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PRIVATE DEVOTIONS
Liturgical Renewal III
BY REV. LEONARD F. X. MAYHEW
During the long centuries of lay passivity
during the liturgy, the Christian people de
veloped numerous "private devotions,*’ These
devotional practices fed the spiritual hunger of
countless generations, 1 he Rosary, novenas and
devotions on special occasions strengthened the
faith of innumerable heroic Catholics. Unfor
tunately, because a full understanding of the pri
mary place of the liturgy was
lacking, such private devotions
sometimes assumed an undue
importance. The public reci
tation of the Rosary or of some
novena in honor of a particu
lar saint often took place dur
ing the Mass.The custom of
infrequent Communion, which
Pope St. Pius X reversed only
. two generations ago, aggra
vated this sad imbalance in the spiritual lives
of too many of our forebears.
THE PRESENTT revival of liturgical under
standing and participation is curing this im
balance. Catholics who see the Mass and Sa
craments as actions which they celebrate with
Christ and his Church will imbibe untold spir
itual riches for their Christian lives. At the
same time, there remains a very important
place, side by side with our public, communal
worship, for private devotions. The Consti
tution recognizes this explicitly: "Popular de
votions of the Christian people are to be high
ly commended,..These devotions should be so
drawn up that they harmonize with the liturgi-r
cal seasons, accord with the sacred liturgy,
are in some fashion derived from it, and lead
the people to it."
This revival of liturgical worship and the
new solidity it will give private devotions will
greatly broaden the spiritual life of the Catho
lic laity. The Constitution makes clear what
is the connection to the liturgy which is to be
fostered in private devotions. They are to
•tress their foundation in Sacred Scripture and
their conformity to the liturgical seasons, as
well as their relevance to the implications of
the Mass, The form they will very likely as
sume is also mentioned in the Constitution un
der the name of Bible Services.
Each evening at the St, Louis Liturgical Week
we ended the final session of the day with a
Bible Service. Although there can be great flexi
bility in these services, they bear a marked
and deliberate resemblance to the first part of
the Mass liturgy, the Service of the Word,
Such devotional services are particularly re
commended by the Constitution on the vigils
of major feasts, during Advent and Lent and
on Sundays and feast days,
THE TYPICAL Bible Service begins with an
entrance hymn, corresponding to the Introit
of the Mass, as the celebrant and servers en
ter with crucifix, candles, Incense and, in the
place of honor, the Bible. An introductory pray
er is recited by the celebrant, followed by the
announcement of the theme of the service. This
theme is set by the occasion when the devotion
is held, A reader proclaims a first reading
from the Scripture, followed by a sung or re
cited response from the congregation. Asecond
reading, usually from the Gospels, is proclaim
ed, The celebrant then will address a homily
to the congregation. The people recite or sing
a psalm or hymn summing up the theme of the
celebration. The service ends with prayer led
by the celebrant and some "action" embody
ing the main lesson of the service.
Popular devotions built upon this pattern are
certain to spread in the near future. They can
be adapted to almost any occasion or need. One
of the great advantages they posses s is the
allowance they make for a certain spontaneity,
which has been so obviously missing from Catho
lic worship in the recent past. The Biblical sour
ce of our faith will be both spiritually enrich
ing for the faithful and will be a clear sign of
our desire for unity with our separated brethren.
ARNOLD VIEWING
“A Hard Day’s Night”
BY JAMES W. ARNOLD
Since worrying about the younger generation
is part of the problem of being an adult, the
Beatles* first movie, **A Hard Day’s Night," is
hardly calculated to reduce anxieties about What
is Happening to Our Adolescents,
Some reassuring judgments, however, are pos
sible;
1- The first cinema effort of the mop-haired
Liverpudlian loved ones is certainly better than
the maiden movies of such
heroes of ancient history as
Elvis Presley, Frank Sinatra
and Harry Lillis Crosby. The
really puzzling thing is why so
much skilled labor, particularly
in avant-garde photography and
editing, went into a product that
would have "sold" without a
tenth of the bother.
PROBABLY very few of the Beatles’ ecstatic
10-to-16-year-old female cultists even notice that
' Hard Day," in camera work at least, is better
than 95 percent of movies they ordinarily see.
Producer Walter Shenson clearly takes pride in his
work and shows an uncommon respect for his
young audience. One needs only to make a shud
dering comparison with the patronizing garbage
foisted on the teenage market by American pro
ducers.
2- Always granting that pop music serves spec
ial mysterious functions in teenage tribal initia
tion rites, adults may find solace in the fact that
the sound and beat of the Beatles are a step to
ward small-combo jazz and away from that pecu
liar blend of rock and hillbilly that may well be
the all-time abyss of what passes for music.
The truth is that for years Nashville and the
worst elements in Southern sub-culture have dom
inated and corrupted teenage musical tastes. The
Beatles have loosened this hold not only because
they are British and inevitably more cosmopoli
tan, but mainly because they are musicians, with
more respect for sound than all the Presleys,
Fabians and brother acts of the last decade put to
gether, In restraint, one must add that this doesn't
say a great deal.
3 - THE BEATLES do not take themselves ser-
LEBANON
Your World And Mine
CONTINUED FROM PAGE 4
of education as the key to progress. Here one may
hope to see the start of development of a more
open attitude towards other religions. Students of
Islam generally believe that its fanaticism is
largely a function of the ignorance of the masses.
THE LEBANESE, including the Christians, are
fully arabized lnlanguage, customs and sentiment.
They Joined the Arab League in 19-45. They par
ticipated in the war against Israel in 1948, and
as already noted, gave asylum to many Palestine
refugees.
These refugees have in fact created a compli
cated and still unresolved problem. Nine-.onths of
them are Moslems, and their influx threatened to
overthrow the delicate equilibrium which rests on
a slight Christian majority. Were the Moslems to
reach majority status right now, tremendous pres
sures would be generated by extremists In their
own ranks and by the neighboring Moslem states
to scrap the constitution and proclaim a theor-
THURSDAY, SEPTEMBER 17, 1964 GEORGIA BULLETIN PAGE 5
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iously. They are a fun act, with a genial penchant
for self-satire. One is grateful for the relative ab-
sense of the conceited, almost girlish sexuality
of other teenage idols. Their outrageous hair
styles are a quiet, perhaps even subconscious,
joke on this point. These boys are not sissies,
and theories using this as an explanation for their
popularity among sex-frightened girls are not sat
isfactory. , , &
On the less promising side, it is still apparent
that adolescent heroes need to be representatives
of revolt. If one theme dominates this film, it is a
barely disguised hostility toward authority fig
ures, ranging from Paul McCartney’s fictional
grandfather and the group’s agent to police and
adult men casually encountered in their adven
tures.
The grandfather (Wilfrid Brambell) is a repul
sive little low-comedy hypocrite who is either
chasing women or profits Qjy forging Beatle auto
graphs). In one scene, which opens with him og
ling a sexy record album cover, the old man ad
vises the boys to stay away from a "disgusting"
party but carefully pockets the invitation himself.
THE BEATLES’ BOSSES (agent, TV director,
a dress designer seeking tie-in promotion) are all
pompous jerks who give too many restricting or
ders. When the boys sass them back, their fans in
the audience applaud; disliked adults are often the
targets of spontaneous epithets from unamused
spectators. In another scene, a grouchy adult chas
es the boys off his property, where they have been
cavorting (in fascinatingly arty helicopter shots)
like mischievous little boys. One Beatle replies:
"Sorry we hurt your field, mister."
"Hard Day" is more of a documentary than a
story film, allowing fans Intimate closeups of their
own shrieking hysteria as well as of their idols in
in action. The 83 minutes are padded out with sight
gags (e.g., an old man reading a magazine with
Presley on the cover), the efforts of the singers to
escape their fame-built prison world, and a clever
Buster Keaton-ish episode in which Ringo Starr,
poignant in baggy overcoat, searches out the Mean
ing of Life on the streets of the city,
DIRECTOR RICHARD Lester has been true to
his medium in putting the boys constantly in mo
tion, or when they are not, by having hand-held
cameras rock and roll in extreme closeups in
stark black and white lighting with dizzily rhyth
mic cutting.
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renders homage to the .Mi-High," while respect-
mi; absolute liberty of conscience. But they know’
ti’.at such emotional and intellectual evolution will
take time.
IN 195b LEBANON surmounted one serious
crisis in which the issues were largely, though
not exclusively, posed in terms of Christian
against Moslem. In 1961, a new revolutionary at
tempt designed to merge Lebanon in near-by Syria
was thwarted.The country thus lives on the razar’s
*dge, a situation not new for the Lebanese,
A curious quick today is that the higher educational
and economic level of the Christians tends to work
against them. So limited is economic opportunity
that as many Lebanese live abroad as at home.
Those best equipped and emotionally best adjusted
to emigrate sre precisely the better educated, and
in consequence emigration is far higher amoijg
Christians than among Moslems.
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