Ecclesiastical memories of a mystical atheist

How I loved it: how clearly I can see it still, our church at Combray! … The church! A dear, familiar friend; close pressed in the Rue Saint-Hilaire, upon which its north door opened, by its two neighbours, Mme. Loiseau’s house and the pharmacy of M. Rapin, against which its walls rested without interspace; a simple citizen of Combray, who might have had her number in the street had the streets of Combray borne numbers, and at whose door one felt that the postman ought to stop on his morning rounds, before going into Mme. Loiseau’s and after leaving M. Rapin’s, there existed, for all that, between the church and everything in Combray that was not the church a clear line of demarcation which I have never succeeded in eliminating from my mind. In vain might Mme. Loiseau deck her window-sills with fuchsias, which developed the bad habit of letting their branches trail at all times and in all directions, head downwards, and whose flowers had no more important business, when they were big enough to taste the joys of life, than to go and cool their purple, congested cheeks against the dark front of the church; to me such conduct sanctified the fuchsias not at all; between the flowers and the blackened stones towards which they leaned, if my eyes could discern no interval, my mind preserved the impression of an abyss.

~ Marcel Proust, Swann’s Way

Hawthorns on the Altar

It was in the ‘Month of Mary’ that I remember having first fallen in love with hawthorns. Not only were they in the church, where, holy ground as it was, we had all of us a right of entry, but arranged upon the altar itself, inseparable from the mysteries in whose celebration they participated, thrusting in among the tapers and the sacred vessels their serried branches, tied to one another horizontally in stiff, festal scheme of decoration still further embellished by the festoons of leaves, over which were scattered in profusion, as over a bridal train, little clusters of buds of a dazzling whiteness. Though I dared not look at it except through my fingers, I could sense that this formal scheme was composed of living things, and that it was Nature herself who, by trimming the shape of the foliage, and by adding the crowning ornament of those snowy buds, had made the decorations worthy of what was at once a public rejoicing and solemn mystery.

~ Marcel Proust, Swann’s Way

Shelley in the Cathedral

The great English Romantic poet, Percy Bysshe Shelley, atheist, under the spell of Catholic beauty in Italy:

This cathedral is a most astonishing work of art. It is built of white marble, and cut into pinnacles of immense height, and the utmost delicacy of workmanship, and loaded with sculpture. The effect of it, piercing the solid blue with those groups of dazzling spires, relieved by the serene depth of this Italian heaven, or by moonlight when the stars seem gathered among those clustered shapes, is beyond any thing I had imagined architecture capable of producing. The interior, though very sublime, is of a more earthly character, and with its stained glass and massy granite columns overloaded with antique figures, and the silver lamps, that burn forever under the canopy of black cloth beside the brazen altar and the marble fretwork of the dome, give it the aspect of some gorgeous sepulchre. There is one solitary spot among those aisles, behind the altar, where the light of day is dim and yellow under the storied window, which I have chosen to visit, and read Dante there.

Letter to Thomas Love Peacock
Milan, April 20, 1818

Religious differences aside, I sense that Shelley would sympathize with crotchety Catholics like me, who detest the ugly, modernist turn of Catholic architecture after Vatican II.  I only wish that Shelley had lived to embrace the Truth from which springs the Beauty of Catholicism.

Sorrow, Beauty, Poetry

Beauty of whatever kind in its supreme development invariably excites the sensitive soul to tears. Melancholy is thus the most legitimate of all the poetical tones.

~ Edgar Allan Poe, “The Philosophy of Composition

Stabat Mater dolorósa
Juxta Crucem lacrimósa,
Dum pendébat Filius.

Cujus ánimam geméntem,
Contristátam et doléntem,
Pertransivit gladius.

O quam tristis et afflicta
Fuit illa benedicta
Mater Unigéniti!

Quae maerébat, et dolébat,
Pia Mater, dum vidébat
Nati poenas inclyti.

Quis est homo, qui non fleret,
Matrem Christi si vidéret
In tanto supplicio?

Quis non posset contristári,
Christi Matrem contemplári
Doléntem cum Filio?

Pro peccátis suae gentis
Vidit Jesum in torméntis,
Et flagéllis súbditum.

Vidit suum dulcem natum
Moriéndo desolátum,
Dum emisit spíritum.

Eja mater, fons amóris,
Me sentíre vim dolóris
Fac, ut tecum lúgeam.

Fac, ut árdeat cor meum
In amándo Christum Deum,
Ut sibi compláceam.

Sancta Mater, istud agas
Crucifixi fige plagas
Cordi meo válide.

Tui nati vulneráti,
Tam dignáti pro me pati,
Poenas mecum dívide.

Fac me tecum pie flere,
Crucifixo condolére,
Donec ego víxero.

Juxta Crucem tecum stare,
Et me tibi sociáre
In planctu desídero.

Virgo vírginum praeclára,
Mihi jam non sis amára:
Fac me tecum plángere.

Fac, ut portem Christi mortem,
Passiónis fac consórtem,
Et plagas recólere.

Fac me plagis vulnerári,
Fac me Cruce inebriári,
Et cruó re Fílii.

Flammis ne urar succénsus,
Per te, Virgo, sim defénsus
In die judícii.

Christe, cum sit hinc exíre
Da per Matrem me veníre
Ad palmam victóriae.

Quando corpus moriétur,
Fac, ut ánimae donétur
Paradísi glória. Amen. Allelúja.

Stabat Mater

Missale Romanum
Cincinnati: Benziger Brothers, 1956.