"Glory and praise to the Conqueror of Death: to the Fountain of Life Unending."
Nine times they sang this anthem, and then the whole place was filled with blinding light. For a door in the screen had been opened, and there came forth an old man, all in shining white, on whose head was a gold crown. Before him went one who rang the bell; on each side there were young men with torches; and in his hands he bore the Mystery of Mysteries wrapped about in veils of gold and of all colours, so that it might not be discerned; and so he passed before the screen, and the light of heaven burst forth from that which he held. Then he entered in again by a door that was on the other side, and the Holy Things were hidden.
And Ambrose heard from within an awful voice and the words:
Woe and great sorrow are on him, for he hath looked unworthily into the Tremendous Mysteries, and on the Secret Glory which is hidden from the Holy Angels.
II
"Poetry is the only possible way of saying anything that is worth saying at all." This was an axiom that, in later years, Ambrose Meyrick's friends were forced to hear at frequent intervals. He would go on to say that he used the term poetry in its most liberal sense, including in it all mystic or symbolic prose, all painting and statuary that was worthy to be called art, all great architecture, and all true music. He meant, it is to be presumed, that the mysteries can only be conveyed by symbols; unfortunately, however, he did not always make it quite clear that this was the proposition that he intended to utter, and thus offence was sometimes given—as, for example, to the scientific gentleman who had been brought to Meyrick's rooms and went away early, wondering audibly and sarcastically whether "your clever friend" wanted to metrify biology and set Euclid to Bach's Organ Fugues.
However, the Great Axiom (as he called it) was the justification that he put forward in defence of the notes on which the previous section is based.
"Of course," he would say, "the symbolism is inadequate; but that is the defect of speech of any kind when you have once ventured beyond the multiplication table and the jargon of the Stock Exchange. Inadequacy of expression is merely a minor part of the great tragedy of humanity. Only an ass thinks that he has succeeded in uttering the perfect content of his thought without either excess or defect."
"Then, again," he might go on, "the symbolism would very likely be misleading to a great many people; but what is one to do? I believe many good people find Turner mad and Dickens tiresome. And if the great sometimes fail, what hope is there for the little? We cannot all be—well—popular novelists of the day."
Of course, the notes in question were made many years after the event they commemorate; they were the man's translation of all the wonderful and inexpressible emotions of the boy; and, as Meyrick puts it, many "words" (or symbols) are used in them which were unknown to the lad of fifteen.