• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
    • “Let the Choir Have a Voice” (Essay)
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
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

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —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

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —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
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“Obey, then, these prescriptions sincerely and calmly. [viz. clerics must pray their office in Latin.] It is not an excessive love of old ways that prompts them.”

— Pope Saint Paul VI (15 August 1966)

Recent Posts

  • Most “Congregational” Hymn • (In My Experience)
  • Music is the “Humble Handmaid” of the Mass
  • Good Friday Flowers
  • PDF Download • “Entrance Chant” for Holy Thursday (Plainsong in English)
  • “Dies Irae” • A Monstrous Translation

Subscribe

Subscribe

* indicates required

Copyright © 2026 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.