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Corpus Christi Watershed

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

The Day Fulton J. Sheen Made A Mistake

Jeff Ostrowski · July 13, 2015

HOSE WHO HAVE READ the wonderful autobiography of Fulton J. Sheen know about the relationship Sheen had with Msgr. Ronald Knox. Early in Sheen’s life, they worked together in England. Sheen loved the Bible translation created by Knox, and felt it was “the best”—as he said in Life of Christ (1958). In a 2010 article, Fr. George Rutler wrote:

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.

You can download the complete FULTON J. SHEEN SUNDAY MISSAL at this link. The year it appeared (1961) was quite ominous for the Sacred liturgy, but also for the book’s primary editor, Fr. Philip Caraman. More will said about this famous Jesuit below.

Turning to the final page of the Sheen Missal, we find this page:

515 Knox Lauda

518 Philip Caraman Jesuit THERE’S ONLY ONE PROBLEM: that translation is not by Knox. When you examine it, you’ll see that it’s verbatim the translation of Fr. James Aylward (1813-1872). Shouldn’t they have known that? They made such a fuss over Knox’s estate giving permission…

When we first released the Sheen Missal, I pointed out that it was highly doubtful Archbishop Sheen had anything to do with its creation, except for the Preface. Yet, since it was put out under his name, he had an obligation to look it over. But who is this mysterious editor, Fr. Philip Caraman? It turns out he was a famous scholar—who did many things—and was perhaps best known for his role in the cause of the 40 Martyrs of England & Wales.

Fr. Caraman did a truly amazing job editing the Sheen Missal. However, he soon found himself in hot water with the other editor—Jesuit Fr. James Walsh—over a completely unrelated matter. I won’t go into the details (because they could easily fill a book) but Fr. Caraman was removed from his post in 1963 for allegedly fostering an inappropriate relationship with the daughter of his close friend, Evelyn Waugh. 1

Caraman was also an expert on the writings of Msgr. Ronald Knox—so how could such an error occur? I have no idea. I can say, though, that poetry often makes use of “cento” technique. That means verses may be stolen from or imitate a previous work. I was shocked to discover how frequently this was done in English renderings of Latin poetry. Those who have encountered Analecta hymnica (Dreves & Blume) realize that Latin poetry does this, too. Even when specific verses are not borrowed, they can serve as a model. For example, compare “Gratia Tua Spiritus” with the “Veni Creator Spiritus” of Pentecost. Dealing with cento all day, it’s easy to become confused.

Speaking of poetry, I’ve been amazed to learn how often those who render Latin hymns into English change their minds. Caswall’s earlier translations are often greatly modified, as were St. Robert Southwell’s. I once read a review of BREVIARY AND MISSAL HYMNS by Fr. John Fitzpatrick which made the following claim:

Lauda Sion is well rendered by Father Fitzpatrick as a whole; but the second line of the first verse has too obviously been coerced by the tyranny of rhyme. The translation begins:

Sion, praise thy Lord and Saviour,
Praise thy Shepherd’s dear behaviour;
Hymn and canticle upraise.


They are correct. The phrase “dear behavior” is truly horrible … but Fr. Fitzpatrick’s version does not begin like that. Perhaps he changed his mind in some later edition.

I will close these reflections by sharing a photo of Rev. Philip Caraman taken in 1963:

517 Philip Caraman 1963
 

 


NOTES FROM THIS ARTICLE:

1   I don’t know whether these accusations were true. The evidence I’ve seen against Caraman strikes me as very weak. It appears to have been a way for Caraman’s jealous enemies to get rid of him.

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

Filed Under: Articles Tagged With: Bishop Fulton J Sheen, Father Philip Caraman SJ, Fulton Sheen Sunday Missal Last Updated: April 2, 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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Corpus Christi Watershed

President’s Corner

    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 conveniently stored at the the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

“You have thereby removed from the celebration of the Mass all superstitions, all greed for lucre, and all irreverence … removed its celebrations from private homes and profane places to holy and consecrated sanctuaries. You have banished from the temple of the Lord the more effeminate singing and musical compositions.”

— ‘Bishop Racozonus, speaking at the last session of the Council of Trent (1563)’

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