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During the first week in November, the week within the Octave of All Souls, Durtal entered St. Sulpice, at eight o'clock in the evening. He often chose to turn into that church, because there was a trained choir, and because he could there examine himself at peace, apart from the crowd. The ugliness of the nave, with its heavy vaulting, vanished at night, the aisles were often empty, it was ill-lighted by a few lamps--it was possible for a man to chide his soul in secret, as if at home.

Durtal sat down behind the high altar, on the left, in the aisle along the Rue de St. Sulpice; the lamps of the choir organ were lighted. Far off, in the almost empty nave, an ecclesiastic was preaching. He recognized, by the unctuousness of his delivery, and his oily accent, a well-fed priest who poured on his audience, according to his wont, his best known commonplaces.

"Why are they so devoid of eloquence?" thought Durtal. "I have had the curiosity to listen to many of them, and they are much the same. They only vary in the tones of their voice. According to their temperament, some are bruised down in vinegar, others steeped in oil. There is no such thing as a clever combination." And he called to mind orators petted like tenors, Monsabre, Didon, those Coquelins of the Church, and lower yet than those products of the Catholic training school, that bellicose booby the Abbe d'Hulst.

"Afterwards," he continued, "come the mediocrities, each puffed by the handful of devotees who listen to them. If those cooks of the soul had any skill, if they served their clients with delicate meats, theological essences, gravies of prayer, concentrated sauces of ideas, they would vegetate misunderstood by their flocks. So, on the whole, it is all for the best. The low-water mark of the clergy must conform to the level of the faithful, and indeed Providence has provided carefully for this."

A stamping of shoes, then the movement of chairs grinding on the flags interrupted him. The sermon was over.

Then a great stillness was broken by a prelude from the organ, which dropped to a low tone, a mere accompaniment to the voices.

A slow and mournful chant arose, the "De Profundis." The blended voices sounded under the arches, intermingling with the somewhat raw sounds of the harmonicas, like the sharp tones of breaking glass.

Resting on the low accompaniment of the organ, aided by basses so hollow that they seemed to have descended into themselves, as it were underground, they sprang out, chanting the verse "De profundis ad te clamavi, Do--" and then stopped in fatigue, letting the last syllables "mine" fall like a heavy tear; then these voices of children, near breaking, took up the second verse of the psalm, "Domine exaudi vocem meam," and the second half of the last word again remained in suspense, but instead of separating, and falling to the ground, there to be crushed out like a drop, it seemed to gather itself together with a supreme effort, and fling to heaven the anguished cry of the disincarnate soul, cast naked, and in tears before God.

And after a pause, the organ, aided by two double-basses, bellowed out, carrying all the voices in its torrent--baritones, tenors, basses, not now serving only as sheaths to the sharp blades of the urchin voices, but openly with full throated sound--yet the dash of the little soprani pierced them through all at once like a crystal arrow.

Then a fresh pause, and in the silence of the church, the verses mourned out anew, thrown up by the organ, as by a spring board. As he listened with attention endeavouring to resolve the sounds, closing his eyes, Durtal saw them at first almost horizontal, then rising little by little, then raising themselves upright, then quivering in tears, before their final breaking.

Suddenly at the end of the psalm, when the response of the antiphon came--"Et lux perpetua luceat eis"--the children's voices broke into a sad, silken cry, a sharp sob, trembling on the word "eis," which remained suspended in the void.

These children's voices stretched to breaking, these clear sharp voices threw into the darkness of the chant some whiteness of the dawn, joining their pure, soft sounds to the resonant tones of the basses, piercing as with a jet of living silver the sombre cataract of the deeper singers; they sharpened the wailing, strengthened and embittered the burning salt of tears, but they insinuated also a sort of protecting caress, balsamic freshness, lustral help; they lighted in the darkness those brief gleams which tinkle in the Angelus at dawn of day; they called up, anticipating the prophecies of the text, the compassionate image of the Virgin, passing, in the pale light of their tones, into the darkness of that sequence.

The "De Profundis" so chanted was incomparably beautiful. That sublime prayer ending in sobs, at the moment when the soul of the voices was about to overpass human limits, gave a wrench to Durtal's nerves, and made his heart beat. Then he wished to abstract himself, and cling especially to the meaning of that sorrowful plaint, in which the fallen being calls upon its God with groans and lamentations. Those cries of the third verse came back to him, wherein calling on his Saviour in despair from the bottom of the abyss, man, now that he knows he is heard, hesitates ashamed, knowing not what to say. The excuses he has prepared appear to him vain, the arguments he has arranged seem to him of no effect, and he stammers forth; "If Thou, O Lord, shalt observe iniquities, Lord, who shall endure it?"

"It is a pity," said Durtal to himself, "that this psalm, which in its first verses chants so magnificently the despair of humanity, becomes in those which follow more personal to King David. I know well," he went on, "that we must accept the symbolic sense of this pleading, admit that the despot confounds his own cause with that of God, that his adversaries are the unbelievers and the wicked, that he himself, according to the doctors of the Church, prefigures the person of Christ; but yet the memory of his fleshly desires, and the presumptuous praise he gives to his incorrigible people, contracts the scope of the poem. Happily the melody has a life apart from the text, a life of its own, not arising out of mere tribal dissensions, but extending to all the earth, chanting the anguish of the time to be born, as well as of the present day, and of the ages which are no more."

The "De Profundis" had ceased; after a silence, the choir intoned a motet of the eighteenth century, but Durtal was only moderately interested in human music in churches. What seemed to him superior to the most vaunted works of theatrical or worldly music, was the old plain chant, that even and naked melody, at once ethereal and of the tomb, the solemn cry of sadness and lofty shout of joy, those grandiose hymns of human faith, which seem to well up in the cathedrals, like irresistible geysers, at the very foot of the Romanesque columns. What music, however ample, sorrowful or tender, is worth the "De Profundis" chanted in unison, the solemnity of the "Magnificat," the splendid warmth of the "Lauda Sion," the enthusiasm of the "Salve Regina," the sorrow of the "Miserere," and the "Stabat Mater," the majestic omnipotence of the "Te Deum"? Artists of genius have set themselves to translate the sacred texts: Vittoria, Josquin de Pres, Palestrina, Orlando Lasso, Handel, Bach, Haydn, have written wonderful pages; often indeed they have been uplifted by the mystic effluence, the very emanation of the Middle Ages, for ever lost; and yet their works have retained a certain pomp, and in spite of all are pretentious, as opposed to the humble magnificence, the sober splendour of the Gregorian chant--with them the whole thing came to an end, for composers no longer believed.

Yet in modern times some religious pieces may be cited of Lesueur, Wagner, Berlioz, and Caesar Franck, and in these again we are conscious of the artist underlying his work, the artist determined to show his skill, thinking to exalt his own glory, and therefore leaving God out. We feel ourselves in the presence of superior men, but men with their weaknesses, their inseparable vanity, and even the vice of their senses. In the liturgical chant, created almost always anonymously in the depth of the cloisters, was an extraterrestrial well, without taint of sin or trace of art. It was an uprising of souls already freed from the slavery of the flesh, an explosion of elevated tenderness and pure joy, it was also the idiom of the Church, a musical gospel appealing like the Gospel itself at once to the most refined and the most humble.

Ah! the true proof of Catholicism was that art which it had founded, an art which has never been surpassed; in painting and sculpture the Early Masters, mystics in poetry and in prose, in music plain chant, in architecture the Romanesque and Gothic styles. And all this held together and blazed in one sheaf, on one and the same altar; all was reconciled in one unique cluster of thoughts: to revere, adore and serve the Dispenser, showing to Him reflected in the soul of His creature, as in a faithful mirror, the still immaculate treasure of His gifts.

Then in those marvellous Middle Ages, wherein Art, foster-child of the Church, encroached on death and advanced to the threshold of Eternity, and to God, the divine concept and the heavenly form were guessed and half-perceived, for the first and perhaps for the last time by man. They answered and echoed each other--art calling to art.

The Virgins had faces almond-shaped, elongated like those ogives which the Gothic style contrived in order to distribute an ascetic light, a virginal dawn in the mysterious shrine of its naves. In the pictures of the Early Masters the complexion of holy women becomes transparent as Paschal wax, and their hair is pale as golden grains of frankincense, their childlike bosoms scarcely swell, their brows are rounded like the glass of the pyx, their fingers taper, their bodies shoot upwards like delicate columns. Their beauty becomes, as it were, liturgical. They seem to live in the fire of stained glass, borrowing from the flaming whirlwind of the rose-windows the circles of their aureoles. The ardent blue of their eyes, the dying embers of their lips, keeping for their garments the colours they disdain for their flesh, stripping them of their light, changing them, when they transfer them to stuffs, into opaque tones which aid still more by their contrast to declare the seraphic clearness of their look, the grievous paleness of the mouth, to which, according to the Proper of the season, the scent of the lily of the Canticles or the penitential fragrance of myrrh in the Psalms lend their perfume.

Then among artists was a coalition of brains, a welding together of souls. Painters associated themselves in the same ideal of beauty with architects, they united in an indestructible relation cathedrals and saints, only reversing the usual process--they framed the jewel according to the shrine, and modelled the relics for the reliquary.

On their side the sequences chanted by the Church had subtle affinities with the canvases of the Early Painters.

Vittoria's responses for Tenebrae are of a like inspiration and an equal loftiness with those of Quentin Matsys' great work, the Entombment of Christ. The "Regina Coeli" of the Flemish musician Lasso has the same good faith, the same simple and strange attraction, as certain statues of a reredos, or religious pictures of the elder Breughel. Lastly, the Miserere of Josquin de Pres, choirmaster of Louis XII., has, like the panels of the Early Masters of Burgundy and Flanders, a patient intention, a stiff, threadlike simplicity, but also it exhales like them a truly mystical savour, and its awkwardness of outline is very touching.

The ideal of all these works is the same and attained by different means.

As for plain chant, the agreement of its melody with architecture is also certain; it also bends from time to time like the sombre Romanesque arcades, and rises, shadowy and pensive, like complete vaulting. The "De Profundis," for instance, curves in on itself like those great groins which form the smoky skeleton of the bays; it is like them slow and dark, extends itself only in obscurity and moves only in the shadow of the crypts.

Sometimes, on the other hand, the Gregorian chant seems to borrow from Gothic its flowery tendrils, its scattered pinnacles, its gauzy rolls, its tremulous lace, its trimmings light and thin as the voices of children. Then it passes from one extreme to another, from the amplitude of sorrow to an infinite joy; at other times again, the plain music, and the Christian music to which it gave birth, lend themselves, like sculpture, to the gaiety of the people, associate themselves with simple gladness, and the sculptured merriment of the ancient porches; they take the popular rhythm of the crowd, as in the Christmas carol "Adeste Fideles" and in the Paschal hymn "O Filii et Filiae;" they become trivial and familiar like the Gospels, submitting themselves to the humble wishes of the poor, lending them a holiday tune easy to catch, a running melody which carries them into pure regions where these simple souls can cast themselves at the indulgent feet of Christ.

Born of the Church, and bred up by her in the choir-schools of the Middle Ages, plain chant is the aerial and mobile paraphrase of the immovable structure of the cathedrals; it is the immaterial and fluid interpretation of the canvases of the Early Painters; it is a winged translation, but also the strict and unbending stole of those Latin sequences, which the monks built up or hewed out in the cloisters in the far-off olden time.

Now it is changed and disconnected, foolishly overwhelmed by the crash of organs, and is chanted, God knows how!

Most choirs when they intone it, like to imitate the rumbling and gurgling of water-pipes, others the grating of rattles, the creaking of pullies, the grinding of a crane, but, in spite of all, its beauty remains, unextinguished, dulled though it be, by the wild bellowing of the singers.

The sudden silence in the church roused Durtal. He rose and looked about him; in his corner was no one save two poor women, asleep, their feet on the bars of chairs, their heads on their knees. Leaning forward a little, he saw, hanging above him in a dark chapel, the light of a lamp, like a ruby in its red glass; no sound save the military tread of the Suisse, making his round in the distance.

Durtal sat down again; the sweetness of his solitude was enhanced by the aromatic perfume of wax, and the memories, now faint, of incense, but it was suddenly broken. As the first chords crashed on the organ Durtal recognized the "Dies irae," that despairing hymn of the Middle Ages; instinctively he bowed his head and listened.

This was no more as in the "De Profundis" an humble supplication, a suffering which believes it has been heard, and discerns a path of light to guide it in the darkness, no longer the prayer which has hope enough not to tremble; it was the cry of absolute desolation and of terror.

And, indeed, the wrath divine breathed tempestuously through these stanzas. They seemed addressed less to the God of mercy, to the Son who listens to prayer, than to the inflexible Father, to Him whom the Old Testament shows us, overcome with anger, scarcely appeased by the smoke of the pyres, the inconceivable attractions of burnt-offerings. In this chant it asserted itself still more savagely, for it threatened to strike the waters, and break in pieces the mountains, and to rend asunder the depths of heaven by thunder-bolts. And the earth, alarmed, cried out in fear.

A crystalline voice, a clear child's voice, proclaimed in the nave the tidings of these cataclysms, and after this the choir chanted new strophes wherein the implacable judge came with shattering blare of trumpet, to purify by fire the rottenness of the world.

Then, in its turn, a bass, deep as a vault, as though issuing from the crypt, accentuated the horror of these prophecies, made these threats more overwhelming, and after a short strain by the choir, an alto repeated them in yet more detail. Then, so soon as the awful poem had exhausted the enumeration of chastisement and suffering, in shrill tones--the falsetto of a little boy--the name of Jesus went by, and a light broke in on the thunder-cloud, the panting universe cried for pardon, recalling, by all the voices of the choir, the infinite mercies of the Saviour, and His pardon, pleading with Him for absolution, as formerly He had spared the penitent thief and the Magdalen.

But in the same despairing and headstrong melody the tempest raged again, drowned with its waves the half-seen shores of heaven, and the solos continued, discouraged, interrupted by the recurrent weeping of the choir, giving, with the diversity of voices, a body to the special conditions of shame, the particular states of fear, the different ages of tears.

At last, when still mixed and blended, these voices had borne away on the great waters of the organ all the wreckage of human sorrows, all the buoys of prayers and tears, they fell exhausted, paralyzed by terror, wailing and sighing like a child who hides its face, stammering "Dona eis requiem," they ended, worn out, in an Amen so plaintive, that it died away in a breath above the sobbing of the organ.

What man could have imagined such despair, dreamed of such disasters? And Durtal made answer to himself: "No man."

In fact the attempt has been vain to discover the author both of the music and of the sequence. They have been attributed to Frangipani, Thomas of Celano, St. Bernard and a crowd of others, and they have remained anonymous, simply formed by the sad alluvial deposits of the age. The "Dies irae" seemed to have, at first, fallen, like a seed of desolation, among the distracted souls of the eleventh century; it germinated there and grew slowly, nurtured by the sap of anguish, watered by the rain of tears. It was at last pruned when it seemed ripe, and had, perhaps, thrown out too many branches, for in one of the earliest known texts, a stanza, which has since disappeared, called up the magnificent and barbarous image of an earth revolving as it belched forth flames, while the constellations burst into shards, and heaven shrivelled like a parched scroll.

"All this," concluded Durtal, "does not prevent these triple stanzas woven of shadow and cold, full of reverberating rhymes, and hard echoes, this music of rude stuff which wraps the phrases like a shroud, and masks the rigid outlines of the work, from being admirable! Yet that chant which constrains, and renders with such energy the breadth of the sequence, that melodic period, which without variation, remaining always the same, succeeds in expressing by turns prayer and terror, moves me less than the 'De Profundis,' which yet has not its grandiose spaciousness nor that artistic cry of despair.

"But chanted to the organ the psalm is earthy and suffocating. It comes from out the very depths of the sepulchre, while the 'Dies irae' has its source only on the sill of the tomb. The first is the very voice of the dead, the second that of the living who inter him, and the dead man weeps, but takes courage a little, when those that bury him despair.

"To sum up," Durtal concluded, "I prefer the text of the 'Dies irae' to that of the 'De Profundis,' and the melody of the 'De Profundis' to that of the 'Dies irae.' It is true also that this last sequence is modernized, and chanted theatrically here, without the imposing and needful march of unison.