[Footnote 29: "S.G.O." in the London Times, June 10, 1867.]
The simplicity of the church of England has steered too precise a mean between the symbolism and suggestive ceremonies of the church that believes, and the absence of all form on the part of those who do not. Her preamble, "of ceremonies, why some be abolished and some retained," like other compromises, aims at pleasing everybody and ends in pleasing no one. With one party, as Milton says in an expressive line,
"New Presbyter is but old priest writ large."
With the other, the minister must be a priest, the communion, Mass, and the Catholic service restored. This comes of inventing a religion in a hurry, patching up a provisional government by rebels who have disowned a time-honored throne. This comes of arraying one's self in the shreds of what one's self has rent from the seamless garment. So much for aiming at what a prelate of that communion has recently called "a satisfying amount of ritual," which is to clothe no idea, stand for nothing beyond itself, and soothe the senses without appealing to the faith. So much for the arrogance of deciding that the "godly and decent order of the ancient fathers had been altered, broken, and neglected, by planting in uncertain stories and legends, with a multitude of responds, verses, vain repetitions, commemorations, and synodals;" not to speak of the "hardness of the rules called the Pie, and the manifold changings of the service."
We shall wait to see the result of that "satisfying amount of ritual" in which it is proposed to invest a service purely Protestant; whereabout on the scale the satisfaction is to be placed, and so, whom it is intended to satisfy. One ritual system alone has a gift from heaven to answer and fulfil the yearnings of the soul. One act of uniformity alone is worthy of a thought to the worshipper. The creed rehearses it: "I profess that there are truly and properly seven sacraments of the new law instituted by our Lord, and necessary for the salvation of mankind." Then, "I also receive and admit the received and approved ceremonies of the Catholic Church in the solemn administration of the aforesaid sacraments." It is to express the invisible, and to fence round what is all sacred, and to respond by the tribute of man to the gift of God, that the church has ordained these details of beauty and solemnity. It is essentially as an homage and a reverence to her Lord. This does not contradict what has been said above either of the variety or of the adaptive character of Catholic devotions. For we are here speaking not of devotions as voices of human expression toward God, but of sacraments, the channels of his communications with man.
Let me now only mention two other chief instances of the subjectivity of the church's dealings with her children. The whole theory, then, of intentions in prayer is a proof of the adaptive character of Catholic devotion. The Pater, Ave, Gloria, Credo, the Veni Creator, Miserere, Memorare, these are, as it were, so many notes in the church's scale. Let me here adopt, though I should also modify, the words of a great writer on a kindred subject. They apply, partly at least, to that on which our thoughts are turned:
"There are seven notes in the scale; make them thirteen, yet what a slender outfit for so vast an enterprise! What science brings so much out of so little? Out of what poor elements does some great master in it create his new world! Shall we say that all this exuberant inventiveness is a mere ingenuity or trick of art, like some game or fashion of the day, without reality, without meaning? We may do so; and then, perhaps, we shall also account the science of theology to be a matter of words; yet, as there is a divinity in the theology of the church which those who feel cannot communicate, so is there also in the wonderful creation of sublimity and beauty of which I am speaking. … Is it possible that that inexhaustible evolution and disposition of notes, so rich yet so simple, so intricate yet so regulated, so various yet so majestic, should be a mere sound, which is gone and perishes? Can it be that those mysterious stirrings of heart, and keen emotions, and strange yearnings after we know not what, and awful impressions from we know not whence, should be wrought in us by what is unsubstantial, and comes and goes, and begins and ends in itself? … No; they have escaped from some higher sphere; … they are echoes from our home; they are the voice of angels, or the Magnificat of saints, or the living laws of divine governance, or the divine attributes; something are they besides themselves, which we cannot compass, which we cannot utter." [Footnote 30]
[Footnote 30: Newman's Sermons before the University of Oxford. 2d edition, pp. 349, 350.]
The beauty of this extract, from perhaps one of the greatest passages of its eminent author, may be my apology for its length. What Dr. Newman here says of the evolution of musical harmony from simple elements may be applied to the vast fabric of intentions, reaching to no less than three worlds, the church militant, triumphant, and purifying, which we are taught to build out of such few brief prayers as a child might utter.