Durtal followed in his prayer-book this work with so short a text, so long a chant; and as he listened to, and read it with recollection, this magnificent prayer seemed to decompose as a whole, and to represent three different states of the soul, to exhibit the triple phase of humanity, during its youth, its maturity, and its decline; it was, in a word, an essential summary of prayer for all ages.
First, there was the canticle of exultation, the joyous welcome of a being yet little, stammering forth respectful caresses, petting with gentle words, and fondness of a child who seeks to coax his mother—this is the "Salve Regina, Mater misericordiæ, vita, dulcedo et spes nostra, salve." Then the soul so candid, so simply happy, has grown, and knowing the wilful failings of thought, the repeated loss through sin, joins her hands, and asks, sobbing, for help. She adores no longer with a smile, but with tears; it is "Ad te clamamus, exsules filii Hevae; ad te suspiramus, gementes et flentes in hac lachrymarum valle." At last old age comes; the soul lies, tormented by the memory of counsels neglected, by regret for lost graces; and having become weaker, and more full of fears, is alarmed before her deliverance, before the destruction of that prison of the flesh which she feels at hand, and then she thinks of the eternal death of those whom the Judge condemns. On her knees she implores the Advocatress of earth, the Consultrix of heaven; it is the "Eia ergo Advocata nostra; illos tuos misericordes oculos ad nos converte; et Jesum, benedictum fructum ventris tui, nobis post hoc exilium ostende."
And to that essence of prayer composed by Peter of Compostella or Hermann Contract, Saint Bernard, in an excess of hyperdulia, added the three invocations at the end, "O clemens, O pia, O dulcis Virgo Maria," sealing the inimitable prose with a triple seal, by those three cries of love which recall the hymn to the affectionate adoration of its beginning.
"This is unprecedented," thought Durtal, as the Trappists chanted these sweet and eager appeals; the neumes were prolonged on the Os, which passed through all the colours of the soul, through the whole register of sound; and these interjections summed up again, in the series of notes which clothed them, the inventory of the human soul, which now recapitulated the whole body of the hymn.
And suddenly at the word "Maria," at the glorious cry of that name, the chant fell, the tapers were extinguished, the monks fell on their knees, a silence like death came upon the chapel. The bells rang slowly, and the Angelus unfolded under the arches the separated petals of its clear sounds.
All, now prostrate, their faces buried in their hands, were praying, and this lasted long; then the sound of the little hand-bell was heard, everyone rose, genuflected to the altar, and in silent file the monks disappeared through the door in the apse.
"Ah! the true creator of plain music, the unknown author who cast into the brain of man the seed of plain chant, was the Holy Ghost," said Durtal, sick and dazzled, with tears in his eyes.
M. Bruno, whom he had not noticed in the chapel, came and joined him. They crossed the court without speaking, and when they had entered the guest-house, M. Bruno lighted two candles, gave one to Durtal, and said gravely, "I wish you a good night, sir."
Durtal went up the staircase behind him. They bowed again on the landing, and Durtal entered his cell.
The wind blew under the door, and the room, scarcely lighted by the low flame of the candle, seemed to him gloomy, the high ceiling vanished in shadow, and rained down darkness.