"What we hear now at Paris, in the churches, is wholly incredible! Under pretence of managing an income for the singers, they suppress half the stanzas of canticles and hymns, and substitute, to vary the pleasure, the tiresome divagations of an organ.
"There they howl the 'Tantum Ergo' to the Austrian National air; or what is still worse, muffle it up with operatic choruses, or refrains from canteens. The very text is divided into couplets which are ornamented like a drinking song with a little burthen.
"The other Church sequences are treated in the same manner.
"And yet the Papacy has formally forbidden, in many bulls, that the sanctuary should be soiled by those liberties. To cite one only, John XXII., in his Extravagant 'Doctor Sanctorum,' expressly forbade profane voices and music in churches. He prohibited choirs at the same time to change plain chant into fiorituri. The decrees of the Council of Trent are not less clear from this point of view, and more recently still a regulation of the Sacred Congregation of Rites has intervened to proscribe musical rioting in holy places.
"Then what are the parish-priests doing who, in fact, have musical police charge in their churches? Nothing, they laugh at it.
"Nor is this a mere phrase, but with those priests who, hoping for receipts, permit on fête days the shameless voices of actresses to dance gambols to the heavy sounds of the organ, the poor Church has become far from clean.
"At St. Sulpice," Durtal went on, "the priest tolerates the villainy of jolly songs which are served up to him; but at least he does not, like the one at St. Severin, allow strolling women players to lighten up the Office by the shouts of such voices as remain to them. Nor has he accepted the solo on the English horn which I heard at St. Thomas one evening during the Perpetual Adoration. In short, if the grand Benedictions at St. Sulpice are a shame, the Complines remain in spite of their theatrical attitude really charming."
And Durtal thought of those Complines of which the paternity is often attributed to Saint Benedict; they were in fact the integral prayer of the evenings, the preventive adjuration, the safeguard against the attempts of the Demon, they were in some measure the advanced sentinels of the out-posts placed round the soul to protect it during the night.
And the regulation of this entrenched camp of prayer was perfect. After the benediction the best trained voice, the most threadlike of the choir, the voice of the smallest of the children, sang forth the short lesson taken from the first Epistle of Saint Peter, warning the faithful that they must be sober and watch, not allow themselves to be surprised unexpectedly. A priest then recited the usual evening prayers; the choir organ gave the intonation, and the psalms fell, chanted one by one, the twilight psalms, in which before the approaches of night peopled with goblins, and furrowed by ghosts, man calls God to aid, and prays Him to guard his sleep from the violence of the ways of hell, the rape of the lamias that pass.
And the hymn of Saint Ambrose, the "Te lucis ante terminum," made still more precise the scattered meaning of these psalms, gathering it up in its short stanzas. Unfortunately, the most important, that which foresees and declares the luxurious dangers of darkness, was swallowed up by the full organ. This hymn was not rendered in plain chant at St. Sulpice as at La Trappe, but was sung to a pompous and elaborate air, an air full of glory, with a certain proud attractiveness, originating no doubt in the eighteenth century.