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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

Problematic Sequence Translations In Our Current Lectionary

Jeff Ostrowski · June 2, 2014

399 GIA Worship IV EVERAL FULLY APPROVED pew books avoid the Sequence translations found in the current Lectionary. Examples include GIA’s Worship IV, the Gregorian Missal (Solesmes, 2012), and the Jogues Illuminated Missal.

As a member of the Jogues editorial committee, I’m happy to reveal why we made this choice. First, I’ll give a tiny bit of history. Then, I’ll mention some problems with the current translation. Finally, I’ll explain our solution.

When the Lectionary first appeared in 1970, it included two translations for each Sequence: one prose, one poetic. However, the prose version was eventually dropped. Furthermore, the poetic version was bowdlerized and given an erroneous copyright. 1

An irrational fear of Thee, Thou, and Thine caused the removal of such words, damaging the meter and making the bowdlerized version impossible to sing to the original chant tune:

Original 1964 Version:
Come, thou Holy Spirit, come!
And from thy celestial home
Shed a ray of light divine!

Come, thou Father of the poor!
Come, thou source of all our store!
Come, within our bosoms shine!

Bowdlerized Version:
Come, […] Holy Spirit, come!
And from your celestial home
Shed a ray of light divine!

Come, […] Father of the poor!
Come, […] source of all our store!
Come, within our bosoms shine.

The whole point of these “poetic” translations was to match the Latin rhythm exactly. However, the meter was wrecked when somebody decided words like “reconcileth” were too hard to understand:

Original Latin:   Reconciliávit peccatóres.   (10 beats)
Original 1964 Version:   Reconcileth sinners to the Father.   (10 beats)
Current Lectionary Version (Bowdlerized):   Reconciles sinners to the Father.   (9 beats)

Original Latin:   Quid vidisti in via?   (7 beats)
Original 1964 Version:   What thou sawest, wayfaring.   (7 beats)
Current Lectionary Version (Bowdlerized):   What you saw, wayfaring.   (6 beats)

When we consider the ingenious efforts of the poet — who perfectly matched the rhyme scheme, meter, and accents of the original Latin — we recognize how audacious and unacceptable is such vandalism. Look how they treated the Lauda Sion of St. Thomas Aquinas:

Original 1964 Version:
Laud, O Sion, thy salvation,
Laud with hymns of exultation,
Christ, thy king and shepherd true:

Bring him all the praise thou knowest,
He is more than thou bestowest,
Never canst thou reach his due.

Bowdlerized Version:
Laud, O Zion, your salvation,
Laud with hymns of exultation,
Christ, your king and shepherd true:

Bring him all the praise you know,
He is more than you bestow.
Never can you reach his due.

Someone might exclaim, “Oh, who cares about meter?” But things get even worse. For instance, yours doesn’t rhyme with “divine” :

Original 1964 Version:
O most blessed Light divine,
Shine within these hearts of thine,
And our inmost being fill!

Where thou art not, man hath naught,
Nothing good in deed or thought,
Nothing free from taint of ill.

Bowdlerized Version:
O most blessed Light divine,
Shine within these hearts of yours,
And our inmost being fill!

Where you are not, we have naught,
Nothing good in deed or thought,
Nothing free from taint of ill.

They even replaced the “sexist” word man, but such changes weren’t sufficient for some. Observe how somebody carefully deleted every reference to God being “He” or “Him” throughout the entire 1970 Lectionary.

CONSIDERING THIS TEXTUAL VANDALISM, our choice was simple, since current law does not require use of the Lectionary version. In the Jogues Illuminated Missal, we provided two (2) translations for each Sequence: metrical & literal.

Parishes lacking a choir will probably want to use the first version, which we set to simple-yet-beautiful melodies. A single cantor could easily lead the traditional tunes we chose. However, parishes with excellent choirs will probably sing the Sequence in Latin, and each member of the congregation can actively participate by means of the superb literal translations we placed alongside the Latin, printed in massive fonts. 2

Also pertinent are comments by the Consilium Secretary regarding vernacular translations of Latin poetry: “There are so many beautiful texts which can never have the same effectiveness in translation.”



NOTES FROM THIS ARTICLE:

1   Documentation of the erroneous attribution is here, for those who care about such things. Today, I shall speak of the bowdlerization only.

2   A question remains about the Lauda Sion, which (unlike the Veni Sancte Spiritus and Victimae) is an optional Sequence. It has a “shorter version,” and (frankly) is much less familiar and very long. We don’t know what most parishes will do for the Lauda Sion, but we gave two special options that (in our view) will be appreciated greatly.

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

Filed Under: Articles Tagged With: Liturgical Translation of Sequences, Novus Ordo Lectionary 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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

The representative Protestant collection, entitled “Hymns, Ancient and Modern”—in substance a compromise between the various sections of conflicting religious thought in the Establishment—is a typical instance. That collection is indebted to Catholic writers for a large fractional part of its contents. If the hymns be estimated which are taken from Catholic sources, directly or imitatively, the greater and more valuable part of its contents owes its origin to the Church.

— Orby Shipley (1884)

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