part of our last time of Lenten season Passion Week and Holy Week we had made attempts in the direction of the Vision de Vie and I think that the majority of the community is very much of the opinion that we should go on and continue this thing and not let it drop. And I wanted just to give a few ideas that might be helpful in, say, looking at it historically. I thought about it this morning how this whole then came about. I must confess it is not an idea which is kind of copied from Charles de Foucault, but it really was first brought to my attention by a good friend of ours, Father Thomas Carroll, who as you know is the

[01:19]

leader of this and has this wonderful work in the Guild for the Blind in Boston and he said that in such a difficult and exacting work as that what the staff of this institution has to do he finds and it has become for them a completely indispensable means of iron out mutual tensions or difficulties that arise and are caused by maybe also by the way in which one or another member of the staff deals with the problems that they have to face at regular staff meetings in order to discuss in all frankness and objectivity these difficulties really have provided a tremendous moral support and a way of release for certain personal tensions and also a means to make their work more effective.

[02:39]

And that was followed up later on by a good friend of mine, Arthur Richardson, who we spoke about the same thing in our modern institutional business organizations. and the fate of the organization man that he pointed out that one shouldn't overlook that in these organizations there is more and more an element coming to the fore who counteract this streamlining and this makes this blotting out of the personality by what one may call collective management. And that this collective management is, again, is based on regular meetings of those who are involved in various departments of these organizations and work together

[03:47]

in order to make their working together more an act of human personal facing one another and therefore of real cooperation. Now these are things that simply come from the common sense of say modern organizational life and reactions against the prevailing institutionalism. but then of course the other thing that really brought this into a different perspective that really was the council the council is for the church as a whole the great realization the absolute necessity for the church to meet let's say on the horizontal and not only in the vertical, what we try to call collegiality, as a necessary instrument inherent in the very nature of the Church as a community under the Holy Ghost who descended upon each one.

[05:06]

of those heads that were there. The Greek text shows it so beautifully, from an original divine and supernatural unity, then distributing itself to those who are there present. And we also know that this whole idea was met, and still is being met, as one can see that clearly, partly with the complete content. or the part of what we call the curialists, who simply are not, one can say, attuned to a reality like that, that where two or three or four or five or two thousand bishops are gathered together, that there, in a special way, Christ is with them.

[06:09]

No, of course, Christ is with them only and that belongs to the nature of this getting together and the nature of the Holy Spirit. If those who come together there don't come together, let's say, simply in the spirit which in the political field dominates, let's say, a party congress. A council is not a party congress. A council under the Holy Spirit, and we see that, that's the tremendous experience we all have in these days, gets together for the purpose of self-reform. It means the Holy Spirit and the effectiveness, the vitality of the Holy Spirit is manifested in this kind of self-correction, what we call the penitential aspect or the conversion aspect, which is that one realizes

[07:17]

And one realizes in the horizontal, that's the important thing about being together, one realizes one another's burdens, and one carries them, not only, but one also, in the generosity of the Holy Spirit, wants collectively, and therefore in a vital way, to sui motio, and not simply by being moved, from above, but through three bonds, and to overcome it, that is this general attempt to, as it were, to break down the barriers, and to get out of the of the walls which separate people and which separate people also when maybe everyone individually is connected with a bond and the relation of obedience to the supreme head of the church.

[08:32]

This vertical connection alone is not sufficient to break down the barriers or walls that may grow up in the course of time, and between those who are in that way individually connected with the head, and therefore that one another, which is such a basic New Testament word, one another, towards one another, compassion with one another, carrying one another's burden, be generous to one another, forgive one another. Always stands, of course, not only a relation of two by two which is spent there, but that is spent in the gremium, within the group of those who come together under the guidance of the Holy Spirit. Now these, the into this general picture, then certainly also belong the efforts in our time to restore this element, which after all is an element of early church life, which always was very conscious of the social character of thoughts.

[09:56]

of the individual, especially of the public force. We may call it public force, but public force in the sense of force which affects, in some way, the workings of the whole, contrary, let us say, to the common notice of all. or simply by their very nature, influence, the living together, the common life of a community. So that's the effort in our time to eliminate them through mutual forgiveness, through an idea of Pax, which is real and in no way fake, the Pax Vera. Because these modern attempts, as for example in Charles de Foucault, or Père Armand's little community of Our Lady of the Poor.

[11:00]

There's always that reaction. They come simply out of the experience. Charles de Foucault had been a Trappist for a long time. Père Armand had been a Benedictine in one of the, to say more, contemplative congregations in our times, and the experience is there so often, the experience of the hardening of the arteries in our religious life, which becomes institutional. where the chapter of thoughts is limited to external formalities and therefore on the long run simply becomes a bore. But then you see the attempt to overcome either this formalism in dealing with

[12:04]

and then merely external force, instead of dealing with public force, a big difference between the two, and then also preventing a kind of, let us say, how one can say, peace, faint peace, which is simply a mutual truth, or a kind of pact that silently or sometimes even also kind of explicitly is made. We live together on the basis of you and me minding our own business, period. That, of course, too, is in our many modern religious societies, also in monasteries, is a very widespread attitude and a manner of avoiding, let us say, the inner beauty or losing the inner beauty or possibilities of the vita comunis.

[13:17]

So, in this connection, you know, it is certainly not in any way arbitrary, but it results from the very essence of the Holy Spirit, that these barriers, in whatever form they are, either in a pact of mutual indifference, or simply in the way of, we shouldn't, you know, we shouldn't speak about any things, you know, that might be a little touchy to this one or to that one. This beautiful last thing that struck me so much, you know, just on Easter, the our Easter celebration where St. Paul describes, you know, the inner attitude of that new people

[14:22]

that went through the experience of the Lord's death and of his resurrection, that is now met by the Lord himself, who is at peace and who doesn't refer with a word to the past failures and disloyalties of the disciples in any kind of a, let's say, threatening way, only in a kind of way, now I, now I'm risen, now I kind of get you, you know, what you have done to me, when I was a poor man hanging on the cross, anything like that, but simply this peace be to you, and then this breathing of them, communicating the Spirit, and then saying, now whose thoughts you loosened, they are loose. And whose faults you retain, they are retained.

[15:23]

Whose faults are retained? Of course, only those faults are retained of those who simply lock themselves up and refuse the great, which is the great, of course, general opening of the doors, refuse the faith, refuse the will. That's why. And therefore they are those are then naturally are retained. There is no other way, but it is not the fault of those who receive the Spirit. So, therefore, the this beautiful breakthrough and this constituting of a new community in this spirit, which is evidently a spirit of forgiveness, and which is so beautifully put before us by Saint Paul in Colossians 3.

[16:24]

You are God's chosen people, holy and well beloved. The livery you wear must be tender compassion, kindness, humility, gentleness and patience. You must bear with one another's faults, be generous to each other where somebody has given grounds for complaint. The Lord's generosity to you must be the model of yours. And to crown all this, charity. That is the bond which makes us perfect. So may the peace of Christ, the very condition of your callings, as members of a single body, reign in your hearts. and learn too to be grateful. Then may all the wealth of Christ's inspiration have its shrine among you. Now you will have instruction and advice for one another.

[17:28]

Instruction and advice full of wisdom. Then at other occasions there will be psalms and hymns and spiritual canticles as you sing with gratitude in your hearts to God. So that's, of course, the description of a new public life, a new common life, a public thing. All that is established by the Holy Spirit and is so difficult, different, you know, of course, from the things that we see in the hardened arteries of the world. And again, you know, it is evident that this, the basis for this general one another, that means the breaking down of barriers, is, of course, that sweetness, patience, humility, gentleness of the Holy Spirit. And that, of course, cannot take place in our hearts without a spirit of conversion.

[18:32]

And therefore, in order to obtain this, which is the essential, to my mind, the essential aim, you know, of such a meeting in the community, this community, here, the breaking down of barriers, the stopping, you see, the building up of walls, which is natural because we have started young but the members of the community are getting old, and if they don't deliberately work at it, breaking down the walls, before they know it, the walls will be high enough, you see, that nobody can dare, let us say, to jump over the walls. And therefore also you know so well that such a thing can take place so easily in a community, in a monastic group, where silence is, I say, the kind of general movement.

[19:38]

Not broken as long in this silence we know, of course, is Really, in the feeling of the whole group, that silence is not broken as long as the whole group meets. Perhaps also here and there, maybe in smaller units, where, for example, the smaller group works together for one thing, as faculty members in teaching, as farm members, all those things. And they remind me, too, those where there is a special objective bond, such a group may easily also meet among themselves to speak about things that in that way are not, let us say, common or public facts or public things that touch the common knowledge of the whole. But

[20:40]

Now, of course, there is always that, you know, this inner, and that is, I think, is for the future and for the development of any such meetings among the members of the community in the future is, I think, very important. We have, of course, made one step where individual members kind of accused themselves, and I think also there that is, of course, We have to leave the one cannot categorize, one cannot make a hundred paragraphs, don't say this or don't say that, don'ts, you know, before you know it you are again in some kind of a prison. But one has to take the risk, you know, for the freedom of the Holy Spirit, that here and there things may be said, where one or the other may kind of shrink, you know, and get a little, you know, it rubs a little against feelings, or you might be shocked or something like that.

[21:45]

All these things have to be expected, that which to my mind has to be taken. in order to gain the other thing that not suddenly if somebody accuses himself and says, why I never thought, you know, that the man would even be conscious, you know, of what he is up against, you know, so it's a kind of a relief or something like that. And now a new respect in that way is born and should be born. Any accusation of an individual in this way should be the source of respect and should be the source of deeper love. paternal love, who are the ones, and should not in any way kind of be thrown away or should be killed by suspicion or anything like that, should be accepted in the Holy Spirit, you know, and with real and real respect. And, but on the other hand, we can also say,

[22:45]

And of course a further step would be, and I think that's tremendously important, to open windows for the Holy Spirit, the community, the individual members of the community, kind of are interiorly ready to receive, to put themselves, expose themselves, and to speak to the, again I say, reverent and fraternal, constructive criticism or judgment of other members of the community. I think by that, again, you see, and of course one must keep that in mind too, anything that works under the Holy Spirit can never work, let us say, by violence. It always must work through the heart, that is, through the spontaneity of the individuals who are there. I think that is one of the reasons why the attempts that have been made in some monastic communities, for example, by his institution of accusing one another publicly, where this one is called up to say what he thinks about so-and-so or what he has to criticize in the attitude of another brother.

[24:09]

there, the great danger is, you know, that the other brother is, or that there is a general kind of unwittingness in that way to receive such correction, you see. And then again, you know, of course it may kind cause resentment. And so I would say that this mutual criticism cannot be imposed from without, where the members of the group, as new, meet on the horizontal. But it must then be done in the realm of the inner willingness of the members. But this willingness, for example, could be expressed Of course, somebody who feels disposed to it. Somebody who doesn't feel disposed now, then maybe the Holy Spirit comes at another time and he may feel disposed.

[25:10]

But I would follow in those things strictly the inner workings of the Holy Spirit. If somebody knows, I'm a bad judge in my own cause. And everybody is a bad judge in his own cause. And I would like, you know, maybe in my accusing myself, maybe I missed the point. So I want others, you know, and my brothers, to tell me if I did so, in their opinion. And in that way, as soon as that is done, you see right away, it is as if the sting is taken away. One isn't there to judge one another, but one is there to help one another in the freedom and goodness and sweetness of the Holy Spirit. And that, I think, could be a great I just wanted to finish a little course of our meditations on the Easter vigil, which we started out with the kindling of the light in the evening.

[26:22]

Stay with us, because the evening comes. And then the watching through the night. Vigil is that we do not sleep, that we watch. And then I try to explain a little what it may mean, you know, for us in the monastic life, especially that great and important virtue of Perseverance, hypomone, that patience as it may be called. And now we come to the other end of the night. We have watched this morning that we took with our laws on Gethsemane. And then the new, the daybreak arrives, the dawn.

[27:28]

and meets that little gentle light that we had kindled in the evening. And it fades before the new, great, infinitely, incomparably greater, more intense, more beautiful, more universal light that the sun brings to us. Now that is That is of course this last, this morning stands then for the end of our Christian life, for the Pausia. And this is of course very closely and very centrally connected with our Paschal celebration. It's always good to keep in mind that really The nucleus out of which the entire, the Holy Triduum, the Holy Week, the Lenten, the 40 days of Lent on one side and the 50 days on the Pentecost on the other side, all developed from this one night where the death was celebrated

[28:54]

the baptism, the immersion into the water, and then the Eucharist at the end, the Holy Meal, which indicates then the Pentecost, the blessed 50 days, the new time, the new aeon, which rises and follows the transitus of the Pascha. was so the close connection between it is so as I told you already brought so close so much brought home by the experience there in Jerusalem where we had the Passover meal as a vigil came home at around three o'clock in the morning started at seven o'clock night the evening And during that entire time when the family was there together all the doors to the dining room were kept open for the coming of Messiah.

[30:04]

Now this kind of, this original spirit that so closely is so bound to the Jewish Passover that is also visible everywhere in our Christian Paschal night. We say that, by the way, in the beginning in the year. Praise of that gentle new Easter light, where we say, the deacon sings, we pray thee, O Lord, this candle, consecrated unto the honor of thy name, may shine forth in undiminished splendor to lift the darkness of this night. As the sweet smelly sacrifice, let it be acceptable to Thee, and let its rays mingle with those of the heavenly luminaries.

[31:09]

May its flame be found by the morning star, I mean that morning star which does not know any setting that morning star which returning from the nether world sheds its serene light over all mankind beautiful words of the exalted so that is then indeed also the great experience of the vigil, the moment in which the gentle light of the candle fades away before the stronger light of the new day. And if we think about it, then immediately, naturally, the figure of Saint John the Baptist comes to mind. and he of course for us always especially as the example of the monk Saint John the Baptist who is in his own way that gentle light which prepares the coming the dawning of the new day your child shall be called the prophet of the most high

[32:38]

for you shall go before the face of the Lord to prepare his ways, to give to his people knowledge of salvation through the forgiveness of their sins, because of the loving kindness of our God, wherewith the daybreak from on high has visited us, to shine on those who sit in darkness and the shadow of death, to guide our feet into the way of peace I must decrease that he may increase and that naturally is also indeed the position of the monk and we should think in those terms because naturally this whole these two categories the gentle light of the candle in comparison and in meeting or in fading away before the new light of the day, of the morning sun, that of course has and characterizes our own position.

[33:55]

We are also as monks, we are as candles lit from the Easter candle, we are that light, that gentle frail light And there comes the moment when the full light of the sun breaks in and we fade. And that is, of course, that is in our life here that forms the foundation of one attitude which I think is so tremendously important for us and that is the longing our light here the light that we carry the light of our faith and is first of all tends to, looks forward to is as it were prophecy

[34:57]

an anticipation of, and, to speak in psychological terms, in longing for the full light that then appears at the end. This morning we heard that in the offertory of the Mass so beautifully, it is really the voice of the monk, Deus Deus Meus, deus meus, repeated, God, my God, ate vigilo diluculo, for you I watch, for you I look out, in diluculo, in the early morning, in that time when night and night when light and shadow mix, when still the two are so together, that the objects, various objects, are not yet clear, and cannot see them in their contours.

[36:16]

But there it's enduring, that time, in that morning, I want to say dusk, in the dusk of the morning. There we watch, as monks, sitivit in te anima mea. My soul thirsts for you. And then, te sidrat te caro mea. My flesh longs for you in terra deserta et in aquosa, in the dried-up land, waterless waste. Seek in sanctuario abharvitibi, and thus I have appeared before you in the sanctuary. ut viderem virtutem tuam et gloriam tuam, that I may see your virtue, your power, and your glory.

[37:26]

That I may see your power and your glory. Everybody who is here present may check into his own past and may ask himself what has brought him to the monastery. If it is not exactly this longing, he finds and he found himself in Terra Decepta et Innocosa, in a twilight wasteland. And he comes to the sanctuary out of that longing, that he may see God's power and God's glory. So that's the longing. That is the elementary, fundamental importance of longing for us. We are, as monks, every day, again and again, we are, as the Holy Scripture says of the prophet Daniel, we are viridesidereo.

[38:40]

We are men of many longings. You see, our life in the monastery is in that way. We have looked for the desert. But why do we look for the desert? To keep our longing, to deepen our longing. That's really the meaning. It does not come to the monastery simply, let us say, in a kind of human or psychological manner for, let us say, vague idea of human fulfillment. Human fulfillment. That is just not... The monastery cannot offer it. It is not made for that, you know. for that human fulfillment. And we must be absolutely clear about that. Of course, it is natural and evident, you know, on the very essence of things and of our own structure, that every man looks for fulfillment.

[39:56]

And that, in projecting himself into the future, then he will find that he is, when can really going, be going, begins, you know, if he is really fulfilled in that kind of, say, psychological, human, natural way. That must be clear about. And sometimes if we project, for example, our own image, so to speak, into the future, Then, as monks, we should not be in any, let's say, an awareness, or not aware of the fact that our entire life in the monastery will not be that of this kind of natural fulfillment.

[41:00]

We are simply, as monks, we are signs of the eschatological fulfillment. For example, the whole question of virginity depends completely on that. You know, the meaning, the Christian meaning of virginity is, you know, is this to be this gentle light, you know, this Easter candle there, out of the wax of the bee, you know, it's already praised, you know, as a kind of symbol of virginity, but looking forward, you know, and waiting for the daybreak. So it's ordained in that direction. And that is our life too. Our life is a life of concentrated, undistracted longing.

[42:02]

Longing for the curious, for the Lord, for the power and the glory of God. That is what brought us to the monastery. And therefore we should also not, for example, it's always so often one can see that, you know, that for example, for a monk the question of his occupation in the monastery, the question of his contribution, what shall I do? What can I contribute? for example, grows into a great problem, then grows into a worry. Now if that is only again, of course if it comes, it's again, it's natural, it has to be expected, it will come. But we must see it in line, in the light of our monastic

[43:12]

of our monastic vocation. Can that monastic vocation instead of St. John the Baptist? I must decrease that he may increase. It is that candle, that Easter candle, that waits for the daybreak. And it's not sad when the daybreak comes. It knows that it then will fade away. And that is our attitude, the attitude of Verdesiderio, the man of many longings. But we also must then realize that this longing and the depth of our longing is, of course, also already an immediate preparation, and in some way, one can say, in our Christian order of things, not in the Old Testament, but in the Christian order of things, the longing is already also here being fulfilled.

[44:23]

Our longing is not in the New Testament what it has been in the Old Testament. only in looking forward, but our longing is already here, deeply, interiorly fulfilled. The more we long, the more we take actually already part in the light of Christ, in the glory of Christ, the closer we are actually to the curious. So that is, therefore, that is one thing that we should keep in mind. We are, in that way, failing lines. We are prophetic lines. We have, as St. Peter says in the second epistle, in that little, in the 19th verse of the first chapter, and that refers here to our situation, we have a stable, sure,

[45:29]

prophetical word, and it is good to look at it, to pay attention to it, and to watch for it, as we watch in the light of the lamp which shines in the dark place of this life, as it were, taken out of the Easter night. Until the day breaks, and until the morning star rises in our hearts. Then there is another way of Spirit, there is the longing, the one way in which we as the candle meet the daybreak, the daylight. Then, of course, there is another way that is important for us.

[46:31]

And that is that we do not, in our own way of thinking, that we do not get too involved and immersed in all kinds of the historical perfect perspectives. That always brings complications and that always brings great problems. For example, we started this monastery here on this hill. If we would have got immersed in perspectives, we would never have started it. We approach it with a great deal of naivety. Thank God, that is what the monk really should be, should have, a great deal of holy naivety.

[47:39]

But I mean a naivety in which it has a basis, you know, which is not simply stupidity. Basis, you know, simply the basis is the day star, the basis is the sunlight, the basis is the dawn. And that is of course for us as Christians is an inner reality. But of course one must always consider it is only an inner reality if this, let us say, naivete of our planning and our thinking about the future and thinking about doing this and thinking about doing that is based on Christ. In this way that it is clear as it were in the face of the Lord that it is therefore not, for example,

[48:41]

and getting involved out, let us say, of human preoccupations or of human presumption. If naivete in that way is simply the reflection of presumption, then the undertaking, the whole enterprise, is condemned to fall to pieces. And that's true. It must be interiorly. The faith, let us say, for example, very often, I think one has to be very careful, you see, because many people, kind of, in a wrong, let us say, concept of faith, you know, then speculate and say, all right, now God will help you. That can be very often can be a presumptuous shortcut. It must be therefore based really on that kindly light of faith.

[49:45]

on that light that comes from the Easter candle, where there are the five wounds, where there is that light, you know, which is there in order to chase away, in order to leave the shadows of the dead. So, but very often, and I find that sometimes also here in the community, and you will you will agree with me, you know, we all have this one way in which we, let us say, can show our superiority, you know, our prophecies prophecies are wonderful predictions, you know, our wonderful field, you know, where our wisdom kind of, in a very impressive way, you know, get the best of us.

[50:48]

And that is, therefore, we have to watch that. I know that from my own experience. See, one is always, you know, feels, you know, one gets a kind of ahead of everybody else, you know, by predicting this or that. And that's a very great danger for us. And we are inclined, you know, to kind of follow that kind of knowledge which blows up. Now, the most wonderful field for it are prophecies. And therefore we, in that way, very often, We also waste our times, you know, in all kinds of perspectives and asking ourselves now what will become of this or that.

[51:55]

And we get involved and lost in fears and anticipation. Now, I don't want in the least, you know, to say or to encourage any kind of indeliberate hastiness. That's, of course, a completely different thing. One should be cautious, but one should be cautious in and humble, but in the light of the Easter candle. that is always open and always related to the palsia of the curious. There is another way, you know, which is closely connected with that, and there is also where this kind of crisis, you know, is so visible in the line of the monk that comes at the moment where the Easter candle meets the daylight.

[53:05]

And that is the deliberate humility of judgment. Humility of judgment. We have spoken about that so often. Of course that humility of judgment is always, you know, in the seeing the bigger light, looking forward towards the bigger light. One can see that and we experience that in our days, for example, also in the whole church. For example, in the field of theology today, very much. It is as if in some way, as if scales, you know, in many fields, for example, in the field of Holy Scripture too, would fall off from our eyes. and also for example in the way in which we approach the traditional formulas of faith that have in the course of tradition have developed.

[54:22]

We are today by the situation of the Council for example in the whole question of the relation between scripture and tradition. Now that's a very difficult and very delicate question. Or for example also in other fields. For example in field of canon law. Now There has been a time, and this time is very close to us, where certain, let us say, where canon law was considered, you know, as something absolutely sacrosanct. Now, in our days, we see the necessities and the needs of what Pope John called the aggiornamento, the kind of bringing up to date of certain things. And that is, of course, also in theology.

[55:26]

If one reads, let us say, certain theologians, take, for example, somebody like Karl Warner, what is the contribution of a man like this? It's simply that he takes a fresh look at things, and he takes a fresh look add formulas which have come down and which have been repeated and repeated and repeated and through their repetition in some way have made us maybe a little numb, you know, and have lost, and therefore, they are to say, their meaningfulness for us. and solves many questions, you know, that, for example, take in our days the whole question of what is the monk, the question of monasticism. We take a fresh look at it.

[56:29]

Why can we do that? Only, of course, through a certain humility of judgment. otherwise we wouldn't be able, otherwise we absolutely would sit on what we have once learned, finished, period, you know, that's it. But if one, in that way, if one realizes that all these formulas and all these manifestations in the church of the life of the Spirit, for example, take the whole question of the diaconate, one takes a new look at all, one asks oneself now, what is the deacon? So that is possible only, I would say, under the influence and in an eschatological attitude. If it is done simply for curiosity's sake,

[57:32]

If one would simply, you see, go and try new formulas, because one is simply out of a cupiditas novorum, or rerum novarum, then, of course, that would be human, and that would be destructive. Any kind of of development in the Church, in the realm of the Spirit, can come to us, human minds, into the whole field of faith—I mean the field of the Easter candle—only if, in some way and in a new way, we kind of open the doors, try to open the windows, for the eschatological life. for that light which, when it comes, we realize that all our dogmatic concepts, you know, were insufficient in themselves. And they kind of fade away. They are not sure to be wrong. That is a completely different thing.

[58:34]

But they fade away. They lose, in that way, their power. And then there is a last thing, and then that's Omkara. And that is, you know, that in part of this, of our eschatological longing is, of course, fulfilled and is shown in the banquet. And I just wanted, you know, just to point out a few words. The banquet, that is really the communion of saints. That is the sharing, the big sharing. And there I just only wanted to point out and to express my joy that the various groups within the monastic community come and have gotten together and have met and have discussed certain things of the spiritual life.

[59:41]

That can be done only also in the eschatological spirit. That audacity, that daring to break down barriers, can be done only in the eschatological light. If one watches that beautiful moment where the light of the Easter candle kind of fades away, He was much worse in the right way. He won't forgive for it yet, but it's the most important thing of all. Recently in London, somebody was talking about the problem with language. And he said something which I think expresses a fundamental point. Languages, qualified immemorial reflexes, can twist the feelings. Remembrance is an action that transcends individual recall.

[60:44]

Contours of communal experience are as subtly decisive as the contours of sky and land in which a civilization rifles. An outsider can master a language that a writer masters his mouth. He rarely becomes, as one with his undefined, subterranean Now it is that undefined subterranean emotion that a composer is, first of all, concerned with. Latin for a long time has lacked, for the ordinary man, for the composer, that subterranean emotion. A mother no longer instructs her child in Latin. Lovers no longer address one another in Latin. And this is a very serious point, because it means that the language is nowadays deprived of all those overtones and undertones which thrive on being used in the most intimate actions of the human race.

[61:48]

It is still an interlingua in certain parts of the world, among certain people and communities, but it is no longer a language in the sense that it is a living language, renewed, altered and developed by the experience of humanity. That's the first thing to remember. Therefore the rhythms of Latin, the phrases, the syntax, all this is something which every year, month and day is shifting further and further into the past, as far as the experience of contemporary man is concerned. And therefore a composer can never really affect Latin in the same way and with the same feelings as he does his own native language. I'm not saying that this is necessarily a bad thing, I'm just pointing out that the two things they think in this America, and they think Latin, are now fundamentally different. Before we go further, I think too, I want to point out that there are certain bits that are mentioned, which may get in the way when we are thinking about music, or the relationship

[63:02]

You, as Benedictine scores, have a particular heritage in the guardianship of Gregorian chant. And I do not think that Gregorian chant need be a novelty of the liturgy. I think it can be adapted in many ways, and I think it can also serve as a basis for many good characters. The first thing we've got to realise about the Boreal Charter, the first thing I think that even Benedictus enters in it, is that in the form we have it now, it is primarily a magnetic creation. The big extensive proper charter, the elaborate deliverance of the bread, the text, and the liturgy, are as we have them now, a creation, not of the Roman church at all, but of the French. and West German monasteries of the 8th and 10th centuries. We do not know, and we cannot know, except by the mind and influence of what the philosophical basic American Church was in the 15th century.

[64:11]

You can say definitely that it comes from a Jewish original, but the methods explained there are not the normal methods of composition used in Western Europe at all. They are Semitic methods. They consist or assembling together little tiny units of 7, 2, 3, 4, and 5 notes. These are all built according to the Aelius-like pattern, and this mosaic pattern according to the Aelius-like pattern is a fundamentally Semitic way of composition. Therefore Gregorian Chant is in its earliest origins Semitic, but there is no certainty now that we can get back to anything like primitive form of the Jewish child, which was adapted first to the Greek language, and then altered again to be re-adapted to the Latin language in the form of this thing, and which then, in the dark ages, became the prophecy of the Romantic community of the West, and chiefly of the Romantic community of South-West Germany, and which further developed, aiding to elaborate, expand,

[65:14]

Therefore, if you are going to use Gregorian Charter, you must always bear in mind that the present form is that of a chart created for a liturgy. And one of the things, I need to remind you of this, that in many of the great dynamic movies, the monks must have printed a note, that's the implication behind the great many of the command, with the different answers. And one of the reasons why they later, maybe, would recommend that a liturgy be published, a liturgy of clean liturgy, for example, where you had belonged infinitely to the awakened being, was basically to fill out what Katya Doris called the vast nature of the condom. Now this development was French, in general, particularly French, and therefore it had many French characteristics in its love of decoration and in its love of elaboration.

[66:17]

And you know too that when polyphony is started, it's started as a decoration of the already decorated portions of the chart. Instead of performing the decoration at the end of the existing chart, you perform them in order here. And so you've got trapezoids. and then the idea came up of singing different texts simultaneously, the so-called Gothic Pointettas of the 13th century. Then in the 14th century comes the Caligulae, which is not created by church musicians, not created by monastic communities, it's created by the new Cappellae, the musical institutions first of all of the papacy, and then of the bishops, and then of kings and and extended his own group of musicians to the rest of the infinities who wrote music which did not design so much to give honour to almighty God as to show what a big guy the cat was in the chapel it was. These things are very important and the growing secularisation of music throughout the 14th, 15th and early 15th century can be traced directly to the consentation and the love of this day of the rulers of Europe.

[67:28]

Now with the counter-offence laid down the line upon which it was posed before, of the general use of the text says, to emphasise something which for the first time in music has become important, that the music should, as far as possible, make the word easily heard, they should underline the meaning and the rules of the word said, so that the people listening might thereby be tools to devotion and contemplation. Now this is not a frequent myth about Gregorian chants, but Gregorian chants very often illustrate the meaning of the words written by the Buddhists. And this is largely illusory. The idea since ancient Greece of bringing out the meaning and meaning of your words by the Buddhists has been lost. The Buddhists did not even find no reference to it when they immediately put it on chants. You find no complaints of talking about it at all until you get to the middle of the 16th century. And there are certain fantasies that may seem to bear the same thing in the chart.

[68:35]

For example, there's one famous antiphon, Machendo et Patron Deo, which is often quoted in the book because it has all these lovely writhing scales because it's everybody's a star on the surface of the station. But this chart also exists to detect Dixinges in Waterloo Mare. There are many other examples. I think the century does seem to have concern for the world. I won't go into all the ramifications of it now why and how, it just seems to link up with the beginning of the idea that the world is not only a thing you hear, and for minority of people, I think, to trade ways. Because now the time for a very great number of people, something they could see as a printing book. The Word of God was no longer something they just heard from the priest at the altar, but something they could actually see for themselves in a book. And with the growth of cheaper printing, more and more people came to think of the Word not only as a third thing, but as a fiend.

[69:42]

And therefore they wanted more and more to represent, both physically and audibly in music, word which they now heard in thought. Well now, in bringing up the meaning of the word, music became more and more dramatic and it led, in the text of the music, to be popular. And the history of church music from the late 16th century is the incorporation of more and more dramatic tricks into music until by the middle of the 17th century it was entirely operatic. Now the adaptive rapport which came in the 19th century set up, worthwhile in many ways, a false ideal. One of the books that still remains to be written is an examination of people using ecology. And, um, it's one of those books that often reflects this postulate that... There are radical oversimplifications in the picture of the church music, which we get in paper and picture, which you probably know are nearly all written by people like Anita Pontiff and others.

[70:58]

We get a false picture, and we also get a false story. The idea that a certain style of music can be held up as an invariable mod. It doesn't work because people feel differently about music in different ages. The Glorian Chants seem to be everywhere today to be a rather slow formative era, but a great deal of it seems to live, to be nothing very abstract, to be a rather tense era, rather gloomy. In other words, our whole musical history could change with one thousand years of this And therefore, if we are divided in music, we have to take into account the greatly increased ability of humanity to listen. The fact that we have the ability to listen can, and often does, know a good deal of music of many different music. So, all hours of the day, if he lives in an American city, for example, he is likely to be surrounded with music, whether he likes it or not.

[71:59]

And therefore, his reactions to music are going to be very, very different indeed. You have two great periods of the Royal Enchantment. The period represented by our Potter Giants, which are the more ancient of the blend. And then you have the period represented by our Caryatids, nearly all the melodies of which go from the 10th to the 14th century, which are based on very different musical festivals, which are much more obviously true. Why should there not therefore now be a new, third body of music? You see, the beauty of the Church is ancient, but it is also new. and it just cannot be that the new body is made in response to the demand now being made. I think there would be something radically wrong. There is no reason why the old should not be preserved, but equally there is no reason why the old reserved to the exposition of the new. This is something which has never happened before. We don't perform the music of the 13th, 14th, and 15th century in church now.

[73:02]

It would be quite unsuitable to judge that. It is kept alive by many devoted bodies, choir, groups, and musicians who perform it. It's recorded. It's still alive. But it is no longer suitable for our listening. And therefore a great deal of our 16th, 17th, and 18th century music will become no longer subject to the rich to provide and have value as yet but it stands up now as their value and if you really think about the situation in the church as it went over to death in a real sense the middle ages are although a very important part of the church almost an interlude the real church atmosphere and the surroundings in which the church lived is much more typically the cosmopolitan society of our time. You remember right up to the end of the 4th century that was the linearized look to church work, the indigusting work in a cosmopolitan society.

[74:05]

We've got the world's most cosmopolitan society today in a worldwide civilization far larger than the indigusting we'd ever have dreamed of, whereas the Middle Ages in a comparatively restricted period is here contrasted with the Roman theory and with our own theory, a narrow-minded theory by virtue of circumstance and situation, inadequate knowledge, inadequate communication. and it was a time of being the first in the ongoing when you had a very good heart you may say of being Mr. Hustle when the church became more and more codified like the canon law you had the big codified theology the whole thing became more and more theocratic more and more systematized the reformation as can be seen today did In one sense it is a breaking of the artificial barriers which the church has tended to erect around the doctrine and message that it was built to broadcast to the world.

[75:07]

And now we're starting to do it again, we're beginning to re-factor, we're beginning to take in the truth about the ecclesiastical idea, and then realizing that the church doesn't necessarily have to build a system of incorporation, it has to incorporate, to recreate, to reuse, all the good that is in the world. Therefore, there can be no contradiction. Everything is going to be used in a sacred way provided it is used in the proper way. And the other thing is just whether we are using it in the proper way or not. What we want to do in our worship, what do we want to make our worship acceptable for people to understand it properly. And whether we are prepared, and go right back to the root of our tradition, the root of our western music, introducing the right form of music. Now we come down to the question of words again. The dimension of the limit was important, and because all these ways of looking at music have primarily been musical ways of thinking words, which have not necessarily stressed the meaning

[76:17]

For example, so many of those cheerful QVA lads in the QVR lab. They weren't where they expected were the QVA lads on at all. They start off with the QVA, and at the rest of the test it's probably, bountiful goodness, unbegotten father, radiant with splendour, matching to get their lads on. They are full of interpolated sex, which is why so many of the chants in the QVR lab seem to us today to be unsuitable to their worth. It's hardly unharmful. area in the theory out there, possibly, mass number 18, which is one of the few really realistic theories. You have to stop to think, why is it that we always think Lord of Mercy Christ of Mercy does joyful music, if music really is a great particularity? But I'll get back to the problem of will it. First of all, I think it would be highly desirable, with any attempt, to make a permanent fix to There had to be a complete universe, and in the next twenty-five to thirty years it is important that we are to produce a really great body of new dignity.

[77:24]

That there should be as much of it as possible. There should be no attempt to make anything too distinctive. It can only be temporary, as far as the man is concerned, because the final shape of the man's ordinary has not been built. It is still under discussion as well. I have been told that it has been discussed and almost settled that it's been largely picture-told and that it may be produced in the later days, and no one is going to be surprised. But until then, we cannot really proceed with any certainty about the final shape of architecture, which is obviously going to be the sort of model that we want to use. We're going to restart making experiments based on this. Everything spoken aloud or sung must be intelligible but only little, not no good. And it must be not only easy for the congregation to take part in those places where they should take part, but it must be made desirable. If only we could write the right sort of music, congregations aren't really going to do the thing they can't do.

[78:31]

It's quite a long list, maybe, but it's difficult. A good composer should be able to write music that will make people want to sing it. If we can do that, a great deal of the opposition that's beginning to come after us will still be there. And the more dying our section of the church will be, the better. Now, in England, and I think in America, though I don't know very much about it, we have a very bad tradition of what I might call liturgical lynching. We have it in our Vanwater Square, I think, employed by our bishop and our bishop. We have a constant latinization of our Catholicism. We still talk about the middletage and the aristocrats. We still even sometimes talk about the invention of the holy trinity. Incredible misunderstanding there. We also talk about it being much, and we tend when we are translating or mapping, but in the moment mapping language, instead of using the simple standard language.

[79:36]

Then there are a few peculiarities of English, in writing words produced. The way English continually alters the pitch of the vowel, something that other languages do not necessarily do. A mixture of vowels that nearly always in that same time it was believed to hold a neutral meaning. So, a word like the, the sort of strange, soft vowel sound you'd be able to find in a syllable. Something which isn't nearly so noticeable in American pronunciation as it is in English. Because you people do preserve a lot of the vocabulary, but it also tends to give far more attention to syllables, which in English would be so unaccented as to be hardly vocalised. Therefore, I think there may be a difference between the English and the Americans in terms of politics. Now, it's very exciting that Conveyor could come over, and the other man, who is still being used, was quite known for my study, didn't he?

[80:40]

In a way, it was not always, or shall we say, 17th and 18th century in many ways. The way he pronounced certain syllables, the way he stressed certain syllables, all can be traced back to the 17th century, and your ancestors came over there. And therefore, I think in many ways it is a considerable possibility that in the Hispanic community, we are going to be missing this. I have been listening to Americans speaking in church, and again, it is noticeable how they alter the whole statement of words. For example, take a word like sanctuary. Now, he didn't clearly make a conviction in himself. He really did sanctuarily. You can't be sanctuary, whereas the American leftists did. I can't even think of myself to bring out those three syllables without stressing them. In other words, you do tend and skip a little more weight and time when you have a many-syllable word.

[81:42]

To detect words, syllables fall only on the accenting part, and therefore make it much easier to test them. We have many variations of dress and of weight. The variety in our form is difficult. The word like length takes much longer to say and therefore the word like fit. There are some examples of translation which I am discussing entirely from the beautiful point of view. It's translation of the exorcist which is surely another piece of liturgy which I want to teach in a little bit. I'll just read the last thing to remind you of the rhythm. Exsulti Diamangelica Turba Caelorum, Exsulti Divina Mysteria, Exsulti Regis Victoria Turba Infernae Salutare, Gaerea Destellus Sancti Divariata Vulgaribus, Mediterni Regis Pendure Illustrata, Tertius Obis Pesentia, and Essus Pesitita.

[82:47]

You notice the wonderful song which we didn't read first. Now here is the worst translation I could find. They separately chose them as an example of things which are not quite so bad as opposed to compiling over and over again in translations made to the list. Taken from a booklet published in India. Why the Indians should be not afflicted, I don't know. Here it is. Rejoice now, you angelic choir. Those are the sort of chanty tones I remember hearing. Rejoice, you ministers of God, and let the trumpet of victory blare for the great triumph of our King. Rejoice, O Earth, flooded with such great light, illumined by the splendors of the Eternal King, make it known that the darkness of the entire universe has been dispelled.

[83:52]

Wherefore, beloved brethren, we stand here in the marvellous splendor of this holy light, I beseech you, add your voices to mine, invoking the mercy of Almighty God. Well, this is an accurate translation. But, is there no other? It's better to think well than educate himself. Also, notice One I can only describe, it won't be described in England, as all three be natural. May it know that the darkness of the entire universe is like a small child who's just discovered a conjunctive mood. Illumined by the splendor of the eternal, there is a magic word, where an English word would do. Now here is one thing you're not, which of course is much better. He's not very suitable for this perspective. He didn't desire it for that. And he always finds great difficulty in writing texts on the list. He once sent to me in a letter, I haven't a note. And um, with him, there are beautiful pieces of poetry, and beautiful translations, and all very difficult to think of in a conversation.

[84:59]

Because he always lets the sense run over from one line to another. Whereas the average conversation looks upon the end of the line as a place for taking words to the next. Therefore you find yourself in a knot sensation, breaking off at forthward wellness. Here is this sensation of the absorption. Now let the angelic heavenly choir exult. Let joy pervade the unknown beings who surround God's throne. And let the trumpet of salvation sound the triumph of our mighty King. Let earth too be joyful in the radiance of this great splendor. Enlightened by the glory of her eternal King, Let her feel upon the whole round world the darkness has been lifted. Well, of course, it is very, very much so. And yet, of course, in the music, it lacks direction. Why does a youngster voice all the time? Now let the angelic heaven be quiet in song. Why in song? Why not in joy? Let joy pervade the unknown being. I'm not quite clear why that is the translation of exultant divina mysteria.

[86:04]

Let joy pervade the unknown being. That's the round word first. And let's talk of the salvation behind the silence. Let her to be joyful. Again, I think that is very deplorable. Let her feel joyful. That's the whole round word. Surely all this is unnecessary. Now, why can't you do the imperative move? Well, Four years ago I was writing an oratorio about Easter and I wanted to use a large section of this and so I was looking for texts and after looking through many texts, these included, I decided to prepare my own but using a basis but not where he provided a happy place. Now this is my selection. Rejoice, O choir of angels in the heavens. Rejoice, ye mysteries around the throne of God. Sound the trumpet of salvation for the triumph of our mighty King. You know that it's direct all the time. You've got a rhythm there. Rejoice, O choir of angels in the heavens. Rejoice in the mystery around the throne of God.

[87:06]

Sound the trumpet of salvation for the triumph of our mighty King. Rejoice, O earth, in the radiance of this great splendor. Know that of all thy globes darkness has been set, not let her be. Know it, for by all thy globes the darkness has been set. My dear brethren who are here with me at this wondrous lighting of the holy flame join me and proclaim the mercy of our God. Now we come to the problem of music in the mass. What sort of music? What portion is there? The mass ordinary, I think, would be agreed by everybody, is the right of the congregation. Originally, it was a terrorist act. Therefore, we must restore the mass ordinary, first and foremost, to the congregation.

[88:07]

A simple Gregorian chart, a very simple one, clearly, I think, could be adapted to the church. Now, these are the things. would help propagate one of the lines of those made by the Ludewig vote in France who took many a voyage and adapted for the German way. There are people who in England and in America Take the child and fit the invisible without altering the look of the child. On the witness you'll find that they've often put an elaborate melisma on the word the. I dare say to you, do not take into account that music should be made to fit words, not words music. You can't get a really artistic result if you fit words to fit with music. If you want to do that, you must radically alter your music.

[89:09]

Now, our Gregorian chant came in a highly decorated form. It contained lots of what the harmony teachers have called uneventful notes that are not fundamental to the real tune of the melody. And it would be easy to strip away some of the education, the whole decoration. In making a tune, which would fit in with what the Lutherans did when they left, which he did. I haven't told you she did it down at the place, but we haven't done it down yet. That is what they did in adjusting some of the melodies and materiality. And this, I think, would still be done. You would type a chord to analyze your chart, find out the radical shape behind it. And again, with the mind and scholarship of a musical novelist. Then you would have to make a shape which would fit your already designed text, which of course must be designed to be reflective of weather, friendly or rude caterers, and give you an easy flow of text.

[90:11]

I'd like to thank John, Minister of Arts, and everyone at the Bar for their hard work. They haven't been speaking to any big strangers. They have been choosing from several countries and trying to make a network for each child with slow and effortless music. When I pointed out to them that a lot of their children were still too inappropriate, saying that one or two of them are this, one or the other, they didn't think of getting rid of it, because they had the mistaken notion that every note from the Gregorian child that now exists must be preserved to uphold its interest. And this you can't do, because the musical On the other hand, you can take the fundamental skeleton, as it were, of the melody and use that. That starts with the rhythm generator, where I use it as an example. I'm not good at fingering, so I don't. This will also apply to the proper. Of course, the proper giant will not be made into that little four.

[91:18]

As you know, In any of the store jeopardy, we don't have the full intro style. We probably have a full arbitrary style. We may even have a full gradual style. We probably have that kind of style in charge for the community. Now not all of this is necessarily the prerogative of the people. And there are two things that I think should not be the prerogative of the people. First is the arbitrary when the collection is made. It is regret which from time immemorial has been the problem of the professional singer. The whole shape of the graduate organisation, the style, the context of the music are those of professional musical form. And we should maintain that. There should always be a place in our new liturgy for the professional musician to consider his or her own. All these elaborate charts, I am sure, can be attempted if we want.

[92:22]

There is no reason why you should always have a postulate by a Gregorian gradual. The gradual could be the place, and the opposite could be the place, where polyphonic signals of the opposite were now and in custody, thus giving a place for the maintenance of the place in our domain. We should abandon the practice of having a motet after the Gregorian The operatory text itself, probably enlarged to a sound length, should be made to fit into any polyphonic musical text form. We shouldn't import vibrational literature into the mathematics of the operatory. In setting this text, we should always be aware of the different types of text we are setting, and therefore of the necessary functions of the text in the mathematics. The theory, the stanza, the art and theory, the art and literature, Here we are, and if they are the victims, and therefore they are victims, it's a definite and easily the mutable definition. Or it's that kind of rather, that's what we're looking to alternate to one another.

[93:31]

Although, such as easily, it's a definite no, it's inevitably the victim. It's not good, I think, that we're going to have this difficult fit. It's a definite no, you're never. It's much more difficult, I suppose, because it's reasonably limited. On the other hand, Gloria and the creed will require a more elaborate organization. I'm sure you know that therefore I am very disengaged about this community I live in. It's really a time to stop. It will so much as to be so clever again that each phase will seem to destroy us. That will be one way of handling the nature of Gloria. It could also be the way of handling the nature of creed. but nothing would have to be done with the text that both spoke for her in order to make them really easily made fun of. With the creed, of course, you would have the difficulty of an Englishman who says, the moral is, is indeed, you must have honestly looked at the creed.

[94:36]

Defising a new interpretation of the creed that would really be musically suitable and so finally correct is one, I think, that would take good, beautiful time and juggle. But I'm equally sure that it could be done. Wanted. A lot of people. should properly, I think, share in the interest and they should share in the communion. You know the many pieces that have been made of this one sort, I think, are the people's things, the empty ones, the shorthanded ones, which is interspersed between the verses of the Psalm in the Psalmite Choir, also. These are eminently beautiful. and it would be possible to build up a residency of short intervals that the congregation could learn. It might even be possible, as I have been to give the idea, I so did think, John, that there could only be a few in choice of the whole year, not four, and I mean to tell you the truth.

[95:38]

It could be you both get over a year, and that's the kind of people who can't even go to church, and in time the congregation might be able to be brought within the church, instead of being confined in the United Because although the most controversial method of science is known for, and it's easy, it can be defective. I think these days we should not let's contest with that. We must equip the people to be able to know the science they want to get, and therefore we must be buying away at it, even if we make it as easy as possible for them. I think the Jell-O method of science is First, I think the general method of text could preserve something of the original rhythm of the people, but it gives an easily found rhythm when one or two people can pick up that rhythm. On the other hand, while I admire giving a sound in the original language, I do not think the translation that has been made in many of these sounds in the original tunes are good.

[96:40]

For example, the text says now, it isn't the shepherd in my law, I didn't think that was the same as saying the Lord is my shepherd. And then you come to the end of that prayer where you have to revive my drooping spirit. Well that is reversible in itself. Spirit is one of those words where you do not in any way judge the final syllable. There are only two ways of setting the words in inadequacy. One is with the second note, even though I don't know the first. Or with the second note, it's the same as the first, but unaccented. But of course, with the other note style, you get to it. Which of course means that if any congregation thinks that too, they are going to have a great deal of things to do based on the last syllable of their word. That's what I mean by generic musical accent. And of course, the thing is always that. When you try to fit new words to what you originally did, Again, adaptations could undoubtedly be made in the Gemini boundaries, but they're not all that wonderful, there are some very beautiful ones, but in my opinion there are a lot of them that may be dull.

[97:48]

And also some of them are in fact a bit of a French type of sentimentality, which I don't see anything like in England or in America. In fact I think we ought to be especially careful in view of our past, of him, to avoid anything that is more sensitive. We want a much more robust digitization network. While, of course, it might be truly debatable, I think we ought to realize that a lot of our debates and debatable practices are still surrounded by almost 19th-century renaissance, which has very, very little to do with our business things, for example, of life and mental health. There is no need for immigration modally, truly. There are many people who think that a conspiracy becomes immediately religious in time, if you just have a view pattern leading up to the Dorian mode. There is no need for difficult. I am convinced that there are many of you who are in the right to be a good person, to be religious, to be influential, without feeling that you've got to go back to an archaic trust.

[98:59]

We've got to produce news that sounds really good. and it's got to be popular in style. It should be popular, in the real meaning of that word, it should be a music that people will want to see, and then it will become a people's music. And a good deal of propaganda is going to be necessary. You know how the Lutheran choral was made in Germany? They were a tenor and a singer, went around and found that, and they gave it to a marketplace, gradually the people would get around, and they would deepen their musical knowledge. And that's the truth, basically. Now these truths were not in the form you know them today. There's something like the thing that is derived which is really in four beats in a bar, as we know it now. But originally it was in a mixture of triple time and duple time. And nearly all of the report hours were in a playlist of triple and duple rhythms.

[100:03]

And it was only through the 17th century that the difference between these versions was gradually ironed out until you got R449 and R349 as we can recall now. We should also, I think, look, I mean, I think that there's a bit of a caveat, thinking of the English folk of our class. Because of course these were the things of thinking that we used to call the ordinary of the rare. All the things that we used to call the ordinary of the rare. And inevitably this has been said for 400 years now. And there's a great deal of accumulated tradition and experience there. We can learn that it's not If you want to learn how to be sensitive and sensitive for a while, while the congregation is still learning some of the new limitations, why not sing some of the Anglican sermons? Why not sing the birds singing the Lord and the Virgin, the Bird Gloria, the Bird Vow of the Illuminati?

[101:10]

Why not sing it? Because it would be incoherent to use these words to the congregation. It would make them expect high musical standards. And you would also be preserving a very specific musical tradition, which is called pure, magical music. There can be no radical way to describe it. Anything in this music must be grasped at all. And we must realize that it will take time for our people to be able to make a decision. And also the fact that even the only common man doesn't like changing normally to take things too far. And it will be a very specific answer to the new music and the new thing. if we can show how much this cooking comes from the heart. I don't think we need answers to what we are doing in the past. If we can link it up with what has been new in the past and which we now bring on to be finalized, then we will have a very good argument to recommend. Also, many of the so-called ancestors of the Anglican religious community are Catholic.

[102:15]

Therefore, we use that coral into our writing of the text in communion. We have a great deal of vernacular liturgical relief required, ready-made, if we want to use. A lot of coral will leak, it will be leaked at the beginning, and the liquid becomes almost totally vernacular, because we both have enough of the liquid. Although conjugation will take time, the learned therefore will share in the time. No, of course not. The reason for prayer, lesson, and gospel. I am not sure that it should be observed always. The reason, of course, for the chanting of prayer has been left in the old days to simply that. A monastery boy carried one prayer tie in a large building as a spoken voice.

[103:18]

But now I think it's all hard and jerk to have a built-in loudspeaker. It isn't really necessary to have one of your little lip-speakers. It will mean that the dress will work nicely. saying it's more than they are, they weren't even pointing to that elevation. But that surely isn't a viable thing, is it? If monastery is one thing, then why should it not be kept at certain stations, on occasions, like on difficult mountains? Then, it would be of great interest, indeed, to adapt the Gregorian system of intonation, means tone and the pitch of tone is a useful question to the English language. All we have to make sure is that the little turns of melody at the end of the section are adapted to fit the new senses of the words in those days. That should present no difficulty. I expect you've heard Desmond Fitzpatrick's English runner.

[104:22]

I thought each timing of the letters worked very well in reading. I thought the rest of the music was very, very dull. That's what I mean about the sort of music people want. And that's what I found interesting here. Not intellectual intelligence. There is no need for religion to be quite so dull. And there is no need either to think or to congregate. My felony was so many words that it's all you can do for a living. I said to myself, a congregation would like to be created with intellect. And if people survive the stimulating business that people will want to do, I think it makes no real difference. I'm basing this on the experience that I've had here. I've brought over a vernacular convo, made the text beautifully and beautifully from the Hebrew, in the rhythm of the original Hebrew, and I've taken it along and played it. I did an illustration of what I've been saying in this talk, and I've found that people have picked it up, and have sung it loudly and joyfully, simply because they find it interesting, something which is interesting and enjoyable to see.

[105:27]

But to get back to the reading and the chanting, Here again, new text has helped very much indeed. You do not have to prepare a new text if a letter really better be read or charged in a monitor. On the other hand, many of the existing translations are awkward and unaccustomed in many ways. They lack a sense of taste. And one of the things about 20th century French is that it is equal to the cadence of the 18th, 19th and 17th centuries. And while it may be undesirable in contemporary writing like novels and newspapers, if you want language to sound effectively in a large building when it is addressed to great singers, then an occasional play is missed. Throughout this language, there's a very strong rhythm. I don't mean meat, or wasted meat, but I do mean a language that is organized in an era of rhythmic cleaning. Here again, the anticlimactic helps never. The Book of Common Prayer contains a great many wonderful things to interpret.

[106:33]

I truly hope. These again would serve as our model. We mustn't follow them baby steps. We're going to think that the grammar and the cadence of the language, of course, would help us. And it's fun to think that. But at least we can use them to inspire us to the way we should go. Last of all, simple music does not mean dull. It does mean, though, that you've got to have good composure. because to compose truly first-class cymbal music is perhaps the most difficult task a composer can take on. We'll have to arrive at what Eliot in another context called the condition of utter synthesis. Cost is not less than synthesis. And it may seem that sometimes we are playing a very high cost. For the composer, I think it may be very difficult. A composer may, in many senses, The artist has to abandon all that he could learn. And I think only if he puts himself at the service of the literature, if he is at the service of any personal style, if he tries always to produce something which is really going to make people want to see, which will be an effective vehicle for the literature to come to him, then he will produce something really worthwhile.

[107:54]

It is bound to be a great deal of experience. And we've all must come to realize that many of our friends are next to be going to disappear. All we can hope is that we can start now to make a face which, in the next hundred years, can be purged, disappeared, and, let us remember, adapted, and developed, just as the Gregorian Chant was at the turn of the day and the Lutheran Chorale were in many days. to make something which becomes a really shared body of musical thought that becomes shared by the clergy and the people alike. Something that can become a real tradition of New Zealand and thus preserve all the best in our experience. Just as Gregorian chant in its present form and the Louisville Chorale in their present form preserve the best of our near experience. We're only at the beginning of it all. We can't go too quickly. And I do not think that we should try and adapt any very radical measures all at once. We should continue the experiment as much as possible.

[108:58]

And here it seems to me places like this are ideosensitive. Once made to me as a joint ministerial idea like we did. How much they could do just by being an independent attorney and largely independent of the bishop. For although he could buy, he could not command, in that respect, and by having this respect for him to think that they were never able to make a lot of progress, would not necessarily have been tolerated elsewhere, and also stated like this, have, and I'm sure he'd be of a duty always to be in the forefront of progress. make sure that experimentation is used and that propaganda is passed into the people. Come to know what can be done. The prescription of the Vatican Council are the voices of the poor. In this period then, the converters and the church leaders have automatically come down to their almost dictatorial religion.

[110:00]

It's a very humble town. which may sometimes seem a very unrewarding one, but I like to think we have a model. It's very great and terrible. Infidels don't speak in the form of the devil. We can look nice, venerable gentlemen in that way. We can find it much easier to find an infidel. I think we still have to do something which shall be truly worthy of the worship. I will, yes indeed. I bought some coffee, but I didn't know if there would be any time, because I have a very tight schedule here.

[111:01]

Do you have a recording of it? I have a recording, yes. And you have a gramophone, yes. Couldn't we all move now up to St. Joseph? No, unfortunately. We have to move. Such a bad mission. Well, I think, can it be played into the refectory? It's only 15 minutes long. It's only 15 minutes long. I do. I think I've got to copy a leap, if not one leap. Well, it would take a long time without a piano to accompany him all along. I think so, but it might be easier if you listen to a bit of it first. Why don't we go and let's sit down?

[111:58]

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