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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

Without Sacraments • How Saint Isaac Jogues Survived

Jeff Ostrowski · April 11, 2020

Excerpt • The Life of Father Isaac Jogues

ECAUSE Father Jogues was ordered by his superiors to write an account of his captivity, we have the vivid record of his life, which Francis Parkman [an atheist historian] has described as a living martyrdom. The priest was assigned the most degrading work and treated with greater contempt than the most despised squaw. He was made a beast of burden; heavy loads were placed on his bruised shoulders, and he was compelled to tramp 50, 70, or even 100 miles after the Indians. They paraded their prize exhibit wherever they went. His wounds were gangrened, his bare feet left tracks of blood on snow and ice, the deerskin he wore was alive with vermin. He could well have said, with Saint Paul, “We are fools for Christ’s sake… We are made as the refuse of this world, the offscouring of all.”

Late that fall, a band of Mohawks set out on their annual deer hunt. Father Jogues was ordered to accompany them. Loaded down with burdens, half-famished, he trekked through the November cold and shared the Mohawks’ mountain bivouacs. The game they caught was offered up to Areskoui (god of the chase) and eaten in his honor. Father Jogues, in consequence, would not taste the meat, because to do so would be to participate in the worship of the demon. At night, when the kettle was slung and the savages were celebrating their success in the hunt, Jogues would crouch in a corner of the hut, shivering and starving in the midst of plenty.

His conduct mystified and annoyed the Mohawks, and if they returned in the evening with no game, they blamed it on the Blackrobe: he had offended Areskoui. Like a squaw, Father Jogues brought in firewood; he carried their loads; he was their slave in all things but one: when they mocked at his God—or when they ordered him to worship theirs—the slave would assume a tone of authority and a steadfast attitude that astonished them. While humbly submitting to every caprice of his tyrants and appearing to rejoice in abasement, a derisive word against his Faith would change the lamb into the lion, and the lips that seemed so tame would speak in sharp, bold tones of menace and reproof.

At times Father Jogues would escape “this Babylon,” as he called the camp site. Wandering off into the wilderness, he would recite the Rosary, repeat passages from the Scriptures, and read from The Imitation of Christ. In some lonely spot, he would carve the figure of the Cross into the trunk of a tree and there kneel in prayer for long periods. “This living martyr,” observes Parkman, “half-clad in shaggy furs, kneeling on the snow among the icy rocks and beneath the gloomy pines, bowing in adoration before the emblem of the Faith (in which was his only consolation and his only hope), is alike a theme for the pen and a subject for the pencil.”

From Parkman’s external portrayal, Father Jogues himself allows us to penetrate into his interior condition:

In this sadness, I had recourse to the help of the Scriptures, my accustomed refuge. The passages that I recalled in memory taught me how I should think of God in His infinite goodness. Although I was not upheld by sensible consolation, nevertheless I would know that “the just man lives by faith.” I searched the Scriptures; I followed their streamlets, desiring, as it were, to quench my daily thirst. “In the law of God I was meditating day and night,” and, indeed, unless the law of God had been my meditation, I would then perhaps have perished in my abjection.

In his forest retreats, Father Jogues would experience a desolation of soul that reflected the intellectual and spiritual isolation of his lot, intensified now by the loss of René Goupil. Having no contact with his fellow countrymen, without the consolation of the Mass, without altar or chapel or any of the conventional aids to formal religious worship, physically beaten and mentally harassed, Jogues yet did not break down. So deep and unshakable was his supporting faith that he often cried out with Job, “Though he slay me, yet will I trust in Him.”

[This excerpt was written by Father John A. O’Brien, S.J.]

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

Filed Under: Articles Tagged With: St Isaac Jogues Last Updated: May 5, 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

    Music List • (1st Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I’ve prepared for this coming Sunday—22 February 2026—the 1st Sunday of Lent (Year A). 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 available at the outstanding feasts website alongside the official texts in Latin. I spent an enormous amount of time preparing this ORDER OF MUSIC—because the children’s choir will join us—and some of its components came out great. For example, the COMMUNION ANTIPHON with Fauxbourdon is utterly resplendent, yet still ‘Lenten’.
    —Jeff Ostrowski
    2-Voice Arrangement for Lent
    Those seeking a two-voice arrangement for LENT and PASSIONTIDE should click here and scroll down. It’s based on number 775 in the Brébeuf Hymnal, with an enchanting melody written by Kevin Allen (the legendary American composer of sacred music). That text—“Pendens In Crucis Cornibus”—is often used for the Feast of our Lady of Sorrows. That link is important because, in addition to the musical score, it provides free rehearsal videos for each individual voice: something volunteer choirs appreciate!
    —Jeff Ostrowski
    “Sanctus VIII” • Organ Accompaniment
    A few days ago, I composed this organ harmonization for SANCTUS VIII. This Mass is traditionally called Missa de ángelis or “Mass of the angels.” In French, it is Messe de Anges. You can evaluate my attempt to simultaneously accompany myself on the pipe organ (click here) while singing the melody. My parish is currently singing this setting.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

Yet, with all its advantages, the new Missal was published as if it were a work put together by professors, not a phase in a continual growth process. Such a thing never happened before. It is absolutely contrary to the laws of liturgical growth, and it has resulted in the nonsensical notion that Trent and Pius V had “produced” a Missal four hundred years ago.

— Josef Cardinal Ratzinger (1986)

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