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 teaches under visible forms a hidden and transcendent doctrine. It was thus that he found in the ritual of the church a perfect image of the world; an image purged, exalted, and illuminate, a holy house built up of shining and translucent stones, in which the burning torches were more significant than the wheeling stars, and the fuming incense was a more certain token than the rising of the mist. His soul went forth with the albed procession in its white and solemn order, the mystic dance that signifies rapture and a joy above all joys, and when he beheld Love slain and rise again victorious he knew that he witnessed, in a figure, the consummation of all things, the Bridal of all Bridals, the mystery that is beyond all mysteries, accomplished from the foundation of the world. So day by day the house of his life became more magical.

And at the same time he began to guess that if in the New Life there are new and unheard-of joys, there are also new and unheard-of dangers. In his manuscript books which professed to deliver the outer sense of those mysterious 'Hidden Songs of Iolo Sant' there was a little chapter that bore the heading: Fons Sacer non in communem Vsum convertendus est, and by diligence, with much use of the grammar and dictionary, Darnell was able to construe the by no means complex Latin of his ancestor. The special book which contained the chapter in question was one of the most singular in the collection, since it bore the title Terra de Iolo, and on the surface, with an ingenious concealment of its real symbolism, it affected to give an account of the orchards, fields, woods, roads, tenements, and waterways in the possession of Darnell's ancestors. Here, then, he read