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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

He Saw & Believed

Fr. David Friel · March 31, 2013

HEN MARY MADGALENE ARRIVES at the tomb and finds the stone rolled back, confusion falls upon her. She is so afflicted by the events of the last several days that she comes to mourn at Jesus’ tomb before the sun even rose. Seeing the tomb unsealed was very unexpected. What should she make of this scene? When she confronts Peter and the Beloved Disciple with the strange news, she says, “They have taken the Lord from the tomb, and we don’t know where they put Him.” Can you picture Mary Magdalene in this state of confused, grief-stricken hysteria? All she can say is, “What happened? Which way did He go?”

The experience is very different for the Beloved Disciple. He runs with great speed to the tomb, indicative not only of youthfulness but also of his anticipatory faith. When he arrives, the Beloved Disciple deferentially waits for Peter to go inside first. Notably, however, the Gospel tells us only that Peter “saw” the burials cloths folded and placed aside. Thereafter, we are subtly told that the Beloved Disciple “saw and believed.” Instantaneously, the sequence of events that confused Mary Magdalene and perplexed Peter are intuited. The Beloved Disciple does not get caught up wondering where Jesus has gone. He immediately thinks “of what is above, not of what is on earth.” He believes, on account of God’s gift and the evidence surrounding him, that “Christ is seated at the right hand of God.”

Shortly after this, the Apostles return home, leaving Mary Magdalene alone at the tomb. There, the Lord appears to her, and she becomes the first witness of the Resurrection. Before long, according to the Acts of the Apostles, Peter would be fearlessly traveling to “preach to the people and testify” that Jesus was “raised on the third day.” But it was the Beloved Disciple who first believed.

For this reason, the Beloved Disciple is a tremendous model of faith. In this Year of Faith, we are celebrating as a universal Church a virtue that has its origin in Easter Day. Were it not for the Paschal Mystery—the suffering, death, and ultimate Resurrection of our Lord—Christian faith would have no basis. The Letter to the Hebrews defines faith as “the substance of things to be hoped for, and the evidence of things not seen” (Hebrews 11:1). The coming to faith of the Beloved Disciple wasn’t merely the logical deduction of a sequence of events unexplainable by any other means. Surely another observer could have fabricated various explanations for what he and Peter and Mary Magdalene had seen. The coming to faith of the Beloved Disciple begins with his acceptance of what Jesus had revealed about Himself and ends with the Disciple’s interior illumination by grace.

That Jesus could die on the Cross and yet be raised from the dead is the definitive motive of credibility. For one who has faith, the state of confusion never lasts long. Mary Magdalene, who began that first Easter morning in utter confusion, declares this in the sequence for today’s feast: “Christ my hope is arisen. . . . Christ indeed from death is risen, our new life obtaining.” The Easter mystery serves as the bedrock for our faith, even as it did for the first disciples.

At the sight of our Savior’s rising, and formed by the virtue of faith, we dare to say: Alleluia!

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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

“The Translator has not followed any existing version exactly in the rendering of the Holy Scripture. The version, or rather series of versions—for there are many different recensions of the text,—generally called the Doway Bible, does not much commend itself to the English ear, and is indeed, especially in the earlier recensions, difficult to understand for any one who does not know Latin, and indeed other languages also…”

— John Crichton-Stuart (27 June 1879)

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  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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