Notre Dame de Rouen. The façade of the Gothic Church in France. Photographer: Hippo1947. Licence: SHUTTERSTOCK.

Tuesday 19 December 2017

The Great O Antiphons. 19 December.


Text and Illustrations taken from The Saint Andrew Daily Missal,
unless otherwise stated.




"Madonna and Child",
Brügge Cathedral,
"Onze-Lieve-Vrouwkerk", Belgium.
Photo: 7 February 2005.
Author: Elke Wetzig (elya).
(Wikimedia Commons)




"O Radix Jesse".
The Great O Antiphon
for 19 December.
Available on YouTube at



19 December: Isaias xi. 10.


O Radix Jesse,
qui stas in signum populorum,
super quem continebunt reges os suum,
quem Gentes deprecabuntur:
veni ad liberandum nos,
jam noli tardare.

O Root of Jesse,
Who standest for an ensign of the people,
before Whom Kings shall keep silence,
and unto Whom the Gentiles shall make their supplication:
come to deliver us, and tarry not.

Versicle. Rorate.

"Rorate caeli desuper, et nubes pluant justium . . ."

"Ye Heavens, drop down from above,
and let the clouds rain down The Just One."

Monday 18 December 2017

"Christmas Is Coming, The Goose Is Getting Fat". Have You Finished Your Baking ? Are All The Cards Signed And Posted ? Which Mass Are You Going To Attend To Adore God ?



Illustration: PINTEREST


"Christmas Shopping".
Author: Frank Dadd.
Permission: Free for non-commercial use. See below. Click here to report copyright issues.
This image (or other media file) is in the public domain because its copyright has expired.
However - you may not use this image for commercial purposes and you may not alter the image
or remove the WikiGallery watermark.
This applies to the United States, Canada, the European Union and those countries
with a copyright term of life of the author plus 70 years.
(Wikigallery.org)


"Christmas is coming,
the Goose is getting fat . . ."
Sung by: John Denver and The Muppets.
Available on YouTube at


Artist: Muriel Dawson
(1897-1974).
Illustration: PINTEREST


Illustration: PINTEREST


"My Favourite Time of Year".
The Florin Street Band.
Available on YouTube at


Postmen of The British Empire.
English Postman. 1904.
Postcard from the private collection of Jennifer Drury.
Illustration: PINTEREST


Illustration: PINTEREST


Illustration: PINTEREST


Found on flickr.com
Illustration: PINTEREST



Traditional Christmas Carols.
Available on YouTube at

The Expectation Of The Blessed Virgin Mary. The Feast Of Our Lady Of O.


Text is from "The Liturgical Year"
   by Abbot Guéranger, O.S.B.

   Volume 1.


   Advent.




"The Annunciation".
Artist: Francesco Albani (1578–1660).
Date: First half of the 17th-Century.
Source/Photographer: Web Gallery of Art.
Current location: Hermitage Museum, Saint Petersburg, Russia.
Author: Francesco Albani (1578–1660).
(Wikimedia Commons)


This Feast, which is now kept not only throughout the whole of Spain but in many other parts of The Catholic World, owes its origin to the Bishops of The Tenth Council of Toledo, in 656 A.D.

These Prelates thought that there was an incongruity in the ancient practice of Celebrating The Feast of The Annunciation on 25 March, inasmuch as this joyful Solemnity frequently occurs at the time when The Church is intent upon The Passion of Our Lord, so that it is sometimes obliged to be Transferred into Easter Time, with which it is out of harmony for another reason; they therefore decreed that, henceforth, in The Church of Spain, there should be kept, eight days before Christmas, a Solemn Feast with an Octave, in honour of The Annunciation, and as a preparation for the great Solemnity of Our Lord's Nativity.

In course of time, however, The Church of Spain saw the necessity of returning to the practice of The Church of Rome, and of those of the whole World, which Solemnise the 25 March as the day of Our Lady's Annunciation and The Incarnation of The Son of God.



But such had been, for ages, the Devotion of the people for The Feast of 18 December, that it was considered requisite to maintain some vestige of it. They discontinued, therefore, to Celebrate The Annunciation on this day; but The Faithful were requested to consider, with Devotion, what must have been the sentiments of The Holy Mother of God during the days immediately preceding her giving Him birth. A new Feast was instituted, under the name of "The Expectation of The Blessed Virgin's Delivery".

This Feast, which sometimes goes under the name of "Our Lady of O", or, "The Feast of O", on account of The Great Antiphons which are sung during these days, and, in a special manner, of that which begins "O Virgo Virginum" (which is still used in The Vespers of The Expectation, together with the "O Adonai", the Antiphon of The Advent Office), is kept with great Devotion in Spain.

A High Mass is sung at a very early hour each morning during The Octave, at which all who are with child, whether rich or poor, consider it a duty to Assist, that they may thus honour Our Lady's Maternity, and beg her Blessing upon themselves. It is not to be wondered at that The Holy See has approved of this pious practice being introduced into almost every other Country (Editor: Note that Abbot Guéranger was writing circa 1870).



We find that The Church of Milan, long before Rome conceded this Feast to the various Dioceses of Christendom, Celebrated The Office of Our Lady's Annunciation on The Sixth and Last Sunday of Advent, and called the whole Week following the "Hebdomada de Exceptato" (for thus the popular expression had corrupted the word "Expectato").

But these details belong strictly to the archaeology of Liturgy, and enter not into the plan of our present work; let us, then, return to The Feast of Our Lady's Expectation, which The Church has established and sanctioned as a new means of exciting the attention of The Faithful during these last days of Advent.

Most Just, indeed, it is, O Holy Mother of God, that we should unite in that ardent desire thou hadst to see Him, Who had been concealed for nine months in thy chaste womb; to know the features of this Son of The Heavenly Father, Who is also thine; to come to that blissful hour of His Birth, which will give Glory to God in The Highest, and, on Earth, peace to men of good-will.

Yes, dear Mother, the time is fast approaching, though not fast enough to satisfy thy desires and ours. Make us re-double our attention to the great Mystery; complete our preparation by thy powerful Prayers for us, that, when the Solemn Hour has come, Our Jesus may find no obstacle to His entrance into our hearts.



THE GREAT ANTIPHON TO OUR LADY.

O Virgo Virginum,
quomodo fiet istud ?
quia nec primam similem visa es,
nec habere sequentem.
Filiae Jerusalem,
quid me admiramini ?
Divinum est mysterium
hoc quod cernitis.

O Virgin of Virgins !,
how shall this be ?
for never was there one like thee,
nor will there ever be.
Ye daughters of Jerusalem,
why look ye wondering at me ?
What ye behold,
is a Divine Mystery.






Abbot Prosper Guéranger, O.S.B.
Abbot of Solesmes Abbey, France, from 1837-1875.
Author of "The Liturgical Year".
Date: 1874.
Print-maker was Claude-Ferdinand Gaillard (1834–1887).
This File: 7 May 2007 (original upload date).
Source: Transferred from en.wikipedia to Commons.
Author: The original uploader was Ikanreed at English Wikipedia.
(Wikimedia Commons)

The Great O Antiphons. 18 December.


Text from The Saint Andrew Daily Missal,
unless otherwise stated.




English: Christ is born.
Deutsch: Christi Geburt.
Artist: Lorenzo Lotto (1480–1556).
Date: 1523.
Current location: National Gallery of Art, Washington, D.C., U.S.A.
Source/Photographer: The Yorck Project: 10.000 Meisterwerke der Malerei. 
DVD-ROM, 2002.
ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.
Permission: [1]
(Wikimedia Commons)




"O Adonai".
The Great O Antiphon 
for 18 December.
Available on YouTube at


18 December: Exodus iii. 2, xx. 1.

O Adonai,

et dux domus Israel,
qui Moysi in igne flammae rubi apparuisti,
et ei in Sina legem dedisti:
veni ad redimentum nos in brachio extento.


O Adonai,

and Leader of The House of Israel,
who didst appear to Moses in the flame of
the burning bush,
and didst give unto him The Law on Sinai:
come and with an outstretched arm redeem us.

V. Rorate.

"Rorate caeli desuper, et nubes pluant justium . . ."

"Ye Heavens, drop down from above,
and let the clouds rain down The Just One."

Sunday 17 December 2017

The Great O Antiphons.




"O Sapientia".
The first of The Great O Antiphons.
Available on YouTube at

The following Text is from Wikipedia - the free encyclopaedia,
unless stated otherwise.

The "O Antiphons", also known as "The Great Os", are Magnificat Antiphons used at Vespers of the last seven days of Advent in Western Christian Tradition. They are also used as the Alleluia Verses on the same days in The Catholic Mass.

They are referred to as "The O Antiphons" because the Title of each one begins with the vocative particle "O". Each Antiphon is a name of Christ, one of his Attributes mentioned in Scripture. They are:

17 December: O Sapientia (O Wisdom);
18 December: O Adonai (O Lord);
19 December: O Radix Jesse (O Root of Jesse);
20 December: O Clavis David (O Key of David);
21 December: O Oriens (O Day Spring);
22 December: O Rex Gentium (O King of The Nations);
23 December: O Emmanuel (O With Us is God).




In The Roman Catholic Tradition, The O Antiphons are sung or recited at Vespers from 17 December to 23 December, inclusive. Some Anglican Churches (e.g. The Church of England) also use them, either in the same way as modern Roman Catholics, or according to a Mediaeval English usage.


The following Text and Illustrations are from A CLERK OF OXFORD


The Anglo-Saxon
"O Antiphons":
"O Clavis David".
Secrets and Songs.




Christ in Majesty, The Virgin and Saint Peter
(BL Stowe 944, f. 6, circa 1030).

We are now in the last days of Advent, the Season of The O Antiphons. These ancient Antiphons, sung at Vespers in the week before Christmas, still attract a remarkable amount of attention today - and, twelve hundred years ago, they attracted one Anglo-Saxon poet, who turned them into a series of short poems in English.


For the next few days, I want to post the Old English poetic versions of The O Antiphons, which are much more than translations of the Latin Texts: They are exquisite poetic meditations on the rich imagery of the Antiphons, responding to them in subtle and creative ways. In translating them, here, I've been astonished anew by their beauty and interest, and I hope you'll enjoy them as much as I do.

They survive in a Manuscript, known as The Exeter Book, an anthology of English poetry on all kinds of themes and in all kinds of forms: Elegies; Saints' Lives; Riddles; Wisdom Poetry; Philosophical Reflections; Laments; and many poems which resist classification.



The O Antiphons are the first poems in the collection, and they were probably composed some time earlier than the date of the 10th-Century Manuscript, perhaps around 800 A.D. They are anonymous, though once attributed by scholars to Cynewulf, and they long suffered from being lumped together with the poems which follow them in the Manuscript (which also concern Christ, so you will sometimes find them being called 'Christ I' or 'Christ A'). However, they deserve to be treated, and appreciated, separately and on their own terms, as a collection of individual poems linked by their common source in The O Antiphons.

Last year I Posted one of them (O Oriens/O Earendel), but, this year, I'll post my Translations of the Antiphons for the next five days. In the Manuscript, there are twelve Antiphons in total, some of which correspond to The Greater Antiphons, but the form of the collection as a whole is unique.

The first three Antiphons (O Sapientia, O Adonai, O Radix Jesse) do not appear, but this may be because the first few leaves of the Manuscript are lost. The last four, however, are there: O Clavis David; O Oriens; O Rex Gentium; and, O Emmanuel, as well as an additional eighth Antiphon used on 23 December in Mediaeval English (and still in Traditional Anglican) usage, O Virgo Virginum.


English practice, therefore, had the Antiphons one day ahead. (The order in which they will appear here isn't that of the Manuscript, as the Antiphons are not in the order in which they are used Liturgically; today's Antiphon comprises lines 18-49 of the poem, which can be found complete here.)

So this is "O Clavis David". Here's the Antiphon, for comparison:


O Clavis David, et sceptrum domus Israel;
qui aperis, et nemo claudit;
claudis, et nemo aperit:
veni, et educ vinctum de domo carceris,
sedentem in tenebris, et umbra mortis.

(O Key of David and sceptre of The House of Israel;
who opens, and no one can shut,
shuts, and no one can open:
come, and lead the captives from the prison house,
those who dwell in darkness and the shadow of death.)


Eala, þu reccend ond þu riht cyning,
se þe locan healdeð, lif ontyneð,
eadga... upwegas, oþrum forwyrneð
wlitigan wilsiþes, gif his weorc ne deag.

Huru we for þearfe þas word sprecað,
ond m... ...giað þone þe mon gescop
þæt he ne ...ete... ...ceose weorðan
cearfulra þing, þe we in carcerne
sittað sorgende, sunnan wenað,
hwonne us liffrea leoht ontyne,
weorðe ussum mode to mundboran,
ond þæt tydre gewitt tire bewinde,
gedo usic þæs wyrðe, þe he to wuldre forlet,
þa we heanlice hweorfan sceoldan
to þis enge lond, eðle bescyrede.


Forþon secgan mæg, se ðe soð spriceð,
þæt he ahredde, þa forhwyrfed wæs,
frumcyn fira. Wæs seo fæmne geong,
mægð manes leas, þe he him to meder geceas;
þæt wæs geworden butan weres frigum,
þæt þurh bearnes gebyrd bryd eacen wearð.
Nænig efenlic þam, ær ne siþþan,
in worlde gewearð wifes gearnung;
þæt degol wæs, dryhtnes geryne.

Eal giofu gæstlic grundsceat geondspreot;
þær wisna fela wearð inlihted
lare longsume þurh lifes fruman
þe ær under hoðman biholen lægon,
witgena woðsong, þa se waldend cwom,
se þe reorda gehwæs ryne gemiclað
ðara þe geneahhe noman scyppendes
þurh horscne had hergan willað.


O thou Ruler and righteous King,
who guards the locks, who opens life
and the blessed way on high, and to others denies
the bright longed-for path, if their deeds have not earned it;
truly, we speak these words in need,
and entreat that he who made mankind…
[this next line is damaged]
. . . of sorrowful things, for we in prison
sit sorrowing, hoping for the sun,
for when The Lord of Life will open light to us,
become for us a source of strength in spirit,
and enfold our feeble knowledge in splendour,
and make us worthy, that he may admit us to glory,
who have had to come, wretchedly,
into this constraining world, cut off from our homeland.


Therefore may he who speaks the truth say
that he saved us, who had been led astray,
the race of men. It was a young girl,
a maiden free from sin, whom he chose as his mother;
that was accomplished without the love of a man,
that the girl gave birth to a baby, became pregnant.
Nothing equal to this, before or since,
has ever in the world been a woman’s reward;
that was a secret, the Lord’s mystery.

Spiritual grace spread across the ground of all the earth;
there many things were given light,
long-standing lore, through the Lord of life,
which before had lain hidden in shadow,
the resounding song of the prophets, when the Ruler came,
he who magnifies the secret of every speech
of those who earnestly desire to praise the name
of the Creator in eager manner.


This poem takes its main inspiration from the final line of the Antiphon: 'Those who sit in darkness and the shadow of death'. Its interest is in light and darkness, and in the language of secrecy and hidden things - especially geryne, 'mystery'. (Not to make the Advent Lyrics all about Tolkien - since tomorrow is 'O Earendel' - but I particularly noted the line þæt degol wæs, dryhtnes geryne, 'that was a secret, the Lord's mystery', because degol is the origin of the name Déagol, who was secretly murdered by Sméagol.)

The Key of David is to unlock not only the road to Heaven, but the secrets concealed on Earth. He will give us strength in mode, 'mind, spirit', and tydre gewitt tire bewinde, 'enfold our frail wits in splendour', as if limited human understanding is to be entirely wrapped and wound within limitless divine wisdom. Another Old English poem (Exodus), counselling on the interpretation of the scriptures, uses comparable language in its metaphor of the keys of the spirit:

Gif onlucan wile lifes wealhstod,
beorht in breostum, banhuses weard,
ginfæsten god gæstes cægon,
run bið gerecenod, ræd forð gæð.


If the interpreter of life, the guardian of the body, bright in heart, wishes to unlock ample benefits with the keys of the spirit, the mystery is explained and wisdom comes forth.

Our poet seems to imagine The Key of David working in a similar way.

What is unlocked by The Key is 'light', and in describing mankind as sunnan wenað, 'hoping for the sun', this lyric makes use of the Son/sun wordplay I mentioned recently - probably the earliest surviving example of the device in English poetry. This poem is about the opening of hidden knowledge, and appropriately for a poem, this opening is connected specifically to poetry itself, the bringing to light the truth of the witgena woðsong, 'the prophets' resounding song'.

As King David is both Prophet and Psalm-Singer, this takes us back to the opening of the Antiphon. The final lines promise that reorda gehwæs ryne, 'the secret of every utterance' will be magnified, and this utterance, the poem itself, is surely included. Thus we, in reading the poem, are encouraged to finish in union with poets and Prophets, as 'those who earnestly desire to praise the name of The Creator'.


Rejoicing in The Heavenly City (Stowe 944, f. 7).
The images in this Post are from The New Minster Liber Vitae, perhaps my favourite
Anglo-Saxon Manuscript, which was made in Winchester in circa 1030.
The massive Keys, in the pictures, above, belong to Saint Peter.

The Great O Antiphons. 17 December.


Text and Illustrations taken from The Saint Andrew Daily Missal,
unless otherwise stated.




English: Madonna and Child.
Deutsch: Sixtinische Madonna, Szene: Maria mit Christuskind,
Hl. Papst Sixtus II. und Hl. Barbara.
Artist: Raphael (1483 - 1520).
Current location: Gemäldegalerie, Dresden, Germany.
Source/Photographer: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002.
ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.
Permission: [1]
(Wikimedia Commons)

The Boundless desire for The Coming of Christ, which is a feature of the whole of Advent, is expressed in The Liturgy with an impatience which grows greater, the closer we come to Christmas and, so to speak, to the World's end.

"The Lord comes from far" (First Vespers, First Sunday of Advent).

"The Lord will come" (Introit, Second Sunday of Advent).

"The Lord is nigh" (Introit. Third Sunday in Advent).

This gradation will be emphasised throughout the whole Season, ever more and more.

Thus, on 17 December, begin The Greater Antiphons, which, from their initial letters, are called
"The O Antiphons", and which form an impassioned appeal to The Messias, whose prerogatives and glorious Titles they make known to us.

Dom Guéranger [Editor: He who was the author of "The Liturgical Year"] affirms that those Antiphons contain the "whole marrow" of The Advent Liturgy.

On account of their number, Honorius of Autun connects them with The Seven Gifts of The Holy Ghost, with which Our Lord was filled.




"O Sapientia.".
The Great O Antiphon for 17 December,
sung by The Dominican Student Brothers at Blackfriars, Oxford, England.
Available on YouTube at


17 December: Ecclesiasticus xxiv. 5; Wisdom viii. 1

O Sapientia,

Quae ex ore Altissimi prodiisti,
attingens a fine usque ad finem,
fortiter suaviterque disponens omnia:
veni ad docendum nos viam prudentiae.


O Wisdom,

Who camest out of the mouth of The Most High,
reaching from end to end and ordering all things
mightily and sweetly:
come and teach us the way of prudence.

Versicle: Rorate.

"Rorate caeli desuper, et nubes pluant justium . . ."

"Ye Heavens, drop down from above, and let the clouds rain down The Just One."

The Commencement Of The Great O Antiphons. 17 December.


Text is from "The Liturgical Year",
by Abbot Guéranger, O.S.B.


Volume 1.

Advent.



The Church enters today on the seven days which precede The Vigil of Christmas, and which are known in The Liturgy under the name of The Greater Ferias.

The Ordinary of The Advent Office becomes more Solemn; The Antiphons of The Psalms, both for Lauds and The Hours of The Day, are Proper, and allude expressly to The Great Coming.

Every day, at Vespers, is sung a Solemn Antiphon, consisting of a fervent Prayer to The Messias, Whom it addresses by one of The Titles given Him in The Sacred Scriptures.

In The Roman Church, there are seven of these Antiphons, one for each of The Greater Ferias. They are commonly called The "Os of Advent", because they all begin with that interjection, "O".

In other Churches, during The Middle Ages, two more Antiphons were added to these seven; one to Our Blessed Lady, "O Virgo Virginum"; and the other to The Angel Gabriel, "O Gabriel"; or to Saint Thomas the Apostle, whose Feast comes during The Greater Ferias; it began "O Thoma Didyme". [It is more modern than "O Gabriel"; but, dating from the 13th-Century, it was almost universally substituted for it.]


There were even Churches where twelve Great Antiphons were sung; that is, besides the nine we have just mentioned, "O Rex Pacifice" to Our Lord, "O Mundi Domina" to Our Lady, and "O Hierusalem" to The City of The People of God.

The Canonical Hour Of Vespers has been selected as the most appropriate time for this Solemn Supplication to Our Saviour, because, as The Church sings on one of her Hymns, it was in the evening of the World ("vergente mundi vespere") that The Messias came amongst us.

The Antiphons are sung at "The Magnificat", to show us that The Saviour, Whom we expect, is to come to us by Mary. They are sung twice, once before and once after The Canticle, as on Double Feasts, and this to show their great Solemnity.


In some Churches, it was formerly the practice to sing them thrice; that is, before the Canticle, before the Gloria Patri, and after the "Sicut erat". Lastly, these admirable Antiphons, which contain the whole pith of The Advent Liturgy, are accompanied by a Chant replete with melodious gravity, and by Ceremonies of great expressiveness, though, in these latter, there is no uniform practice followed.

Let us enter into the spirit of The Church; let us reflect on the great day which is coming; that, thus, we may take our share in these, the last and most earnest, solicitations of The Church, imploring her Spouse to come, to which He at length yields.
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