MO AND A PASTORAL MODEL

For quite some time now, while beginning the processes of compiling a Salesian Lexicon called Lexisdb, I have been thinking about a wider concept, a Salesian Knowledge Base. What this means in effect is a slightly different lexicon, maybe a bit more like a thesaurus, where you can consult concepts rather than words. So the next obvious question is this: what are the main Salesian concepts, independent of language yet needing to be expressed in any language used by Salesians?

One obvious conceptual candidate is that of Salesian pastoral ministry, however that is expressed in a language. In English it requires at least two or three words e.g. Salesian Youth Ministry; in Italian we may get away with two, pastorale giovanile, which is usually seen there as a Salesian thing, but we can add ‘salesiano’ to it also if we need to. Or is it possible in both languages, and in almost every other language, to employ just one word which is everything….concept, place, actions, contents, people programmes? You don’t have to be a wizard to come up with that word: Oratory. I think there is quite some evidence from a work like MO to suggest that this is what Don Bosco thought. I’d like to explore some of that evidence now.

As the Oratory emerges through the warp and woof of the narrative text of MO it seems to present a total pastoral approach: with those to whom it is directed, a mission, with methods, formational content, actors, characteristic activities, a climate of relationships, a spirit, all quite detailed in the context of this story. Don Bosco from the outset indicates that he wants to do more than just pass on the baggage from the past as an edifying collection. What he really wants to do is to hand over an identity and a method focused through a particular style. So we find the author choosing his scenes to highlight actors and roles, positive and negative attitudes, all with a view to setting out the features of a unique kind of person – the Oratory pastor, doing a unique kind of thing for an Oratory that was traditionally just for prayer or for catechesis. The ‘new’ concept of Oratory introduced by DB is that in the first place it is open to anybody especially young and poor – ability to pray is not part of the entry ticket, though it quickly becomes part of the learning process.

A VOCATION FROM GOD WHICH DEVELOPS BIT BY BIT

The first thing we are struck by as the story begins is the significance of the loss of the father. (‘I was not yet two years old…’). His father is described as beloved, at the height of his strength and in the flower of adulthood, very much involved (animatissimo) in educating his children to the faith – then one day ‘you have no father’. We can note, then how this is carried through Don Bosco’s life in terms of a real sensitivity to those lacking a father with these qualities.

The dream at nine years of age sets out those to whom his work will be directed, its purposes, content, pastoral methods, e.g. a courtyard (children playing), ‘he called me by name and ordered me to put myself at the head…’not with blows’, ‘obedience and acquisition of knowledge’, ‘I will give you a teacher’. ‘Here is your field of work’, ‘Make yourself humble..’ ‘what you will soon see happen…’.

This vocation is seen as something to be discerned: there’s what his mother says, that the dream might mean…; there’s his own comment that he will soon explain more about what it all meant in due course, and there’s the command of Pius IX to write it all down, literally, to encourage his sons.

FIRST PASTORAL STEPS

Don Bosco effectively outlines the pastoral steps that he took, understandably coloured by his age and by the methods that he was already surrounded by. He begins with a traditional format like the examples that he took from sermons heard. People were already prepared to ‘hear a sermon’ from this ten year old lad. He would recite the rosary with the group, mount a chair, mount a chair and deliver a sermon, or offer some exemplary story from his fund of reading and listening.

Don Bosco’s earliest religious training was not from the Church – he lived too far away and was unknown to his PP. Instead it was instruction from his devout mother. His first communion explores her role as instructor and accompanier.

We note too Don Bosco’s comment that he felt the lack of a church to bring his companions to sing, pray, worship in.. You can easily see the traits of Don Bosc’s pastoral ministry included in all this.

FATHERLY RELATIONSHIPS CONTINUE TO BE SOUGHT AND FOUND

Don Bosco’s chance meeting with Don Calosso is not all that chance in his estimation – this and other meetings are provided by Divine Providence. Don Calosso is loved like a father…because his approach to young John is like that of a father. This is expressed in the way he looked at him, encouraged, advised, provided for.

At one point Don Calosso tells him to leave his troublesome brother (the Italian ‘fratello crudele’ sounds more dramatic) and come with him to stay. The Italian version even here is clearer than the English ..and you will have a loving father.

SPIRITUALITY

Already with Don Calosso, a very young John Bosco begins to be aware of what the spiritual life is. We see this aspect growing before our eyes as we keep reading…or better, perhaps, it is Don Bosco who so carefully ensures that we see this growing, because in this narrative way he is outlining the complete Oratory pastoral person, whose own spiritual life is to grow in the doing, and who is to accompany the growth of others’ spiritual life.

The very first encounter with Cafasso is when the man is still a seminarian. Note our introduction to him as someone standing apart, a kindly type of person, angelic face, beckons young John to come closer, questions him (a little catechism). Behind all this lie key concepts that become part of the Salesian pastoral approach – there is a step back from the world, a sense of recollection and withdrawal (one Italian word suffices to sum this up: ritiratezza), but we have to add to it a certain refinement of person.

As the encounter continues, another element emerges: the priestly entertainment is about the ceremonies of the Church and the more devoutly celebrated they are the better the effect, and everything is to be done to the glory of God and the advantage of souls. These become permanent features of Don Bosco’s own pastoral ministry, so we have to start concluding that he as deliberately chosen his scenes and actors and roles to illustrate permanent features along these lines.

PASTORAL APPROACHES ENCOUNTERED IN REAL LIFE

We are encouraged to begin thinking about the types and roles that Don Bosco selects, because of the descriptions he assigns to them. His parish priest and assistant are serious but courteous, yet the overwhelming effect is one of distance, to which Don Bosco adds the comment ‘If I were a priest I would…’. At one point he describes a beloved priest teacher who is moved on to take up another parish; his place is taken by another who couldn’t keep discipline, so that everything taught in the previous months just about went with the winds of indiscipline.

There is a long list of names of people each with certain qualities. The aforementioned beloved priest in Chieri when young John was a schoolboy there, Fr. Eustachio Valimberti was more than a good teacher – he made him welcome and settled him into the scene, introducing him to key people, as well as giving a young boy advice to keep him on the straight and narrow in a big town. There was another teacher, a certain Pugnetti who exercised much charity on his behalf, appreciated his difficulties as a big boy amongst smaller classmates, and did everything to help. Even the more severe professor Cima, who almost got off to a terrible start with a loose remark, is depicted as a good man overall – if John does his part it will be met with as much help as he needs. There’s his confessor in those days, Fr. Maloria (teologo), an attentive and encouraging soul-friend. Don Bosco points out one, professor Banaudi, who is a model amongst teachers, and we recognize language we have come to know so well…he was able to make himself feared and loved, and without inflicting any punishments. Heloved his pupils like sons and they loved him like a father. There was the prudence and tact of a man like Canon Burzio, and Bosco gave him enough reason for concern. The scene is a great one – Bosco is called in to explain himself with all his wizadry. Burzio needs to discern if there is a hint of black magic involved. Bosco doesn’t make it easy – the canon’s purse and watch both disappear! Don Bosco’s assessment of him, however, years later as he writes, is positive.

THINGS GOOD PASTORAL MINISTERS HAVE TO WATCH OUT FOR

These are variations on the same themes, but from a negative point of view. It becomes even clearer what Don Bosco is doing, carefully selecting his material to show first one side then the other of the same pastoral reality.

If a certain reserve and withdrawal from the world is desirable, then worldliness is a temptation for the pastor to avoid. He had seen priests make fools of themselves, and if ever he were to be so he’d take off his clerical habit immediately. (There’s a delightful story told against himself hunting a hare one Sunday in the holidays where he does just this).

Neglect of duty is another no-no for the ecclesiastic. Mama Margaret tells him she’d prefer he was a poor farmer than a priest who neglected his duties. As for the priestly ministry, he explains that he wasn’t satisfied overall with his superiors who were very good to him but….he wanted to hasten the day when he would be a priest in the midst of young people, helping them.

There’s the problem of vainglory, which Don Bosco several times indicates he was prone to. In MO one can read another delightful story of his interpretation of his fall from a horse…all due to vainglory in racing off to preach a wonderful sermon.

And finally, dissipation, another aspect of worldliness, but represented as a danger at feasts and dinners and with music and games. Seminarian Bosco takes some about-faces for someone so involved in acrobatics, violin-playing and the like.

STRIKING EXAMPLES OF PASTORAL ZEAL

One of the most striking examples of pastoral zeal is Fr. Borel (Borelli) whom he first meets in the context of the Convitto. He is described as one of the most zealous ministers of the altar, a warm personality and whose words are peppered with moral thoughts. The quality of his preparation for and thanksgiving after Mass are noted, as well as his celebration of it. He was an excellent preacher and people drew the conclusion of his holiness from this. He provides the lifelong advice that Don Bosco relied on: The formation of the priest depends for its perfection and its support on recollection (ritiratezza) and frequent communion.

Don Bosco is ready to comment on what his own youthful pastoral zeal consisted of as a seminarian: he liked working but his great delight was to catechise youngsters, deal with them, speak with them and be surrounded by them.

The three key figures in leadershiop of the Convitto are singled out for their pastoral zeal – Guala, Cafasso, Golzio. ‘These were the three models that Divine Providence gave me’. Guala was astute, knowledgeable, courageous. Cafasso was virtuous beyond all temptation, hardworking, prudent. Golzio lived a modest life, worked tirlessly, was humble. And what were the benefits of these three to others? The prisons, hospitals, pulpits, charitable institutions, sick at home, rich and poor – pastoral ministry expressed in effective practical charity. Here is Don Bosco’s model laid out for us.

CHARACTERISTICS OF DON BOSCO’S PASTORAL METHOD

Note: this is decidedly a secondary step and lacks the impact, in my opinion of working directly with the text of MO as we have been doing. But it is also true that it could be a useful summary for someone who wants to fill it out with details from the text, and could be the basis of a talk to the community, for instance.

1. Reflection on social-pastoral problems. There is ample evidence in MO of Don Bosco thinking aloud on issues. An example might be when he is first introduced, by don Cafasso, to the prisons and the situation of young people. It is a reflection he takes up again several times, e.g. after the meeting with Bartholomew Garelli, when he returns to some catechetical work with ex inmates of prisons.

2. Salesian kindness. It goes without saying that this is a core concept in Don Bosco’s pastoral method. Exemplified in a dramatic way in the contrasts inherent in the Garelli scene.

3. Dedication and affectionate care – the quality of being with and staying in the midst of. Many examples can be sought in MO.

4. Overcoming a juridical and territorial concept of pastoral ministry: this in so many ways, the most obvious being his overcoming of objections from local parish clergy to his mission in the streets, but one could also see his refusal to be limited by one such as Marchioness Barolo in a similar light.

5. Tenacity and moral strength in the face of difficulties. It is evident, though sometimes even overstated by Don Bosco in MO such as when he claims that he was all alone. From other evidence we have it would seem that Don Bosco was never alone. Don Borel might have had some doubts but he never abandoned Don Bosco to himself in those early and difficult moments of the Oratory.

6. And then the list is almost without end (and shape): his obedience to God and choice of even abandonment above human certainty; life offered to God without reserve; pastoral creativity and the liveliness of what he offered in them; the ministry of friendship;……..really, all aspects of Don Bosco’s spirituality which are also part of his pastoral method.