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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

Cardinal Heenan Speaks About Monsignor Knox

Jeff Ostrowski · August 20, 2025

UNTIL it was published in the third edition of the SAINT EDMUND CAMPION MISSAL, the splendid English translation of the Roman Canon by Monsignor Ronald Knox was unpublished and forgotten. His English translation of the EXSULTET (which, in my humble opinion, is peerless) was also published by Sophia Institute Press in that same book. Like so much of his work, these renderings by Knox are glorious, memorable, and inspiring. In 2010, Father George Rutler wrote that: “Archbishop Sheen told a friend of mine—in a moment perhaps made candid by the mellowing of years—that anything he had ever said of significance was taken from either Knox or Chesterton.”

John Cardinal Heenan, Archbishop of Westminster and friend of Evelyn Waugh and Malcolm Muggeridge, wrote as follows in 1973:

I went to the Somerset village of Mells to take leave of Monsignor Ronnie Knox who was dying of cancer. We had never been close friends but rather more than acquaintances. He was perhaps the greatest figure in the Church of the twentieth century. As a writer he was admired not only by his fellow Catholics and former colleagues of the Anglican Church but by all connoisseurs of stylish prose. His greatest contribution to literature was his translation of the bible into contemporary English. To this monumental task he brought not only his wide learning but an extraordinary capacity for assembling critical views of his draft translation to enable him to produce a final polished version. A notoriously shy man he might have been expected to work in scholarly solitude but he sought the help of the widest possible range of students, young and old, famous and obscure. All were invited to give their criticisms and suggestions. He was overwhelmed by the number of those who offered advice. After the publication of his translation he thanked all those who had written. Then (typically) he could not forbear to thank ‘still more’ those who did not proffer help. Although renowned as a preacher and scholar his real greatness lay in his holiness of life. He was very near death when I visited him but he received me with great courtesy and thanked me for coming to take leave of him. Being a genuine intellectual he had an essentially simple faith. He was what we now call an old-fashioned Catholic. He loved the Imitation of Christ of which he left an excellent but unfinished translation (published posthumously).

Envy • Recently, it has been fashionable for a certain cadre (who aren’t worthy to fasten his sandals) to denigrate Monsignor Knox. Frequently, this is done out of jealousy by folks who don’t receive the recognition they feel they deserve. Unfortunately, the rise of social media has made it possible for the “terminally online” to enter conversations where they don’t belong. In any event, serious people understand how phenomenal Knox was—and he hardly requires a defense by me! As Father Valentine Young used to say: “Do not cast your pearls before swine.”

Photograph of Ronald Arbuthnott Knox (1888-1957)

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

Filed Under: Articles Last Updated: August 21, 2025

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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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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    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
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

If they protest and want, for example, to retain at least the familiar chants of the ordinary Mass in Latin, they are told that their protest is worthless. They are not “trained.” There is no reason to take account of what they say!

— Father Louis Bouyer (1968)

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