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One may not condemn the congregation to worthless music or songs of the cheapest type under the pretext of “pastoral need.” Only a music which attracts the congregation through the power of its beauty, sanctity and general appeal will be pastorally effective. Otherwise the people will turn away in disgust (“a liturgia abhorrebit”) because the music used in the liturgy is inappropriate and banal (“ratione deformitatis seu inanitatis”). Unfortunately, he concluded, this is often enough the case at present.
— Archbishop Nicodemo, speaking during Vatican II (Translation by Dr. Robert Skeris)

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Rev’d Fr. Adrian Fortescue (1874-1923)
published 2 July 2016 by Corpus Christi Watershed


T WAS AS FOOLISH A MISTAKE to judge poetry of the fourth and following centuries by the rules of the Augustan age as it would be to try to tinker prose written in one language, to make it conform with the grammar of another. There are cases where these seventeenth-century Jesuits did not even know the rules of their own grammar books. In “Conditor alme siderum” they changed lines which are perfectly correct by quantity.
—Fr. Adrian Fortescue


260 Fr. Adrian Fortescue


According to Michael Davies:

On one occasion, Fr. Fortescue was engaged in a hand-to-hand struggle with some fanatical Albanian soldiers at Hebron, and he and his companions had to fight their way with bludgeons to their horses and gallop away—in Adrian’s case with a broken collarbone. On a second occasion the caravan with which he was travelling in Asia Minor, disguised as an Arab, was attacked by brigands, and in self-defense he killed an assailant with a pistol shot.