He knew that it was in the temple itself that the hammers were forged which overthrew it. He very often said: “Such is the power of theological discipline that it alone is capable of rearing great reprobates; an unbeliever who has not passed through our hands is powerless and without weapons for evil. It is within our walls that they imbibe all knowledge, even that of blasphemy.” From the mass of the students he only demanded industry and integrity, feeling certain that these would make good parish priests of them. But in his finest students he feared curiosity, pride, the impious boldness of the intellect, and even the qualities that brought the angels to perdition.
“Monsieur Perruque,” said he brusquely, “let us see the notes on Piédagnel.”
The master of method, with his thumb moistened at his lips, turned over the leaves of the register, and then pointed out with his great dirt-encircled forefinger the lines traced on the margin of the book:
_M. Piédagnel holds thoughtless conversations._
_M. Piédagnel refuses to take any physical exercise._
The director read and shook his head. He turned the leaf and continued reading:
_M. Piédagnel has written a poor essay on the unity of the faith._
“Unity—that is just what he will never grasp! And yet it is the idea above all others which ought to be impressed on the priest’s mind. For I do not fear to affirm that this conception is entirely of God, and, as it were, His most vivid manifestation among men.”
He turned his hollow, gloomy gaze towards Abbé Perruque.
“This subject of the unity of the faith, Monsieur Perruque, is my touchstone by which I try the spirits. The simplest minds, if they do not fail in sincerity, draw logical conclusions from the idea of unity; and the most able derive an admirable philosophy from this principle. In the pulpit, Monsieur Perruque, I have three times handled the unity of the faith, and the wealth of the subject still amazes me.”
_M. Piédagnel has compiled a note-book, which has been found in his desk, and which contains, written in M. Piédagnel’s own hand, extracts from different love-poems, composed by Leconte de Lisle and Paul Verlaine, as well as by several other loose writers, and the choice of the extracts betrays excessive profligacy both of the mind and the senses._