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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

Which Translations Do You Prefer? Literal Or Poetic?

Jeff Ostrowski · January 7, 2014

879 Latin E SPENT a lot of time carefully choosing literal translations of the Latin texts for the Edmund Campion Missal & Hymnal. But why did we insist upon literal ones? Why not poetic translations? Well, consider this famous verse by St. Thomas Aquinas:

Tantum ergo Sacraméntum Venerémur cérnui:
Et antíquum documentum Novo cedat rítui;
Præstet fides suppleméntum Sénsuum deféctui.

Look at what they proposed for the 1998 Sacramentary, and hopefully you’ll understand what I’m getting at:

1998 Sacramentary (Rejected)
Secret past imagination,
Dazzling and compelling awe:
Sacrament and celebration
Richer than the ancient law;
Faith can see by revelation
More than senses ever saw.

Literal Translation
Let us therefore, prostrate,
adore so great a Sacrament,
and let the Old Law give way
to the New Ordinance;
let faith supplement
the weakness of the senses

Speaking of the (rejected) 1998 Sacramentary, here’s a selection from a different Pange Lingua, by Venantius Fortunatus:

Lustrix sex qui jam peráctis, tempus implens córporis,
Se volénte, natus ad hoc, passióni déditus,
Agnus in Crucis levátur immolándus stípite.

… and here’s how they translated it in the 1998 Sacramentary, using colloquial, forced phrases like “only born to be rejected”:

1998 Sacramentary (Rejected)
So he came, the long-expected,
Not in glory, not to reign;
Only born to be rejected,
Choosing hunger, toil, and pain,
Till the gallows was erected
And the Paschal Lamb was slain.

Literal Translation
The redeemer had now completed thirty
years and had come to the end of His
earthly life, and then of His own free will
He gave Himself up to the Passion. The
Lamb was lifted up on to the tree of the
Cross to be sacrificed

SADLY, THE 1998 SACRAMENTARY VERSION of the Good Friday Hymn by Fortunatus was adopted for the Third Edition of the Roman Missal (although they did repair some of the worst lines and restored two beautiful verses the 1998 had deleted). Here’s another verse from Fortunatus:

Sola digna tu fuísti ferre saecli prétium,
Atque portum praeparáre nauta mundo náufrago,
Quem sacer cruor perúnxit, fusus Agni córpore.

… and here’s the doggerel poetic translation in the 1998 Sacramentary:

1998 Sacramentary (Rejected)
Only tree to be anointed,
With the blood of Christ embossed,
You alone have been appointed
Balance-beam to weigh the cost
Of a universe disjointed,
Pilot for the tempest-tossed.

Literal Translation
Thou alone wast found worthy to bear
the Victim of the world! Thou wast the
ark that led this ship-wrecked world into
the haven of salvation! The sacred
Blood that flowed from the Lamb
covered and anointed thee.

I never thought I’d say this, but I actually agree with Paul Inwood. Despite his somewhat fanatical attachment to the 1998 Sacramentary (for ideological reasons), Inwood excoriates that translation in this forum entry (“Southern Comfort” is his nom de plume). Inwood is absolutely correct: rather than use “Thee” or “Thine,” they chose a truly absurd version. However, what’s odd to me is that, having condemned all things forced and uninspired, “Southern Comfort” then proceeds to recommend that everyone purchase a certain piece by Paul Inwood, whose music is (in my humble opinion) catchy, but rather predictable — consider, for example, this and this.

ADDENDUM:   Paul made a good point in the combox. It might be worth pointing out that (normally) poetic translations are used so they can be sung. For myself, however, I always find such translations forced. I suppose there are exceptions … e.g. some of Dr. Neale’s translations. I cite Fortescue’s opinions on this subject in this essay.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: 1998 Rejected Sacramentary, Paul Inwood Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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) 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
    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
    “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

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Worse, composers are now setting the introits of the missal [instead of the Graduale] to music, even to chant, though these texts were explicitly for spoken recitation only.”

— ‘Dr. William Mahrt (Fall, 2015)’

Recent Posts

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  • “Reminder” — Month of October (2025)

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