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Views from the Choir Loft

Nothing That Requires Explanation?

Dr. Peter Kwasniewski · February 28, 2013

N SACROSANCTUM CONCILIUM 34 we read: “The rites should be distinguished by a noble simplicity; they should be short, clear, and unencumbered by useless repetitions; they should be within the people’s powers of comprehension, and normally should not require much explanation.” In the new climate of a sincere, open, and honest discussion of the documents of Vatican II, we might genuinely wonder about the legitimacy of that last idea―“and normally should not require much explanation.”

First, there is no such thing as a born Christian, nor a man naturally attuned to symbolism, especially in our age of asymbolic emptiness, when the most elementary religious instincts have been lost or perverted. Everyone needs to learn the meaning of symbols and symbolic gestures. Indeed, one of the most important elements of catechesis is to inculcate the Christian mystagogy, the meaning of all the aspects of Christian worship. Once a layman has learned the meaning of the rituals, gestures, prayers of the ancient rite, he never needs to have them explained again; they remain deeply lodged in the heart, fecundating his spiritual life.

Thus, turning the Council’s statement on its head, the liturgy in absolutely every respect MUST be explained if it is to have and retain any meaning at all. The statement that nothing should need to be explained refutes itself from the very definition of symbol and ritual, which are interpretive motions towards God and cannot be absent from worship unless it degenerates completely into no more than an organized social gathering where greetings and handshakes are exchanged. This kind of formal coffee hour, of course, would need no explaining; but it is also not worship in any sense of the word, much less the renewal of the Sacrifice of Calvary.

To go further, the Council’s statement is strange, for the simple reason that anything profound requires explanation, inculcation, catechesis―the liturgy above all, as testified in Romano Guardini’s masterful sermons on the liturgy, which he preached to an appreciative congregation. To say that the liturgy should somehow be “transparent” in the sense of requiring no prior formation―something quite contrary to the elaborate initiatory practice of the early Church, which prepared her catechumens with such care (how ironic in this age of supposed “return to antiquity”!)―is to set up not only an impossible but an anti-liturgical goal.

To go further still, the traditional Roman liturgy is, in a way, far more transparent, far more immediately understandable, because it is more attentive to the majesty and solemnity of the sacrifice and does not attempt to simplify (and thereby cheapen) the contents of worship. Quietly ignoring the question of audience response, it is nonetheless capable of eliciting an immediate response of a far deeper quality. This is why good-hearted Catholics who attend the ancient liturgy may come away perhaps a bit confused as to the details but still filled with a sense of mystery and majesty, aware of the sublime and unique nature of true Christian worship. Provided that they understand the rudiments of Catholic doctrine, they have seen and heard the mystery of the word of God and the Holy Eucharist; they do not need an immediate explanation of every detail. They will grow into the details over time, especially if the priest does his job by judicious explanations in sermons, as any good traditional priest would do.

The real crisis at the time of the Council was that priests were no longer devoted to, and no longer cared to preach about, the mysteries, the rituals, the symbols. Thus the Consilium of Paul VI thought to solve the problem by fabricating a symbolically “obvious” ritual, and succeeded, as Catherine Pickstock argues, in giving us something nearly totally devoid of symbolic richness, subtlety, and depth. In a sort of inversion of Catholic incarnational spirituality, they surrendered to the anti-symbolic, anti-sacral carnality of the modern world, where obsession with the flesh―that is, the palpable, immediate, obvious, no-need-to-be-explained environment of daily experience―clouds over the apprehension of invisible spiritual realities.

Yet another reason for Summorum Pontificum, which has inaugurated the liturgical renewal that the Council attempted but, thanks to the snares of ideology, failed to achieve.

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 Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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Corpus Christi Watershed

President’s Corner

    Proof Which All Can Immediately See!
    “A little knowledge is a dangerous thing,” as the famous maxim goes. Over the years, I’ve observed malicious attacks on the Brébeuf Catholic Hymnal. Rather than scoring a ‘hit’ on the Brébeuf Hymnal, its attackers often reveal profound ignorance. I’ve been advised never to reply … but I break that rule today. Certain voices online assert that the Brébeuf Hymnal is “untraditional” because it includes both the Urbanite and pre-Urbanite versions of the hymns. But if only they would glance at a copy of the 1913 VESPERALE (printed by order of Pope Saint Pius X) they would see how mistaken such statements are.
    —Jeff Ostrowski
    New Bulletin Article • “8 June 2025”
    My pastor requested that I write short articles each week for the parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article includes a few anecdotes about Archbishop Fulton J. Sheen and Abraham Lincoln.
    —Jeff Ostrowski
    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
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    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
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    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Every experienced choirmaster’s work is founded on the following three axioms: (1) Few boys have a really good natural voice; (2) No boy is able to control his voice and produce good tone without training; (3) Most boys have a good ear, and considerable imitative capacity. It is on the last of these axioms that the choirmaster must begin his work.”

— Sir Richard Runciman Terry (1912)

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