I might ask, you know, just one little thing that might be careful, you know, to see in the history of Western monasticism, you know, various tendencies, I think we can safely distinguish, you know, the three height, you know, elastic alive, which simply, as a matter of fact, kind of developed and are still in our days, you know, when I'm not there, I'll call them again and again. We say first, you know, is the, let's talk about the past, we call them the critical type, the critical. historically, you know, the real predominant idea was just that.

[01:21]

The spiritual life of the monk, the contemplative life of the monk, is really the idea which was, you know, first got into practice of the lausperinnis, you know, the lausperinnis, the perpetual which in Cluny went on in shifts, you know, so to keep that, you know, constantly going, you know, all the time, by day and by night. And that was, of course, one of the glories of Cluny, you see, the life of the choir monk was really spent in choir. Then there's another type, which which is what we call the cultural abbey the cultural abbey that's a different approach that is historically that kind of abbey developed especially in Germany and in the early middle ages the cultural abbey for example you take a thing like an abbey like St.

[02:38]

Gork Or you take the Reichenau, Reichenau is something happening in the Bowdoin, say, in southern Germany, you see, where I call it the monastic center. And to all her, for example, of that, you know, then you have other... Usually, these average pair of Reichenau in the Middle Ages had a great... also political importance, you know, for the empire, you know, very much, very well, you know, that Charlemagne used, really, and wanted to put the habit that belongs into the service of a cultural revival, you know, a cultural revival of the... say, the whole community, the whole political community of the empire, as he has.

[03:48]

You have another area, for example, that of Alpha. Alpha, it was a great gender, right near Rome, as a very important, even today, still, you know, it's connected with the at St. Paul in Rome, and Monte Cassino itself, of course. Monte Cassino was such a cultural center. So we have many of those, and you know very well in the Middle Ages there was, in the early Middle Ages, for example, one of the things through which these abbeys became leading as the production of manuscripts. Manuscripts and literature. I mean, the miniature of all, you know, one of the ways in which art, you know, developed in the early Middle Ages was the miniature.

[04:59]

We have, in the past, we have shown that we have a good collection. those things, and there you can see the various schools, you know, of the miniature drawing. Now, that's all that is, say, the cultural abbey. And this cultural abbey, also the idea of education, you know, was always somehow alive, but the education of the sons of princes and so on, you see. exclusive schools where the higher the ruling class, clergy and laity, was being reared. So that is mainly known as a type, you know, in the Nordic, in Germany especially, and also some

[06:00]

And then we have another group, which is usually, which is a reaction against that. And we may call that, on a whole, say, the primitive group. The primitive. And that is, now that exists in various forms. For example, the famous movement, said Adi or Broch, said, you know, Broch, said, G-O-R-S-E, that was the early Middle Ages of the reforms. But many others, and of course, the most outstanding was the Cistercian movement, the fathers of Moulin, or the early Cistercians, St. Robert, St. Stephen Harding, you know, there was M-O-L-E-S M-E-S was the outstanding and most consequential of all these attempts to come back to a primitive monastic.

[07:24]

One can say that the monastic life as such is the real purpose and the influence which Abbey has. That, of course, very strongly in any kind of cultural Abbey knows that question of influence. The role that the Abbey plays in public life. In the modern age, of course, the political influence of the Abbey has quite decreased. And instead of the, let's just say, political influence of the Kirchner Abbey, then the place of that is taking the scholarship. And that is the point, you know, where we kind of stopped, you know, in our late, the description of that, or sketchy description of that, when that's the revival in the 19th century, where, so then, you know, stands out, to say it again, under the medieval, as the witch puts, you know,

[08:54]

the solemn celebration of the liturgy in the first place. That is that famous sentence, opri dei nil preponatur, nothing should be preferred to the work of God. And that is taken, that from the rule is taken, as a kind of key word, with, under the circumstances of the time, the sociality, or let's say, a clerical interpretation. And then, outside of them, even so then, now, as far as the activity goes, the work, you know, the monk outside the choir goes. There it was, of course, Abbot Geranger. Besides this, you know, a very important idea that the work of the monk outside the choir, that means of the monk priest, who is, of course, by nature, already intellectually and scholarly trained.

[09:59]

He is an English, and is very practical, as a choir monk and priest. And therefore his activity consists then in scholarly, you know, research but of liturgy. The field of that scholarly research is liturgy. And of course for him then, the most practical and the most urgent field in which he kind of landed was the field of Gregorian Chart. The field of Gregorian Chart. And that field of Gregorian Chart therefore became in Amsterdam, you know, one of the, one can say, the central empire of the company. It had, of course, the advantage, you know, that many people should work in it, and not everybody, of course, who works in it has to be a genius.

[11:10]

In a monastery hall, it's a very important concentration. And so, therefore for example so then you know started to commence collection of manuscript photographs you know and all of that almost complete the dictionary paleography musicale you know that is the famous product of that work paleography musicale let's say, we had this colony foundation for the big world in Chan, as it was then called by Solène. So Solène was then, and Solène, of course, introduced then, and had the, let's say, the lucky Chan, you know, to meet Pius X. And Pius X had been, you know, one of the first, you know, one of the first

[12:12]

Congresses on church music, you know, in Padua, Pius X, came from that section. In that chapter, there was the bond, you know, was made long before it was pope, for, in his interest, you know, for a revival of the Gregorian church, which had been, of course, widely obscure tradition, by other schools, you know, of church music. We still have wonderful descriptions of Fusi, for example, you know, the English scholar of the Oxford movement, Martin's trip to Europe, on the continent, and how in Cologne, you know, Geassist, you know, at the celebration of Christmas. How then, first the canons to the march didn't, you see, but then after the canons came, all the ballerinas. with makeup, you know, and with the singer.

[13:14]

And in the end, that's the main person, the boss, the director, the choir, you see, who came in truck, you know, with former dressing. And they all came in the sanctuary and took their prayers, and then the opera started. So that is, of course, that was these things, you know, that, of course, that were the things that Albert Giorgi and the very Kadori movement had to fight again. And this fight, you know, I mean, this struggle was joined by the Boronese congregation. The Boronese congregation was Walter, took the same, also, line, you know, one of the things that Boyle-Wann would do about it, one of the promotion of the Degorian Shard, that was also the first literary, the products of the Bolognese congregation, were devoted to the, just for the Degorian Shard.

[14:24]

The other one was then, in Boyle-Wann expanded, the other one was, Balinese art, you see. That was in their use length. There was another tremendous field, you know, where, let's say, this new understanding. You see, the important thing in all this is, now, but here all these attempts, and then later also, Vauwuswalt, like it was, we, let's say, The new element was here, and the spirit of the Roman liturgy, the spirit of the Roman liturgy, was emphasized, and the idea was that we have to reorientate our interior life on the same basic attitude, what we call the spirit of the Roman liturgy.

[15:27]

Famous later on, a famous little treatise, you know, that Edmund Bishop wrote, you know, an English scholar, Oxford scholar, Edmund Bishop, a convert on the spirit of the Roman right. The spirit of the Roman right. That was, of course, those things were learned because they kind of determined then the, I'm going to say, the spiritual attitude of the monks of the colonization of Boiwau. One can say even more than the attitude of the monks of the colonization of Solheim. Because there it was always, there were big questions, you know, and also, of course, Solheim had, for example, it's interesting that the very monastery of Solheim, you know, was built as an imitation of the papal palace in Abignon.

[16:29]

And the papal, the residence of the popes in Abignon was, of course, considered as a kind of climax in the ecclesiastical glory of France. And the abbey that Abbe d'Angers had followed was called St. Peter's. You see, therefore, the monks of Solheim would, of course, take, you know, the general line, we can say, of absolute fidelity, you know, to the Roman sea, you know, to Peter and his success. And therefore the Roman liberty, therefore the whole fight against egalitarian liberties, you know, all the, say, native liberties in France, you know, that Abbot Guiranger was fighting for, you know, he really created tabula rasa with all local traditions, which were all subordinates, you know, under the Roman court.

[17:34]

The monks were in that way, the monks were in that way, the, what God said, the shop troops, you know, are the people of poverty, you know, in the class. Again, the, of course, in France, still more, you know, emphasized through Gallicans. The Gallican, you know, which, of course, gave, you know, a greater sharpness and a futurist, you know, because in France there were, of course, strong anti-protectancies, you can say that, in the history of the Council of the Baptist. So in, as I say, you know, so then took that up, and Boylewood took this up, and the first field, of course, was the whole field of music, because the Gregorian shunt constitutes a very definite musical form, and therefore the performance of it, and the good and authentic performance of it, put

[18:45]

it creates an atmosphere of, let us say, liturgical, what one may call liturgical piety. Pieteridioti, liturgical piety. And this thing, as I say, was taken up by the books of Boiron. It was continued, of course, by Boiron from the chart when by the fact that Desidericus Lentz entered the air. Artists, into the art, the field of art. There is what we call today, liturgical art. But this liturgical art was all, you see, the main tendency was to get away from the illusion and to go back, you know, to the essence, you know, of things. with them, for example, Our Lady, you see, not like Titian, you know, or really, you know, but, for example, in her function as offering the Lord, you know, the Pietà, the motif of the Pietà, because that is the, I think, the position of the Church, you see?

[20:10]

Our Lady there takes on the church in prayer. Of course, the church in prayer is the offering of Christ, of Christ. So, the Pietà, that way, became one of the leading, you know, motifs, you know, whoever needs art. But then, of course, was not enough. It was then in... The difference here between, you can see or believe in this whole problem of the art, the difference between the French approach and the German approach, of course, was, again, that the German approach, and that was very hunched here, you know, had the arch-abot Mao's. The German approach was more, let us say again, the cultural consequences, you know, of this pattern, the concrete consequences, practical consequences of this pattern.

[21:14]

Practical consequences, as I say, Gregorius, the mythological art. But more, you see, also the practical consequences in the, for example, for the practical life of the people. practical lines of the fake good, they are cynical lines. The, let's say, what I said before, their piety, you see? That was a thing which, of course, it's a limb did not, in that way, think he didn't develop. That was really then, in the bottom, in the bottom, these complications, mainly then by two branches, not by the Swabian branches, but by the, uh, [...] the Wynelands branch, that means Mariela, and by Louvain, you know, those two, you know, the two, the Wynelands, Mariela, and Louvain, that means the French, or the Belgian part, the, the, the, uh, the,

[22:32]

Before, one of these congregations had branched out, you know, out of Swedia. That was a tremendous thing, of course. Thick into the wine land, Mariela, you know, and then into the Indubentum. And those two, you see, those two foundations, they kind of, uh, wear that bearing culture, pull, baby. It was in the Wienland, Spain, after a while, of course, Mariela kind of got on his own feet. Yeah, under Abbey. He was the first winelander in Mariela to become Abbey. Before that, he was strictly born with me. But there came Abbey. And then in Belgium, they were married to and Lubain.

[23:34]

And in Lubain, it was Lambert-Baudelaire. Those two were the telephones, and Lambert-Baudelaire. They were the two who kind of, from then on, gave the direction, the orientation, to, let's say, that part of the Royal Needs congregation. And then it was Albert-Baudelaire who, for the first time, spoke, you know, of a radiation of these benefits, the radiation, and that the fear of radiation should be, there was, as Boudemont said earlier, the clergy, the secular clergy, and through the secular clergy, in that way, to influence, you know, the the spirit of the church, you know, the spirit of the laity, through the clergy.

[24:38]

And there was, of course, the instrument of that where these men, the churches, the liturgical weeks of the, of Lube, the liturgical weeks. The big liturgical weeks, you know, the various, the the clergy myth and there was systematically then developed what we would call what we call today pastoral liturgy pastoral liturgy the liturgy in the practical application to the parochial worship and to parochial organization for example we parish as a social unit, and the social consequences, you know, of a, what we would call today, we call it, a living parish.

[25:39]

A living parish, that was there. Let's say the purpose, you know, and Louvain, of course, as you know, then published, you know, the thing, the Gestion et Georgique in Astorheim. questions on liturgy and pastoral science. Now, that indicates the duet. Abbott Ildefons was not so keen about pastoral. There were efforts, you know, as you think it was, but Abbott Ildefons, in the year 1914, there were lots of important here in the year 1914, He received, there was a third time, he had to have it two years, you know. He, of course, in the very early First World War started. And there, he received, you know, it was an interesting, too, that the initiative started from the very 18th.

[26:42]

And there were people, of course, one of these old classmates who started now, I don't know, I don't know, it was a few months ago, they called the King and the Dog. on policy, Trump, all these people who later had a Christian democracy, this Christian democratic movement, which really came into its full war in Europe after this world war, after this last war. And then these people, you know, came, and one of them was, for example, also the Gasperin, who did the same thing. These people came to Marianna and they asked now, can't you do something for us? And I'll leave on this day for Holy Week with you, and could you give us then introductions, you know, and so on, into the spirit of Holy Week, you know, so that we can follow the liturgy of Holy Week.

[27:49]

That was the beginning, you know, in that way, 1914. up this whole idea of the, let's say, the participation, you know, the irradiation of this liturgical approach, the monastic, the liturgical approach, to the, let's say, educated lady. So therefore, from then on, you know, the apostolate So to speak of Mariana was, of course, very pronounced. There was a group, you know, of sons, under the leadership, you know, of important, you know, influential habit, who then, you know, wanted to live in a spiritual spirit, you know, to influence and to...

[28:50]

infiltrate into German Catholicism. Of course, his idea was always true. The idea that he came from the local, and then I told you that before, the local, the position of Yagam, Yagam was on the good side of the Roman Greenblades, you know, or the Roman side of it. And there was always the problem, you know, of course, the reaching problem in Germany, the, let's say, the harmony of the, what we call today, the objective and the subjective. The objective, that means the liturgy as it is, you know, formed, you know, and formed by the authority and by tradition. in columns, you know, it stems, you know, from Rome as the stem of Christianity, and the spirit of Rome, the spirit of the Roman liturgy, is essentially what they called at that time the objective spirit, and what they meant by it was this, that it wasn't so much the, let us say, the subjective piety, but it was more, you know, the lex volante,

[30:15]

the law of prayer, to which, according to which, the mind, you know, of the monkers that famous, saying of the rule of Saint Benedict, men concord at which, the mind should be in harmony with her voice. The German principle, you know, or let us say, as they were in those days more the kind of Nordic principle wars, The voice could be the expression of your mind. The mind is a very creative. The subject, you know, has to have a valve, you know, to express the feeling. The essence of prayer is really the pouring out of these inner subjective, you know, feelings. Not so much, you know, even in some ways, you know, detrimental, you know, to the, to, let us say, to worship, that an external form is there, and this external form has to be kind of followed, you know, it's canonical.

[31:29]

That was, therefore, Abbott, in the front, tried, you know, to overcome, you know, in Marieland, overcome this, let us say, this The vision, so to speak, you know, between the, you know, say, the simple, the religious feeling of the people and the official, the liturgy by way of explaining. You see, explaining what is there showing the issue. You know, say, the depth and the meaning of this official. And there is, for example, then, the missile thing. The first missile was edited in Germany by Maria Love in 18... 1880, about that time. That was the famous shot. Shot.

[32:33]

Unset shot. Unset shot. One of the oldest stars. He... He walked the first missile shot. It was followed by the bomb. Oh, the bomb. That was the bomb. All of the two, you know. Well, you know, that there should have a militaristic name. And that comes in Belgium. Now, St. Andrew's Missile, St. Andrew's Missile, fulfilled the same project. But, of course, these Missile's had an enormous influence on the whole.

[33:33]

That's, for example, the present council. discussions of the letters would not be possible without, without this work, you know, that set in, as I say, you know, or became kind of public, like official in 1814, you know, betrayal, 14, in that time. That was, for example, it would be good to remember that, you know, it was Habitatons who, at the Synod of Trier, you know, was the first, you know, in 1814, to propose that the mass of the Plato should be in the Dramatio, in the mass of the country. New idea, you see, at the time. It took a long time until, you know, these things, you know, make their way. But all this, you know, was, of course, in order to

[34:35]

have an easier influence, let's say, on the official liturgy of the church on the living mentality and piety of the people. In order to put them, let us say, this kind of pseudo-development where the piety of the people was and expressed it there with devotion. That's really the meaning to, in some way, to remove, you know, the impetus of the spiritual energy, which goes into devotion, because the official energy is, in that way, frozen. And so now, of course, in the... And that was... For him, you see, that came, of course, for him was important, you know, too.

[35:39]

And then also what should happen now is, of course, the, let's not say, the attitude and spirituality of a monk. Now, as I then considered, of course, one thing that seems to us very interesting there was that the German monasteries had this tremendous for even a majority of brothers. The choir moments were minor. Today, it's the other one, because things have changed. The locations are declining, and those for the choir are increasing, very much as a result of the historical movement. And therefore, the thing there was still, and I came to the orchestra, that the brothers, you know, fought more or less a a confaternity, a little community in the community, and their patron saint was St.

[36:40]

Joseph. And the brothers didn't like St. Benedict. I do think that is strange. St. Benedict was, to them, was too remote. He was the patron saint of the choir. But he was not the patron saint of the brothers. The brothers were St. Joseph. a big room where the brothers, you know, did all these things, and recreation and so on, and the office sat there. The office was the roses, or our fathers. I think 40-hour fathers would be, you know. 20-hour fathers for the Lord, you know. Five-hour fathers for each of them, you know. But then I wouldn't want to say that was the rule. And during our progress, there were peeling potatoes.

[37:43]

No, it's true. And in the affluency, the land of France, by the On the other hand, you see now for the monks. Of course, for the monks, one of the things that will say that proves their, determines their spirituality. When I came to Mariella, you know, and that's a young fellow from the university. And there was Father Lucas, and Father Lucas was the guest father. He was the, we always called him later, the father of the good impression. He kind of, you know, then told me, you see, when I came, that spoke to me, then he got out and I wanted to see about the vocation and so on, and I said, of course, our order is an order of prayer.

[38:46]

Or wouldn't this be me? I wasn't, you know, too much geared, you know, in that form and too bad idea, you see. and that's it, and all this debates, you know, or prayers, you know what I mean? True, but in that way, you know, that of course the choir monk and the priest, you know, has that kind of position, you know, that he has the divine office, and he doesn't have a divine office, he is in his cell. Then in his cell, what does he do? He read, and he prays, and he made it. And the response was a little bit more dynamic, and he thought, you know, that the monks, too, had to do something. You know, I mean, that he always kind of was frightened at the idea, you know, that the monastic life would be a life of gentlemen of leisure.

[39:56]

That was when even I was leisure. That was to be a representative problem, you see, and everybody, you know, has to work hard, you know, to really make a go of things, you know, that the monk, you know, and also the choir monk, you know, should participate, and the monastic life, and this contemplative life, somehow should be productive. or you may call it constructive. That was very much his idea. But the way in which it was then constructive was there were two things, again, you know, let us say, the scholarly approach and the spiritual approach. The scholarly approach was the, let us say, for example, one field I said before, the history of the literature.

[41:01]

But history of the literature, not for its own sake, but history of the author, in order to discover and get closer to the inner life, to the directive principles of worship, of Christian worship. Only that's always the famous German approach, you know. You cannot discover what a thing is if you don't know how it came into being. You have to see it developing, and then in doing that you get, so to speak, attached, the spirit of it. You have to see it in motion, how it develops. If you see that, how it develops, then of course you get In doing that, you get a feeling of what is authentic and what is not authentic. You see? If you see a plant growing like a gardener, you can say, now, here, this twig that comes out there, that, you know, that goes in the wrong direction.

[42:12]

So, carry it on. And leave the other one that are in organic continuity, let us say, with the original stem, you know, from which they all come. And there, of course, comes then, let us say, the history of the literature leads and develops, let us say, the criteria according to which you can then distinguish, let us say, what is liturgical and what is not liturgical. And in that way, of course, have it in the forms, you know, There is another thing. Up to that time, liturgical was simply what is in the books. Whatever gets into the liturgical books, that's liturgical. Because what is the definition of the liturgy? The publicly approved worship of the church as contained in the liturgical books.

[43:16]

And there, of course, there. If you do that, of course, then there are the other books. And then the whole thing is boxed. It stops right there. But if you look a little, you see, at the development, then, of course, you see now, why did this thing, and when, and why, did it come into this? What was the kind of influence? Let's say, for example, the credo. An eye image of the white guy. Practically, each priest had a cradle. But then one looked a little into it and one said, oh no, the cradle has really its grace in the baptismalism. It's in the first person senior in the mass, not in the first person senior. If you enter Christianity, you do it as an individual. I believe this initial act of grace is I believe. But if you come to the UK, then divina institution of our party to define institution, the organizational, we say our .

[44:37]

Yeah, the equilibrium is common. The individual enter. But once it's inner, then it becomes a we. It isn't the isolated I. So, I mean, there's just many other things. Now, in that way, you see, became more and more clear. And of course, the liturgical, the historical approach was open, you know, in that way. The, again, you know, the possibility of returning to a more simple and elastic past. It gives, so to speak, the living room, you know, or how could you say, living space, where a development and a sound development can set in again, where certain things can be eliminated and be essential.

[45:40]

That is the whole process with which today the whole liturgical thing for the Council is concerned with. So, in that way, all these things, you know, were opened in that way, through the scholarly aspect of the Council. didn't want, of course, in order to come, and that's always the problem of every scholar, in order to come to solid, you know, and let us say sound results, your scholarship, of course, has to be exact. And there comes then, before you can do anything about the development, you have to have the authentic text. Reliable text. And therefore, the whole effort, you know, which is still continued to bring out, you know, reliable editions, for example, of the sacramentaries of the Roman Church.

[46:50]

Leonino, Galatiano, Gregoriano, you know, and all these sacramentaries, the text, you know, actually. so that with that, you know, you can be used for a liberal. So, there always, you know, that was, let us say, that formed, in some way, the approach, you know, the work of the choir monk at the monastery like Mongila. And then the other ones, of course, the living spiritual interpretation. The first in this line has been the Andrés Ane de Rie. And of course in our days, you know, for example, Emiliana Lure, The Year of the Lord. Emiliana Lure is, of course, all that she has. She has heard of the Holocaust. So it's kind of a Holocaust, you know.

[47:51]

So we render that. That's the way to do those things. But she's very, very good, you know, at that point. And so a whole plunge, you know, of things, you know, came across on the market, and still continue, and in that way, all over the world today, you know, make these things possible, you know, interpretation of the liturgy, and therefore the developing of a really authentic, let's say, liturgical spirituality. Thank you.

[48:48]

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