background, I might ask, you know, just one little thing that might be helpful, you know, to see in the history of Western monasticism, you know, various tendencies, I think we can safely distinguish, you know, the three types, you know, of monastic life, which simply, as a matter of fact, developed in our days. They come again and again. We studied first. We have spoken about it in our school. We called it an intertical type. The intertical body. The CUNY, historically, you know. CUNY was the predominant idea was just that.

[01:22]

The spiritual life of the monk, the contemplative life of the monk, it's really the idea which was including first put into practice on the laus pathinis, the perpetual way, which including went on in shifts 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 Klingy, that the life of a choir monk was really spent in choir. Then there was another type, which is what we call the cultural cultural abbey. That's a different approach. Historically, that kind of abbey developed, especially in Germany in the early Middle Ages, the cultural abbey.

[02:34]

For example, you take an abbey like St. Paul, or you take the original southern Germany, the important monastic center. To call her an example of that, you know, and you have other... Usually these armies were of the same middle ages, had a great political importance, you know, for the Buddhist Empire. You know very much, very well, you know, that Charlemagne used, really, and wanted to put the avid monks into the service also of a cultural revival, you know, a cultural revival of the whole community, the whole political community,

[03:42]

Alpha in Italy was a great center, right near Rome. F-A-L-F-A, Alpha. Now it's important even today, still, you know, it's connected with the St. Paul in Rome. And the Monte Cassino itself, of course. Monte Cassino. cultural center. So we have many of those, and you know where I've been in the Middle Ages. There was the early Middle Ages, for example, one of these things through which these abbeys became leading is the production of manuscripts. Manuscripts and literature. I mean the miniature, the whole, you know, the One of the ways in which art, you know, developed in the early Middle Ages was the miniature.

[04:57]

We have, in the past, we have shown that we have a good connection of those things, and there you can see that there are these schools, you know, of miniature drawing. Now that's all that is the cultural abbey. In this cultural abbey also the idea of education, you know, was always somehow alive, but an education of the sons of princes and so on. The exclusive schools where the higher, the ruling class, clergy and laity was being reared. And so that is, therefore, mainly, you know, this type, you know, of monasteries. especially, and also some in France.

[05:59]

And then we have another group, which is usually, which is a weak reaction against that. And we may call that, on the whole, some of the predatory groups. Predatory. And that is, I don't know how to put it. Now that exists in various forms. For example, the famous movement after your early Middle Ages reforms. But many others, and of course the most outstanding was the Cistercian movement, the founders of Molen, of the early Cistercian power, St. Robert's and St. Stephen Harding, you know, there was Molen, M-O-L-E-N, M-E-N.

[07:02]

the outstanding and most consequential of all these attempts, you know, to come back to a primitive monasticism, where one can say that the monastic life as such is the real purpose and aim, unless, one can say, the influence which Abbey has. That, of course, values strongly in any kind of cultural Abbey. It's 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, of course, there has greatly decreased.

[08:11]

Then instead of the, let us say, political influence of the Curtin Abbey, then the place of that is taken to Scottish, Scottish. And that is the point, you know, where we kind of stopped, you know, in our, in the description of that, or sketchy description of that, monastic revival in the 19th century, where Solemn now stands out, saying again, under the leadership of Abbot Joachim, as the witch who, you know, first of all, leads solemn celebration of the clergy in the first place. That is that famous sentence, opri de nil preconatum, nothing should be precurred through the work of God. And that is taken, this prodigal rule is taken, as a kind of key word.

[09:12]

With, under the circumstances of the time necessarily, one can say a clerical interpretation. And then if, outside of that, So then, now as far as the activity goes, the work, you know, of the monk outside the choir goes, there he does of course have a derange, 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, is the nymphic nature of his very background as a choir monk and priest. And his, therefore, his activity consists then in his scholarly, you know, research work of liturgy.

[10:17]

The field of that scholarly research is liturgy. That was Herbert de Orange's 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 really, one can say, the central empires of the Commonwealth. It had, of course, the advantage, you know, that many people can work in it, and not everybody, of course, who works in it has to be a Jew. In a monastery, always the guy is important for service. And so, therefore,

[11:19]

for example. So then, you know, started to convince collection of manuscripts, but perhaps, you know, we have growing memories and all that, but most complete, the Dictionnaire de Paléographie Musicale, you know, that is the famous product of that work, Paléographie Musicale. It's, let us say, we had the base called the Foundation for the Reform of the Gregorian by Soleil. So Soleil was then, and Soleil, of course, introduced then, and had the, let's say, the, let's say, somehow the lucky charm, you know, to meet Pius X. And Pius X had been, you know, one of the first, you know, one of the first congresses on church music, you know, and Pius X came from that section. then attended it, and there was a bond, you know, was made long before it was broke, for, in his interest, you know, for a revival of the Gregorian staff, which had been, of course, widely obscured, at least by other schools, you know, of church music.

[12:40]

We still have wonderful descriptions of You see, for example, you know, the English scholar of the Oxford movement about his trips to Europe, the continent, and how in Cologne, you know, he assisted, you know, I think it was the celebration of Christmas, how the first, the canons didn't march in, you see, but then after the canons came, all the ballerinas, you know, I mean, totally make up, you know, and all the singers, And in the end, as the main person, was the director, the choir director, who came and taught, you know, the complete performance lesson. And they all came in the sanctuary and took their places, and then the opera started, you know. So that is, of course, that was these things, you know, that, of course, that were the things that Robert Dior said, yeah, the early, the early movement had to crash.

[13:43]

And this fight, I mean this struggle, was joined by the Bolognese Convocation. And the Bolognese Convocation, Maurice Walter, took the same line, you know, one of the things that Bolognese would do, the Bolognese monks, were the promotion of the Igorian Church. That was also the first literary The products of the Bolognese congregation were devoted to this, just for this purpose. The other one was then, when Bologna expanded, the other one was Bolognese art, you see. That was in their use then. There was another tremendous field, you know, where, well, let's say this new understanding. You see, the important thing in all this is, now beyond this attempt, and then later also, the Bauhaus work was, the, let us say, the new element was here, has been the spirit of the of the Roman.

[15:03]

The spirit of the Roman, you see, they have searched was emphasized, and the idea was that we have to reorientate our interior life on the same basic origin, what we call the spirit of the woman. There was a famous little treatise that Edmund Bishop wrote, an English scholar, Oxford scholar, they convert on the spirit of the Roman Rite. The spirit of the Roman Rite, that was of course, and those things were, just because they kind of determines then the, how do you say, the spiritual attitude of the monks of the Congregation of Bordeaux. One can say even more than the attitude of the monks of the Congregation of Solheim. there was always big questions, you know, and also, of course, Solem had, for example, it's interesting to see that the very monastery of Solem, you know, was built as an imitation of the papal palace in Abitur.

[16:27]

and the papal residence of the Pope Saint-Honoré was of course considered as a kind of climax in the ecclesiastical glory of France. And the abbey that Saint-Honoré founded was called St. Peter's. The monks of Solemne would of course take the general line among themselves fidelity to the Roman scene, to Peter and his successors. Therefore, the Roman liturgy, therefore the whole fight against the Gallican liturgies, all the, say, native liturgies in France, that Abbot Gréandre was fighting for. He really created tabula rasa with all local traditions. which were all subordinates, you know, under the Roman monarchy.

[17:33]

The monks were in that way, the monks of Stockholm were, of course, in that way. The shock troops, you know, out of the hatred of poverty. Again, the Goths of France were more, you know, emphasized to Gallican. which, of course, gave, you know, a great sharpness and acuteness, you know, to it. Because, in France, there were, of course, strong anti-paper tendencies. You can see that in the history of the Council of the Vatican. So in, as I say, you know, so then Boiron took this up, and the first field, of course, was the whole field of music. Because the Gregorian chant constitutes a very definite musical form, and therefore the performance of it, the good and authentic performance of it,

[18:43]

They create an atmosphere of, let us say, liturgical, what one may call liturgical piety. And this thing, as I say, was taken up by Legion of Boiron. It was continued, of course, by Boiron from the child then by the fact that Desiderius Lentz entered the earth as an artist into the art, the field of art, and what we call today liturgical art. But this liturgical art was all, you see, the main tendency was to get away from the illusions, then to go back, you know, to to present, for example, our Lady, you see, not like Titian, you know, or Maureen, or Raphael, or this nice, you know, beautiful woman, you know, and so on, but, for example, in her function as offering the Lord, you know, the Pietà, the motif of the Pietà, the Gospel, whatever.

[20:03]

Because that is the, I think, the position of the Church. Our Lady Beatrix on the church in prayer. Of course, the church in prayer is the offering of Christ. Of Christ to the Deity. When we came, one of the leading, you know, motifs. But then, of course, was not enough. It was then and The difference here between, you can see already 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 conscious, you know, under Archibald Maurus, the German approach was more, let us say again, the cultural consequences, you know, of this attitude, the concrete consequences, practical consequences of this attitude.

[21:13]

Practical consequences, as I say, need great orientation, you know, need judgment on. But more, you see, are sort of practical consequences in the, for example, for the practical life of the faithful. that's because I don't think so. They are cynicalized. Let us say, they are piety, you see. That was a thing which, of course, which the Tulin did not, in that way, he didn't develop. That was really there, in Don, in the Baronese congregation, mainly then by two branches, not by the Swedish branches, but by the Northern Rhineland branch, that means Marianau, and by Lubain, those two, you know the two, the Rhineland, Marianau, and Lubain, that means the Flemish or the Belgian part.

[22:28]

with the Bolognese congregation and branched out, out of Sweden. That was a tremendous fit. Into the Rhineland, Valhalla, you know, and into Belgium. And those two, you see, those two foundations, they kind of weaved and very influential tools. He was in a wine-loving state after a while, of course, my dear. Kind of brought on his own feet. He was the first wine-lender in Magadha to become abbot. Before that, he was strictly bourbon-y. But here came the abbot. And then in Belgium, you see, there were Maritzou and Louvain.

[23:33]

And in Louvain, it was Lambert-Boudicon. Those two were with the headphones. And Lambert-Boudicon. They were the two who kind of, from then on, gave the direction, the orientation to, let's say, that part of the Bavarianese congregation. It was Albert Bodmer who, for the first time, spoke, you know, of the radiation of the Benedictine Church, the radiation, and that the field of radiation should be, that was Albert Bodmer's idea, the clergy, the secular clergy. And through the secular clergy, in that way, through influenced, you know, the spirit of the church, the spirit of the laity, through the church.

[24:38]

And there was, of course, the instrument of that where we send men to church, we turn to Christians of Lubeck, we turn to Indeed, the Church of Greece and all the various clergymen, and they systematically then developed what we call today the pastoral liturgy. Pastoral liturgy. The liturgy being a practical application to the parochial worship and through parochial organization. As for example, the parish as a social unit and the social consequences, you know, of what we would call today, we call it in the States here, a living parish.

[25:38]

A living parish. That was their, let's say, their purpose. You know, and Louvain, of course, as you know, then published, you know, this mainly Christian Liturgy and Pastoral, Quintessence of Liturgy and Pastoral. Now, that indicates the direction. Now, but Hildegard was not so keen about pastoral. There are efforts, you know, that's what they want, It was in the year 1914, and that was the important year, 1914. He received, that was the first time he had been gathered to here. Here, of course, the First World War started. And there, he received, you know, it was an interesting tool, the initiative started from the very beginning.

[26:41]

Yeah, there were people, of course, one of his old classmates was Akenauer, you know, the one, you know, who was Schumann, you know, who later on became a minister of foreign policy. All these people who later on were in the Christian democracy, the Christian democratic movement, which really came into its full form in Europe after this World War, this last war. in there. These people, you know, came, and one of them was, for example, also Degaster, who did the same thing in Italy. These people came to Marianna and they asked, now, can't you do something for us, and we want to stay to a week or two, and could you give us, then, introductions, you know, and so on. into the spirit of Holy Week, so that we can follow the legacy of Holy Week.

[27:48]

We have a reunion in January 1914 of this whole idea of the year. the participation, you know, the radiation of this liturgical approach, the monastic liturgical approach, to the, let us say, educated religion. That was of course important. So therefore, from then on, you know, the apostolate, if you speak of Maria Lagos, of course, behind for now. a group, you know, of sons, under the leadership, you know, of an important, you know, influential abbot, who then, you know, wanted to lift the theological spirit, you know, and to infiltrate into German Catholicism.

[28:54]

Because his idea was always to And I hear that he came from a local, now I told you that before, the local position of the good side of what Liebes, you know, of that Roman side of it. And there was always the problem, you know, of course the far reaching problem of Germany, the, let us 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, you know, by authority and by tradition, and comes, you know, and stems, you know, from Rome as distinct of Christianity, and the spirit of Rome, the spirit of the world's liturgy, is essentially now 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 for vanity, you know, the law of piety.

[30:17]

To which, according to which, the mind, you know, among those that are famous, saying of the rule of St. Benedict, men concur that which the mind should be in harmony with the voice. The German principle, you know, or let us say, I say, put it in those days more in a kind of Nordic principle was, the voice should be the expression of your mind. mind is a thing that is creative, the subject has to have a valve to express his feelings, the essence of prayer is really pouring out of these subjective feelings, yet not so much, and even in some ways detrimental 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, is canonical.

[31:27]

That was, of course, therefore, Abbott in the front tried, you know, to overcome, you know, and by and large overcome this, let us say, this division, so to speak, you know, between Let us say the simple, the religious feeling of the people, and the official religion, by way of explaining. You see, explaining what is there, showing the, let us say, the depth and the meaning of this official religion. And then, for example, then, the missiles, you see, The first missile was edited, I shall believe, by Maria Laab in 1880. There was a thing, a shop, a shop, an uncertain shop, an uncertain shop.

[32:38]

He wrote the first missile. They were followed by a bomb. A big [...] bomb. In Hong Kong, in Belgium, of course, it's St. Andrew's Missal. St. Andrew's Missal would be of the same function. But of course, these missals had a lot of influence on the whole of that. For example, the present council of inscriptions on the letters would not be possible without

[33:42]

with all this work, you know, that's taken in by, say, you know, a big name kind of public official in 1840, 1914, you know, in Twitter, okay? In that time, see, there was, for example, it's really good to remember that, you know, it was Haber-Titt von Sue at the summit of Trier, you know, the first 1814 to propose that the acts of the Plato should be international. The mass of the country. A new idea at the time. It took a long time until, you know, these things, you know, make their way. But all this new was, of course, in order to than having easier influence, let us say, on the official liturgy of the church, on the living mentality and piety of the people.

[34:50]

In order to prevent, let us say, this kind of pseudo-development, where the piety of the people was, and expressed it there in devotion. That's really the meaning to, in some way, to remove, you know, the impetus and the spiritual energy which goes into the emotions, because the occult energy is in that way frozen. So now, of course, in the, and that was For him, you see, that came, of course, was important to know too. And then also, of course, the attitude, spirituality of the monk. Now, as far as that's considered, of course, what seemed to us very interesting there was that German monasteries had this tremendous, or even a majority of

[36:01]

The choir bums, well, why not? Today, it's the other way, because things have changed. Vocations are declining, and those who are the choir are increasing, very much as a result of the surgical movement. And there, of course, the thing there was still, and I came to the understanding that the brothers, you know, fought more or less a year a concertuality, a little community within the community, and their patron saint was St. Joseph. And the brothers didn't like St. Benedict. They didn't like St. Benedict because St. Benedict to them was too remote. He was the patron saint of the choir monks, but he was not the patron saint of the brothers, the brothers were St. Joseph. a big room where the brothers, you know, it was all their estate, their recreation and so on, and the office sit there.

[37:12]

Office? Their office was the rosary. Or our fathers. Forty-hour fathers for each, you know. Twenty-hour fathers for the Lord's, you know. Five-hour fathers for each of them, you know. And I was in one state, that was the rule. And during our fathers they were peeling potatoes. During missions. So these things had to be done, you know. No, it's true. And in the year before, you see, there are a lot of bombs. On the other hand, it's enough for the monks. Of course, for the monks, one of the things, as I say, is that who they are determines their spirituality.

[38:13]

When I came to Mauryala, you know, when Master John, my fellow from the university, and there was Father Lucas, and Father Lucas was the guest father. We always called him later the father of the Buddhist pressure. He wrote a vocation and so on, and it says of course, our order is an order of prayer. Ordinis gebatis. I wrote a kind of a trilogy, because I wasn't, you know, too much geared, you know, at that moment, to that idea, you see. But that's it. Ordinis gebatis. The order of prayer. 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, the divine office, and he doesn't have a divine office, he is in his cell.

[39:26]

And then in his cell, what does he do? He reads, and he prays, and he meditates. I believe Franz was a little 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 the gentleman of leisure. That was for him, even I as leisure. That was to him. We presented a problem. Everybody, you know, all over, has to work hard, you know, to... will make a go of things, you know, then the monk, you know, and also the choir monk, you know, should part his way. And monastic life, in this contemplative life, should somehow, should be productive, or you may call it constructive.

[40:30]

That was very much his idea. But the way in which it was then, constructed was there were two things, again, in order to say the scholarly approach and the spiritual approach. Scholarly approach and the spiritual approach. The scholarly approach was the, let us say, for example, one field that I said before is the history of the liturgy. But history of the liturgy, not for its own sake, But history of the world was in order to discover and get closer to the inner life, to the directive principles of worship, of Christian worship. Only that always the famous German approach, you know, you cannot discover what a thing is if you don't know how it came into being.

[41:32]

You have to see it developing, and then in doing that you get, so to speak, and catch this feeling of it. You have to see it in motion, you see, 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's this twig that comes out there, that's dead. That goes in the wrong direction. So, cut it off. And leave the other one, that kind of organic continuity, as I say, with the original stem from which they all come. There, of course, comes then, let us say, the history of the liturgy needs and develops, let us say, the criteria according to which you can then distinguish what is liturgical and what is not liturgical.

[42:45]

In that way, of course, have its influence, you know. away there with 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. And then, of course, if you do that, of course, then the other books, and then the whole thing, it stops slightly. 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 it? What were the kind of influence? Let's say, for example, the credo. And I came into the monastery, practically each feast had a cradle.

[43:51]

But then one looked a little into it and one said, oh no, the cradle has really its place in the baptismal eulogy. It's the first person seen there in the mass. If you enter Christianity, you do it as an individual. This initial act of faith is I believe. But if you come to the uterus, then divina instituzione dormati, to divine institution organized, we say our father, who art in heaven. Then the eclipse has gone. The individual enters, but once it's in there, then it becomes a we. It isn't the isolated I. So, I mean, it's just as with many other things, you see.

[44:56]

Now, in that way, you see, it became more and more clear, and of course, the liturgical, the historical approach, of course, opens, you know, in that way. be again, you know, the possibility of returning to a more simpler and elastic past. It gives, so to speak, the living room, you know, or how could you say, living space, the development and the sound development can set in again. where certain things can be eliminated and the essential things we can and we won't. That is the whole process with which today I'm saying the whole essential things will come, so let's concentrate. So, in that way, all these things, you know, well, they are opened, in that way, to the, let us say, as far as the scholarly aspect is concerned.

[46:04]

And the unicorn didn't want, of course, in order to come, that's always the problem on every scholarship, in order to come to a solid, you know, and let us say, sound result, your scholarship, of course, has to become, has to be exact. There comes then before you can do anything about the development, you have to have the authentic text, you know, 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. Leonino, Celestiano, Gregoriano, you know, Advent, and all these values, sacramentary texts, have to be published.

[47:07]

So with that, you know, you can be a scholarly book. So there always, you know, that was, let's say, that formed, in some ways, the approach, you know, the work of the choir monk in monasteries like the Villa. And then the other ones, of course, living spiritual interpretation. The first in this line have been Hierontes and Edith Gershwin. And of course in our days, you know, we have, for example, Emiliana Loehr, the year of the Lord. Emiliana Loehr is, of course, all that she has. She has Monte Carlo. But she's very, very good, you know. And so a whole flood, you know, of things, you know, came and was on the market, and still continues to run in that way all over the place.

[48:12]

world today, you know, make these things possible, or an interpretation of the liturgy, and therefore the developing of a really authentic, let's say, liturgical spirituality.

[48:28]

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