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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

Resurgam and the Month of All Souls

Fr. David Friel · November 22, 2020

ITHIN the Church, we dedicate the whole month of November to the Holy Souls in Purgatory. Naturally, prayer for the Holy Souls is appropriate throughout the year, but it is especially so during this month. In addition to offering Masses and praying novenas for the Holy Souls, members of the Church traditionally make a special effort to visit the graves of their deceased relatives during November. Time has not yet run out this year, if you haven’t yet had the opportunity.

The theme of All Souls has been very present in my mind over the last few weeks. In particular, I have been drawn back to the poems by Emily Dickinson (1830-1886), the reclusive poet from Amherst who wrote an immense number of poems on the theme of death.

I’ve reflected before on several poems by Gerard Manley Hopkins (here and here). I’d like to share two Dickinson poems with you today.

Few of Dickinson’s poems have titles. Among those that do, the titles have very often been applied by editors, not by the author, herself. The first poem I would like to present here has a crisp title that helps to reveal its meaning. This is poem number XXIX in Dickinson’s first series.

Resurgam
At last to be identified!
At last, the lamps upon thy side,
The rest of life to see!
Past midnight, past the morning star!
Past sunrise! Ah! what leagues there are
Between our feet and day! 1

Here we have a description of the moment when glory dawns upon the departed soul. It is at this moment that the soul feels “identified,” as though for the very first time. Now is the time when the soul becomes capable of seeing “the rest of life.” It becomes apparent, as never before, “what leagues there are” between earthly and heavenly existence.

What strikes me most in these verses is the speaker’s sense of hope and ability to describe the utter newness of eternity. One senses that the scope and beauty and freshness of heavenly life is delightful to the speaker, even if its full grandeur lies somewhat beyond the powers of description.

The second poem I share with you today has no title, but it is number XXXI in her first series.

Death is a dialogue between
The spirit and the dust.
“Dissolve,” says Death. The Spirit, “Sir,
I have another trust.”

Death doubts it, argues from the ground.
The Spirit turns away,
Just laying off, for evidence,
An overcoat of clay. 2

This poem is remarkable for its use of contrast and metaphor. Its greatness, however, lies in the grand reversal it conveys. The seeming finality of death is not so firm as the “dust” would have us believe. On the contrary, the “spirit” is stalwart when confronted with the vapid empiricism of death. The spirit testifies that those who have died are not consigned to tragic dissolution. They possess, rather, “another trust.”

We Christians do, indeed, bear “another trust.” As the masterful preface from the Requiem Mass puts it, for the faithful Christian, vita mutatur, non tollitur. Life is changed, not ended.


NOTES FROM THIS ARTICLE:

1   Emily Dickinson, The Complete Poems of Emily Dickinson (Pantianos Classics, 2016), 35.

2   Dickinson, The Complete Poems of Emily Dickinson, 36.

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

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Filed Under: Articles Last Updated: November 24, 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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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

“The priest coming nearer to the faithful; communicating with them; praying and singing with them and therefore standing at the pulpit; saying the COLLECT, the EPISTLE, and the GOSPEL in their language; the priest singing in the divine traditional melodies—the Kyrie, the Gloria, the Credo—with the faithful: these are so many good reforms that give back to that part of the Mass its true finality.”

— Archbishop Marcel Lefebvre (1965) praising vernacular readings at Mass

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