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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Startlingly Human

Richard J. Clark · August 30, 2013

ESUS, THE WORD MADE FLESH, is both Divine and fully Human. I have great difficulty wrapping my brain around this truth. However, I accept it joyfully as a matter of faith. Still, it will likely remain an unreachable understanding throughout my life.

That humanity is entwined in the divine is no more evident than in the Book of Psalms. Consider that “the Psalter is the basic songbook of the Liturgy.” (GIRM, no. 102.) Therefore, our greatest prayer, the Mass, weds the human with the divine, as does the crucified Jesus. This is a notion of great beauty, considering how fragile our humanity is.

St. Paul refers to our body as a “tent.” It decays. But as Catholics we believe in not only the resurrection of our spirit, but of the body. Sometimes we forget this or even deny it. From the Requiem Mass, the chant Credo quod Redemptor emphatically cries, “I believe that my Redeemer lives, and that on the last day, I shall rise from earth and in my flesh I shall behold God my Savior.”

“…and in my flesh” … This is astounding!

SALM 139 (138) most extraordinarily describes complete faith in the divine that mercifully upholds humble humanity. (Most telling of the importance of this psalm is that it is prescribed for the Introit, Resurrexi, on Easter Sunday.) Humanity’s intimate relationship with the divine is evident in its first lines:

You have searched me, Lord,

and you know me.

You know when I sit and when I rise;

you perceive my thoughts from afar.

You discern my going out and my lying down;

you are familiar with all my ways.

God’s watchful eye over us is most evident in this psalm. No matter how we try to flee from God, He will find us:

Where can I go from your Spirit?

Where can I flee from your presence?

If I go up to the heavens, you are there;

if I make my bed in the depths, you are there.

If I rise on the wings of the dawn,

if I settle on the far side of the sea,

even there your hand will guide me,

your right hand will hold me fast.

If I say, “Surely the darkness will hide me

and the light become night around me,”

even the darkness will not be dark to you;

the night will shine like the day,
for darkness is as light to you.

Some of the most famous (and controversial lines) are in found here, in the wonderment of our human creation:

For you created my inmost being;

you knit me together in my mother’s womb.

I praise you because I am fearfully and wonderfully made;

your works are wonderful,
I know that full well.

My frame was not hidden from you

when I was made in the secret place,
when I was woven together in the depths of the earth.

Your eyes saw my unformed body;

all the days ordained for me were written in your book
before one of them came to be.

Towards the end, King David reveals, as he often does, the despair and ugliness of humanity. In his song and prayer, he calls for the defeat – the blood of his enemies. He describes his hatred for God’s enemies. He laments that God does not destroy them.

If only you, God, would slay the wicked!

Away from me, you who are bloodthirsty!

They speak of you with evil intent;

your adversaries misuse your name.

Do I not hate those who hate you, LORD,

and abhor those who are in rebellion against you?

I have nothing but hatred for them;

I count them my enemies.

That perhaps we can relate to this, may be disturbing to us. That we may pray for this may be frightening. These sentiments are startlingly human.

And so, the human is immersed in the divine with this conclusion of the psalm. Like the capitulation of a musical theme, David prays that God will search him and know his heart, and to lead him out of his great sinfulness:

Search me, God, and know my heart;

test me and know my anxious thoughts.

See if there is any offensive way in me,

and lead me in the way everlasting.

May we find the divine though our humanity. God will always find us, even in the depths of our earthly imperfection and sin.

MEZZO-SOPRANO, Katherine Dulweber sings a concert setting of Psalm 139:

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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President’s Corner

    Music List • (4th Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 4th Sunday of Lent (15 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has sublime propers. It is most often referred to as “Lætare Sunday” owing to its INTROIT. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    PDF Download • Communion (4th Snd. Lent)
    The COMMUNION ANTIPHON for this coming Sunday, which is the Fourth Sunday of Lent (Year A), is particularly beautiful. There’s something irresistible about this tone; it’s neither happy nor sad. As always, I encourage readers to visit the flourishing feasts website, where the complete Propria Missae may be downloaded free of charge.
    —Jeff Ostrowski
    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski

Quick Thoughts

    Stumped by “Episcopalian Hymnal” (1910)
    Some consider Songs of Syon (1910) the greatest Episcopalian hymnal ever printed. As a Roman Catholic, I have no right to weigh in one way or the other. However, this particular page has me stumped. I just know I’ve heard that tune somewhere! If you can help, please email me. I’m talking about the text which begins: “This is the day the Lord hath made; In unbeclouded light array’d.” The book is by George Ratcliffe Woodward, and its complete title is: Songs of Syon: A Collection of Psalms, Hymns, and Spiritual Songs. Back in 2016, Corpus Christi Watershed scanned and uploaded this insanely rare book. For years our website was the sole place one could download it as a PDF file.
    —Jeff Ostrowski
    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— ‘Father Clemens Blume, S.J.’

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