Sunday, August 15, 2010

From document Maria


Assumpta est Maria! Mary has been taken up into heaven, and the choirs of angels rejoice! Our Lady's Assumption is a cause of joy for us all. The Church says that "Mary, having completed the course of her earthly life, was assumed body and soul into heavenly glory". Note that there is no definitive ruling on whether we are to believe that Our Lady died or not. The CofE affirmed, in the y: Grace and Hope in Christ, that the Assumption, "understood within the biblical pattern of the economy of hope and grace, can be said to be consonant with the teaching of the Scriptures and the ancient common traditions".

At the Last Supper, Our Blessed Lord tells his disciples "when I go and prepare a place for you, I wll come again and will take you to myself, that where I am you may be also" (John 14:3). Our Lady, who is the shining example to the whole human race of what we can be, completes that example in her Assumption. When she says 'yes' to God, she can do so completely freely because of her Immaculate Conception. While Mary was free from Original Sin, we are born with it, and freed from it only through Baptism, meaning that we still feel its effects. We and Mary experience temptation: though she does not have the lingering effects of a tendency to sin, that temptation is no less real.

Everything received by Mary is promised to us. A virtuous person - someone who, by prayer and grace, comes to form the habit of acting rightly - gets close to how Our Lady's life was lived: freedom is being used properly. So, because grace beats guilt and love beats evil, if we follow Our Lord's teachimg, truth and example, we too may come to enter heavenly glory, and the angels will rejoice with us and for us! Assumpta est Maria, and with her the promise for us all!

Here is a Kyrie by Palestrina, from his Mass Assumpta est Maria:



It's rather lovely, in my opinion. If you listen to the music here, you can hear how some of the musical themes in the Kyrie are based on strains from the Motet in the second piece. This was common practice in Palestrina's time.

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