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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

Pentecost: Babel, Tongues, & Latin

Fr. David Friel · June 8, 2014

ANGUAGE is a major component of the feast of Pentecost. This is obvious from the readings appointed for both the Vigil Mass and the Mass during the Day. Within these Scripture selections, there is a message for us to learn about vernacular liturgy.

At the Vigil Mass, the first reading is taken from Genesis, chapter 11, where one finds the story of the Tower of Babel. The first line is striking: “The whole world spoke the same language, using the same words” (Genesis 11:1). The author seems mesmerized by the beautiful uniformity of this situation—a state of affairs that characterized the worship of the Roman Rite for many centuries. Later in the reading, on account of the people’s pride & rebellion, the Lord decides to “confuse their language, so that no one will understand the speech of another” (Genesis 11:7).

In the first reading from the Mass during the Day, the story of Pentecost day is recounted from Acts, chapter 2. Interestingly, in this case, the people become “confused” because “each one heard [the disciples] speaking in his own language” (Acts 2:6). By the power of the Holy Spirit and the gift of tongues, people of all nations were enabled to hear and understand the Gospel message that day.

Fifty years having passed since Sacrosanctum Concilium, it is difficult to understand how that document’s implementation happened the way it happened. This is the Vatican II Constitution that states: “the use of the Latin language is to be preserved in the Latin rites” (SC 36.1). Almost immediately after its release, however, the use of Latin in Catholic liturgy all but vanished.

I was impressed years ago by a bit of wisdom that I read in Letters to Malcolm, C.S. Lewis’ brief book on prayer:

“If you have a vernacular liturgy, you must have a changing liturgy: otherwise it will finally be vernacular only in name. The ideal of ‘timeless English’ is sheer nonsense. No living language can be timeless. You might as well ask for a motionless river.”

The Third Edition of the Roman Missal has made heroic strides towards a more “timeless English” for today’s worship in the Anglophone world, but Lewis’ point remains true. Shouldn’t liturgy be timeless? If so, then abundant use of vernacular languages will be a hindrance.

There is a special arrogance which asserts that “people can’t understand” the liturgy unless it is celebrated in the vernacular. Do we really “understand” the liturgy, even in the vernacular? This usage of “understand” seems to imply a sense of total control over the liturgy and a marked absence of mystery. At the same time, the insinuation that the faithful are incapable of grasping at least the ordinary in Latin is, to my mind, brash.

Some time ago, I published the story of how I came to love Latin liturgy, and this feast of Pentecost has brought those thoughts to the fore of my mind again. I never set out to love Latin; the conversion simply overtook me once I began to experience it. Do churchgoers of my generation—who, largely, have no experience of Latin in the liturgy at all—even recognize the gift that has been lost? Would they even understand the wonder & awe captured in the opening line of the Tower of Babel story?

As I stood in line last July, waiting for the opportunity to concelebrate Mass on Copacabana Beach, I remember wondering to myself what language Pope Francis would choose for offering the closing Mass of World Youth Day. On other occasions, I have been to Masses with similarly international congregations during which (presumably in order to make everyone feel welcome) the organizers arranged for twelve intercessions to be spoken each in a different language by a person in native dress. On these occasions, my natural response has invariably been to recall that the Church, in her long wisdom, has an answer for such occasions. Why is it taboo, verboten, anathema in so many places to make use of Latin, which is so highly praised & respected by the Second Vatican Council?

From the Tower of Babel, we can learn an appreciation for worldwide linguistic uniformity. Considering the story of Pentecost, we can gain admiration for a common language that people of diverse backgrounds can comprehend. Is it too much of a jump to recognize the value of Latin liturgy?

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

Filed Under: Articles Tagged With: Latin, Liturgy of the Second Vatican Council, Roman Missal Third Edition, Sacrosanctum Concilium 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

    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
    Music List • (5th Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 5th Sunday of Lent (22 March 2026). If such a thing interests you, feel free to download it as a PDF file. Traditionally, this Sunday was called ‘Passion’ Sunday. Starting in 1956, certain church leaders attempted rename both ‘Passion’ Sunday and ‘Palm’ Sunday—but it didn’t work. For example, Monsignor Frederick McManus tried to get people to call PALM SUNDAY “Second Passion Sunday”—but the faithful rejected that. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    Music List • (Holy Thursday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Holy Thursday, which is 2 April 2026. If such a thing interests you, feel free to download it as a PDF file. I’m not sure I’ve ever heard a more piercingly beautiful INTROIT, and I have come to absolutely love the SATB version of ‘Ubi cáritas’ we are singing (joined by our burgeoning children’s choir). I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —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

“Abbat Pothier’s great accomplishment is having returned to the Catholic world—along with the traditional melody—the traditional way of performing it. The foundations laid by this providential man have been accepted by all those who practice Gregorian chant.”

— Dr. Peter Wagner (Commissionis Pontificiæ Gregorianæ Membrum)

Recent Posts

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  • “Gregorian Chant Quiz” • 24 March 2026
  • “Versions of the Psalter” • Jeff Interviews Top Biblical Scholar: Dr. Mark Giszczak
  • PDF Download • “Ubi Caritas” (SATB)

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