Harriet Stowe - Agnes of Sorrento

"Yes," said Jocunda. "Father Anselmo said hell-fire wasn't like any kind of fire we have here, – made to warm us and cook our food, – but a kind made especially to torment body and soul, and not made for anything else. I remember a story he told us about that. You see, there was an old duchess that lived in a grand old castle, – and a proud, wicked old thing enough; and her son brought home a handsome young bride to the castle, and the old duchess was jealous of her, – 'cause, you see, she hated to give up her place in the house, and the old family jewels, and all the splendid things, – and so one time, when the poor young thing was all dressed up in a set of the old family lace, what does the old hag do but set fire to it!"

"How horrible!" said Agnes.

"Yes; and when the young thing ran screaming in her agony, the old hag stopped her and tore off a pearl rosary that she was wearing, for fear it should be spoiled by the fire."

"Holy Mother! can such things be possible?" said Agnes.

"Well, you see, she got her pay for it. That rosary was of famous old pearls that had been in the family a hundred years; but from that moment the good Lord struck it with a curse, and filled it white-hot with hell-fire, so that if anybody held it a few minutes in their hand, it would burn to the bone. The old sinner made believe that she was in great affliction for the death of her daughter-in-law, and that it was all an accident, and the poor young man went raving mad, – but that awful rosary the old hag couldn't get rid of. She couldn't give it away, – she couldn't sell it, – but back it would come every night, and lie right over her heart, all white-hot with the fire that burned in it. She gave it to a convent, and she sold it to a merchant, but back it came; and she locked it up in the heaviest chests, and she buried it down in the lowest vaults, but it always came back in the night, till she was worn to a skeleton; and at last the old thing died without confession or sacrament, and went where she belonged. She was found lying dead in her bed one morning, and the rosary was gone; but when they came to lay her out, they found the marks of it burned to the bone into her breast. Father Anselmo used to tell us this, to show us a little what hell-fire was like."

"Oh, please, Jocunda, don't let us talk about it any more," said Agnes.

Old Jocunda, with her tough, vigorous organization and unceremonious habits of expression, could not conceive the exquisite pain with which this whole conversation had vibrated on the sensitive being at her right hand, – that what merely awoke her hard-corded nerves to a dull vibration of not unpleasant excitement was shivering and tearing the tenderer chords of poor little Psyche beside her.

Ages before, beneath those very skies that smiled so sweetly over her, – amid the bloom of lemon and citron, and the perfume of jasmine and rose, the gentlest of old Italian souls had dreamed and wondered what might be the unknown future of the dead, and, learning his lesson from the glorious skies and gorgeous shores which witnessed how magnificent a Being had given existence to man, had recorded his hopes of man's future in the words — Aut beatus, aut nihil ; but, singular to tell, the religion which brought with it all human tenderness and pities, – the hospital for the sick, the refuge for the orphan, the enfranchisement of the slave, – this religion brought also the news of the eternal, hopeless, living torture of the great majority of mankind, past and present. Tender spirits, like those of Dante, carried this awful mystery as a secret and unexplained anguish, saints wrestled with God and wept over it; but still the awful fact remained, spite of Church and sacrament, that the gospel was in effect, to the majority of the human race, not the glad tidings of salvation, but the sentence of unmitigable doom.

The present traveler in Italy sees with disgust the dim and faded frescoes in which this doom is portrayed in all its varied refinements of torture; and the vivid Italian mind ran riot in these lurid fields, and every monk who wanted to move his audience was in his small way a Dante. The poet and the artist give only the highest form of the ideas of their day, and he who cannot read the "Inferno" with firm nerves may ask what the same representations were likely to have been in the grasp of coarse and common minds.

The first teachers of Christianity in Italy read the Gospels by the light of those fiendish fires which consumed their fellows. Daily made familiar with the scorching, the searing, the racking, the devilish ingenuities of torture, they transferred them to the future hell of the torturers. The sentiment within us which asserts eternal justice and retribution was stimulated to a kind of madness by that first baptism of fire and blood, and expanded the simple and grave warnings of the gospel into a lurid poetry of physical torture. Hence, while Christianity brought multiplied forms of mercy into the world, it failed for many centuries to humanize the savage forms of justice; and rack and wheel, fire and fagot were the modes by which human justice aspired to a faint imitation of what divine justice was supposed to extend through eternity.

But it is remarkable always to observe the power of individual minds to draw out of the popular religious ideas of their country only those elements which suit themselves, and to drop others from their thought. As a bee can extract pure honey from the blossoms of some plants whose leaves are poisonous, so some souls can nourish themselves only with the holier and more ethereal parts of popular belief.

Agnes had hitherto dwelt only on the cheering and the joyous features of her faith; her mind loved to muse on the legends of saints and angels and the glories of paradise, which, with a secret buoyancy, she hoped to be the lot of every one she saw. The mind of the Mother Theresa was of the same elevated cast, and the terrors on which Jocunda dwelt with such homely force of language seldom made a part of her instructions.

Agnes tried to dismiss these gloomy images from her mind, and, after arranging her garlands, went to decorate the shrine and altar, – a cheerful labor of love, in which she delighted.

To the mind of the really spiritual Christian of those ages the air of this lower world was not as it is to us, in spite of our nominal faith in the Bible, a blank, empty space from which all spiritual sympathy and life have fled, but, like the atmosphere with which Raphael has surrounded the Sistine Madonna, it was full of sympathizing faces, a great "cloud of witnesses." The holy dead were not gone from earth; the Church visible and invisible were in close, loving, and constant sympathy, – still loving, praying, and watching together, though with a veil between.

It was at first with no idolatrous intention that the prayers of the holy dead were invoked in acts of worship. Their prayers were asked simply because they were felt to be as really present with their former friends and as truly sympathetic as if no veil of silence had fallen between. In time this simple belief had its intemperate and idolatrous exaggerations, – the Italian soil always seeming to have a fiery and volcanic forcing power, by which religious ideas overblossomed themselves, and grew wild and ragged with too much enthusiasm; and, as so often happens with friends on earth, these too much loved and revered invisible friends became eclipsing screens instead of transmitting mediums of God's light to the soul.

Yet we can see in the hymns of Savonarola, who perfectly represented the attitude of the highest Christian of those times, how perfect might be the love and veneration for departed saints without lapsing into idolatry, and with what an atmosphere of warmth and glory the true belief of the unity of the Church, visible and invisible, could inspire an elevated soul amid the discouragements of an unbelieving and gainsaying world.