More Archives: October 2020 / September 2020 / more 2020 / 2019
On hearing the signal for an hour of the divine office, the monk will immediately set aside what he has in hand and go with utmost speed, yet with gravity and without giving occasion for frivolity. (Rule of Saint Benedict, chapter 43)
One of the distinctive features of the monastic experience, here shared by all on the campus, is the sounding of the bells. Indeed, the sounding of bells has come to be associated with the very life of the church:
For bells are the voice of the church;
They have tones that touch and search
The hearts of young and old;
One sound to all, yet each
Lends a meaning to their speech,
And the meaning is manifold.
(Henry Wadsworth Longfellow, The Bells of San Blas)
At Portsmouth, the main bell of the monastery is a familiar sound, heard throughout the campus, tolling “the signal for an hour of the Divine Office,” as well as Mass. The bell actually has a name: “Saint David” - or “David” for short. The name derives from its inscription, which recalls the psalms of the king whose psalter provides the principal content of the Divine Office and substance of monastic life. The inscription reads:
ST. DAVID
Presented by Charles Barney Wall
October 1941
CANTATE DOMINO CANTICUM NOVUM
The translation of its well-known inscription: “Sing to the Lord a new song!” (Psalm 97) not only calls to mind the task assigned to David, but elicits the psalter, at the very heart of Bendictine life. “David” originally took up residence in the belfry of the old chapel and was rung by the pulling of ropes. The bell was quite visible in its belfry, and audible from the center of the monastery grounds and school campus. David might well have ended up stationed behind the monastic choir, when the monastery and chapel moved to their present location. This would have been directly above the sacristy, in close proximity to some of the monastic cells. Abbot Matthew notes that this “was deemed to be too loud” and people preferred it outside the monastery, “where nobody could hear it.”
When David was moved to its present location on the north side of the monastery, it was still operated by a manual switch. Brother Joseph remembers that one of the novices’ jobs was to “stand at the back of the sacristy awaiting the right moment” in liturgies to trigger the bells. The timing took some practice, and an additional leap of faith, as there was a bit of a lag between flipping the switch and initiating the ring. This manual system came to be replaced by a programmable digital system, which dutifully fulfills chapter 43 of the Rule, signaling the hours for the Divine Office with digital accuracy. Additionally, a hand held remote suffices to do the job, and fairly instantaneously, when extemporaneous ringing is required.
Though mechanically operated, David initially continued to operate by swinging. A homegrown solution to operate the swinging mechanism was ingeniously developed, using a washing machine switch, already designed for the back and forth motion of agitation. This system was somewhat problematic, as wear and tear, and exposure to the weather on the north side of the monastery, required frequent replacement of corroded switches. And apparently the motion adversely agitated the housing of the bell, weakening the entire structure and necessitating further repair. This led to the present hammering system which sounds David, in which the bell is actually stationary. The hammer, however, mimics the sound of swinging by varying the intensity of the strike from one side to the other.
The bell was produced by the famous Meneely Foundry in Troy, New York. Andrew Meneely founded the Meneely Bell Foundry in West Troy, New York (present day Watervliet) in the early 19th century. In its storied history, the original foundry, together with the foundry later created by one of his sons in nearby Troy - David's place of birth - produced over 65,000 bells. The two foundries, at times competing for business in a kind of sibling rivalry with the original establishment, closed in 1952. Meneely bells can be heard in carillons around the country, including Cornell University, Dartmouth and Trinity Colleges, as well as in Trinity church, Newport. (a listing of Meneely bell locations in Wikipedia)
Saint David was the gift of Charles Barney Wall in 1941. Wall in fact joined the monastic community in 1941, while in his mid-twenties, taking the name Aelred. He was actively involved in the monastery and School, eventually serving as Headmaster, until he moved on from the Portsmouth community to Mount Savior in New York, joining Gregory Borgstedt. Father Aelred subsequently went to New Mexico to found Christ in the Desert monastery, and ultimately made his way to Mexico, living as a hermit in San Miguel de Allende, Guanajuato, Mexico, where he is buried. In Saint David he has left one of his most tangible gifts with us.
A second bell of note in the monastery is a Buddhist standing bell, or “singing bowl,” known in Japanese as a “rin” or “rin gong,” which resides in the main corridor of the monastery. Buddhist standing bells come in an array of sizes and serve various purposes in Buddhist life and practice. They are utilized to assist meditation, promote healing, and deepen mindfulness. The monastery’s standing bell has perhaps more mundane uses, while still resonating with meditative connotation. It serves at times as a dinner bell, calling monks to meals from within the monastery. It also can serve as a reminder for some of the hours, or simply to get the attention of all of the monks to deliver in person any urgent or unexpected messages. Whether struck or made to resonate through friction, the rich tone can be heard from all of the monastic cells, more readily than the exterior David which is more distant from some of the rooms.
It was a gift of Elsie and John Mitchell to, as those familiar with Portsmouth's history might guess, Dom Aelred Graham. The gift stemmed from their shared involvement in the developing awareness of Buddhism in this country. Elsie Mitchell became one of the leading authorities and promoters of Buddhism in America, founding the Ahimsa Foundation of Cambridge, which assists humane societies and other organizations protecting wildlife, as well as co-founding the Cambridge (Massachusetts) Buddhist Association. Her husband John was an Englishman who had spent his childhood in Austria. The two of them became friends with Suzuki Roshi, having travelled widely in the exploration and study of Buddhism. In 1957, the couple trekked to Eiheiji and recorded chants and other sounds of the temple, which Folkways Records released in 1959, with Mitchell providing explanatory comments.
The Mitchell's encountered Aelred Graham along their journey, striking up a lifelong friendship. Dom Aelred wrote the forward to one of Elsie Mitchell's early books, Sun Buddhas, Moon Buddhas: A Zen Quest, described as a “chronicle of one woman's continuing quest for her true nature, her ‘Buddha's nature’: a quest that has carried her from her Unitarian roots in New England to marriage to an English Catholic born in Austria, and finally to Japan and the living traditions of Zen Buddhism.” (from Cuke.com: an "archival site" dedicated to Shunryu Suzuki) Graham, referred to by Mitchell as "The Zen Catholic Prior," plays no small role in that quest. Graham's brief foreword captures some of his personality and interests, as he speaks of reading her book with “a friendly, though not entirely uncritical, eye,” fnding in it “many parallels between the author’s discoveries and the message of Catholicism at its deepest.” Mitchell later published The Lion Dog of Buddhist Asia (1991), which appeals to dog lovers and Buddhist devotees alike. She died in Cambridge in 2011, having established herself, as had Dom Aelred, as a well-known pioneer of Buddhism in this country.
Father Gregory Havill demonstrates the proper technique
The bell on its table procured by Fr. Andrew Jenks in Cambridge, MA
The Sacring Bell
Of less stature, yet with frequent use, is the small sacring bell one finds placed on the credence table. While none in the present monastic community could speak to its provenance, we hear it sound at each consecration. It's design is striking - depicting the icons of the four evangelists, as it "sings the new song" of the Good News at each Eucharistic celebration.
"Cantate Domino Canticum Novum"
Saint David enduring the northface of the monastery in winter