"All this," concluded Durtal, "does not prevent these triple stanzas woven of shadow and cold, full of reverberating rhymes, and hard echoes, this music of rude stuff which wraps the phrases like a shroud, and masks the rigid outlines of the work, from being admirable! Yet that chant which constrains, and renders with such energy the breadth of the sequence, that melodic period, which without variation, remaining always the same, succeeds in expressing by turns prayer and terror, moves me less than the 'De Profundis,' which yet has not its grandiose spaciousness nor that artistic cry of despair.
"But chanted to the organ the psalm is earthy and suffocating. It comes from out the very depths of the sepulchre, while the 'Dies iræ' has its source only on the sill of the tomb. The first is the very voice of the dead, the second that of the living who inter him, and the dead man weeps, but takes courage a little, when those that bury him despair.
"To sum up," Durtal concluded, "I prefer the text of the 'Dies iræ' to that of the 'De Profundis,' and the melody of the 'De Profundis' to that of the 'Dies iræ.' It is true also that this last sequence is modernized, and chanted theatrically here, without the imposing and needful march of unison.
"This time, for instance, it is devoid of interest," he continued, ceasing his thoughts for a moment, to listen to the piece of modern music which the choir was just then rendering. "Ah, who will take on himself to proscribe that pert mysticism, those fonts of toilet-water which Gounod invented!... There ought indeed to be astonishing penalties for choir masters who allow such musical effeminacy in church. This is, as it was this morning at the Madeleine, when I happened to be present at the interminable funeral of an old banker; they played a military march with violin and violoncello accompaniments, with trumpets and timbrels, a heroic and worldly march to celebrate the departure and the decomposition of a financier!... It is too absurd." And listening no more to the music in St. Sulpice, Durtal transferred himself in thought to the Madeleine, and went off at full speed in his dreams.
"Indeed," he said to himself, "the clergy make Jesus like a tourist, when they invite Him daily to come down into that church whose exterior is surmounted by no cross, and whose interior is like the grand reception-room at an hotel. But how can you make those priests understand that ugliness is sacrilege, and that nothing is equal to the frightful sin of this confusion of Romanesque and Greek, these pictures of aged men, that flat ceiling studded with skylights, from which filter in all weathers the spoiled gleams of a rainy day, to that futile altar surmounted by a circle of angels who, in discreet abandonment, dance in honour of our Lady, a motionless marble rigadoon?"
Yet in the Madeleine, at a funeral, when the door opens, and the corpse advances in a gap of daylight, all is changed. Like a superterrestrial antiseptic, an extrahuman disinfectant, the liturgy purifies and cleanses the impious ugliness of the place.
And thinking over his memories of the morning, Durtal saw again, as he closed his eyes, at the end of the semicircular apse, the procession of red and black robes, white surplices, joining in front of the altar, descending the steps together, making their way together to the catafalque, dividing again on each aide, joining to mix afresh in the great gangway between the chairs.
This slow and silent procession, led by incomparable Suisses, in mourning, their swords horizontal, and a general's epaulets in jet, advanced, preceded by a cross, in front of the corpse laid on tressels, and far-off in all that confusion of lights falling from the roof, and lighted flambeaux round the catafalque and on the altar, the white of the tapers disappeared, and the priests who bore them seemed to march with empty hands uplifted as though to point out the stars which accompanied them, twinkling above their heads.
Then when the bier was surrounded by the clergy, the "De Profundis" burst forth from the depths of the sanctuary, intoned by invisible singers.
"That was good," said Durtal to himself. At the Madeleine the voices of the children are sharp and feeble, and the basses are badly trained and failing; we are evidently far from the choir of St. Sulpice, but all the same it was superb; then what a moment was that of the priests' communion, when suddenly arising from the murmuring of the choir, the voice of the tenor threw above the corpse the magnificent plain chant antiphon—