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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

Pentecost: Babel, Tongues, & Latin

Fr. David Friel · June 8, 2014

ANGUAGE is a major component of the feast of Pentecost. This is obvious from the readings appointed for both the Vigil Mass and the Mass during the Day. Within these Scripture selections, there is a message for us to learn about vernacular liturgy.

At the Vigil Mass, the first reading is taken from Genesis, chapter 11, where one finds the story of the Tower of Babel. The first line is striking: “The whole world spoke the same language, using the same words” (Genesis 11:1). The author seems mesmerized by the beautiful uniformity of this situation—a state of affairs that characterized the worship of the Roman Rite for many centuries. Later in the reading, on account of the people’s pride & rebellion, the Lord decides to “confuse their language, so that no one will understand the speech of another” (Genesis 11:7).

In the first reading from the Mass during the Day, the story of Pentecost day is recounted from Acts, chapter 2. Interestingly, in this case, the people become “confused” because “each one heard [the disciples] speaking in his own language” (Acts 2:6). By the power of the Holy Spirit and the gift of tongues, people of all nations were enabled to hear and understand the Gospel message that day.

Fifty years having passed since Sacrosanctum Concilium, it is difficult to understand how that document’s implementation happened the way it happened. This is the Vatican II Constitution that states: “the use of the Latin language is to be preserved in the Latin rites” (SC 36.1). Almost immediately after its release, however, the use of Latin in Catholic liturgy all but vanished.

I was impressed years ago by a bit of wisdom that I read in Letters to Malcolm, C.S. Lewis’ brief book on prayer:

“If you have a vernacular liturgy, you must have a changing liturgy: otherwise it will finally be vernacular only in name. The ideal of ‘timeless English’ is sheer nonsense. No living language can be timeless. You might as well ask for a motionless river.”

The Third Edition of the Roman Missal has made heroic strides towards a more “timeless English” for today’s worship in the Anglophone world, but Lewis’ point remains true. Shouldn’t liturgy be timeless? If so, then abundant use of vernacular languages will be a hindrance.

There is a special arrogance which asserts that “people can’t understand” the liturgy unless it is celebrated in the vernacular. Do we really “understand” the liturgy, even in the vernacular? This usage of “understand” seems to imply a sense of total control over the liturgy and a marked absence of mystery. At the same time, the insinuation that the faithful are incapable of grasping at least the ordinary in Latin is, to my mind, brash.

Some time ago, I published the story of how I came to love Latin liturgy, and this feast of Pentecost has brought those thoughts to the fore of my mind again. I never set out to love Latin; the conversion simply overtook me once I began to experience it. Do churchgoers of my generation—who, largely, have no experience of Latin in the liturgy at all—even recognize the gift that has been lost? Would they even understand the wonder & awe captured in the opening line of the Tower of Babel story?

As I stood in line last July, waiting for the opportunity to concelebrate Mass on Copacabana Beach, I remember wondering to myself what language Pope Francis would choose for offering the closing Mass of World Youth Day. On other occasions, I have been to Masses with similarly international congregations during which (presumably in order to make everyone feel welcome) the organizers arranged for twelve intercessions to be spoken each in a different language by a person in native dress. On these occasions, my natural response has invariably been to recall that the Church, in her long wisdom, has an answer for such occasions. Why is it taboo, verboten, anathema in so many places to make use of Latin, which is so highly praised & respected by the Second Vatican Council?

From the Tower of Babel, we can learn an appreciation for worldwide linguistic uniformity. Considering the story of Pentecost, we can gain admiration for a common language that people of diverse backgrounds can comprehend. Is it too much of a jump to recognize the value of Latin liturgy?

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

Filed Under: Articles Tagged With: Latin, Liturgy of the Second Vatican Council, Roman Missal Third Edition, Sacrosanctum Concilium Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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President’s Corner

    PDF • “Music List” (Sunday, 28 December)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Holy Family of Jesus, Mary, & Joseph (28 Dec. 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon are particularly gorgeous. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF • “Music List” (Xmas Midnight Mass)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Christmas Midnight Mass (“Ad Missam In Nocte”). If such a thing interests you, feel free to download it as a PDF file. The ENTRANCE CHANT is simple, but quite beautiful. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF • “Music List” (4th Sunday of Advent)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 21 December 2025, which is the 4th Sunday of Advent (Year A). If such a thing interests you, feel free to download it as a PDF file. The ENTRANCE CHANT is the famous “Roráte Coeli” and the fauxbourdon setting of the COMMUNION is exquisite. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    What does this mean? “Pre-Urbanite”
    One of the things informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal has to do with its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski
    Pope Leo XIV on Sacred Music
    On 5 December 2025, Pope Leo XIV made this declaration with regard to liturgical music.
    —Corpus Christi Watershed

Random Quote

“In chronological order, [Dom Pierre Combe] traces the Gregorian reform from its beginnings under Dom Guéranger in 1833, to the problems of the Vatican Commission on Sacred Music in the first decade of the 20th century. As one reads the topic headings and development of their content, one wonders how such an innocent and un-warlike subject such as Gregorian chant could have been the focal point of such an intense and continuing battle among scholars and churchmen for so many decades.”

— Dr. Theodore Marier (1968)

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