What’s the story in the Eastertide Sundays (Year C)?

Eastertide : celebration which keeps going

After all the joy and excitement of Easter Sunday, the Church settles down to enjoy the Easter season which lasts through six more Sundays. Eastertide  ends with the Ascension and then Pentecost, so specifically this is the period  after the Resurrection but while Jesus is still on earth.   He is still the central character, but he comes and goes at this stage in the story.  It is no longer just the story of what happens to him or what he does.

Christ emerging from tomb
Time for the next phase

It is fascinating to see how the focus of the narrative shifts. Jesus is there, but intermittently. He pays visits to the apostles, to put heart into them, but he often finds them cowering in the Upper Room. They are trying to work out what to do next, in a world which has been totally altered by Jesus’ return from the dead.

But what happened next?

We are so used to the idea that Jesus is the living Lord that we don’t give the apostles enough credit for how hard this must have been. We learn about his Resurrection as soon as we learn about his death on the cross, and the length of the annual wait from Good Friday to the Easter liturgies is fixed and familiar. But the apostles had no missals, Gospels or road maps of any kind. They really were making it up as they went along, with Jesus appearing now and then to keep them on the right path and repeat the same message over and over again until they could let themselves believe it.

Mary addressing apostles
Some (male) people take a lot of convincing……
2nd Sunday, still celebrating but also moving on

The second Sunday after Easter is still part of the Easter narrative itself.  The Gospel is the same for each of the three liturgical years, the story of Thomas and his encounter with the Risen Lord.  It is nearly the same psalm (117/118), just with a different verse in the middle, and, as if to emphasize the point, it is the same psalm that we have been singing since the end of the Easter Vigil and Easter Sunday.  Like a musical octave, the Easter octave strikes the same note.  What shows the change of emphasis which is starting to happen,  is that the First Reading is taken from Acts.

The purpose of the First Reading

Usually the First Reading comes from the Old Testament, and indeed, at the Easter Vigil, we have an orgy of Old Testament readings before we get to the Gospel.  It can be a historical echo of events in Jesus’ life, or a fascinating parallel, or evidence of God’s slow plan of salvation from the shadowy beginnings of life to the prophets’ desperate attempts to pass on God’s message.  But now, after the Resurrection,  everything is changed, changed utterly: and we start needing to focus on what happens next.  The next significant event in the story of Jesus’ earthly life is the Ascension, but we don’t want to get there yet, because we are still celebrating Easter.  So the gospel readings assigned for the rest of the Easter season are in a sense marking time; – in fact, they go backwards.  They give us an opportunity to reflect on Jesus’ earlier words, because there are a lot more of those, especially in John’s Gospel, than we have already had room for (we will see this again in the Sundays of Ordinary Time).

The Gospel is usually the main narrative

The gospels for these Sundays of the Easter season, then, are not usually taking the story forward.  After the second Sunday of Easter, the three liturgical years diverge, not for the usual reason, that they are taking their readings in sequence from a different evangelist (A : Matthew, B : Mark, C : Luke), because nearly all the gospel readings for Eastertide are taken from John;  but they all take different bits out of John’s Gospel, so as to include more of Jesus’ actual teaching.  But this is of course a recap of earlier events; time has gone back, not forwards.

Eastertide Year C : the gospels

I’m going to concentrate on Eastertide Year C (this year), because otherwise there will be too much to talk about (if it’s worth it, I’ll cover the other years as they come up).  In Year C, all the Eastertide Sunday gospels are from John’s Gospel. Second Sunday of Easter is the same for all three years, the story of Thomas, taken from John (chapter 20), as I said before.  The third Sunday is the story of the miraculous draught of fishes and Jesus’ charge to Peter; that is another  event after the Resurrection (John 21).  Then we have (4th Sunday) a reading from John 10 about Jesus as the Good Shepherd (very brief, vv 27-30); (5th Sunday), what Jesus says after Judas has gone out to betray him (again very short, John 13 vv31-35, and very obviously back to a previous period), and (6th Sunday) Jesus’ promise in John 14 that he will send the Holy Spirit, and foretelling his departure, like an envoi, and a preparation for the Ascension which will shortly follow (the following Thursday, or in some Lectionaries, the following Sunday).

First Readings : not OT but Acts

The current action, as it were, has moved to the First Reading, because we need to know how the apostles are managing and what they are doing in this changed world they now inhabit.  Jesus is not staying with them as he used to, teaching as he goes along.  Where is the story?  Where is the main character?  Who is the main character?   The apostles are having to work out how to put this new faith into practice. We are not looking for historical parallels, because nothing like this has ever happened before.  The Old Testament has been put on pause while we work this out.

Second Readings from Revelation

Year C is particularly interesting because it uses Revelation as the source of the Second Readings for this same period (in Years A and B, we have readings from the  letters of Peter (A) and John (B), keeping the emphasis on the doings of the early Church, as opposed to Paul’s letters which we have for most of the rest of the year, which tend to be more about doctrine). The readings from Acts in Year C move about inside the book, giving us a general overview of how the early Christians lived.  We get further into the story than in the other years, even into the early travels of Paul and Barnabas, and I think this is why these readings are coupled with the book of Revelation, because Revelation has always been a comfort to the oppressed and persecuted, and the later chapters of Acts describe the persecutions as they took hold.

…and all reinforced by the (carefully chosen) psalms

And of course all this affects the choice of psalms.  They are there to respond to the first reading, reinforce its message and act as a bridge to the second reading.  Their link to the Old Testament readings on an ordinary Sunday is usually fairly clear, and they are out of the same historical context, even if we can’t be sure which is older; but here we have the psalms of David being used as a commentary on early Christian events, after Jesus’ departure, and after the great temporal rupture of the Resurrection.  The context is completely other.  We are singing the Lord’s songs in a totally strange land.  One striking thing is that none of the Eastertide psalms is at all unusual.  They all occur elsewhere in the Church’s year, sometimes more than once.  They are the usual psalms which everyone is already familiar with.  It is the context which has changed.

Musician king with courtiers
Let’s all join in with David’s psalms
First Reading and psalm, 2nd Sunday : starting the (new) story

We start in Acts 5 (so after the Ascension and the revolution of Pentecost), where the author describes ‘the faithful’ as meeting ‘by common consent in the Portico of Solomon’.  All still good Jews, at this stage, almost like another Jewish grouping or sect.  No one else dares to join them openly but their reputation is good, the numbers of believers increases, and there are many miracles, so people take their sick out of doors and place them where Peter’s shadow will fall across them so that they might be healed.  The psalm in response to this is still the Easter psalm (117/118), because we are still celebrating and everything is going well.  It is the second reading which darkens the mood slightly, as John introduces himself: ‘I am your brother and share your sufferings, your kingdom, and all you endure’, but then moves on to describe Jesus appearing to him, telling him not to be afraid (as so often) and charging him to write down what he sees.  The Gospel, as I said earlier, is the story of Thomas  -and the end of John’s Gospel in some of the early manuscripts.  The focus of the story is shifting.

3rd Sunday

This First Reading is only ten verses later, in the same chapter of Acts, but the clouds are gathering in our new story.  The high priest demands an explanation from these observant Jews with their inconvenient add-on doctrine.  Peter and the apostles have the chance to bear witness before the Sanhedrin, and this time they are released, but they have been warned again, and it’s clear that trouble is in the offing.  The psalm  (29/30) celebrates release from danger, acknowledging the reality of suffering (‘At night there are tears’) but showing an unshakeable faith in victory for the right side (‘but joy comes with dawn’), which is then shown in the celebration in the Second Reading (Revelation 5).

4th Sunday : the story develops

We leap forward several chapters this week to find Paul and Barnabas taking the story forward as they deliberately widen their appeal (Acts 13).  The Jews in Antioch mostly aren’t interested, even though Paul and Barnabas are still attending the synagogue religiously.  So they preach to the pagans, who are very happy to hear them, and are expelled from the town.  The answering psalm (99/100) makes us into the rejoicing pagans, hearing and accepting the word of God : ‘We are his people, the sheep of his flock‘, and we stay with this sheep imagery, with the persecuted martyrs of the Second Reading being led by the Lamb, and the Gospel being part of Jesus’ discourse on the Good Shepherd.  I couldn’t resist quoting Bach’s Sheep may safely graze in the accompaniment to the Alleluia verse because it was so apposite.

Banquet with sheep on table
The sheep/lamb metaphor made flesh at an Easter banquet
5th Sunday

Paul and Barnabas set off for Iconium at the end of last week’s reading, and they are already retracing their steps, heading for Antioch again.  This gives us a very clear idea of how the young churches were beginning to stand on their own feet.  Elders are appointed, the visitors encourage the locals to persevere in their efforts, and they move on again, going back to report to HQ – and, crucially, explaining how the mission has broadened to include those who weren’t Jews to start with, ‘the pagans’, people like us.  This has been a very successful trip, even though there are regular mentions of sufferings and hardships, and the psalm for this week (144/145) celebrates that success : ‘All your creatures shall thank you, O Lord’, not just some of them, and ‘Yours is an everlasting kingdom’.  The second reading is one of the most beautiful sections of Revelation (21 :1-5) describing the new Jerusalem, the establishment of this kingdom and the end of death and suffering.

Lady = Church scaring off dragon=Satan
the dragon being seen off by the lady in Revelation
6th Sunday : the next stage of the story

Now the question of whether you have to be a Jew as well as a Christian has come to a head, and there has to be a council of ‘the whole church’ to sort it out.  Here we see the Church operating as a Church, raising important questions, deliberating and discussing, and then making a judgment which is promulgated to the members.  We don’t have the discussion in this reading, but you can look it up, it’s all there in the text; here we have just the conclusion ‘decided by the Holy Spirit and by ourselves’ (note the order).  Earlier Peter has come to the same conclusion about God calling also the pagans, when he meets Cornelius after having his dream about the tablecloth (Acts 10ff).

engraving of Peter's vision
Peter, the angel, the tablecloth and all the different beasts

The psalm (66/67) emphasizes the universality, one might almost say catholicity, of the Church’s final decision :’the nations […] the peoples[…] the ends of the earth’ and the response beautifully endorses it :  ‘Let all the people praise you, O God; let all the peoples praise you ‘ (my italics).  The second reading continues the description of the new Jerusalem, and the Gospel goes back to Jesus’ words about the Holy Spirit and his own departure,  as we get ready for the Ascension.  But although the Lord is leaving the earth, we have seen that the Church, though still small and feeling its way, has the leadership it needs to continue the work it has been given.

Armenian kachqar with ornate cross
The cross sprouting new life from every corner

© Kate Keefe and Music for Mass 2019. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Kate Keefe and Music for Mass, with appropriate and specific direction to the original content.

The Easter psalm (117/118) : the power of repetition

The last psalm of the evening, the first psalm of Easter

I’ve done other blogs on the Holy Week music and on the Easter weekend specifically, but I want to look at the Easter psalm on its own, because we do in fact sing it again and again.  When we finally make it to Psalm 117/118, at the Easter Vigil, it feels like the moment when Easter finally arrives.   We have had bonfires, processions, vats of holy water, the drama of the light starting so tiny and spreading out from hand to hand to fill the church (and how symbolic is that);  we have gone through a long sequence of readings (longer or shorter depending on what your parish can cope with); we have sung a different psalm after every  reading;  but once we get to Psalm 117/118, the Easter Mass is really under way and can move forward to the Gospel. It is The Easter Psalm, and it’s lucky that it’s so great, because we sing it over and over again at Easter and for the octave (and in Year B, even yet again on the fourth Sunday of Easter).

Christ leaving tomb
resurrexit sicut dixit
Between the shortest and the longest

It never comes back in exactly the same shape, though, and I’m always surprised, looking it up, to find that it isn’t one of the alphabetical or very long psalms. The psalm before it is the tiny Psalm 116/117, shortest of all the psalms, and the one after it (118/119) is the longest of all the psalms, and is, in fact, one of the alphabeticals. In fact, Psalm 117/118 has thirty verses, so it’s middling as far as length goes (but what a lot there is in it!).  I’m sure it’s only coincidental, but it is fun that just as Easter falls between the shortest and the longest day, so the Easter psalm sits between the shortest and the longest psalm.  But that way leads to madness and numerology.

painted Easter eggs
as full, they say, as an egg is of meat

Unlike many psalms, we actually use nearly all of it (just not in one go). Some psalms never get used on a Sunday, some we only use part of because they contain sections which feel inappropriate in the light of the New Testament (curses etc), but this psalm is like an apple, good all the way through.

Several poems strung together : forms..

And its form is interesting as well. It has sections like a litany, parts which are choruses, repetitions, accumulations, long verses, short verses……it’s a most rewarding psalm.  It’s like a sampler of different options; you can (and the Church does) take sections out and use them as free-standing poems, but there is also a long overarching narrative.    Repetition is neatly itself repeated as the recurring trope, not just the standard Psalms parallelism but even within single lines (v 11, v 13).  There are other psalms which use repetition to make a litany (Ps 135, Ps 148), but here there is just enough to enjoy as a litany, and then we move on to something else.

…and content

The form is very rich, but so is the meaning.  It has the whole human salvation story in a nutshell (at this time of year, perhaps we should say eggshell) : the just man attacked and thrown down by his enemies, but protected and raised up by the Lord, whom he will sing to and praise forever.  Also, it’s one of the psalms most easily appropriated to a Christian foreshadowing, helped by the fact that Jesus actually quotes it himself (the corner stone  and subsequent verses, Mtt 21.42,  Mk 12.10,  Lk 20.17).    This psalm quotes or is quoted by so many others (not to mention the references to or from other books of the Bible) that you can hear echoes chiming all the way through : the Lord is at my side, I do not fear; trust the Lord, not princes; the Lord is my strength and my song;  the Lord’s right hand has triumphed; I will enter by the Lord’s own gate;  Blessed in the name of the Lord is he who comes; the Lord is our light….and so on.  It’s like a compendium.  And for us the echoes go forward (into the New Testament) as well as back, because these are the words that we hear from John the Baptist, from Jesus, from St Paul.  This beloved psalm is quoted repeatedly, and it reverberates like a great bell.

Using it in the Easter liturgy

It starts with the word Alleluia!, one of the hallmarks of Eastertide, and a reminder of Easter for the rest of the year.  The word occurs only twentyfour times in the Old Testament, and only in Psalms, and only in the last third of the book of Psalms (thank you, Internet) : three surprising facts in a row.  So it’s a significant word, and unlike the infuriating ‘Selah’, on which opinions differ, we do actually know what it means (hurrah for God) and that it is a shout of joy.  So the best possible start to a psalm in this position in the Easter liturgy, so good in fact that on the psalm’s first outing, at the Vigil, it forms the Response, all on its own, and we sing it three times.

The Risen Lord with attendant angel musicians (every home should have some), probably singing alleluia
Easter Vigil version : 3 x 4 lines, Rx 3 x Alleluia

Alleluia is usually written with an exclamation mark, as I did above, but note the way that the US and OZ versions of the psalm for the Easter Vigil use full stops instead, and the UK version makes the triple Alleluia a crescendo : ‘Alleluia, alleluia, alleluia!’.  The CAN version has three exclamation marks.   The variation of these ways of punctuating it makes us think about the force of the Response.  I like the serious three-full-stops version particularly, because as we haven’t had any Alleluias for six weeks, it is as though we are feeling our way back to it, trying out how it sounds, learning to rejoice.  When I set it, I was trying to emphasize the slight strangeness or dislocation of this, so I’ve gone for a sort of grave barbaric tune rather than just flourishes of trumpets.  Carmina Burana rather than the Hallelujah chorus (and do click on that link, it’s brilliant).

The strophe starts with the first two verses, which works well, as v 1 is the burden for the whole psalm :’Give thanks to the Lord, for he is good,/for his love endures for ever’.  It gives the psalm structure, because it is repeated at the end, and the second line is the element which creates the litany section, which immediately follows.  Then the strophes in the Vigil version jump to the lines in the middle which seem to foreshadow Christ most directly:’I shall not die, but live […] the stone rejected by the builders has become the corner stone’.  Three solid four-line strophes, each with the triple Alleluia as the refrain.     ( I need another word for the bits that the cantor sings.  I’m using strophe to avoid confusion with verse, but the only alternative I can think of so far is stanza.  So you can have Italian instead of Greek, but that’s no improvement.  I’ll keep thinking about this.)

Easter Sunday version: same strophes, different Rx

Within hours, we are singing the same psalm again, on Easter Sunday morning.  We have the same three strophes as in the night, but a new Response : ‘This is the day the Lord has made; let us rejoice and be glad’.   This is the verse of the psalm directly after the lines about the corner stone.  It is a long Response, and you don’t want the congregation to have trouble remembering it, you want them to sing with joy and gladness (see Isaiah 12, Easter Vigil Fifth Reading).   It needs a solid tune of its own, but it has to go with the tune for the strophes.  I kept that the same, as I wanted to keep the solid connection between the Vigil and the Day Mass.   The daytime congregation should be fine to cope with a longer Response, especially as they haven’t already been singing at intervals for the last hour or so, as they would have been the night before.

everybody wideawake and joining in the singing
2nd Sunday of Easter version : 3 x 6 lines, different Rx

The next Sunday (Easter Octave, Second Sunday of Easter, Divine Mercy Sunday) has the same psalm again.  Only it isn’t.  This time we have three strophes of six lines each, starting with the litany section of the psalm, while the Response is the first verse which starts the litany section (which was the first line of the first strophe of the psalm last Sunday, I hope this is clear).  The middle strophe is a different bit of the psalm which we haven’t had yet, and the third strophe is the ‘corner stone’ four-line verse plus the Response from Easter Sunday.  Actually, that’s only for Year A.  For Year C, the corner stone strophe is the middle one, with another part of the psalm forming the last strophe.  Year B has a different middle strophe, and the corner stone back in as last strophe.  (I feel like the Cat in the Hat at this point : ‘Oh the fun we can have!’  And each country group has slightly different words.)

Putting it to music

You want people to realise it’s the same psalm, but you can’t use the same tune, as the strophes are half as long again.  Eventually I decided to go with the shape of the first strophe and Response, and emphasize the litany element.  (I’m hoping that as the words are the same, the congregation can spot that it’s the same psalm without my labouring it; also, I don’t want them to get bored.)  With a litany, it means writing the strophe to accumulate momentum as it goes along, because if you’re going to repeat a short line three times, it has either to grow or peter out, it can’t stand still.  So I went for waves of triumph getting bigger each time.  This was fun to write, because you increase until it can all tumble back down the notes into the Response.  But it’s also got to work for the subsequent strophes which are not in litany form.

Forever, everlasting and has no end

The UK version  uses ‘has no end’ instead of ‘is everlasting’, and I found it irresistible to echo that in the music of the Response, so it just keeps rolling on to the next line until there aren’t any, when it’s still waiting.

Female charioteer with four in hand
the danger of the music running away with you

When I set the CAN version, a couple of years later, the words were slightly different, so I wrote a new tune altogether, and that was in 3/4, which is really good for accumulating momentum, though you have to be careful not to get faster.  When this psalm comes back yet again in Year B (Fourth Sunday of Easter), the words are from yet other verses of the psalm, but I set it in 3/4 for all the different Lectionaries because the rhythm felt so rollicking.  That time, the Response is the corner stone verse itself.


We bless you from the house of the Lord

This is one of the great encouraging psalms.  This is partly because it shows the singer moving through peril to safety and bliss, not just hoping for help, but having received succour, and finding himself safe at last in the haven where he would be.  The last few lines (see heading for this section) are a message to those of us still on the road; it’s almost as though the Communion of Saints is sending us a postcard of encouragement.  ‘The Lord God is our light’ : the light showing in the windows of the house we are all trying to reach, and how the sight of that light lifts the hearts of those still walking on in the gloom!

Easter candleholder
light shining in the darkness

Its repetition at Eastertide only adds to its force, because that sort of encouragement is extremely cumulative.  It’s not surprising to discover that it is many people’s favourite, Martin Luther for one, William Cowper the poet for another.   Many people have made it their own, using it to pray so often that its words rise spontaneously when it seems appropriate.  Cowper writes touchingly of how this psalm made him brave to cope with bullying as a small boy at school.  He later spent time in an asylum following severe depression, and frames his account of his recovery in the words of this psalm (vv 17, 18 and 29).  Elizabeth I  quoted v 23 when she heard that her sister had died and she herself had become Queen.  This spontaneous quoting of it is exactly what Jesus is doing when he makes the lines about the corner stone his own, and it shows how familiar and dear to him the psalm must have been.   As before, this makes us realise again that the Psalter isn’t just our best prayer book.  It was his as well.

© Kate Keefe and Music for Mass 2019. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Kate Keefe and Music for Mass, with appropriate and specific direction to the original content.