In and out of Three Normandy Inns

by Anna Bowman Dodd

Is it Greek, is it Christian, this festival? If it be Catholic, it is also pagan. It is as composite a union of religious ceremonials as man is himself an aggregate of lost types, for there is a subtle law of repetition which governs both men and ceremonials.

How pagan was the color! how Greek the sense of beauty that lies in contrasts! how Jewish the splendor of the priestly vestments as the gold and silver tissues gleamed in the sun! How mediaeval this survival of an old miracle play! See this group of children, half-frightened, half-proud, wandering from side to side as children unused to walking soberly ever march. They were following the leadership of a huge Suisse. This latter was magnificently apparelled. He carried a great mace, and this he swung high in the air. The children, little John the Baptist, Christ, Mary the Mother, and Magdalen, were magnetized by his mighty skill. They were looking at the golden stick; they were thinking only of how high he, this splendid giant who terrified them so, would throw it the next time, and if he would always surely catch it. The small Virgin, in her long brown robes, tripped as she walked. The cherubic John the Baptist, with only his sheepskin and his cross, shivered as he stumbled after her.

"At least they might have covered his arms, le pauvre petit," one stout peasant among the bystanders was Christian enough to mutter, "Poor little John!" Even in summer the sun is none too hot on this hill-top; and a sheepskin is a garment one must be used to, it appears. Christ, himself, was no better off. He was wearing his crown of thorns, but he had only his night-dress, bound with a girdle, to keep his naked little body warm. An angel, in gossamer wings and a huge rose-wreath, being of the other sex, had her innate woman's love of finery to make her oblivious to the light sting of the wind, as it passed through her draperies. As this group in the procession moved slowly along, the city took on a curiously antique aspect. In every lattice window a head was framed. The lines of the townspeople pressed closer and closer; they made a serried mass of blouses and caps, of shiny coats and bared heads. The very houses seemed to recognize that a part of their own youth was passing them by; these were the figures they had looked out upon, time after time, in the old fourteenth and fifteenth century days, when the great miracle plays drew the country around, for miles and miles, to this Coutances square.

Across the square, in the long gray distance of the streets, the archbishop's canopy was motionless. A sweet groaning murmur rippled from lip to lip.

Then a swift and mighty rustling filled the air, for the bones of thousands of knees were striking the stones of the street;—even heretic knees were bent when the Host was lifted. It was the moment of silent prayer. It was also, perhaps, the most beautiful, it was assuredly the most consummately picturesque moment of the day. The bent heads; the long vistas of kneeling figures; the lovely contrasts of the flowing draperies; the trailing splendor of the priests' robes dying into the black note made by the nuns' sombre skirts; the gossamer brilliance of the hundreds of white veils, through which the young rapture of religious awe on lips and brow made even commonplace features beautiful; the choristers' scarlet petticoats; the culminating note of splendor, the Archbishop, throned like some antique scriptural king under the feathers and velvets of his crimson canopy; then the long lines of the townspeople with the groups of peasants beside them, whose well-sunned skins made even their complexion seem pale by the side of cheeks that brought the burn of noon-suns in the valleys to mind; and behind this wall of kneeling figures, those other walls, the long white-hung house facades, with their pendent sprigs and wreaths and garlands above which hung the frieze of human heads beneath the carved cornices; surely this was indeed the culminating moment, both in point of beauty and in impressiveness, of the great day's festival.

Thus was reposoir after reposoir visited. Again and again the multitude was on its knees. Again and again the Host was lifted. And still we followed. Sometimes all the line was in full light, a long perspective of color and of prismatic radiance. And then the line would be lost; some part of it was still in a side-street; and the rest were singing along the edges of the city's ramparts, under the great branches of the trees. Here, in the gray of the narrow streets, the choristers' gowns were startling in their richness. Yonder, in full sunlight, the brightness on the maidens' robes made the shadows in their white skirts as blue as light caught in a grotto's depth.

Still they sang. In the dim streets or under the trees, where the gay banners were still fluttering, and the white veils, like airy sails, were bulging in the wind, the hymn went on. It was thin and pathetically weak in the mouths of the babes that walked. It was clear, as fresh and pure as a brooklet's ripple, from the mouths of the young communicants. It was of firm contralto strength from the throats of the grave nuns. The notes gained and gained in richness; the hymn was almost a chant with the priests; and in the mouths of the people it was as a ringing chorus. Together with the swelling music swung the incense into high air; and to the Host the rose-leaves were flung.

Still we followed. Still the long line moved on from altar to altar.

Then, when the noon was long past, wearily we climbed upward to our inn.

In the high streets there was much going to and fro. The shop-keepers already were taking down their linen. Pouffe! Pouffe! there was much blowing through mouths and a great standing on tiptoes to reach the tall tapers on the reposoirs.