n.b this article refers to the Psalms as they are numbered in the Septuagint and Vulgate editions of the Bible.
“Great are you O Lord, and surpassingly worthy of praise” begins St. Augustine in his ever-resounding Confessions [1]. Augustine, however, does not really begin his Confessions because the words he uses are not his own, rather they are the words of the Psalmist: King David. He adapts Psalms 47:2, 95:4, and 144:3, changing them from third person to second person to address the Lord, and swapping the word “nimis” for “valde” (both roughly mean “surpassingly” or “greatly”). I first read the Confessions in my medieval philosophy class with Fr. Manoussakis. Before even opening the text we were taught Augustine’s threefold meaning of “Confession:” laudare (to praise), professio (profession of faith), and confession (of sins). Indeed, the Psalms, and other scripture verses, cohere throughout the entirety of the confessions; integrated into the whole of the work to achieve Augustine’s aim that “we can all declare, great is the Lord, and surpassingly worthy of praise” [2]. The traditional Latin Mass employs the Psalms in a similar way to St. Augustine: they cohere throughout Mass, bringing the voice of King David and the prayers of ancient Jewish temple worship into the Roman Missal of Pope St. Pius V, and enriching the reverence and prayer of the Mass. The antiquity of their placement in the Mass is also of great value to tradition. In sum, the Psalms of the traditional Mass enhance the worship and richness of the Roman Rite while also directing us towards the sacrifice of the Mass.
Our word “Psalm” ultimately derives from the Greek Psalmos [ψαλμός] meaning “Music sung to the harp” [3]. The Hebrew word for “Psalm” is Tehillim which means “praises.” Through the singing or recitation of the Psalms, we offer God the sacrifice of praise and thanksgiving which readily prepares us psychologically and spiritually to witness the Holy Sacrifice of the Mass at the Eucharist (Mass of the Faithful), where Christ is really and substantially present on the altar. Thus it is fitting that in the old rite, every Mass begins with a signing of the Cross and a Psalm. Before the principal Sunday Mass in the traditional rite, the antiphon is known as the Asperges, sung by the choir as the priest sprinkles the congregation with holy water. The Asperges antiphon comes from Psalms 50: 9 and 50: 3 and concludes with the glory be (gloria):
Ps. 50: 9 Thou shalt sprinkle [Asperges] me with hyssop, and I shall be cleansed: thou shalt wash me, and I shall be made whiter than snow.
Ps. 50: 3 Have mercy on me, O God, according to thy great mercy
℣ Glory be to Father, and to the Son, and to the Holy Spirit
℟ As it was in the beginning is now and ever shall world without end. Amen.
Of particular charm is how the actions of the priest enact the content of the prayer, drawing a parallel between the sprinkling of holy water by the Priest and the sprinkling of hyssop in the Psalm. In the Eastertide, the Asperges is replaced with the vidi aquam and Psalm 50: 3 with Psalm 117. The Asperges ceremony has been handed down since at least the 900s A.D and grew out of customs which stretch back even further into antiquity [4]. Unfortunately, the rite of sprinkling and the Asperges are almost entirely absent from modern catholic liturgical life; even at Holy Cross, it is gone.
There is an inscription across the front of St. Joseph’s Chapel here at Holy Cross which reads “Introibo ad altare Dei ad Deum qui laetificat juventutem meam” (“I will go to the altar of God to the God that giveth joy to my youth”) It comes from verse 4 of Psalm 42 (Iudica me), the chief preparatory prayer in the old rite, verse 4 serves as the antiphon. The priest and his servers pray the entirety of Psalm 42 and the other preparatory prayers at the foot of the altar at the start of Mass. After Psalm 42, the Priest and his servers proceed to recite Psalm 123: 8:
℣ Our help ✠ is in the name of the Lord
℟ Who made heaven and earth
The prayers at the foot of the altar continue with the priest and servers reciting the Confiteor (“I confess”) and finally, after the priest absolves the server, they continue in the words of David. There is a dialogue between the priest and server using Psalms 84:7-8 and 101: 2 :
℣ Ps. 84: 7 Thou wilt turn, O God, and bring us to life
℟ and Thy people shall rejoice in Thee
℣ Ps. 84: 8 shew us, O Lord, thy mercy
℟ and grant us thy salvation
℣ Ps. 101: 2 Hear, O Lord, my prayer
℟ and let my cry come to thee
It's worth noting that this dialogue sequence also takes place after the Asperges. Taken together, there are nine unique Psalm verses in the prayers at the foot of the altar. These prayers found in the traditional Latin Mass today have been there since the 15th century [5], while some form of preparatory prayer itself has existed since at least the 12th century [6]. I find these prayers rather humbling; it's an earnest way to begin Mass and the Psalms lead us to take more seriously the sense of the sacred. In the creation of the new Mass, the reformers totally expunged the preparatory prayers. The liturgy now starts without this careful, delicate, and natural preparation.
The Psalms have also fallen victim to what has been often referred to as the new Mass’s liturgical “deregulation.” The changes to the introit, or “entrance chant” as the new rite calls it, demonstrates this deregulation. In the old rite, the introit was composed of two scripture verses, usually Psalm verses. At a Low Mass, The priest recites it on the right side of the altar (epistle side) after the prayers at the foot of the altar. At a High Mass, the choir would chant the introit as the priest and servers recited the prayers at the foot of the altar. It is Psalms galore! After ascending the altar, the priest would then recite the introit to himself. The Psalms and scripture verses for each day were chosen deliberately with great care over the centuries in the Church; the idea of reciting or chanting anything else was, and is, almost unfathomable. Now, however, The General Instruction of the Roman Missal (GIRM) allows this “entrance chant” (functionally equivalent to the traditional Mass’s introit) to be taken from one of four options (GIRM, 47-48). The more traditional choice among the options is to chant the day’s antiphon or the antiphon with its Psalm from the Graduale Romanum. The next option is to chant the antiphon and Psalm for the liturgical time. Option three allows singing any Psalm (this can be arranged in the responsorial or metrical style). Option four allows for “another liturgical chant that is suited to the sacred action, the day, or the time of year, similarly approved by the Conference of Bishops or the Diocesan Bishop.” Although three out of the four options employ Psalms, by far the most common choice is option four which allows a slew of modern music. If you walk into a church today, the chanting of a Psalm as the entrance chant is no guarantee; there’s an even slimmer chance that it would be in Latin. The new Mass’s innovative use of options has allowed for the Psalms to be easily expelled from the entrance chant/introit. Even worse, it favors individual taste (of say the music director or parish priest) over the sound, consistent, and sacred liturgical fixes that are guaranteed in the traditional rite. Other parts of the Mass such as the Offertory Antiphon and the Communion Verse have also fallen victim to liturgical deregulation, so often these propers which were replete with Psalms are replaced with a hymn.
The replacement of the gradual verses with the responsorial Psalm was another great blow to the received tradition of the Roman Rite. In the traditional rite, the choir sang the two prescribed Psalm verses in the gradual between the Epistle and the Gospel. This short and sweet part of the Mass gave way to a rich musical tradition. The reformers of the Mass made the more participatory “responsorial Psalm” the default manner of singing the psalms between readings. The ultimate origin of the gradual lies in pre-Christian Jewish services and it is believed the earliest Christians would have recited the whole Psalm rather than just two verses [7]. The Gregorian Sacramentary, which dates to about the 10th century, refers to these Psalms as the “graduale” (it is named as such because it was recited by the Deacon on the steps, which in Latin is gradus, of the sanctuary). At some point in the first millennium, the singing of the whole Psalm verse was reduced to two and it remained this way until 1969. Presently, there is no historical evidence for the existence of the modern responsorial Psalm in the ancient Roman liturgy (although responsory style Psalms did exist in other Western liturgies); its insertion into the liturgy was largely motivated by the desire of the reformers to force the participation of the laity; it was not authentic organic development. In order to allow the laity the ease of participation in the responsorial Psalm, the music of the traditional gradual was replaced by the simplified and vernacularized music for the responsorial Psalm. It should be noted that the latest edition of the Roman Gradual was published in 1974 which provides gradual verses that can replace the responsorial psalm [8]; this, however, is seldom done. The likelihood of hearing Gregorian chant in a Catholic parish church today is low, very low.
The offertory marks the start of the Mass of the Faithful, now called the liturgy of the Eucharist. The traditional rite houses two Psalms in the offertory. The first is Psalm 140: 2-4 which is recited during the incensing of the altar at High Mass. Rather fittingly the Psalms reads “Let my prayer be directed as incense in thy sight; the lifting up of my hands, as evening sacrifice.” The second Psalm, called the lavabo, is said by the priest as he washes his hands after offering the chalice. St. Cyril of Jerusalem explains “The washing of hands is a symbol that you ought to be pure from all sinful and unlawful deeds” [9]. For the washing of the hands, the traditional rite prescribes Psalm 25: 6-12 which is given in English here:
6 I will wash [Lavabo] my hands among the innocent; and will compass thy altar, O Lord: 7 That I may hear the voice of thy praise: and tell of all thy wondrous works. 8 I have loved, O Lord, the beauty of thy house; and the place where thy glory dwelleth. 9 Take not away my soul, O God, with the wicked: nor my life with bloody men: 10 In whose hands are iniquities: their right hand is filled with gifts. 11 But as for me, I have walked in my innocence: redeem me, and have mercy on me. 12 My foot hath stood in the direct way: in the churches I will bless thee, O Lord. (Ps. 25: 6-12)
The use of these six Psalm verses dates back to probably around the 13th century. They are a notable aspect of the received tradition of the Roman Rite. The voice of the Psalmist, however, has been truncated in the new rite. Instead of Psalm 25: 6-12, the priest prays Psalm 50: 4, in English, “Wash me, O Lord, from my iniquity and cleanse me from my sin.”
The priest’s communion Psalms also went missing in the new rite of Mass. After he receives Holy Communion, the priest quietly says the words of Psalm 115: 3-4 and finishes with verse 4 of Psalm 17 “ What shall I render to the Lord, for all the things that he hath rendered to me? I will take the chalice of salvation; and I will call upon the name of the Lord. Praising I will call upon the Lord: and I shall be saved from my enemies.” I can not help but perceive beauty in the fact that the priest recites these Psalms at this intimate moment in the Mass. The new rite of Mass replaces these psalm verses with these words “May the Body of Christ keep me safe for everlasting life. [here he takes the chalice of blood] May the Blood of Christ keep me safe for everlasting life.” The Psalms have been removed from the communion of the priest
That is the story of the Psalms in the liturgical reform following the Second Vatican Council. The central question we have to answer is why the Psalms in the Holy Sacrifice of the Mass matter. I explained earlier that the chanting and recitation of the Psalms were integral to the sacrifice of praise and thanksgiving, especially during the Mass of the Catechumens (Liturgy of the Word). But more importantly, the Mass is the sacrifice at Calvary made present; therefore, it is fitting that the Psalms be present and quoted a great number of times throughout the Mass. By quoting the Psalms at the sacrifice of the Mass, the priest does as Christ did; he quotes the Psalms during Mass because Christ quotes the Psalms at Calvary (Ps. 21: 1, see Matthew 27: 46 & Mark 15: 34) (Ps. 30: 6, see Luke 23: 46). The Psalms further emphasize the true sacrificial nature of the Mass as the same sacrifice of our Lord on that same cross for which our school is named. The Psalms should never be viewed as something superfluous, but rather as something integral to our Roman Rite. Thus I conclude that the liturgical reform’s removal of the Psalms from the Mass constitutes a tragedy.
Endnotes
[1] St. Augustine, Confessions Books 1-8, trans. Carolyn J.-B Hammond (Cambridge, MA: Harvard University Press, 2014), 3.
[2] St. Augustine, Confessions Books 9-13, trans. Carolyn J.-B Hammond (Cambridge, MA: Harvard University Press, 2014), 191.
[3] “ψαλμός.” Wiktionary. Wikimedia Foundation, accessed 10 October 2023. https://en.wiktionary.org/wiki/ψαλμός#Ancient_Greek.
[4] “Asperges.” The Catholic Encyclopedia. Vol. 1. (New York: Robert Appleton Company, 1907) https://www.catholic.com/encyclopedia/asperges.
[5] Peter, Kwasniewski. “The Prayers at the Foot of the Altar and the Last Gospel: A Case-Study in Pius V’s Conservatism,” New Liturgical Movement, 23 August 2021. https://www.newliturgicalmovement.org/2021/08/the-prayers-at-foot-of-altar-and-last.html .
[6] Adrian, Fortescue. The Mass: A Study Of The Roman Liturgy (London: Longmans, Green and Co., 1922) 225.
[7] Adrian, Fortescue. The Mass: A Study Of The Roman Liturgy (London: Longmans, Green and Co., 1922) 266-267.
[8] Jeff, Ostrowski. “Eight (8) Responsorial Psalm Options • On turning Missalettes into little “gods,”” Corpus Christi Watershed, 30 September 2023. https://www.ccwatershed.org/2023/09/30/eight-valid-options-responsorial-psalm-on-turning-the-missalette-into-a-little-god/.
[9] Philip, Kosloski. “Why do priests wash their hands during Mass?” Aleteia, 10 July 2021. https://aleteia.org/2021/07/10/why-do-priests-wash-their-hands-during-mass/.
Bibliography
“Asperges.” The Catholic Encyclopedia. Vol. 1. New York: Robert Appleton Company, 1907. https://www.catholic.com/encyclopedia/asperges
Fortescue, Adrian. The Mass: A Study Of The Roman Liturgy. London: Longmans, Green and Co., 1922.
General Instruction of the Roman Missal. International Commission on English in the Liturgy Corporation, 2010.
Kosloski, Philip. “Why do priests wash their hands during Mass?” Aleteia, 10 July 2021, accessed 10 October 2023. https://aleteia.org/2021/07/10/why-do-priests-wash-their-hands-during-mass/.
Kwasniewski, Peter. “The Prayers at the Foot of the Altar and the Last Gospel: A Case-Study in Pius V’s Conservatism.” New Liturgical Movement, 23 August 2021, accessed: 10 October 2023.https://www.newliturgicalmovement.org/2021/08/the-prayers-at-foot-of-altar-and-last.html.
Ostrowski, Jeff. “Eight (8) Responsorial Psalm Options • On turning Missalettes into little “gods”” Corpus Christi Watershed, 30 September 2023, accessed 10 October 2023. https://www.ccwatershed.org/2023/09/30/eight-valid-options-responsorial-psalm-on-turning-the-missalette-into-a-little-god/.
St. Augustine. Confessions Books 1-8. Translated by Carolyn J.-B Hammond. Loeb Classical Library. Cambridge, MA: Harvard University Press, 2014.
St. Augustine. Confessions Books 9-13. Translated by Carolyn J.-B Hammond. Loeb Classical Library. Cambridge, MA: Harvard University Press, 2014.
“ψαλμός.” Wiktionary. Wikimedia Foundation, accessed 10 October 2023. https://en.wiktionary.org/wiki/ψαλμός#Ancient_Greek
Sources Consulted
Davies, Michael. A Short History of the Roman Mass. Tan Books, 1997.
“Gradual.” The Catholic Encyclopedia. Vol. 6. New York: Robert Appleton Company, 1909. https://www.catholic.com/encyclopedia/gradual
Lasance, Rev. F.X, and Rev. Francis Augustine Walsh, O.S.B. The New Roman Missal - Father Lasance. Christian Book Club of America, 1945.
Reid, Alcuin. The Organic Development of the Liturgy. Farnborough: St. Michael’s Abbey Press, 2004.