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A Child's Book of Saints by  William Canton


 

 

THE SONG OF THE MINSTER

[13]

W
HEN John of Fulda became Prior of Hethholme, says the old chronicle, he brought with him to the Abbey many rare and costly books—beautiful illuminated missals and psalters and portions of the Old and New Testament. And he presented rich vestments to the Minster; albs of fine linen, and copes embroidered with flowers of gold. In the west front he built two great arched windows filled with marvellous storied glass. The shrine of St. Egwin he repaired at vast outlay, adorning it with garlands in gold and silver, but the colour of the flowers was in coloured gems, and in like fashion the little birds in the nooks of the foliage. Stalls and benches of carved oak he placed in the choir; and many other noble works he had wrought in his zeal for the glory of God's house.

In all the western land was there no more fair or stately Minster than this of the Black Monks, with the peaceful township on one side, and on the other the sweet meadows and the acres of wheat and barley sloping down to the slow river, and beyond the river the clearings in the ancient forest.

[14] But Thomas the Sub-prior was grieved and troubled in his mind by the richness and the beauty of all he saw about him, and by the Prior's eagerness to be ever adding some new work in stone, or oak, or metal, or jewels.

"Surely," he said to himself, "these things are unprofitable—less to the honour of God than to the pleasure of the eye and the pride of life and the luxury of our house! Had so much treasure not been wasted on these vanities of bright colour and carved stone, our dole to the poor of Christ might have been fourfold, and they filled with good things. But now let our almoner do what best he may, I doubt not many a leper sleeps cold, and many a poor man goes lean with hunger."

This the Sub-prior said, not because his heart was quick with fellowship for the poor, but because he was of a narrow and gloomy and grudging nature, and he could conceive of no true service of God which was not one of fasting and praying, of fear and trembling, of joylessness and mortification.

Now you must know that the greatest of the monks and the hermits and the holy men were not of this kind. In their love of God they were blithe of heart, and filled with a rare sweetness and tranquility of soul, and they looked on the goodly earth with deep joy, and they had a tender care for the wild creatures of wood and water. But Thomas had yet much to learn of the beauty of holiness.

Often in the bleak dark hours of the night he would leave his cell and steal into the Minster, to fling himself on the cold stones before the high altar; and there he would remain, shivering and praying, till his strength failed him.

It happened one winter night, when the thoughts I [15] have spoken of had grown very bitter in his mind, Thomas guided his steps by the glimmer of the sanctuary lamp to his accustomed place in the choir. Falling on his knees, he laid himself on his face with the palms of his outstretched hands flat on the icy pavement. And as he lay there, taking a cruel joy in the freezing cold and the torture of his body, he became gradually aware of a sound of far-away yet most heavenly music.

He raised himself to his knees to listen, and to his amazement he perceived that the whole Minster was pervaded by a faint mysterious light, which was every instant growing brighter and clearer. And as the light increased the music grew louder and sweeter, and he knew that it was within the sacred walls. But it was no mortal minstrelsy.

The strains he heard were the minglings of angelic instruments, and the cadences of voices of unearthly loveliness. They seemed to proceed from the choir about him, and from the nave and transept and aisles; from the pictured windows and from the clerestory and from the vaulted roofs. Under his knees he felt that the crypt was throbbing and droning like a huge organ.

Sometimes the song came from one part of the Minster, and then all the rest of the vast building was silent; then the music was taken up, as it were in response, in another part; and yet again voices and instruments would blend in one indescribable volume of harmony, which made the huge pile thrill and vibrate from roof to pavement.

As Thomas listened, his eyes became accustomed to the celestial light which encompassed him, and he saw—he could scarce credit his senses that he saw—the little carved [16] angels of the oak stalls in the choir clashing their cymbals and playing their psalteries.

He rose to his feet, bewildered and half terrified. At that moment the mighty roll of unison ceased, and from many parts of the church there came a concord of clear high voices, like a warbling of silver trumpets, and Thomas heard the words they sang. And the words were these—

Tibi omnes Angell.
To Thee all Angels cry aloud.

So close to him were two of these voices that Thomas looked up to the spandrels in the choir, and he saw that it was the carved angels leaning out of the spandrels that were singing. And as they sang the breath came from their stone lips white and vaporous into the frosty air.

He trembled with awe and astonishment, but the wonder of what was happening drew him towards the altar. The beautiful tabernacle work of the altar screen contained a double range of niches filled with the statues of saints and kings; and these, he saw, were singing. He passed slowly onward with his arms outstretched, like a blind man who does not know the way he is treading.

The figures on the painted glass of the lancets were singing.

The winged heads of the baby angels over the marble memorial slabs were singing.

The lions and griffons and mythical beasts of the finials were singing.

The effigies of dead abbots and priors were singing on their tombs in bay and chantry.

The figures in the frescoes on the walls were singing.

[17] On the painted ceiling westward of the tower the verses of the Te Deum, inscribed in letters of gold above the shields of kings and princes and barons, were visible in the divine light, and the very words of these verses were singing, like living things.

And the breath of all these as they sang turned to a smoke as of incense in the wintry air, and floated about the high pillars of the Minster.

Suddenly the music ceased, all save the deep organ-drone.

Then Thomas heard the marvellous antiphon repeated in the bitter darkness outside; and that music, he knew, must be the response of the galleries of stone kings and queens, of abbots and virgin martyrs, over the western portals, and of the monstrous gargoyles along the eaves.

When the music ceased in the outer darkness, it was taken up again in the interior of the Minster.

At last there came one stupendous united cry of all the singers, and in that cry even the organ-drone of the crypt, and the clamour of the brute stones of pavement and pillar, of wall and roof; broke into words articulate. And the words were these:

Per singulos dies, benedicimus Te.
Day by day: we magnify Thee,
And we worship Thy name: ever world without end.

As the wind of the summer changes into the sorrowful wail of the yellowing woods, so the strains of joyous worship changed into a wail of supplication; and as he caught the words, Thomas too raised his voice in wild entreaty:

Miserere nostri, Domine, miserere nostri.
O Lord, have mercy upon us: have mercy upon us.

[18] And then his senses failed him, and he sank to the ground in a long swoon.

When he came to himself all was still, and all was dark save for the little yellow flower of light in the sanctuary lamp.

As he crept back to his cell he saw with unsealed eyes how churlishly he had grudged God the glory of man's genius and the service of His dumb creatures, the metal of the hills, and the stone of the quarry, and the timber of the forest; for now he knew that at all seasons, and whether men heard the music or not, the ear of God was filled by day and by night with an everlasting song from each stone of the vast Minster:

We magnify Thee, And we worship Thy name: ever world without end.

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