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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

God of Mercy and Compassion

Veronica Brandt · March 2, 2019

OU EXPECT to be able to recognize a hymn by its title. Except Pange Lingua, but most of the time it’s going to be Thomas Aquinas’ Pange Lingua and any book that includes both is going to be smart enough to distinguish between the two by adding a few clarifying words.

My son asked to sing that hymn that made him cry—God of Mercy and Compassion. It’s not that often you get tears from a very-nearly-teenage boy over a hymn.


From the comments it seems this recording is from the Cardinal Vaughan Memorial School in London under the direction of Charles Cole. It also turns out this hymn was the last played as the Titanic went down, and not Nearer My God, as is popularly believed.

It is written by Rev Edmund Vaughan—not the Herbert Cardinal Vaughan, namesake of the school mentioned above, nor the Bishop Roger Vaughan of early Australian history, although they were related, and Edmund Vaughan was tipped to succeed Bishop Roger Vaughan, but the Irish Cardinal Moran was chosen instead.

Fr. Edmund Vaughan was a Redemptorist priest who led a mission to Australia in 1882. He was recalled to England in 1894 and died there in 1908.

It’s hard to peg down a date for the hymn, but something very like it appears in a 1849 hymnal : The Advent Harpist according to Hymnary.org. Vaughan would have been only 22 when that was published, which raises the question whether he adapted a pre-existing hymn. As Fr Rutler says in his BRIGHTEST AND BEST: hymns were made anonymously for God’s glory and our modern ideas of intellectual property were “odd and uncouth”.

UT, if you were to look up God of Mercy and Compassion in the Catholic Worship Book, 1985, you would find a vague piece full of abstract truisms, seemingly designed to avoid any feelings of contrition. This new hymn is credited to Michael Hodgetts – though in the hymnbook it is spelled Hodgets in the footer and Hodgetts in the header.

I assume the piece is still in copyright, though no date is quoted, so here is a link to the newer text.

Where as the earlier one was focused on personal contrition and amendment, the new uses plural personal pronouns—“us” and “our” instead of “I” ,“me” and “my”. Note, no “we”—which would denote action on our part. The force of the earlier works is diluted and our agency is minimised. Pardon and suffering are mentioned, but coupled with peace and love to soften any possible move towards compunction.

Another disturbing theme repeated in the new hymn is the idea of God forcing gifts on us. That would be great wouldn’t it? I’m having trouble being patient with my kids—please God, force me to do your holy Will. No, that’s not how Christian prayer generally goes. We need to subject ourselves to God’s Will rather than telling God to force us to do things. And what is this Gift of Life and Growth anyway?

I haven’t found any information about Michael Hodgets or Hodgetts. I don’t know why the hymnbook editors sought permission to use his work rather than the older Public Domain text beloved by generations of English speaking Catholics. I don’t know lots of things, but I know which hymn I would choose, especially entering the season of Lent.

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 Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. She lives near Sydney, Australia, with her husband and six children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

When we say: “The people like this” we regard them as unable to develop, as animals rather than human beings, and we simply neglect our duties in helping them towards a true human existence — indeed, in this case, to truly Christian existence.

— Professor László Dobszay (2003)

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