first Christian130 congregations were founded by the apostles. The dogma of the eucharist was the chief factor in giving the liturgy its final shape. By a logical process of selection and integration131, certain prayers, Scripture132 lessons, hymns134, and responses were woven together, until the whole became shaped into what may be called a religious poem, in which was expressed the conceived relation of Christ to the Church, and the emotional attitude of the Church in view of his perpetual presence as both paschal victim and high priest. This great prayer of the Catholic Church is mainly composed of contributions made by the Eastern Church during the first four centuries. Its essential features were adopted and transferred to Latin by the Church of Rome, and after a process of sifting135 and rearranging, with some additions, its form was completed by the end of the sixth century essentially136 as it stands to-day. The liturgy is, therefore, the voice of the Church, weighted with her tradition, resounding137 with the commanding tone of her apostolic authority, eloquent with the longing138 and the assurance of innumerable martyrs139 and confessors, the mystic testimony141 to the commission which the Church believes to have been laid upon her by the Holy Spirit. It is not surprising, therefore, that devout142 Catholics have come to [82] consider this liturgy as divinely inspired, raised above all mere human speech, the language of saints and angels, a truly celestial143 poem; and that Catholic writers have well-nigh exhausted144 the vocabulary of enthusiasm in expounding145 its spiritual significance.
The insistence146 upon the use of one unvarying language in the Mass and all the other offices of the Catholic Church is necessarily involved in the very conception of catholicity and immutability147. A universal Church must have a universal form of speech; national languages imply national churches; the adoption148 of the vernacular149 would be the first step toward disintegration150. The Catholic, into whatever strange land he may wander, is everywhere at home the moment he enters a sanctuary of his faith, for he hears the same worship, in the same tongue, accompanied with the same ceremonies, that has been familiar to him from childhood. This universal language must inevitably be the Latin. Unlike all living languages it is never subject to change, and hence there is no danger that any misunderstanding of refined points of doctrine or observance will creep in through alteration151 in the connotation of words. Latin is the original language of the Catholic Church, the language of scholarship and diplomacy152 in the period of ecclesiastical formation, the tongue to which were committed the ritual, articles of faith, legal enactments153, the writings of the fathers of the Church, ancient conciliar decrees, etc. The only exceptions to the rule which prescribes Latin as the liturgical154 speech are to be found among certain Oriental congregations, where, for local reasons, other languages are [83] permitted, viz., Greek, Syriac, Chaldaic, Slavonic, Wallachian, Armenian, Coptic, and Ethiopic. In each of these instances, however, the liturgic speech is not the vernacular, but the ancient form which has passed out of use in other relations.[50]
The Mass is the most solemn rite among the offices of the Catholic Church, and embodies155 the fundamental doctrine upon which the Catholic system of worship mainly rests. It is the chief sacrament, the permanent channel of grace ever kept open between God and his Church. It is an elaborate development of the last supper of Christ with his disciples, and is the fulfilment of the perpetual injunction laid by the Master upon his followers156. Developed under the control of the idea of sacrifice, which was drawn from the central conception of the old Jewish dispensation and imbedded in the tradition of the Church at a very early period, the office of the Mass became not a mere memorial of the atonement upon Calvary, but a perpetual renewal157 of it upon the altar through the power committed to the priesthood by the Holy Spirit. To the Protestant, Christ was offered once for all upon the cross, and the believer partakes through repentance158 and faith in the benefits conferred by that transcendent act; but to the Catholic this sacrifice is repeated whenever the eucharistic elements of bread and wine are presented at the altar with certain prayers and formulas. The renewal of the atoning159 process is effected through the recurring160 miracle of transubstantiation, by which the bread and wine are transmuted161 into the very body and blood of [84] Christ. It is in this way that the Catholic Church literally162 interprets the words of Jesus: “This is my body; this is my blood; whoso eateth my flesh and drinketh my blood hath eternal life.” When the miraculous163 transformation164 has taken place at the repetition by the priest of Christ’s words of institution, the consecrated165 host and chalice166 are offered to God by the priest in the name and for the sake of the believers, both present and absent, for whom prayer is made and who share through faith in the benefits of this sacrificial act. “The sacrifice of the Mass,” says Cardinal Gibbons, “is identical with that of the cross, both having the same victim and high priest—Jesus Christ. The only difference consists in the manner of the oblation167. Christ was offered upon the cross in a bloody168 manner; in the Mass he is offered up in an unbloody manner. On the cross he purchased our ransom169, and in the eucharistic sacrifice the price of that ransom is applied170 to our souls.”[51] This conception is the keystone of the whole structure of Catholic faith, the super-essential dogma, repeated, from century to century in declarations of prelates, theologians, and synods, reasserted once for all in terms of binding171 definition by the Council of Trent. All, therefore, who assist in this mystic ceremony, either as celebrants and ministers or as indirect participants through faith, share in its supernatural efficacy. It is to them a sacrifice of praise, of supplication172, and of propitiation.
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The whole elaborate ceremony of the Mass, which is such an enigma173 to the uninstructed, is nowhere vain or repetitious. Every word has its fitting relation to the whole; every gesture and genuflection174, every change of vestments, has its symbolic significance. All the elements of the rite are merged175 into a unity under the sway of this central act of consecration176 and oblation. All the lessons, prayers, responses, and hymns are designed to lead up to it, to prepare the officers and people to share in it, and to impress upon them its meaning and effect. The architectural, sculptural, and decorative177 beauty of altar, chancel, and apse finds its justification as a worthy setting for the august ceremony, and as a fitting shrine178 to harbor the very presence of the Lord. The display of lights and vestments, the spicy179 clouds of incense180, the solemnity of priestly chant, and the pomp of choral music, are contrived181 solely182 to enhance the impression of the rite, and to compel the mind into a becoming mood of adoration.
There are several kinds of Masses, differing in certain details, or in manner of performance, or in respect to the occasions to which they are appropriated, such as the High Mass, Solemn High Mass, Low Mass, Requiem183 Mass or Mass for the Dead, Mass of the Presanctified, Nuptial184 Mass, Votive Mass, etc. The widest departure from the ordinary Mass form is in the Requiem Mass, where the Gloria and Credo are omitted, and their places supplied by the mediaeval judgment185 hymn133, Dies Irae, together with certain special prayers for departed souls. In respect to the customary service on Sundays, festal, and ferial days there is no difference in the words of the High Mass, Solemn High Mass, and Low Mass, but only in the manner of performance and the degree of embellishment. The Low Mass is said in a low tone [86] of voice and in the manner of ordinary speech, the usual marks of solemnity being dispensed186 with; there is no chanting and no choir music. The High Mass is given in musical tones throughout by celebrant and choir. The Solemn High Mass is performed with still greater ritualistic display, and with deacon, sub-deacon, and a full corps187 of inferior ministers.
The prayers, portions of Scripture, hymns, and responses which compose the Catholic liturgy consist both of parts that are unalterably the same and of parts that change each day of the year. Those portions that are invariable constitute what is known as the Ordinary of the Mass. The changeable or “proper” parts include the Introits, Collects, Epistles and Lessons, Graduals, Tracts188, Gospels, Offertories, Secrets, Prefaces, Communions, and Post-Communions. Every day of the year has its special and distinctive189 form, according as it commemorates190 some event in the life of our Lord or is devoted to the memory of some saint, martyr140, or confessor.[52] Mass may be celebrated191 on any day of the year except Good Friday, the great mourning day of the Church.
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The outline of the Mass ceremony that follows relates to the High Mass, which may be taken as the type of the Mass in general. It must be borne in mind that the entire office is chanted or sung.
After the entrance of the officiating priest and his attendants the celebrant pronounces the words: “In the name of the Father, and of the Son, and of the Holy Spirit, Amen;” and then recites the 42d psalm192 (43d in the Protestant version). Next follows the confession193 of sin and prayer for pardon. After a few brief prayers and responses the Introit—a short Scripture selection, usually from a psalm—is chanted. Then the choir sings the Kyrie eleison, Christe eleison. The first of these ejaculations was used in the Eastern Church in the earliest ages as a response by the people. It was adopted into the liturgies194 of the Western Church at a very early period, and is one of the two instances of the survival in the Latin office of phrases of the original Greek liturgies. The Christe eleison was added a little later.
The Kyrie is immediately followed by the singing by the choir of the Gloria in excelsis Deo. This hymn, also called the greater doxology, is of Greek origin, and is the angelic song given in chapter ii. of Luke’s Gospel, with additions which were made not later than the fourth century. It was adopted into the Roman liturgy at least as early as the latter part of the sixth century, since it appears, connected with certain restrictions195, in the sacramentary of Pope Gregory the Great.
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Next are recited the Collects—short prayers appropriate to the day, imploring196 God’s blessing197. Then comes the reading of the Epistle, a psalm verse called the Gradual, the Alleluia, or, when that is omitted, the Tractus (which is also usually a psalm verse), and at certain festivals a hymn called Sequence. Next is recited the Gospel appointed for the day. If a sermon is preached its place is next after the Gospel.
The confession of faith—Credo—is then sung by the choir. This symbol is based on the creed198 adopted by the council of Nicaea in 325 and modified by the council of Constantinople in 381, but it is not strictly identical with either the Nicene or the Constantinople creed. The most important difference between the Constantinople creed and the present Roman consists in the addition in the Roman creed of the words “and from the Son” (filioque) in the declaration concerning the procession of the Holy Ghost. The present creed has been in use in Spain since 589, and according to what seems good authority was adopted into the Roman liturgy in 1014.
After a sentence usually taken from a psalm and called the Offertory, the most solemn portion of the Mass begins with the Oblation of the Host, the ceremonial preparation of the elements of bread and wine, with prayers, incensings, and ablutions.
All being now ready for the consummation of the sacrificial act, the ascription of thanksgiving and praise called the Preface is offered, which varies with the season, but closes with the Sanctus and Benedictus, sung by the choir.
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The Sanctus, also called Trisagion or Thrice Holy, is the cherubic hymn heard by Isaiah in vision, as described in Is. vi. 3. The Benedictus is the shout of acclamation by the concourse who met Christ on his entry into Jerusalem. There is a poetic significance in the union of these two passages. The blessed one, who cometh in the name of the Lord, is the Lord himself, the God of Sabaoth, of whose glory heaven and earth are full.
The Canon of the Mass now opens with prayers that the holy sacrifice may be accepted of God, and may redound199 to the benefit of those present. The act of consecration is performed by pronouncing Christ’s words of institution, and the sacred host and chalice, now become objects of the most rapt and absorbed devotion, are elevated before the kneeling worshipers, and committed to the acceptance of God with the most impressive vows200 and invocations.
As an illustration of the nobility of thought and beauty of diction that are found in the Catholic offices, the prayer immediately following the consecration of the chalice may be quoted:
“Wherefore, O Lord, we thy servants, as also thy holy people, calling to mind the blessed passion of the same Christ thy Son our Lord, his resurrection from the dead, and admirable ascension into heaven, offer unto thy most excellent Majesty201 of the gifts bestowed202 upon us a pure Host, a holy Host, an unspotted Host, the holy bread of eternal life, and chalice of everlasting203 salvation204.
“Upon which vouchsafe205 to look, with a propitious206 and serene207 countenance208, and to accept them, as thou wert graciously pleased to accept the gifts of thy just servant Abel, and the sacrifice of our patriarch Abraham, and that which thy high priest Melchisedech offered to thee, a holy sacrifice and unspotted victim.
“We most humbly209 beseech210 thee, Almighty God, command these things to be carried by the hands of thy holy angels to thy altar on high, in the sight of thy divine Majesty, that as many as shall partake of the most sacred body and blood of thy Son at this altar, may be filled with every heavenly grace and blessing.”
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In the midst of the series of prayers following the consecration the choir sings the Agnus Dei, a short hymn which was introduced into the Roman liturgy at a very early date. The priest then communicates, and those of the congregation who have been prepared for the exalted211 privilege by confession and absolution kneel at the sanctuary rail and receive from the celebrant’s hands the consecrated wafer. The Post-Communion, which is a brief prayer for protection and grace, the dismissal[53] and benediction212, and the reading of the first fourteen verses of the Gospel according to St. John close the ceremony.
Interspersed213 with the prayers, lessons, responses, hymns, etc., which constitute the liturgy are a great number of crossings, obeisances214, incensings, changing of vestments, and other liturgic actions, all an enigma to the uninitiated, yet not arbitrary or meaningless, for each has a symbolic significance, designed not merely to impress the congregation, but still more to enforce upon the ministers themselves a sense of the magnitude of the work in which they are engaged. The complexity215 of the ceremonial, the rapidity of utterance216 and the frequent inaudibility of the words of the priest, together with the fact that the text is in a dead language, are not inconsistent with the purpose for which the Mass is conceived. For it is not considered as proceeding217 from the people, but it is an ordinance64 performed for them and in their name by a priesthood, [91] whose function is that of representing the Church in its mediatorial capacity. The Mass is not simply a prayer, but also a semi-dramatic action,—an action which possesses in itself an efficacy ex opere operato. This idea renders it unnecessary that the worshipers should follow the office in detail; it is enough that they co?perate with the celebrant in faith and pious sympathy. High authorities declare that the most profitable reception of the rite consists in simply watching the action of the officiating priest at the altar, and yielding the spirit unreservedly to the holy emotions which are excited by a complete self-abandonment to the contemplation of the adorable mystery. The sacramental theory of the Mass as a vehicle by which grace is communicated from above to the believing recipient218, also leaves him free to carry on private devotion during the progress of the ceremony. When the worshipers are seen kneeling in the pews or before an altar at the side wall, fingering rosaries or with eyes intent upon prayer-books, it is not the words of the Mass that they are repeating. The Mass is the prayer of the Church at large, but it does not emanate219 from the congregation. The theory of the Mass does not even require the presence of the laity220, and as a matter of practice private and solitary221 Masses, although rare, are in no way contrary to the discipline of the Catholic Church.
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liturgy
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| n.礼拜仪式 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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embellished
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| v.美化( embellish的过去式和过去分词 )；装饰；修饰；润色 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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fascination
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| n.令人着迷的事物，魅力，迷恋 | |
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pervades
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| v.遍及，弥漫( pervade的第三人称单数 ) | |
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derives
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| v.得到( derive的第三人称单数 )；（从…中）得到获得；源于；（从…中）提取 | |
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derive
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| v.取得；导出；引申；来自；源自；出自 | |
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poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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constituent
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| n.选民；成分，组分；adj.组成的，构成的 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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invoked
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| v.援引( invoke的过去式和过去分词 )；行使（权利等）；祈求救助；恳求 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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sensational
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| adj.使人感动的，非常好的，轰动的，耸人听闻的 | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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inevitably
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| adv.不可避免地；必然发生地 | |
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rite
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| n.典礼，惯例，习俗 | |
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reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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analyzing
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| v.分析；分析( analyze的现在分词 )；分解；解释；对…进行心理分析n.分析 | |
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consummate
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| adj.完美的；v.成婚；使完美 [反]baffle | |
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embodied
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| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
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immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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sumptuous
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| adj.豪华的，奢侈的，华丽的 | |
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28
edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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29
edifices
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| n.大建筑物( edifice的名词复数 ) | |
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30
lavish
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| adj.无节制的；浪费的；vt.慷慨地给予，挥霍 | |
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31
splendor
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| n.光彩；壮丽，华丽；显赫，辉煌 | |
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subdues
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| 征服( subdue的第三人称单数 )； 克制； 制服 | |
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33
garish
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| adj.华丽而俗气的，华而不实的 | |
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34
superstitious
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| adj.迷信的 | |
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35
concealment
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| n.隐藏, 掩盖，隐瞒 | |
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36
doctrines
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| n.教条( doctrine的名词复数 )；教义；学说；（政府政策的）正式声明 | |
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37
doctrine
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| n.教义；主义；学说 | |
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38
guise
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| n.外表，伪装的姿态 | |
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39
aesthetic
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| adj.美学的，审美的，有美感 | |
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40
embellishes
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| v.美化( embellish的第三人称单数 )；装饰；修饰；润色 | |
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41
allurement
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| n.诱惑物 | |
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42
enthrall
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| vt.迷住，吸引住；使感到非常愉快 | |
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43
mere
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| adj.纯粹的；仅仅，只不过 | |
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44
extraneous
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| adj.体外的；外来的；外部的 | |
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45
manifestation
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| n.表现形式；表明；现象 | |
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46
tangible
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| adj.有形的，可触摸的，确凿的，实际的 | |
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47
incurred
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| [医]招致的，遭受的； incur的过去式 | |
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48
censure
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| v./n.责备；非难；责难 | |
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49
sensuous
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| adj.激发美感的；感官的，感觉上的 | |
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50
aspiration
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| n.志向，志趣抱负；渴望；(语)送气音；吸出 | |
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51
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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52
persuasions
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| n.劝说，说服（力）( persuasion的名词复数 )；信仰 | |
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53
potent
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| adj.强有力的，有权势的；有效力的 | |
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54
submission
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| n.服从，投降；温顺，谦虚；提出 | |
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55
rites
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| 仪式，典礼( rite的名词复数 ) | |
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56
motive
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| n.动机，目的；adv.发动的，运动的 | |
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57
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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58
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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59
subjugate
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| v.征服；抑制 | |
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60
impelled
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| v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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61
admiration
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| n.钦佩，赞美，羡慕 | |
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62
passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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63
forth
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| adv.向前；向外，往外 | |
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64
ordinance
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| n.法令；条令；条例 | |
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65
ordinances
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| n.条例，法令( ordinance的名词复数 ) | |
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66
erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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67
symbolize
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| vt.作为...的象征，用符号代表 | |
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68
adorn
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| vt.使美化，装饰 | |
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69
sanctuary
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| n.圣所，圣堂，寺庙；禁猎区，保护区 | |
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70
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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71
deriving
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| v.得到( derive的现在分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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72
acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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73
vividly
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| adv.清楚地，鲜明地，生动地 | |
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74
illustrating
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| 给…加插图( illustrate的现在分词 )； 说明； 表明； （用示例、图画等）说明 | |
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75
purport
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| n.意义，要旨，大要；v.意味著，做为...要旨，要领是... | |
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76
kindling
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| n. 点火, 可燃物 动词kindle的现在分词形式 | |
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77
swerved
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| v.（使）改变方向，改变目的( swerve的过去式和过去分词 ) | |
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78
thereby
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| adv.因此，从而 | |
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79
fervent
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| adj.热的，热烈的，热情的 | |
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80
adoration
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| n.爱慕，崇拜 | |
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81
expenditure
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| n.(时间、劳力、金钱等)支出；使用，消耗 | |
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82
sanctuaries
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| n.避难所( sanctuary的名词复数 )；庇护；圣所；庇护所 | |
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83
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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84
cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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85
rivet
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| n.铆钉；vt.铆接，铆牢；集中(目光或注意力) | |
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86
volatile
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| adj.反复无常的，挥发性的，稍纵即逝的，脾气火爆的；n.挥发性物质 | |
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87
distractions
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| n.使人分心的事[人]( distraction的名词复数 )；娱乐，消遣；心烦意乱；精神错乱 | |
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88
fickle
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| adj.(爱情或友谊上)易变的，不坚定的 | |
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89
exterior
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| adj.外部的，外在的；表面的 | |
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90
condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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91
enjoined
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| v.命令( enjoin的过去式和过去分词 ) | |
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92
dictated
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| v.大声讲或读( dictate的过去式和过去分词 )；口授；支配；摆布 | |
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93
almighty
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| adj.全能的，万能的；很大的，很强的 | |
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94
eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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95
epithet
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| n.（用于褒贬人物等的）表述形容词，修饰语 | |
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96
eminently
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| adv.突出地；显著地；不寻常地 | |
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97
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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98
advent
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| n.(重要事件等的)到来，来临 | |
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99
animate
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| v.赋于生命，鼓励；adj.有生命的，有生气的 | |
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100
remarkably
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| ad.不同寻常地，相当地 | |
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101
strictly
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| adv.严厉地，严格地；严密地 | |
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102
accretion
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| n.自然的增长，增加物 | |
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103
justification
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| n.正当的理由；辩解的理由 | |
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104
symbolic
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| adj.象征性的，符号的，象征主义的 | |
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105
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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106
edifying
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| adj.有教训意味的，教训性的，有益的v.开导，启发( edify的现在分词 ) | |
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107
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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108
glorification
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| n.赞颂 | |
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109
expressive
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| adj.表现的，表达…的，富于表情的 | |
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110
bestows
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| 赠给，授予( bestow的第三人称单数 ) | |
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111
plentiful
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| adj.富裕的，丰富的 | |
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112
citations
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| n.引用( citation的名词复数 )；引证；引文；表扬 | |
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113
sufficiently
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| adv.足够地，充分地 | |
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114
pious
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| adj.虔诚的；道貌岸然的 | |
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115
precisely
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| adv.恰好，正好，精确地，细致地 | |
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116
antagonistic
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| adj.敌对的 | |
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117
zeal
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| n.热心，热情，热忱 | |
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118
texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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119
unity
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| n.团结，联合，统一；和睦，协调 | |
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120
petrifying
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| v.吓呆，使麻木( petrify的现在分词 )；使吓呆，使惊呆；僵化 | |
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121
loyalty
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| n.忠诚，忠心 | |
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122
ordination
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| n.授任圣职 | |
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123
infinitely
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| adv.无限地，无穷地 | |
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124
varied
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| adj.多样的，多变化的 | |
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125
manifestations
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| n.表示，显示（manifestation的复数形式） | |
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126
disciples
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| n.信徒( disciple的名词复数 )；门徒；耶稣的信徒；（尤指）耶稣十二门徒之一 | |
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127
canonical
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| n.权威的；典型的 | |
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128
vitality
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| n.活力，生命力，效力 | |
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129
terse
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| adj.(说话，文笔)精炼的，简明的 | |
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130
Christian
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| adj.基督教徒的；n.基督教徒 | |
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131
integration
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| n.一体化，联合，结合 | |
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132
scripture
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| n.经文，圣书，手稿；Scripture:(常用复数)《圣经》，《圣经》中的一段 | |
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133
hymn
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| n.赞美诗，圣歌，颂歌 | |
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134
hymns
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| n.赞美诗，圣歌，颂歌( hymn的名词复数 ) | |
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135
sifting
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| n.筛，过滤v.筛( sift的现在分词 )；筛滤；细查；详审 | |
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136
essentially
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| adv.本质上，实质上，基本上 | |
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137
resounding
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| adj. 响亮的 | |
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138
longing
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| n.（for）渴望 | |
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139
martyrs
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| n.martyr的复数形式；烈士( martyr的名词复数 )；殉道者；殉教者；乞怜者（向人诉苦以博取同情） | |
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140
martyr
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| n.烈士，殉难者；vt.杀害，折磨，牺牲 | |
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141
testimony
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| n.证词；见证，证明 | |
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142
devout
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| adj.虔诚的，虔敬的，衷心的 (n.devoutness) | |
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143
celestial
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| adj.天体的；天上的 | |
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144
exhausted
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| adj.极其疲惫的，精疲力尽的 | |
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145
expounding
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| 论述，详细讲解( expound的现在分词 ) | |
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146
insistence
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| n.坚持；强调；坚决主张 | |
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147
immutability
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| n.不变(性) | |
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148
adoption
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| n.采用，采纳，通过；收养 | |
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149
vernacular
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| adj.地方的，用地方语写成的；n.白话；行话；本国语；动植物的俗名 | |
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150
disintegration
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| n.分散，解体 | |
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151
alteration
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| n.变更，改变；蚀变 | |
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152
diplomacy
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| n.外交；外交手腕，交际手腕 | |
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153
enactments
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| n.演出( enactment的名词复数 )；展现；规定；通过 | |
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154
liturgical
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| adj.礼拜仪式的 | |
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155
embodies
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| v.表现( embody的第三人称单数 )；象征；包括；包含 | |
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156
followers
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| 追随者( follower的名词复数 )； 用户； 契据的附面； 从动件 | |
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157
renewal
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| adj.(契约)延期，续订，更新，复活，重来 | |
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158
repentance
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| n.懊悔 | |
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159
atoning
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| v.补偿，赎（罪）( atone的现在分词 )；补偿，弥补，赎回 | |
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recurring
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| adj.往复的，再次发生的 | |
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161
transmuted
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| v.使变形，使变质，把…变成…( transmute的过去式和过去分词 ) | |
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literally
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| adv.照字面意义，逐字地；确实 | |
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miraculous
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| adj.像奇迹一样的，不可思议的 | |
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164
transformation
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| n.变化；改造；转变 | |
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165
consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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166
chalice
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| n.圣餐杯；金杯毒酒 | |
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oblation
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| n.圣餐式；祭品 | |
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168
bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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ransom
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| n.赎金，赎身；v.赎回，解救 | |
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applied
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| adj.应用的；v.应用，适用 | |
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binding
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| 有约束力的，有效的，应遵守的 | |
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supplication
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| n.恳求，祈愿，哀求 | |
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173
enigma
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| n.谜，谜一样的人或事 | |
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174
genuflection
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| n. 曲膝, 屈服 | |
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merged
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| （使）混合( merge的过去式和过去分词 )； 相融； 融入； 渐渐消失在某物中 | |
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176
consecration
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| n.供献，奉献，献祭仪式 | |
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177
decorative
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| adj.装饰的，可作装饰的 | |
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shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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179
spicy
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| adj.加香料的；辛辣的，有风味的 | |
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incense
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| v.激怒；n.香，焚香时的烟，香气 | |
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181
contrived
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| adj.不自然的，做作的；虚构的 | |
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182
solely
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| adv.仅仅，唯一地 | |
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183
requiem
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| n.安魂曲，安灵曲 | |
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184
nuptial
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| adj.婚姻的，婚礼的 | |
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185
judgment
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| n.审判；判断力，识别力，看法，意见 | |
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186
dispensed
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| v.分配( dispense的过去式和过去分词 )；施与；配（药） | |
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187
corps
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| n.(通信等兵种的)部队；(同类作的)一组 | |
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188
tracts
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| 大片土地( tract的名词复数 )； 地带； （体内的）道； （尤指宣扬宗教、伦理或政治的）短文 | |
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189
distinctive
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| adj.特别的，有特色的，与众不同的 | |
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190
commemorates
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| n.纪念，庆祝( commemorate的名词复数 )v.纪念，庆祝( commemorate的第三人称单数 ) | |
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191
celebrated
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| adj.有名的，声誉卓著的 | |
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192
psalm
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| n.赞美诗，圣诗 | |
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193
confession
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| n.自白，供认，承认 | |
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194
liturgies
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| n.礼拜仪式( liturgy的名词复数 )；（英国国教的）祈祷书 | |
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195
restrictions
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| 约束( restriction的名词复数 )； 管制； 制约因素； 带限制性的条件（或规则） | |
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196
imploring
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| 恳求的，哀求的 | |
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197
blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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198
creed
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| n.信条；信念，纲领 | |
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199
redound
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| v.有助于；提；报应 | |
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200
vows
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| 誓言( vow的名词复数 )； 郑重宣布，许愿 | |
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201
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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202
bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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203
everlasting
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| adj.永恒的，持久的，无止境的 | |
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204
salvation
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| n.（尤指基督）救世，超度，拯救，解困 | |
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205
vouchsafe
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| v.惠予，准许 | |
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206
propitious
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| adj.吉利的；顺利的 | |
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207
serene
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| adj. 安详的，宁静的，平静的 | |
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208
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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209
humbly
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| adv. 恭顺地，谦卑地 | |
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210
beseech
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| v.祈求，恳求 | |
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211
exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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212
benediction
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| n.祝福；恩赐 | |
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interspersed
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| adj.[医]散开的；点缀的v.intersperse的过去式和过去分词 | |
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214
obeisances
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| n.敬礼，行礼( obeisance的名词复数 )；敬意 | |
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215
complexity
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| n.复杂(性)，复杂的事物 | |
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216
utterance
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| n.用言语表达，话语，言语 | |
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217
proceeding
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| n.行动，进行，(pl.)会议录，学报 | |
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218
recipient
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| a.接受的,感受性强的 n.接受者,感受者,容器 | |
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219
emanate
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| v.发自，来自，出自 | |
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220
laity
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| n.俗人；门外汉 | |
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221
solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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