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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

Hippolytus of Rome & Eucharistic Prayer II

Fr. David Friel · August 17, 2014

HIS PAST WEDNESDAY, the Church throughout the world celebrated the memorial of Saints Pontian & Hippolytus, two of the great Roman martyrs of the third century. That Hippolytus was an anti-pope who was reconciled with the Church before his torture and martyrdom makes him a man of significant historical intrigue.

Again this year, I read with annoyance the brief biographical description offered about the saint in the Ordo: “Hippolytus, † 235/236; disputed author of Apostolic Tradition; Roman priest and stern rigorist; opposed Sabellianism and milder penitential discipline of Pope St. Callistus (14 Oct. [† 222]); first anti-pope (217-235); exiled to Sardinia with Pontian; source of Eucharistic Prayer II.” Here we have a case of half-truth and dated scholarship.

As was discussed during the question & answer session after a plenary lecture at this year’s Sacred Music Colloquium, the theory that Prex Eucharistica II is derived from the Apostolic Tradition of St. Hippolytus of Rome is dubious. Even less certain is the claim that this anaphora possesses the most ancient roots of all the canons.

The true authorship of the Apostolic Tradition is murky, and, at this point, to claim that the text is of Western origin is scholarly untenable. For those interested in the detailed exposition, I highly recommend an article by Matthieu Smyth (The Anaphora of the So-Called Apostolic Tradition and the Roman Eucharistic Prayer, Usus antiquior, Vol. 1 No. 1, January, 2010, 5–25). Therein the author clearly demonstrates how the structure and content of EPII betray the text’s Eastern sources. The Apostolic Tradition, by which EPII is “distantly inspired” (i.e., on which it is loosely based), is therefore not to be considered representative of early Christian liturgical tradition in Rome.

How did this Eastern anaphora from West Syria come to be in the Roman Missal of 1970? Answered simply, the Consilium formed after Vatican II set out to compile a canon that would be inspired by the text. The chief backer of this project was Dom Bernard Botte. Smyth explains:

The purpose was to enrich the patrimony of eucharistic prayers of the Church of Rome; that which was done was based on the belief of the Romanitas and of the supposed antiquity of this document, which Botte had defended with so much ardour. What a paradox for a document that in reality never had a relationship with the city and which in many respects was less ancient than the Roman Canon, the authentic eucharistic prayer proper to the Church of Rome!

The merits of including a canon of Eastern origin in the Missal celebrated throughout the West are good matter for debate. Yet the greater concern, I believe, is that this canon—the “Second Eucharistic Prayer”—has been repeatedly championed as the canon that links worshipers most closely with the liturgies of ancient Rome. This tired claim, at last, has been shown to be erroneous.

Smyth elaborates:

Those who would be more tempted to deplore the abrupt introduction in a hierarchical manner of a eucharistic prayer foreign to the Latin tradition in the midst of Western euchology would be able to console themselves by considering that the Prex eucharistica II is in reality an original composition, painted in bright colours, the creative fruit of experts of the Consilium who took the anaphora of the Diataxeis as their point of departure. Its features, stamped by their West Syrian structure and by their archaisms, are henceforth almost unrecognisable, but faithfully reflect the concerns of a small group of liturgists in the middle of the twentieth century.

The subject of the Canon of the Mass brings up a range of issues, which have been discussed on these pages before. For example, the canons saw a major change recently when Pope Francis directed that the name of St. Joseph be mentioned in every Eucharistic Prayer.

Also, there is the surprising answer to the question: does EPII really save time?

So, how did I celebrate the memorial of Saints Pontian & Hippolytus? The same way I do every year: with the Roman Canon.

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

Filed Under: Articles Tagged With: Consilium of Pope Paul VI, History of the Roman Canon, Liturgy of the Second Vatican Council 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

    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski
    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

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “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

Random Quote

“The Saint Jean de Brébeuf Hymnal will undoubtedly enrich liturgical life at the parish level by making accessible these ancient, noble, and theologically-rich Catholic hymns, translated into English in quite a beautiful way.”

— Rev. Fr. John Berg (Superior General, Priestly Fraternity of Saint Peter) 30-NOV-2018

Recent Posts

  • “In Paradisum” • Gregorian Chant
  • The Beauty of the Propers for All Souls’ Day (and the Requiem Mass)
  • Gospel Options for 2 November (“All Souls”)
  • “Music List” • All Souls (2 November)
  • 2-Voice Arr. • “Creator of the Starry Height”

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