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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

The Smoke of Satan

Andrew Leung · February 22, 2018

CTL Smoke of Satan ATELY, the quote of Pope Bl. Paul VI, “The smoke of Satan has entered the Church” keep popping into my head as the dispute over the Vatican-Communist China relationship continues to develop. The details of the “agreement” has never been fully revealed by the officials. However, based on what we know, I think the faith and salvation of many Chinese people, not just the ones in Mainland China, but also those who are living in Taiwan, Hong Kong and Macau, are at risk. I pray that the Holy Spirit will guide the Church to make the right decision and that God’s will be done.

In the meantime, I have been reflecting on “the smoke of Satan” that appears in different aspects of life, including within our liturgical life. What I am about to write might seemed very radical, but I think it is worth contemplating on personally. I am not trying to condemn anyone, but to simply reflect on the way (attitude) of our participation in the liturgy.

Bl. Paul VI was referring to the state of the Church and the confusion after the Council when he spoke of “the smoke of Satan” in 1972. Similarly, I found “the smoke” in some of the post-Vatican II liturgical practices. These practices are not necessarily products of the Council, but rather practices that people invented after the Council. For example, there are people who advocate and insist that there is no need to kneel for our Lord, whether it’s during the consecration, when we receive the precious Body and Blood of Christ, or when we pass in front of the tabernacle. Isn’t that what Satan and the fallen angels did: refuse to bow down in front of our God? Do you think that the versus populum orientation might more likely to create temptations for the priests to turn the Mass into a “self-centered show”?

Obviously, “the smoke” can also appear in other forms of temptations like the collecting of vestments or vessels for personal glory; or when we sing and play music at Mass for our own glory or pleasure. By the way, I totally agree with what Fr. Rutler said in the recent interview regarding to rock music, and I think it should never be brought into the liturgy. Basically, whenever we are not praying and are being self-centered during the Mass, “the smoke of Satan” enters the liturgy. So, let us be aware of this “smoke”, especially when we are serving in the liturgy. Let God be the center, and let Him be glorified.

Tu es Petrus by Robert Pearsall

You are Peter,
And upon this Rock I will build My Church:
and the gates of hell shall not overcome it.
And I will give you the keys to the kingdom of heaven.

HE SUCCESSORS OF ST. PETER have reminded over and over again about the importance of prayers in spiritual battles. Pope St. John Paul II said in his Regina Caeli address on April 24, 1994:

“May prayer strengthen us for the spiritual battle that the Letter to the Ephesians speaks of: ‘Be strong in the Lord and in the strength of his might’ (Ephesians 6:10). The Book of Revelation refers to this same battle, recalling before our eyes the image of St Michael the Archangel (cf. Revelation 12:7). Pope Leo XIII certainly had this picture in mind when, at the end of the last century (19th cent.), he brought in, throughout the Church, a special prayer to St Michael: ‘Saint Michael the Archangel, defend us in battle. Be our protection against the wickedness and snares of the devil…’ Although this prayer is no longer recited at the end of Mass, I ask everyone not to forget it and to recite it to obtain help in the battle against the forces of darkness and against the spirit of this world.”

On this Feast of the Chair of St. Peter, let us continue to pray for the Supreme Pontiff and the unity of the Church. Let us especially remember the faithful in China, especially those who are under persecution and are feeling abandoned.

Happy Feast Day!

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 Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    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 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

“Iconographic tradition has theologically interpreted the manger and the swaddling cloths in terms of the theology of the Fathers. The child stiffly wrapped in bandages is seen as prefiguring the hour of his death: from the outset, he is the sacrificial victim, as we shall see more closely when we examine the reference to the first-born. The manger, then, was seen as a kind of altar.”

— Pope Benedict XVI (2012)

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