by David Wesson
As some of you may remember from my previous post, I have a penchant for older forms of music, art, and architecture. I also have an affinity for the older forms of the liturgy. One cannot help but admit that the Mass of Vatican II does not come close to the majesty of the Tridentine Mass.
The vestments are better โ lace-trimmed, appareled albs and amices versus loose fitting albs that look like a white polyester moo moo; embroidered damask chasubles versus tacky Muppet-colored polyester ponchos; dalmatics and tunicles that donโt look like bathrobes; miters that match the vestmentsโฆ
The liturgy is more aesthetically pleasing โ tunicled subdeacons proclaiming the epistle is aesthetically better than Susan Soccermom rattling and rushing through a reading, mispronouncing the names as she does so; deacons proclaiming the Gospel facing north is far more symbolic than the way it is often rushed through rather than chanted prayerfully; the genuflections and bows show more reverence toward the sacred mysteries being celebrated than a half dozen altar servers running around with sneakers and ratty jeans showing under their albs; chant, polyphony, and traditional hymnody are undeniably more beautiful than the Masses many of us endure with horrible pretend-contemporary music that is more befitting a solstice gathering at a new age commune than the Diving Liturgy.
I could go on describing why I personally like the Tridentine Mass more than the Vatican II Mass. I will summarize by saying that the Tridentine Mass, like the Eastern Liturgies, more effectively channels the heavenly liturgy that Scripture has so poetically described.
Though this is true, does this type of worship reduce liturgy to theater? Wikipedia (I know it is Wikipedia, but the definition is good) defines theater as
โฆa collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music or dance. Elements of design and stagecraft are used to enhance the physicality, presence and immediacy of the experience.
When one looks at the Tridentine Mass and this definition of โtheater,โ it becomes abundantly clear that the Tridentine Mass, precisely because its otherworldliness and because it is in a language that very, very few in the pew understand, runs the risk of becoming a theatrical performance with the assembly becoming passive observers rather than people sharing, by virtue of their priestly nature, in the sacrifice of their redemption and fully participating in worship of the one, true God.
The Vatican II Mass may not be as aesthetically pleasing; it may be lacking the sacral drama of the Tridentine Mass; and it may represent a break from 16oo years of development and tradition; yet it does foster a deeper sense of involvement and โfully conscious, and active participation in liturgical celebrations.โ This is not only because of it is allowed to be celebrated in the vernacular but also because it restores the roles of the assembly being led into worship by the presider. Gone are the days of โthree-priest Massesโ where an entire liturgy could be celebrated without a word spoken to the assembly or any interaction between assembly and presider. Gone are the days of the baptized being grouped into many manmade classes that only further separated them from the โclerics.โ We, the People of God, are once again given equal standing in worship, as we are in the eyes of God by virtue of our baptism.
I will not go into how the Vatican II Mass could be made more heavenly, or how it could be more closely brought into continuity with historical development of Roman Rite worship. There have been plenty of people to do that. I will only state that although the Tridentine Mass is more impressive as theater, the Vatican II Mass is more theologically sound.
This is why I love the Tridentine Mass, but not as worship.
David Wesson is a freshman at St. John’s University in Collegeville, MN, where he hopes to major in theology. He sings in Fr. Anthony Ruff’s Gregorian Chant schola.

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