Revealing Letters Of Pope John

Press, Volume CVI, Issue 31209, 5 November 1966, Page 4

Revealing Letters Of Pope John

Angelo Guiseppi Roncalli. Pope John XXIII. Mission to France 1944-1953. 216 pp. Edited by Don Loris Caporilla. Translated by Dorothy White. Geoffrey Chapman, London. Dublin, Melbourne, 1966. From the French diaries of Monsignor Roncalli, covering the years 1944-1953, Don Loris Caporilla has selected fiftyseven letters and thirty-five extracts, mainly lectures and speeches, which completely explode the popular myth of the simple peasant become Pope. The palpable sincerity of these letters will make a

strong appeal to the everwidening circle of readers anxious to learn more about Pope John XXIII, whose profound serenity seems to overflow from these pages. Here they will find no barnacles of routine and complacency, but a convincing revelation of a highly personable character, carefully trained in all that contributed to the making of a truly great man. Second only to his pulsating love of God, which was augmented by his joyful

obedience to the reigning Pontiff, one perceives the real psychologist at work with absolute understanding of human nature. Early in his French mission he writes: “I am beginning to preach in French. . . . This pleases the French people even if I cannot imitate to perfection Bossuet or Massillon. They consider that speaking in their language is a sure sign of respect and affection.” This urge to please the French enabled him to become so admirably acquainted with the literature and spirit of France that he touched their hearts, thrusting home his points by the use of apt quotations from their beloved La Fontaine, Corneille or Paul Claudel. Heartfelt concern for others runs like a refrain through this book, and shows here and there a sublime handling of a delicate situation.

Prejudiced as we Englishspeaking readers are against voicing in public any emotion other than anger, we must allow, after reading these pages, that Monsignor Roncalli has, at least, chosen the surer way of reaching the heart of mankind. To a former colleague he writes: “With all my heart I join my voice to yours, finding great joy in remembering our beloved seminary at Bergamo where our hearts beat in such unison that even today after so many years the harmony is still a joy to us both.” In this strong affection which Pope John XXIII manifested towards all who approached him, irrespective of rank or creed, may we not discern the initial steps towards unity? Yet, when the Nuncio sensed that his people tended to ignore or forget that great charter of the Christian social order—the Sermon on the Mount —he was forthright in his denunciation of their behaviour. On one such occasion he reminded them that: “The Church is confronted jrith multitudes of

unbelievers, sceptics who have lost the faith of their fathers because they are dazzled by the false glitter of a pernicious literature and of erroneous and harmful philosophical systems and corrupt and corrupting civilisations. ... It is by the sacrifices accepted by individuals and communities alike, that we judge the strength and dignity of a nation.”

Many of these letters are reminiscent of the Nuncio’s earlier years among thej peoples of South-eastern 1 Europe and environs from whose rich literary and artistic cultures such a responsive nature could not fail to benefit. Thus, one is not sur-' prised to find him absolutely at ease in addressing or entertaining such gatherings as Heads of State, GeneralCommanders of the French forces, U.N.E.S.C.O. conferences and members of the

Diplomatic Corps. . Nor is humour absent from these pages. Witness his refer-' ence to the only trouble a, fellow prelate ever gave his; parishioners or his confreres., A letter to Monsignor Mon-, tini, now Pope Paul VI, then' assistant-secretary general to Pope Pius XII, is a masterpiece of strategic bargaining as well as an example of Monsignor Roncalli’s recognition of worth in art. Elsewhere he expressed a wish to

protect art from—“that perversion with which it is everywhere threatened by the modern profaners of painting and sculpture." Finally, the book is enhanced by a complete table of contents, 45 impressive ! illustrations, a pleasing format, and a very satisfying i supply of footnotes.

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