‘Mass was at eleven. … Amedee’s was the only empty pew, and [Emil] sat down in it. Some of Amedee’s cousins were there, dressed in black and weeping. When all the pews were full, the old men and boys packed the open space at the back of the church, kneeling on the floor. There was scarcely a family in town that was not represented in the confirmation class, by a cousin, at least. The new communicants, with their clear, reverent faces, were beautiful to look upon as they entered in a body and took the front benches reserved for them. Even before the Mass began, the air was charged with feeling. The choir had never sung so well and Raoul Marcel, in the “Gloria,” drew even the bishop’s eyes to the organ loft. For the offertory he sang Gounod’s “Ave Maria,”—always spoken of in Sainte-Agnes as “the Ave Maria.”
‘… Overtaxed by excitement and sorrow as he was, the rapture of the service took hold upon his body and mind. As he listened to Raoul, he seemed to emerge from the conflicting emotions which had been whirling him about and sucking him under. He felt as if a clear light broke upon his mind, and with it a conviction that good was, after all, stronger than evil, and that good was possible to men. He seemed to discover that there was a kind of rapture in which he could love forever without faltering and without sin.’
Willa Cather, O Pioneers! (1913).