PRAYER & LITURGY

El Conquistador
El Conquistador
by Mother Placid Dempsey, OSB
“Truly, O blessed Mother, a sword has pierced your heart. For only by passing through your heart could the sword enter the flesh of your Son. Indeed, after your Jesus—who belongs to everyone, but is especially yours—gave up his life, the cruel spear, which was not withheld from his lifeless body, tore open his side. Clearly it did not touch his soul and could not harm him, but it did pierce your heart. For surely his soul was no longer there, but yours could not be torn away. Thus the violence of sorrow has cut through your heart, and we rightly call you more than martyr, since the effect of compassion in you has gone beyond the endurance of physical suffering.”
—St. Bernard of Clairvaux

On the Feast of Our Lady of Sorrows, September 15th, we ponder Our Lady as she stands at the foot of the Cross in her identification with her Son. In this moment the prophecy of Simeon—that her heart would be pierced with a sword—is fulfilled, and in her compassion she experiences what St. Bernard calls the martyrdom of her soul. The Sequence, Stabat Mater, is sung at Mass on the feast just before the Gospel. Attributed to the Franciscan Friar Jacopone da Todi (ca. 1230–1306), this beautiful hymn has been set to music by numerous composers throughout the centuries, including Vivaldi, Bach and Arvo Pärt. The ancient Gregorian Chant version that we sing is haunting and accompanied by the tolling of a bell.

We are privileged to share with you an Original English Translation of the Stabat Mater offered to us by classicist, Joseph T. Moller. Included here are the translator's notes and insights on the dynamic of the poem—how the meter, repetition of key words, and verb forms of the Latin invite our participation in Mary's lament for her Son.

Translator's Notes:
Perhaps the image that most often comes to mind when we sing this hymn is that of Christ with Mary standing to His right and John to His left as has been depicted in art through the centuries down to our day. As beautiful and powerful as that image is, I believe that a close reading of the Latin text presents to our mind’s eye a more dynamic image of the Crucifixion and its dramatis personae. First, to some extent the verse itself (tochaic tetrameter with rhymed lines) is a quickening cadence. But more significantly the insistent repetition of words fac (make), vulneratus (wounds), plagas (blows) as well the use of the infinitive and imperfect forms of the verb invite us, I think, to envisage a series of dynamic and evolving vignettes that invite our participation. It could even be said that the author is praying that he might experience the crucifixion and Mary’s sorrow as they unfold. We invite you to pray the sequence with us, that we may each participate more fully in Our Lady's compassion for those suffering in our midst and throughout the world, especially in war-torn countries and those devastated by natural disasters.

Listen to a Recording of the Stabat Mater sung by the Abbey of Regina Laudis with the tolling of the bell at the Church Jesu Fili Mariae.

STABAT MATER SEQUENCE
TRANSLATION BY JOSEPH T. MOLLER


Translation of Stabat Mater courtesy of Joseph T. Moller: Copyright © 2017 The Abbey of Regina Laudis. All rights reserved.)