The preface to this 1879 volume describes a practical innovation: priests at St. Paul’s Church in New York began delivering five-minute sermons at Low Masses in 1876, so that “the great number of persons who generally attend only a Low Mass on Sundays might enjoy the advantage of hearing the word of God preached, without being delayed too long.” To keep within the time limit while providing “solid and pungent” content, the sermons were written by one priest and read by each celebrant. The sermons first appeared weekly in the Catholic Review, then were collected here. The result is a set of brief, pointed discourses that rely on concrete imagery—a phonograph recording idle words, a madman’s remark about thoughtless speech—to drive home moral lessons.

The Phonograph as a Moral Metaphor

One sermon seizes on a then-novel invention, the phonograph, to illustrate divine judgment. The preacher notes that the device “will take down everything you say” and “repeat for you all you have said, though it may have quite passed out of your own mind.” He suggests that if a phonograph were present, people would “think before they spoke.” The analogy is then turned to the Last Judgment: “there is a record of all your words on something more durable than a sheet of tinfoil.” This is not a generic warning; the sermon explicitly ties the phonograph’s mechanical memory to the biblical “idle words” for which one must give account. The preacher does not claim the phonograph will actually be used that way, but uses its existence to make the abstract doctrine concrete for a 1870s congregation.

Anger as Gunpowder: A Recurring Image

Another sermon addresses anger by comparing human temper to gunpowder: “touch the match to us, and off we go.” The preacher acknowledges the frustration of repeated failure—“Afterward, perhaps, we are sorry; but that seems to do no good. Next time it is just the same.” He then counters the excuse that “God made us so that we cannot help going off,” insisting “It will never do to make God the cause of our sins.” The gunpowder image appears in multiple excerpts, suggesting it was a favored analogy. The sermons consistently avoid abstract theology, instead using everyday objects—phonographs, gunpowder—to make moral points memorable within the five-minute constraint.

Collaborative Authorship and Weekly Publication

The preface details a unusual production method: one priest wrote all the sermons, which were then printed in the Catholic Review and “an advanced sheet of the printed copy, pasted on a tablet, has been furnished, to be used in preaching the sermon at each one of the Low Masses.” This means the same text was read by multiple priests at different Masses. The preface credits the late Rev. Algernon A. Brown, C.S.P. with devising the plan. The volume thus represents not a single author’s voice but a collaborative, institutional effort. The sermons are explicitly designed to be “practically useful to many priests who may read them, or use them in preparing similar short sermons.” This production context shapes the direct, plain style and the avoidance of complex rhetorical flourishes.

Readers approaching this volume should note that the sermons were written to be heard, not studied. The short paragraphs, vivid analogies, and repeated exhortations are tailored for oral delivery during a Low Mass. The preface’s emphasis on practicality—sermons as “nutriment and stimulus”—suggests the intended effect is immediate moral reflection rather than doctrinal depth. The collaborative authorship and weekly newspaper origin also mean that the sermons share a consistent tone and structure, making them useful for comparing how different moral topics are handled within the same tight format.