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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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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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President’s Corner

    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski
    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
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    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

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The local church should be conscious that church worship is not really the same as what we sing in a bar, or what we sing in a convention for youth.

— Francis Cardinal Arinze (2005)

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