The Divine Praises at Benediction
Date: October 27, 2024
Author: Fr. Edward McNamara, LC
Question: Could you send me the revised “Rite of Eucharistic Exposition & Benediction”? We have older priests (40-plus years in the priesthood) and younger ones (between five and 10 years in the priesthood), and we conduct the service of Benediction differently. This leaves the congregation in doubt as to whether we know what we are doing and therefore what they are to believe. The younger priests leave out the Divine Praises altogether with the explanation that they are following the revised rite. Unfortunately, they are not willing to show us that revised rite, saying that their example is enough evidence. -- S.K., Wa, Ghana
Answer: The “ordo” or “Rite of Exposition and Benediction” forms part of the larger liturgical book “Holy Communion and Worship of the Eucharist outside Mass.” In the Latin version of this book the rite of exposition and Benediction are found in numbers 93-100. The various translations usually adjust the number system.
It must be observed that while the recitation of the Divine Praises is no longer obligatory in the revised rite, this does not mean that they have been abolished.
The prayers called the Divine Praises, or the prayers of reparation for profanity and blasphemy, are a sequence of acclamations, chiefly composed by Jesuit Luigi Felici in 1797, blessing God, Christ, the Holy Spirit, the Blessed Virgin Mary, St. Joseph, and all the angels and saints.
It is worth pointing out that although the original Latin text of the revised rite does not include the Divine Praises, the Compendium Eucharisticum published by the Congregation for Divine Worship in 2009 has recovered the Divine Praises within the rite of exposition and Benediction.
According to the rubrics, these may be used as an acclamation of the people while the Blessed Sacrament is being reposed following Benediction. It is implied that alternative acclamations may also be used but these are not provided in the ritual.
However, the Holy See gave wide leeway to the bishops' conferences to adapt the rites to circumstances and add recommended hymns and prayers according to local custom.
For example, my Italian copy of the Rite of Holy Communion and Worship of the Eucharist places the Divine Praises after the Benediction as a possible acclamation. The rubric which accompanies the text in No. 237 says: "If considered opportune, following Eucharistic Benediction or before the reposition, the following acclamations may be recited according to custom."
Papal functions in Rome tend to follow the Italian customs and publicly recite or sing the Divine Praises immediately after the Benediction with the Blessed Sacrament and before the reposition.
The English translation of the rite adopts a different policy, preferring not to have any official prayers after Benediction. The rite does, however, foresee that hymns or acclamations may be recited during the reposition.
Because of this, countries and dioceses have variant indications with respect to songs and the use of the Divine Praises. One summary of the Rite is offered by the Liturgy Office of the Bishop’s Conference of England and Wales. Another, quite practical, version of the rite is offered by the Archdiocese of Sydney.
Since the Holy See deliberately opted for allowing wide scope for freedom of choice, including a prayer such as the Divine Praises in one or other part of the ritual is a case of recommending a custom without establishing an obligation.
Thus, both in Italy, England and anywhere else, the Divine Praises may be recited after Benediction whenever customary. Or the reposition may be done in silence or accompanied by an appropriate hymn or other acclamations.
At the same time, it is certainly better to follow the indications of the official books for each nation.
Monsignor Peter Elliott ably describes the rites concluding Benediction in his renowned ceremonies book:
"If the Blessed Sacrament is to be reposed in the tabernacle, then (after the Divine Praises and) during a psalm, hymn, acclamation or appropriate music, the celebrant or the assisting deacon or priest goes to the altar. He genuflects, turns the back of the monstrance toward himself, removes the lunette and places it in the pyx, which he closes. He moves the monstrance to the left of the corporal and may veil it. He then takes the pyx and places it in the tabernacle, genuflecting before he locks the door.
"(If the tabernacle is in a chapel, a server should place a humeral veil over the shoulders of the celebrant or the assistant deacon or priest before he removes the lunette from the monstrance. Torch bearers should precede him to the chapel and then return with him to the sanctuary, unless it is thought more convenient to go directly to the sacristy.) All bow to the altar (or genuflect if the tabernacle is behind or on it) and return to the sacristy led by the thurifer. Sacristans and/or servers carry out their respective duties in the sanctuary and in the sacristy."
There are abundant publications available as aids for adoration. They usually contain appropriate selections of Scripture, writings of saints, hymns, prayers and litanies that may be profitably used during adoration either privately or for communal recitation.
Therefore, it is not a case of the younger or older priests being right or wrong. Both possibilities are open and legitimate.
That said, all priests should be attentive to the pastoral needs of the People of God and be willing to serve their legitimate traditions and expectations unless some greater principle is at stake and a practice needs to be amended or made to conform to liturgical law.
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