Trials of a mass-goer

So enamoured am I of [i.e., in love with] my last week’s work that I here offer my entire Wed. Journal column about the mass, for your pleasure and edification:

Critical Mass: 37 years after outlawing Latin
Tuesday, July 31, 2007

REVOLUTION: The traditional Catholic Mass has been reinstated by the pope, leading some to wonder at what point did the Mass become the Father Tom, Dick or Harry Show? Such a shift from holy sacrifice to Johnny Carson or Leno or Letterman is not easy to trace. But the moment of moments most likely occurred with the virtual outlawing of the traditional Latin Mass in 1970. That’s when it became too late for Paddy to bar the door on blessed innovation.

At that point a new breed of liturgical reformers had their opening. Reform, hell, it was time for revolution. We went from “Dominus vobiscum” to “Good morning” in almost no time, with breeziness the norm, and explain, explain, explain, jabber-jabber-jabber, throughout the Mass from Father Tom, etc. – who has his eye on you, by the way, so watch out.

But if jabber-jabber was to be the norm, bishops should have required that every seminarian learn from the Protestants how to talk. Everyone knows Protestants are the nation’s preachers. Seminaries should have required preaching certification by a Protestant seminary, preferably evangelical. As it is, Catholics hear mostly pedestrian stuff – anecdotes from Father’s childhood or something he saw on television or the day’s headlines.

Father strides to the front of the sanctuary or into the aisle, upstaging the table that now doubles more or less as an altar. He’s miked (and we aren’t). If the mike is wired, he has to twirl the cord to get around, but that adds to the brio, the devil-may-carelessness of it all. He has a joke, he has a story of driving to work the other day, he has the headlines. He’s casual, he’s friendly, he’s with it.

Or he’s pedantic, and not only about things religious, which have been redefined in any case to cover just about anything, but especially politics, which swallows up religion when adopted as a passion – as Samuel Taylor Coleridge said a long time ago. So a church resounds with applause when the preacher spouts a Democrat-liberal line during a hot national election.

LOOKING STRAIGHT AHEAD: The 1970s Mass is a bigger issue. It places Father Tom front and center. He’s watching you and you’re watching him. He may notice latecomers or the seasoned citizen who looks to her prayers, paying no attention to him, and may take either to task in a sermon. Above all, he talks everything out. We can hear him clearly. Sitting or kneeling there, we have time to meditate on how he accents every darn preposition or changes the prescribed wording to fit his view of the world and God, changing “almighty Father,” for instance, to “almighty God.”

He can do this. He’s in charge and, in the new dispensation, feels free to tweak things. Before the 1970s, the people were far less at the mercy of a priest’s talent for embroidering the procedure. The focus was on what was happening, the Big Event. The focus now is on the man up front.

It’s not all his fault. He has gone with the flow, learning what he apparently was taught by implication, that it’s he the presider who counts. He has to perform. His performance is the difference between a good and a bad Mass. He has to be the great communicator, telling people what’s going on. Don’t let mystery be implied by ritual, but tell people there’s mystery here.

The Mass of mystery is long gone, by edict. Instead, we have an everyday something, easily grasped, a sort of communion breakfast with hugging in the middle of it. “Go, the mass never ends,” a deacon improvised some time back, capturing the idea perfectly – that we have here an event that does not so much stand out in our weekly experience as blend in with it seamlessly.

So what is Father Tom to do up there, keep eyes cast down while concentrating on the mystery? That’s not the idea at all. A performer performs. He gets in your face. It’s his duty, and has been for 37 years.