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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

Roman Missal 3.0 — Installment No. 4

Fr. David Friel · February 16, 2012

The fourth “highlight” of the new Roman Missal I will give for our reflection regards the manner of translation itself.

In composing the new missal, the International Commission on English in the Liturgy (ICEL) embraced the school of translation known as “formal correspondence” over the “dynamic equivalence” school, which had been employed in crafting the 1973 Sacramentary. The result is that the thoughts, words, and sentiments of the original Latin are captured and conveyed with tremendous fidelity in the new English texts. This fidelity has revealed a wealth of theology and traditional piety in many of the new prayers that was either less clear or missing altogether in the former translation.

I shall present only two of the abundant examples—one from the Proper of the Mass, and one from the Ordinary of the Mass. The Proper prayers are those that change so as to pertain to the particular feast being celebrated. In the following table, compare the Latin original of the proper prayers for the memorial of the Most Holy Name of Jesus with the two different English translations:

As I prayed these prayers from the new missal for the first time on January 3rd, I was struck nearly dumb, literally. Not only their intrinsic elegance captivated me, but also the fantastic manner in which they demonstrate a form of traditional Catholic piety that is too often ignored.

What I mean is this. If you look closely at the Latin, you will notice that the prayers nowhere include the name, Iesu. This brilliant reservation of the Divine Name on its very feast is an expression of the piety that has inspired generations of Catholics to be solicitous in their use of the only Name that saves (cf., Acts 4:12). The prayers, themselves, teach us by their nuance to revere the Holy Name.

The translators who created the Sacramentary (actually, in this case, its companion “Supplement”) chose, as you see, to insert the Lord’s Name in each of the three orations. While there is nothing heinous nor heretical about this decision, it unfortunately did not allow the piety so beautifully intended by the Latin to be appreciated at English Masses. The 2011 Roman Missal, contrariwise, has carefully withheld the usage of the Divine Name in its translation of these prayers and so restored the practice and piety of so many years. I find this effort (and all such efforts) to reclaim our Catholic heritage praiseworthy.

The second example I shall present is a response that occurs as part of a dialogue with the priest (or bishop or deacon) five times during the course of Holy Mass. It is an ancient exchange, recorded at least as early as the Apostolic Tradition of St. Hippolytus in AD 215. In its original Latin, the response is:

Et cum spiritu tuo.

In the former Sacramentary, the phrase had been translated:

And also with you.

Now, in the newly translated Roman Missal, the response is given:

And with your spirit.

Herein, one can see a clear illustration of the difference between “dynamic equivalence” and “formal correspondence.” As small as this change in English may seem, it is a very important change.

By greeting the people with the words, “The Lord be with you,” the priest makes a profound statement. He expresses his desire that the dynamic activity of God’s Spirit be poured out on the people of God, enabling them to go about the work of transforming the world, which God has entrusted to them through Baptism.

The response of the people, “And with your spirit,” is equally profound. It refers specifically to the unique gift of the Spirit given to a bishop, priest, or deacon at ordination. This, then, is a prayer of the people for the celebrant. It asks that the priest might use the charismatic gifts he received at ordination and, in so doing, fulfill his ecclesial, prophetic role. Notably, therefore, this exchange is addressed only to an ordained minister. Whereas it may have seemed appropriate to respond, “And also with you,” to a lay person, the fidelity of the new translation helps to clarify that this call and response has always been and continues to be reserved for situations between an ordained minister and a congregation.

The orations for the memorial of the Most Holy Name of Jesus and the response, “And with your Spirit” are fine examples of translation by “formal correspondence.” This method of translation, we have endeavored to show, carries the benefit of preserving the wealth of theology and traditional piety inherent in the prayers of the Roman Rite. In these and similar instances, it is remarkably true that fidelity of translation reveals subtlety of theology.

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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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“The sun’s disc did not remain immobile. This was not the sparkling of a heavenly body, for it spun round on itself in a mad whirl, when suddenly a clamor was heard from all the people. The sun, whirling, seemed to loosen itself from the firmament and advance threateningly upon the earth as if to crush us with its huge fiery weight. The sensation during those moments was terrible.”

— ‘Dr. Almeida Garrett, professor of natural sciences at the University of Coimbra (1917)’

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