If you are not going to live in the Apostolic Palace, could I?

"If you could say one thing to Pope Francis in person, what would it be?
"If you are not going to live in the Apostolic Palace, could I?"

     Fr. Z, as quoted by Fr. Sean Salai, S.J., in "The Catholic blogosphere:  Q&A with Father John Zuhlsdorf," America, 7 August 2014.

sensus Ecclesiae: "feeling and thinking and willing in and with the Church"

"a Christian without the Church is incomprehensible. This is why the great Paul VI said that it is an absurd dichotomy to love Christ without the Church; to listen to Christ but not to the Church; to remain with Christ on the margins of the Church."

And what the Church requires of us are 1) humility, 3) service, and 2) fidelity, obedience to the Lord and fidelty "to his teaching, to his law":  "fidelity to the Church, fidelity to her teaching, fidelity to the Creed, fidelity to her doctrine, and safeguarding this doctrine".

     Pope Francis, "Morning meditation in the Chapel of the Domus Sanctae Marthae," Thursday, 30 January 2014, with reference, I'm guessing, to Evangelii nuntiandi 16 (8 December 1975):

16. There is thus a profound link between Christ, the Church and evangelization. During the period of the Church that we are living in, it is she who has the task of evangelizing. This mandate is not accomplished without her, and still less against her. 

     It is certainly fitting to recall this fact at a moment like the present one when it happens that not without sorrow we can hear people - whom we wish to believe are well-intentioned but who are certainly misguided in their attitude - continually claiming to love Christ but without the Church, to listen to Christ but not the Church, to belong to Christ but outside the Church. The absurdity of this dichotomy is clearly evident in this phrase of the Gospel: 'Anyone who rejects you rejects me.' And how can one wish to love Christ without loving the Church, if the finest witness to Christ is that of St. Paul: 'Christ loved the Church and sacrificed himself for her'?

Latin, from AAS 68 (1976):  15-16 (9-26).  The latter (which is most emphatically not a simple scan of the original (e.g. "semetipsum pro ea ? ⁴⁵", at the bottom, below, comes out as "semtipsum pro ea f⁴⁵")) I have checked against the official version of AAS 68 (1976) in print.  Because the English is unduly expansive, as I indicate in bold red:

16. Arctissima igitur necessitudo intercedit inter Christum, Ecclesiam, evangelizationem. Per hoc «Ecclesiae tempus», ipsa munus creditum habet evangelizandi. Quod munus fas non est exsequi sine ipsa vel, multo minus, contra ipsam. 

     Expedit hoc breviter commonere, quod non sine dolore nostris audiri temporibus homines evenit — etsi bona fide ductos, ut Nobis opinari placet, a recta via tamen certe deflectentes — qui saepe affirment se amare velle Christum, non autem Ecclesiam. Quam absurda sit huiusmodi divisio, manifesto patet ex hac Evangelii sententia: Qui vos spernit, me spernit. Qua autem ratione quis dicat se Christum amare velle, quin amet Ecclesiam, quandoquidem testimonium unum omnium excellentissimum de Christo perhibitum, illud S. Pauli est: Christus dilexit Ecclesiam et tradidit semetipsum pro ea?

I.e. "to wish to love [or be in love with (se amare)] Christ, but not the Church" (period).
     Interesting.  The Italian ("amare il Cristo, ma non la Chiesa, ascoltare il Cristo, ma non la Chiesa, appartenere al Cristo, ma al di fuori della Chiesa") is, too.  And so is the French ("aimer le Christ mais sans l’Eglise, écouter le Christ mais non l’Eglise, être au Christ mais en dehors de l’Eglise"), the German ("Christus zu lieben, aber ohne die Kirche; auf Christus zu hören, aber nicht auf die Kirche; mit Christus zu sein, aber außerhalb der Kirche"), the Portuguese ("amar a Cristo mas sem a Igreja, ouvir a Cristo mas não à Igreja, ser de Cristo mas fora da Igreja"), and the Spanish ("amar a Cristo pero sin la Iglesia, escuchar a Cristo pero no a la Iglesia, estar en Cristo pero al margen de la Iglesia"), not to mention the Croatian ("ljubiti Krista ali bez Crkve, slušati Krista ali ne i Crkvu, pripadati Kristu ali izvan Crkve").  Only the Hungarian appears to me (though I don't read it) to follow the Latin.
     So was this delivered in Italian, and then cut down for promulgation in AAS 68 (1976)?  Clearly, Pope Francis is quoting a vernacular tradition.

Ecclesia semper reformanda

"In contrast to a widespread opinion among systematic theologians, the formula ecclesia semper reformanda is not attested in Protestant theology of the sixteenth century. It is most likely that the idea that the Reformation should not remain simply a one-time event, but that it is an ongoing duty of the church, goes back to those Dutch pastors who should be placed in the context of the prehistory of Pietism."

     Oxford encyclopedia of the Reformation (1996), s.v. "Reform," by Konrad Repgen, as trans. Robert E. Shillenn (vol. 3, p. 395), underscoring mine.
     For much more, go here.

"watch the noyous night, and wait for ioyous day."

When gentle Vna saw the second fall
   Of her deare knight, who wearie of long fight,
   And faint through losse of bloud, mou'd not at all,
   But lay as in a dreame of deepe delight,
   Besmeard with pretious Balme, whose vertuous might
   Did heale his wounds, and scorching heat alay,
   Againe she stricken was with sore affright,
   And for his safetie gan deuoutly pray;
And watch the noyous night, and wait for ioyous day.

     Edmund Spenser, The faerie queene I.xi.50.

Anaphora

So downe he fell, and forth his life did breath,
   That vanisht into smoke and cloudes swift;
   So downe he fell, that th'earth him vnderneath
   Did grone, as feeble so great load to lift;
   So downe he fell, as an huge rockie clift,
   Whose false foundation waues haue washt away,
   With dreadfull poyse is from the mayneland rift,
   And rolling downe, great Neptune doth dismay;
So downe he fell, and like an heaped mountaine lay.

     Edmund Spenser, The faerie queene I.xi.54, of the dragon slain by the Redcrosse Knight Georgos (I.10.66), St. George of England.

"a marriage is whatever the government says it is."

"There is . . . . no justification for the argument that Luther attempted to promote congregational singing by catering to the tastes of the masses."

     “It is almost an axiom in the popular imagination that Luther, in order to further congregational singing and make his hymns more attractive to the people, used or adapted preexisting secular melodies, even drinking songs.  The well-known question ‘Why should the devil have all the good tunes?’—attributed in Bartlett’s Familiar Quotations to English preacher Rowland Hill (1744-1833)—is frequently attributed to Luther.⁶¹  The origin of this attribution may have been Friedrich Blume’s influential 1931 book Die evangelische Kirchenmusik, in which he stated ‘Luther believed “the devil does not need to have all the lovely tunes solely for himself”’⁶²  Unfortunately, Blume gave no citation for the quotation.  The second edition of Blume’s book, which appeared in 1965 with an English translation in 1974, continued to attribute the idea to Luther but omitted the quotation.⁶³

     “Because Luther’s works are so voluminous, comprising not only published writings and letters but also transcriptions of dinner table conversations, it is scarcely possible to state categorically that Luther never uttered or wrote those words.  But other scholars have looked for them and failed to find them.⁶⁴  Recently, a new tool has appeared, with the 127-volume Weimar edition of Luther’s works now available as a searchable online database.  A search conducted on keywords in the foregoing quotation yielded nothing.⁶⁵  It therefore seems highly likely that such a statement is not to be found in Luther’s works.

     “In truth, of all Luther’s hymns, only one, Vom Himmel hoch, da komm ich her, is known to have had a secular origin.⁶⁶  He altered it from the popular song (not drinking song) Ich kumm aus frembden landen her.  But he wrote it for the annual children’s Christmas pageant, not for use in a church service.  At first the original secular tune was used, but Luther apparently had second thoughts about this, as he wrote a new tune for the 1545 hymnal.  It is Luther’s new tune that appears in modern hymnals.

     “Most often, when Luther wrote a hymn using a preexisting melody, the melody was a Gregorian chant.  But over 20 percent of his hymns are based on, or written in the form of, popular religious song (what would be akin to religious Christmas carols today). . . .⁶⁷  Many of the models for these hymns had already been sung in churches before Luther’s time.  In making use of the models, Luther was continuing a tradition, not breaking new ground.  There is in any case no justification for the argument that Luther attempted to promote congregational singing by catering to the tastes of the masses.”

     61. . . . Edward W. Broome, The Rev. Rowland Hill, Preacher and Wit (London, 1881), p. 93. . . .

     62. “Luther meinte, ‘der Teufel brauche nicht alle schönen Melodien für sich allein zu besitzen” (Blume 1931:12).  Occasionally another scholar will attribute this remark to Luther, but without giving a citation. . . .

     63. Blume 1965:18; Blume 1974:30.

     64. Brauer[, James.  “The Devil’s Tunes,” Concordia Journal 23/1 (January] 1997[):  2-3.  Cf. Saunder, K. Joan.  “Luther and the ‘devil’s tunes.’” Concordia journal 29, no. 2 (April 2003):  130-132].

     65. . . . The search was conducted in November of 2003 on the keywords Teufel, Teuffel, Teuffell, Teuffeel, Melodien, Melodeien, Melodeyen, Leider, Music, diabolos, diabolus, canticum, cantica, cantus, melos, and meli.

     66. This is not to say that later Lutherans did not occasionally use the melodies of secular songs.  [Two examples from 1555 and 1613 follow.]

     67. The information on the origins of Luther’s hymns is from Jenny[, Markus.  Luthers geistliche Lieder und Kirchengesänge.  Archiv zur Weimarer Ausgabe der Werke Martin Luthers, vol. 4.  Cologne:  Bölau,] 1985, passim.

     Joseph Herl, Worship wars in early Lutheranism:  choir, congregation, and three centuries of conflict (Oxford:  Oxford University Press, 2004), 21-22, 251nn61-67.

     I was put onto this by Daniel Zager, reviewing Rebecca Wagner Oettinger’s Music as propaganda in the German Reformation (Aldershot:  Ashgate, 2001), in the Journal of the American Musicological Society 58, no. 1 (Spring 2005):  213-214.

     Saunder (for whom see my interpolation into footnote 64, above) cites the "one sentence of Luther's that appears to be quite similar to the devil's tunes quotation":

[Saunder:]  Why is it that for the secular phases of life [(in carnalibus)] we have so many fine poems and such fine songs while for spiritual matters [(in spiritualibus)] we have such poor and cold stuff? 

[Plass, What Luther says, no. 3097:]  How is it that in matters concerning the flesh we have so many fine poems and hymns but that in those concerning the spirit we have such sluggish, cold affairs?

Wie geht es zu, das wir in carnalibus so manch fein poema und so manch schön carmen haben, und in spiritualibus haben wir so faul, kalt ding?

Wie gehets doch zu, daß wir in Carnalibus so manch fein Poema, und so manch schön Carmen haben, und in Spiritualibus da haben wir so faul kalt Ding; . . .

Table talk as recorded by Anton Lauterbach in 1538 () and Caspar Heydenreich in the Spring of 1543 (WA Tischreden 5, 274, ll. 9-11 (no. 5603)).  But “Further perusal of Luther’s writings on music provides the necessary context.  Luther’s point is not that we need to borrow from the secular phases of life but that we ought to concentrate instead on writing fine poems and suitable music for the church.”

     Stapert agrees:  Luther's stress was on "the wonder of artistically refined music":

     But when [musical] learning is added to all this and artistic music which corrects, develops, and refines the natural music, then at last it is possible to taste with wonder (yet not to comprehend) God's absolute and perfect wisdom in his wondrous work of music[, in which sort [of thing] this] is most remarkable[,] that one single voice continues to sing the tenor, while at the same time many other voices play around it, exulting and adorning it in exuberant strains and, as it were, leading it forth in a divine roundelay, so that those who are the least bit moved know nothing more amazing in this world.  But any who remain unaffected are unmusical indeed and deserve to hear a certain filth poet or the music of the pigs.

     Vbi autem tandem accesserit stadium et Musica artificialis, quae naturalem corrigat, excolat et explicet, Hic tandem gustare cum stupore licet (sed non comprehendere) absolutam et perfectam sapientiam Dei in opere suo mirabili Musicae, in quo genere hoc excellit, quod vna et eadem voce canitur suo tenore pergente, pluribus interim vocibus circum circa mirabiliter ludentibus, [etc.] . . .

. . . in his wondrous work of music, in which sort [of thing (genere)] this surpasses [all (excellit)], that with one and the same voice [(fem)] it is sung in his ongoing tenor [(masc)], with, in the meantime, many voices playing gloriously all around,  exulting and with the most pleasing [of musical] gestures ornamenting it [(fem)], and conducting alongside of it [(fem)], as it were, a certain divine dance, so that to those who are at least modestly affected, nothing in this world more glorious is seen to overtop [it]. 

. . . in seinem wunderbarlichen werck der Musica, in welcher vor allem das seltzam und wol zu verwundern ist, das [etc.] . . . 

. . . in his wonderful work of music, in which this above all is with astonishment and justification to be wondered at, that [etc.] . . . 

(Obviously I am no expert at 16th-century German!)  So

Take special care to shun perverted minds [(deprauatos animos . . . ceu impudici poetae)] who prostitute this lovely gift of nature and of art with their erotic rantings [(ad suos insanos amores)]; and be quite assured that none but the devil goads them on to defy their very nature which would and should praise God its Maker with this gift, so that these bastards purloin the gift of God and use it to worship the foe of God, the enemy of nature and of this lovely art

("Preface to Georg Rhau's Symphoniae iucundae" (1538), as trans. Ulrich S. Leupold in LW 53, 324 (321-324), boldface mine; WA 50, 372 (368-374), boldface mine); Calvin Stapert, "Beyond cheap thrills," Perspectives:  a journal of Reformed thought 8, no. 9 (November 1993):  4 (3-4)).
     I have modified the Leupold translation at the points in brackets to make it clear that Luther rushes right on to specify the sort (cf. genere?) of music he considers God's "wondrous work of music" to be.  Cf. this to the translation by Leupold, who inserts a full stop:

in his wondrous work of music.  Here it is most remarkable that [etc.] . . .

     Stapert again, echoing Archiv zur Weimarer Ausgabe 4 (above), apparently:

although Luther evidently sanctioned the use of tunes borrowed from some secular sources, he did not use them for the chorales he wrote.  He either wrote his own tunes or borrowed from the plainsong of the Roman Catholic Church. . . . The only exception is the Christmas chorale 'From heaven above.'  For this miniature musical drama for children, Luther appropriated the tune of a children's game song, a tune, however, that did not stick but was very soon replaced by the tune still in use today

 (Ibid., 3).


     For a refutation of this same claim for John and Charles Wesley and the Wesleyan Methodists, see Richard P. Heitzenrater, "The Wesleyan tradition and the myths we love," chap. 2 in A living tradition:  critical recovery and reconstruction of Wesleyan heritage, ed. Mary Elizabeth Mullino Moore (Nashville, TN:  Kingswood Books, Abingdon Press, 2013), 25 (13-44), 233nn58-59.