Flute and Violin, and Other Kentucky Tales and Romances

by James Lane Allen

While she sleeps learn her history. Pauline Cambron was descended from one of those sixty Catholic families of Maryland that formed a league in 1785 for the purpose of emigrating to Kentucky without the rending of social ties or separation from the rites of their ancestral faith. Since then the Kentucky branch of the Cambrons has always maintained friendly relations with the Maryland branch, which is now represented by one of the wealthy and cultivated families of Baltimore. On one side the descent is French; and, as far back as this can be traced, there runs a tradition that some of the most beautiful of its women became barefoot Carmelite nuns in the various monasteries of France or on some storm-swept island of the Mediterranean Sea.

The first of the Kentucky Cambrons settled in that part of the State in which nearly a hundred years later lived the last generation of them—the parents of Pauline. Of these she was the only child, so that upon her marriage depended the perpetuation of the Kentucky family. It gives to the Protestant mind a startling insight into the possibilities of a woman's life and destiny in Kentucky to learn the nature of the literature by which her sensitive and imaginative character was from the first impressed. This literature covers a field wholly unknown to the ordinary student of Kentucky history. It is not to be found in well-known works, but in the letters, reminiscences, and lives of foreign priests, and in the kindling and heroic accounts of the establishment of Catholic missions. It abounds in such stories as those of a black friar fatally thrown from a wild horse in the pathless wilderness; of a gray friar torn to pieces by a saw-mill; of a starving white friar stretched out to die under the green canopy of an oak; of priests swimming half-frozen rivers with the sacred vestments in their teeth; of priests hewing logs for a hut in which to celebrate the mass; of priests crossing and recrossing the Atlantic and traversing Italy and Belgium and France for money and pictures and books; of devoted women laying the foundation of powerful convents in half-ruined log-cabins, shivering on beds of straw sprinkled on the ground, driven by poverty to search in the wild woods for dyes with which to give to their motley worldly apparel the hue of the cloister, and dying at last, to be laid away in pitiless burial without coffin or shroud.

Such incidents were to her the more impressive since happening in part in the region where lay the Cambron estate; and while very young she was herself repeatedly taken to visit the scenes of early religious tragedies. Often, too, around the fireside there was proud reference to the convent life of old France and to the saintly zeal of the Carmelites; and once she went with her parents to Baltimore and witnessed the taking of the veil by a cousin of hers—a scene that afterwards burned before her conscience as a lamp before a shrine.

Is it strange if under such influences, living in a country place with few associates, reading in her father's library books that were to be had on the legends of the monastic orders and the lives of the saints—is it strange if to the young Pauline Cambron this world before long seemed little else than the battle-field of the Church, the ideal man in it a monk, the ideal woman a nun, the human heart a solemn sacrifice to Heaven, and human life a vast, sad pilgrimage to the shrine eternal?

Among the places which had always appealed to her imagination as one of the heroic sites of Kentucky history was the Convent of the Stricken Heart, not far away. Whenever she came hither she seemed to be treading on sacred ground. Happening to visit it one summer day before her education was completed, she asked to be sent hither for the years that remained. When these were past, here, with the difficult consent of her parents, who saw thus perish the last hope of the perpetuation of the family, she took the white veil. Here at last she hid herself beneath the black. Her whole character at this stage of its unfolding may be understood from the name she assumed—Sister Dolorosa. With this name she wished not merely to extinguish her worldly personality, but to clothe herself with a life-long expression of her sympathy with the sorrows of the world. By this act she believed that she would attain a change of nature so complete that the black veil of Sister Dolorosa would cover as in a funeral urn the ashes which had once been the heart of Pauline Cambron. And thus her conventual life began.

But for those beings to whom the span on the summer-evening cloud is as nothing compared with that fond arch of beauty which it is a necessity of their nature to hang as a bow of promise above every beloved hope—for such dreamers the sadness of life lies in the dissipation of mystery and the disillusion of truth. When she had been a member of the order long enough to see things as they were, Sister Dolorosa found herself living in a large, plain, comfortable brick convent, situated in a retired and homely region of Southern Kentucky. Around her were plain nuns with the invincible contrariety of feminine temperament. Before her were plain duties. Built up around her were plain restrictions. She had rushed with out-stretched arms towards poetic mysteries, and clasped prosaic reality.

As soon as the lambent flame of her spirit had burned over this new life, as a fire before a strong wind rushes across a plain, she one day surveyed it with that sense of reality which sometimes visits the imaginative with such appalling vividness. Was it upon this dreary waste that her soul was to play out its drama of ideal womanhood?

She answered the question in the only way possible to such a nature as hers. She divided her life in twain. Half, with perfect loyalty, she gave out to duty; the other, with equal loyalty, she stifled within. But perhaps this is no uncommon lot—this unmating of the forces of the mind, as though one of two singing-birds should be released to fly forth under the sky, while the other—the nobler singer—is kept voiceless in a darkened chamber.

But the Sisters of the Stricken Heart are not cloistered nuns. Their chief vow is to go forth into the world to teach. Scarcely had Sister Dolorosa been intrusted with work of this kind before she conceived an aspiration to become a great teacher of history or literature, and obtained permission to spend extra hours in the convent library on a wider range of sacred reading. Here began a second era in her life. Books became the avenues along which she escaped from her present into an illimitable world. Her imagination, beginning to pine, now took wing and soared back to the remote, the splendid, the imperial, the august. Her sympathies, finding nothing around her to fix upon, were borne afar like winged seed and rooted on the colossal ruins of the centuries. Her passion for beauty fed on holy art. She lived at the full flood of life again.

If in time revulsion came, she would live a shy, exquisite, hidden life of poetry in which she herself played the historic roles. Now she would become a powerful abbess of old, ruling over a hundred nuns in an impregnable cloister. To the gates, stretched on a litter, wounded to death, they bore a young knight of the Cross. She had the gates opened. She went forth and bent over him; heard his dying message; at his request drew the plighted ring from his finger to send to another land. How beautiful he was! How many masses—how many, many masses—had she not ordered for the peace of his soul! Now she was St. Agatha, tortured by the proconsul; now she lay faint and cold in an underground cell, and was visited by Thomas à Kempis, who read to her long passages from the Imitation. Or she would tire of the past, and making herself an actor in her own future, in a brief hour live out the fancied drama of all her crowded years.