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Page 17 text:
“
TO OUR PRESIDENT imlnilpzr Marg Alugaia Oh, Lord, our tongues are rnute, Words cannot say The things we wish to speak Of her today. It was her work, her love That led us on,' And we would tell her so E,er we are gone. But eloquence is dead, Our hearts too jilled, The golden eup of bliss 0'erflowed and spilled. Her grace, her lowing ways Have been our guide And it was she who brought Us to Your side. Lord, as we pray for her, Let her lenow yet That never in our hearts Will we forget. MAHALA C. SHERMAN
”
Page 16 text:
“
OUR LADY OF GOOD COUNSEI
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Page 18 text:
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1 Y X Qi .wa 1-mfw sn , , - .....- .. ...aa.u,,..w , ,. .,,.a.,. ,--.,,. .a.,, .L-J ,,.. ,..+.-. 4-f... .. afar'-westin 1-'vw - A A I r:zfSiY f .V JS 'G 'Fi .. 1 . . L-if . ,J . . c.'.rz1:'f,iA!1T:L.'1.1'if, V , A 35-1' '1.,s:w 4-'A K J .'P4H'f1 ' -.5-:al-ffmrmw 'f A ips'-.,., Q- :mu fa as . -if A ' A , L, 'fav .fv-'Mfi-ff -, ..,...w,f Maru 3 J- A ,.,.,,., ..,v ...., . , ,-,. .V ..N. 4- ...a 7 sz-ffQ,11ffa,:s,4mm9e.w1-am. N ,4.i'.L.'r..., an-..,,...- - -1 ' 'wha -Lf .'+- 1 .tbl 3 ,..,EM:,,:-f..... - Q. serif-if Q- Q at 'J' lQ: ' 13y,9gw, ,yvg1', T-mm: 'fl fE. g,.:fL o .i Cbwgnrian Glhtmt HE Chant embodies the spirit of the Church in the melodies of music. It speaks of the triumphal march of innumerable saints and breathes quietly among the pillars of churchly architecture, livening them until they pulse with spiritual life-it is the tonal Church. Long before, under the benign interest of Pope Gregory, the monks inscribed on parchment, those notes which grew to take form in the Gregorian Chant-long before, the dignity of the theme was present. The writing of the Chant was the voicing of the heart of true religion. Far from being a mental and technical invention, it was only the translation into expression of a hitherto mute power. Thus was it ever present-in the sombre, inscrutable tone, the voice of many, crying in the wildernessguntil the monks of the 17th century captured the spiritual meaning of that inner voice and translated it into tangible form and presented it to the Vicar of Christ on earth. It is a fitting vehicle for the noble privilege of worship and a proper accompaniment for the great divine institu- tion, the Eucharistic Sacrifice. Other arts have been called upon to do homage to the beauty of the Christian liturgy-great works of architecture and sculpture have arisen, precious vessels have been wrought in silver and gold, the age-old experience of the loom has worked fragile beauty for priestly vestments, noble minds have fashioned immortal series of words and captured their rhythm in classic poetry, but none of them is so close to the Altar as music. It insinuates itself about every cornice. Gently it strikes the altar steps and swells to soar domeward. The great steeples of perfected architecture may loom proudly above, sculptured hands may be lifted high in prayerful entreaty, the sparkling of gold-wrought vestments may shine with glorious light-but none of these is so mighty that with its gentle effort it may rise directly to its purpose, as does liturgical music, such is the power of the Chant. With its softest note it bom- bards the very portals of heaven and even the angels are hushed while mortal prayer ascends to Godls Throne, wafted on notes which even their angelic tones cannot surpass. This music is no common art-it is sanctified by its holy use. Music, which may administer to so many human emotions, is here moulded and fashioned into a superb vessel to dignify the sacred services of the Church. The great musician finds in the sacred Chant a rare symmetry of form. It is like the flower which grows not in the paths where men tread but in the hidden places where it must be sought out. lt is not, and never will be, vulgarly popular, rather has it the mellowness born of antiquity and sublime usage. The quiet strains of Bach adapted themselves in many instances to the peculiarity which is the Chant- 14 l kr
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