“All art, so-called, is decay,” he said, raising his voice. “When a race begins to brood on the beautiful—so-called—it is a sign of rot, of getting ready to fall from the tree. Take the Jews—those marvellous old fellows—who were never more than a handful, yet have imposed the rule of their ideas and their gods upon us for fifteen hundred years. Why? They were forbidden by their most fundamental law to make sculptures or pictures. That was at a time when the Egyptians, when the Assyrians, and other Semites, were running to artistic riot. Every great museum in the world now has whole floors devoted to statues from the Nile, and marvellous carvings from the palaces of Sargon and Assurbanipal. You can get the artistic remains of the Jews during that whole period into a child’s wheelbarrow. They had the sense and strength to penalize art; they alone survived. They saw the Egyptians go, the Assyrians go, the Greeks go, the late Romans go, the Moors in Spain go—all the artistic peoples perish. They remained triumphing over all. Now at last their long-belated apogee is here; their decline is at hand. I am told that in this present generation in Europe the Jews are producing a great lot of young painters and sculptors and actors, just as for a century they have been producing famous composers and musicians. That means the end of the Jews!”
“What! have you only got as far as that?” came the welcome interruption of a cheery voice. Father Forbes had entered the room, and stood looking down with a whimsical twinkle in his eye from one to the other of his guests.
“You must have been taken over the ground at a very slow pace, Mr. Ware,” he continued, chuckling softly, “to have arrived merely at the collapse of the New Jerusalem. I fancied I had given him time enough to bring you straight up to the end of all of us, with that Chinaman of his gently slapping our graves with his pigtail. That’s where the doctor always winds up, if he’s allowed to run his course.”
“It has all been very interesting, extremely so, I assure you,” faltered Theron. It had become suddenly apparent to him that he desired nothing so much as to make his escape—that he had indeed only been waiting for the host’s return to do so.
He rose at this, and explained that he must be going. No special effort being put forth to restrain him, he presently made his way out, Father Forbes hospitably following him down to the door, and putting a very gracious cordiality into his adieux.
The night was warm and black. Theron stood still in it the moment the pastorate door had closed; the sudden darkness was so thick that it was as if he had closed his eyes. His dominant sensation was of a deep relief and rest after some undue fatigue. It crossed his mind that drunken men probably felt like that as they leaned against things on their way home. He was affected himself, he saw, by the weariness and half-nausea following a mental intoxication. The conceit pleased him, and he smiled to himself as he turned and took the first homeward steps. It must be growing late, he thought. Alice would be wondering as she waited.
There was a street lamp at the corner, and as he walked toward it he noted all at once that his feet were keeping step to the movement of the music proceeding from the organ within the church—a vaguely processional air, marked enough in measure, but still with a dreamy effect. It became a pleasure to identify his progress with the quaint rhythm of sound as he sauntered along. He discovered, as he neared the light, that he was instinctively stepping over the seams in the flagstone sidewalk as he had done as a boy. He smiled again at this. There was something exceptionally juvenile and buoyant about his mood, now that he examined it. He set it down as a reaction from that doctor’s extravagant and incendiary talk. One thing was certain—he would never be caught up at that house beyond the racecourse, with its reptiles and its Chinaman. Should he ever even go to the pastorate again? He decided not to quite definitely answer that in the negative, but as he felt now, the chances were all against it.
Turning the corner, and walking off into the shadows along the side of the huge church building, Theron noted, almost at the end of the edifice, a small door—the entrance to a porch coming out to the sidewalk—which stood wide open. A thin, pale, vertical line of light showed that the inner door, too, was ajar.
Through this wee aperture the organ-music, reduced and mellowed by distance, came to him again with that same curious, intimate, personal relation which had so moved him at the start, before the doctor closed the window. It was as if it was being played for him alone.
He paused for a doubting minute or two, with bowed head, listening to the exquisite harmony which floated out to caress and soothe and enfold him. There was no spiritual, or at least pious, effect in it now. He fancied that it must be secular music, or, if not, then something adapted to marriage ceremonies—rich, vivid, passionate, a celebration of beauty and the glory of possession, with its ruling note of joy only heightened by soft, wooing interludes, and here and there the tremor of a fond, timid little sob.
Theron turned away irresolutely, half frightened at the undreamt-of impression this music was making upon him. Then, all at once, he wheeled and stepped boldly into the porch, pushing the inner door open and hearing it rustle against its leathern frame as it swung to behind him.
He had never been inside a Catholic church before.
IX
Jeremiah Madden was supposed to be probably the richest man in Octavius. There
