Catholic Ritual’s Appeal to Imagination: Émile Zola’s Low Mass

On the left: detail of José Benlliure y Gil, Oyendo misa, Rocafort; on the right, Edouard Manet, portrait of Emile Zola

Today, I’d like to treat my readers and listeners to a delightful passage from a nowadays seldom-read work of French literature (in translation, of course). The author is Émile Zola, the novel is Abbé Mouret’s Transgression, the passage is chapter 2 of Book I — very near the start. What I find so striking about this chapter is how vividly and beautifully Zola can narrate the words and rituals of a Low Mass in spite of his being a notorious unbeliever, distant from the Church. In this literary exercise, the Mass is a little disturbed by the bustling of the priest’s maid, the 60-year-old “La Teuse”; still, any traddy will find himself right at home.

Even an anticlerical secular Frenchman could see and understand the (old) Mass as religious ritual. That is because it is objective, formal, scripted, precise, and totally focused on the object of devotion — such being a description that can be given for any religious rites known to man, and such being, too, in a curious way, a description suited to any artistic process worthy of the name of art.

The new Mass can hardly be recognized as a pure ritual in this sense: it varies from (in a best-case scenario) a rather weak and exiguous ritual to (in a worst-case scenario) a free-for-all that, sociologically speaking, is no different from any secular gathering for secular purposes. This is why it is utterly incapable of inspiring great art and, in particular, literary art. No one would be able to find the slightest interest in a novelistic or poetic description of the new Mass (imagine Zola trying his hand at it!). But the old Mass has inspired every artist who has ever come into contact with it, as one can read about at length in the book The Latin Mass and the Intellectuals (which I reviewed here).

Healthy ages show us the near kinship and collaboration of religion and art; unhealthy ages show us their gradual estrangement or messy divorce. Sometimes art is turned into a religion, as occurred among the decadents; sometimes religion attempts to do without art or turns against it, as in tragic outbursts of iconoclasm. But always they are drawn into a relationship. I think you will enjoy how Zola’s flowing literary style pays tribute to the timeless ritual of the Church. — PAK

THE EMPTY CHURCH was quite white that May morning. The bell-rope near the confessional hung motionless once more. The little bracket light, with its stained glass shade, burned like a crimson splotch against the wall on the right of the tabernacle. Vincent, having set the cruets on the credence, came back and knelt just below the altar step on the left, while the priest, after rendering homage to the Holy Sacrament by a genuflexion, went up to the altar and there spread out the corporal, on the centre of which he placed the chalice. Then, having opened the Missal, he came down again. Another bend of the knee followed, and, after crossing himself and uttering aloud the formula, ‘In the name of the Father, the Son, and the Holy Ghost,’ he raised his joined hands to his breast, and entered on the great divine drama, with his countenance blanched by faith and love.

‘Introibo ad altare Dei.’

‘Ad Deum qui laetificat juventutem meam,’ gabbled Vincent, who, squatting on his heels, mumbled the responses of the antiphon and the psalm, while watching La Teuse as she roved about the church.

The old servant was gazing at one of the candles with a troubled look. Her anxiety seemed to increase while the priest, bowing down with hands joined again, recited the Confiteor. She stood still, in her turn struck her breast, her head bowed, but still keeping a watchful eye on the taper. For another minute the priest’s grave voice and the server’s stammers alternated:

‘Dominus vobiscum.’

‘Et cum spiritu tuo.’

Then the priest, spreading out his hands and afterwards again joining them, said with devout compunction: ‘Oremus’ (Let us pray).

La Teuse could now stand it no longer, but stepped behind the altar, reached the guttering candle, and trimmed it with the points of her scissors. Two large blobs of wax had already been wasted. When she came back again putting the benches straight on her way, and making sure that there was holy-water in the fonts, the priest, whose hands were resting on the edge of the altar-cloth, was praying in subdued tones. And at last he kissed the altar.

Behind him, the little church still looked wan in the pale light of early morn. The sun, as yet, was only level with the tiled roof. The Kyrie Eleisons rang quiveringly through that sort of whitewashed stable with flat ceiling and bedaubed beams. On either side three lofty windows of plain glass, most of them cracked or smashed, let in a raw light of chalky crudeness.

The free air poured in as it listed, emphasising the naked poverty of the God of that forlorn village. At the far end of the church, above the big door which was never opened and the threshold of which was green with weeds, a boarded gallery — reached by a common miller’s ladder — stretched from wall to wall. Dire were its creakings on festival days beneath the weight of wooden shoes. Near the ladder stood the confessional, with warped panels, painted a lemon yellow. Facing it, beside the little door, stood the font — a former holy-water stoup resting on a stonework pedestal. To the right and to the left, halfway down the church, two narrow altars stood against the wall, surrounded by wooden balustrades.

On the left-hand one, dedicated to the Blessed Virgin, was a large gilded plaster statue of the Mother of God, wearing a regal gold crown upon her chestnut hair; while on her left arm sat the Divine Child, nude and smiling, whose little hand raised the star-spangled orb of the universe. The Virgin’s feet were poised on clouds, and beneath them peeped the heads of winged cherubs.

Then the right-hand altar, used for the Masses for the dead, was surmounted by a crucifix of painted papier-mache — a pendant, as it were, to the Virgin’s effigy. The figure of Christ, as large as a child of ten years old, showed Him in all the horror of His death-throes, with head thrown back, ribs projecting, abdomen hollowed in, and limbs distorted and splashed with blood. There was a pulpit, too — a square box reached by a five-step block — near a clock with running weights, in a walnut case, whose thuds shook the whole church like the beatings of some huge heart concealed, it might be, under the stone flags. All along the nave the fourteen Stations of the Cross, fourteen coarsely coloured prints in narrow black frames, bespeckled the staring whiteness of the walls with the yellow, blue, and scarlet of scenes from the Passion.

‘Deo Gratias,’ stuttered out Vincent at the end of the Epistle.

The mystery of love, the immolation of the Holy Victim, was about to begin. The server took the Missal and bore it to the left, or Gospel-side, of the altar, taking care not to touch the pages of the book. Each time he passed before the tabernacle he made a genuflexion slantwise, which threw him all askew. Returning to the right-hand side once more, he stood upright with crossed arms during the reading of the Gospel. The priest, after making the sign of the cross upon the Missal, next crossed himself: first upon his forehead — to declare that he would never blush for the divine word; then on his mouth — to show his unchanging readiness to confess his faith; and finally on his heart — to mark that it belonged to God alone.

‘Dominus vobiscum,’ said he, turning round and facing the cold white church.

‘Et cum spiritu tuo,’ answered Vincent, who once more was on his knees.

The Offertory having been recited, the priest uncovered the chalice. For a moment he held before his breast the paten containing the host, which he offered up to God, for himself, for those present, and for all the faithful, living and dead. Then, slipping it on to the edge of the corporal without touching it with his fingers, he took up the chalice and carefully wiped it with the purificator. Vincent had in the meanwhile fetched the cruets from the credence table, and now presented them in turn, first the wine and then the water. The priest then offered up on behalf of the whole world the half-filled chalice, which he next replaced upon the corporal and covered with the pall. Then once again he prayed, and returned to the side of the altar where the server let a little water dribble over his thumbs and forefingers to purify him from the slightest sinful stain. When he had dried his hands on the finger-cloth, La Teuse — who stood there waiting — emptied the cruet-salver into a zinc pail at the corner of the altar.

‘Orate, fratres,’ resumed the priest aloud as he faced the empty benches, extending and reclasping his hands in a gesture of appeal to all men of good-will. And turning again towards the altar, he continued his prayer in a lower tone, while Vincent began to mutter a long Latin sentence in which he eventually got lost. Now it was that the yellow sunbeams began to dart through the windows; called, as it were, by the priest, the sun itself had come to Mass, throwing golden sheets of light upon the left-hand wall, the confessional, the Virgin’s altar, and the big clock.

A gentle creak came from the confessional; the Mother of God, in a halo, in the dazzlement of her golden crown and mantle smiled tenderly with tinted lips upon the infant Jesus; and the heated clock throbbed out the time with quickening strokes. It seemed as if the sun peopled the benches with the dusty motes that danced in his beams, as if the little church, that whitened stable, were filled with a glowing throng. Without, were heard the sounds that told of the happy waking of the countryside, the blades of grass sighed out content, the damp leaves dried themselves in the warmth, the birds pruned their feathers and took a first flit round. And indeed the countryside itself seemed to enter with the sun; for beside one of the windows a large rowan tree shot up, thrusting some of its branches through the shattered panes and stretching out leafy buds as if to take a peep within; while through the fissures of the great door the weeds on the threshold threatened to encroach upon the nave. Amid all this quickening life, the big Christ, still in shadow, alone displayed signs of death, the sufferings of ochre-daubed and lake-bespattered flesh. A sparrow raised himself up for a moment at the edge of a hole, took a glance, then flew away; but only to reappear almost immediately when with noiseless wing he dropped between the benches before the Virgin’s altar. A second sparrow followed; and soon from all the boughs of the rowan tree came others that calmly hopped about the flags.

‘Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth,’ said the priest in a low tone, whilst slightly stooping.

Vincent rang the little bell thrice; and the sparrows, scared by the sudden tinkling, flew off with such a mighty buzz of wings that La Teuse, who had just gone back into the sacristy, came out again, grumbling; ‘The little rascals! they will mess everything. I’ll bet that Mademoiselle Desiree has been here again to scatter bread-crumbs for them.’

The dread moment was at hand. The body and the blood of a God were about to descend upon the altar. The priest kissed the altar-cloth, clasped his hands, and multiplied signs of the cross over host and chalice. The prayers of the Canon of the Mass now fell from his lips in a very ecstasy of humility and gratitude. His attitude, his gestures, the inflections of his voice, all expressed his consciousness of his littleness, his emotion at being selected for so great a task. Vincent came and knelt beside him, lightly lifted the chasuble with his left hand, the bell ready in his right; and the priest, his elbows resting on the edge of the altar, holding the host with the thumbs and forefingers of both hands, pronounced over it the words of consecration: Hoc est enim corpus meum. Then having bowed the knee before it, he raised it slowly as high as his hands could reach, following it upwards with his eyes, while the kneeling server rang the bell thrice. Then he consecrated the wine — Hic est enim calix — leaning once more upon his elbows, bowing, raising the cup aloft, his right hand round the stem, his left holding its base, and his eyes following it aloft. Again the server rang the bell three times. The great mystery of the Redemption had once more been repeated, once more had the adorable Blood flowed forth.

‘Just you wait a bit,’ growled La Teuse, as she tried to scare away the sparrows with outstretched fist.

But the sparrows were now fearless. They had come back even while the bell was ringing, and, unabashed, were fluttering about the benches. The repeated tinklings even roused them into liveliness, and they answered back with little chirps which crossed amid the Latin words of prayer, like the rippling laughs of free urchins. The sun warmed their plumage, the sweet poverty of the church captivated them. They felt at home there, as in some barn whose shutters had been left open, and screeched, fought, and squabbled over the crumbs they found upon the floor. One flew to perch himself on the smiling Virgin’s golden veil; another, whose daring put the old servant in a towering rage, made a hasty reconnaissance of La Teuse’s skirts. And at the altar, the priest, with every faculty absorbed, his eyes fixed upon the sacred host, his thumbs and forefingers joined, did not even hear this invasion of the warm May morning, this rising flood of sunlight, greenery and birds, which overflowed even to the foot of the Calvary where doomed nature was wrestling in the death-throes.

‘Per omnia saecula saeculorum,’ he said.

‘Amen,’ answered Vincent.

The Pater ended, the priest, holding the host over the chalice, broke it in the centre. Detaching a particle from one of the halves, he dropped it into the precious blood, to symbolise the intimate union into which he was about to enter with God. He said the Agnus Dei aloud, softly recited the three prescribed prayers, and made his act of unworthiness, and then with his elbows resting on the altar, and with the paten beneath his chin, he partook of both portions of the host at once. After a fervent meditation, with his hands clasped before his face, he took the paten and gathered from the corporal the sacred particles of the host that had fallen, and dropped them into the chalice. One particle which had adhered to his thumb he removed with his forefinger. And, crossing himself, chalice in hand, with the paten once again below his chin, he drank all the precious blood in three draughts, never taking his lips from the cup’s rim, but imbibing the divine Sacrifice to the last drop.

Vincent had risen to fetch the cruets from the credence table. But suddenly the door of the passage leading to the parsonage flew open and swung back against the wall, to admit a handsome child-like girl of twenty-two, who carried something hidden in her apron.

‘Thirteen of them,’ she called out. ‘All the eggs were good.’ And she opened out her apron and revealed a brood of little shivering chicks, with sprouting down and beady black eyes. ‘Do just look,’ said she; ‘aren’t they sweet little pets, the darlings! Oh, look at the little white one climbing on the others’ backs! and the spotted one already flapping his tiny wings! The eggs were a splendid lot; not one of them unfertile.’

La Teuse, who was helping to serve the Mass in spite of all prohibitions, and was at that very moment handing the cruets to Vincent for the ablutions, thereupon turned round and loudly exclaimed: ‘Do be quiet, Mademoiselle Desiree! Don’t you see we haven’t finished yet?’

Through the open doorway now came the strong smell of a farmyard, blowing like some generative ferment into the church amidst the warm sunlight that was creeping over the altar. Desiree stood there for a moment delighted with the little ones she carried, watching Vincent pour, and her brother drink, the purifying wine, in order that nought of the sacred elements should be left within his mouth. And she stood there still when he came back to the side of the altar, holding the chalice in both hands, so that Vincent might pour over his forefingers and thumbs the wine and water of ablution, which he likewise drank. But when the mother hen ran up clucking with alarm to seek her little ones, and threatened to force her way into the church, Desiree went off, talking maternally to her chicks, while the priest, after pressing the purificator to his lips, wiped first the rim and next the interior of the chalice.

Then came the end, the act of thanksgiving to God. For the last time the server removed the Missal, and brought it back to the right-hand side. The priest replaced the purificator, paten, and pall upon the chalice; once more pinched the two large folds of the veil together, and laid upon it the burse containing the corporal. His whole being was now one act of ardent thanksgiving. He besought from Heaven the forgiveness of his sins, the grace of a holy life, and the reward of everlasting life. He remained as if overwhelmed by this miracle of love, the ever-recurring immolation, which sustained him day by day with the blood and flesh of his Savior.

Having read the final prayers, he turned and said: ‘Ite, missa est.’

‘Deo gratias,’ answered Vincent.

And having turned back to kiss the altar, the priest faced round anew, his left hand just below his breast, his right outstretched whilst blessing the church, which the gladsome sunbeams and noisy sparrows filled.

‘Benedicat vos omnipotens Deus, Pater et Filius, et Spiritus Sanctus.’

‘Amen,’ said the server, as he crossed himself.

The sun had risen higher, and the sparrows were growing bolder. While the priest read from the left-hand altar-card the passage of the Gospel of St. John, announcing the eternity of the Word, the sunrays set the altar ablaze, whitened the panels of imitation marble, and dimmed the flame of the two candles, whose short wicks were now merely two dull spots. The victorious orb enveloped with his glory the crucifix, the candlesticks, the chasuble, the veil of the chalice — all the gold work that paled beneath his beams. And when at last the priest, after taking the chalice in his hands and making a genuflexion, covered his head and turned from the altar to follow the server, laden with the cruets and finger-cloth, to the sacristy, the planet remained sole master of the church. Its rays in turn now rested on the altar-cloth, irradiating the tabernacle-door with splendour, and celebrating the fertile powers of May. Warmth rose from the stone flags. The daubed walls, the tall Virgin, the huge Christ, too, all seemed to quiver as with shooting sap, as if death had been conquered by the earth’s eternal youth.