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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

A Triptych on Mercy • Reflection III

Fr. David Friel · November 20, 2016

ODAY brings an end to the Extraordinary Jubilee Year of Mercy, which began last December on the solemnity of the Immaculate Conception. Announced by the bull of Pope Francis, Misericordiae Vultus, this jubilee has provided the Church with an opportunity to reflect deeply on the richness, power, and incomprehensibility of God’s mercy.

Today also concludes this Triptych on Mercy, a threefold reflection on mercy that I began two Sundays ago (see Part I and Part II).

We have already considered “The Meaning of Mercy” and “The Need for Mercy.” This final reflection takes as its theme “The Beauty of Mercy.”

There are leaders in our world today who talk a great deal about mercy. In some cases, though, it would appear that these leaders do not know what mercy really is. In speaking about mercy, they give the impression that sin really isn’t so bad or really doesn’t matter. They give the impression that mercy does away with the distinctions between right & wrong, good & evil.

That is not mercy.

Mercy does not dismiss sin; it does not minimize sin; it does not overlook sin. Rather, true mercy assumes sin. That is to say, the experience of true mercy is always in response to sin, to the brokenness of our fallen world. This becomes especially clear when one considers that it is a work of mercy to “admonish the sinner.”

Mercy is not a stance of passivity or indifference to the nature of sin; it is, rather, a profound sensitivity to the damage sin does. Mercy assumes sin and desires to do something concrete to heal it. Mercy is the visible form of love for sinners.

This is “the beauty of mercy.” To say that sin does not matter is too easy. It’s flimsy, and there is no beauty to it. But real mercy, which takes sin as a starting point, is deeply beautiful precisely because it wrestles with the darkness and dirtiness of sin.

Consider these words from St. Paul’s Letter to the Romans: “God proves His love for us in that, while we were still sinners, Christ died for us” (Romans 5:8). There is great richness and beauty in these words. The Lord does not wait for all the messiness of sin to get cleaned up before He comes to save us. The Lord doesn’t pretend that sin doesn’t exist in order to save us. Rather, the Lord steps right into the middle of our mess, and it is there that He brings us His mercy.

If anything should be clear to us from reading the Gospels, it is this: Christ is not indifferent to sin. Think about the story of the adulterous woman, who is about to be stoned to death by the religious authorities who caught her in the act. The Lord comes along and intervenes, famously challenging the crowd to let the one who is without sin be the first to cast a stone. This is a masterful approach, as Jesus appeals to the virtue of justice in order to set Himself up for an act of great mercy toward the woman being condemned.

The Lord looks at everyone in the scene and sees sinners. He acknowledges that everyone wielding a stone is a sinner. He also acknowledges that the woman, herself, is a sinner. Only after this acknowledgment of sin does the Lord turn the tables toward mercy.

He lets the woman walk away unharmed, challenging her to go and sin no more. In perhaps an even greater act of mercy, Jesus lets the religious authorities in the crowd drop their stones and walk away. This is true mercy, and it is beautiful.

The scene would be so much less beautiful, so much less compelling, if Jesus had walked up to the crowd and said, “Don’t worry about it. Everything’s cool. She didn’t really do anything that bad. You’re okay and I’m okay.” The beauty of mercy comes from confronting sin head on.

This understanding comes through clearly in a line that appears near the end of the Roman Canon. In this prayer, the priest says:

Admit us, we beseech you, into their company, not weighing our merits, but granting us Your pardon.

This line is a humble, earnest prayer for God’s mercy, asking to be brought at last to heaven. What this prayer asks is phenomenal. It asks that we be admitted to the company of the saints, not because of our merits—not because of how great we are or anything good we have done. It asks, rather, that we be admitted to heaven because of God’s goodness.

This is the beauty of Divine Mercy. The hesed of the Lord—His loving-kindness, His Divine Mercy—is not dependent on our goodness. Nor is it a reward for our good deeds. It is free; it is unearned; it is unconditional.

God’s mercy is deeply meaningful, critically necessary, and extravagantly beautiful.

Part 1 • The Meaning of Mercy

Part 2 • The Need for Mercy

Part 3 • The Beauty of Mercy

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 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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Corpus Christi Watershed

President’s Corner

    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF • “Cantus Mariales” (192 pages)
    Andrea Leal has posted an absolutely pristine scan of CANTUS MARIALES (192 pages) which can be downloaded as a PDF file. To access this treasure, navigate to the frabjous article Andrea posted Monday. The file is being offered completely free of charge. The beginning pages of the book have something not to be missed: viz. a letter from Pope Saint Pius X to Dom Pothier, in which the pope calls Abbat Pothier “a man versed above all others in the science of liturgy, and to whom the cause of Gregorian chant is greatly indebted.”
    —Jeff Ostrowski
    Music List • (2nd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 2nd Sunday of Lent (1 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its somber INTROIT is particularly striking—using a haunting tonality—but the COMMUNION with its fauxbourdon verses is also quite remarkable. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

By far, the event that caused the biggest increase in requests for indults from the morning Mass requirement was the Second World War. The unusual requirements of providing Mass during wartime led to some unique legislation accommodating the time of Mass. Already in 1940, Pope Pius XII issued a motu proprio addressing the situation of holding Mass in countries where a “Black-out” had been ordered.

— Father Shawn P. Tunink

Recent Posts

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  • Fulton J. Sheen • “24-Hour Catechism”
  • Music List • (2nd Sunday of Lent)

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