"Then, pray, what may be his, or his Society's beliefs?" I asked, feeling no desire to argue, "and how are they going to prove your Mabel's salvation? Can they bring beauty into all this aggressive hate and ugliness?"
"Certain hope and peace," she said, "that peace which is understanding, and that understanding which explains all creeds and therefore tolerates them."
"Toleration! The one word a religious man loathes above all others! His pet word is damnation—"
"Tolerates them," she repeated patiently, unperturbed by my explosion, "because it includes them all."
"Fine, if true" I admitted, "very fine. But how, pray, does it include them all?"
"Because the key-word, the motto, of their Society is, 'There is no religion higher than Truth,' and it has no single dogma of any kind. Above all," she went on, "because it claims that no individual can be 'lost.' It teaches universal salvation. To damn outsiders is uncivilized, childish, impure. Some take longer than others—it's according to the way they think and live—but all find peace, through development, in the end. What the creeds call a hopeless soul, it regards as a soul having further to go. There is no damnation—"
"Well, well," I exclaimed, feeling that she rode her hobby horse too wildly, too roughly over me, "but what is the bearing of all this upon this dreadful place, and upon Mabel? I'll admit that there is this atmosphere—this—er—inexplicable horror in the house and grounds, and that if not of damnation exactly, it is certainly damnable. I'm not too prejudiced to deny that, for I've felt it myself."
To my relief she was brief. She made her statement, leaving me to take it or reject it as I would.
"The thought and belief its former occupants—have left behind. For there has been coincidence here, a coincidence that must be rare. The site on which this modern house now stands was Roman, before that Early Britain, with burial mounds, before that again, Druid—the Druid stones still lie in that copse below the field, the Tumuli among the ilexes behind the drive. The older building Sam Franklyn altered and practically pulled down was a monastery; he changed the chapel into a meeting hall, which is now the music room; but, before he came here, the house was occupied by Manetti, a violent Catholic without tolerance or vision; and in the interval between these two, Julius Weinbaum had it, Hebrew of most rigid orthodox type imaginable—so they all have left their—"
"Even so," I repeated, yet interested to hear the rest, "what of it?"