The Atlantic Monthly, Volume 04, No. 22, August, 1859: A Magazine of Literature, Art, and PoliticsVarious
Religion
The Atlantic Monthly, Volume 04, No. 22, August, 1859: A Magazine of Literature, Art, and Politics
Various
American periodicals
The building is spacious, inclosing a hollow square, and with numerous
galleries, like European cloisters, where the youth walk, study, and
play. We were shown up-stairs, into a pleasant reception-room, where two
priests soon waited on us. One of these, Padre Doyaguez, seemed to be
the decoy-duck of the establishment, and soon fastened upon one of our
party, whose Protestant tone of countenance had probably caught his
attention. Was she a Protestant? Oh, no!--not with that intelligent,
physiognomy!--not with that talent! What was her name? Julia (pronounced
_H_ulia). Hulia was a Roman name, a Catholic name; he had never heard of
a Hulia who was a Protestant;--very strange, it seemed to him, that a
Hulia could hold to such unreasonable ideas. The other priest, Padre
Lluc, meanwhile followed with sweet, quiet eyes, whose silent looks had
more persuasion in them than all the innocent cajoleries of the elder
man. Padre Doyaguez was a man eminently qualified to deal with the sex
in general,--a coaxing voice, a pair of vivacious eyes, whose cunning
was not unpleasing, tireless good-humor and perseverance, and a savor of
sincerity. Padre Lluc was the sort of man that one recalls in quiet
moments with a throb of sympathy,--the earnest eyes, the clear brow, the
sonorous voice. One thinks of him, and hopes that he is satisfied,--that
cruel longing and more cruel doubt shall never spring up in that
capacious heart, divorcing his affections and convictions from the
system to which his life is irrevocably wedded. No, keep still, Padre
Lluc I think ever as you think now, lest the faith that seems a fortress
should prove a prison, the mother a step-dame,--lest the high,
chivalrous spirit, incapable of a safe desertion, should immolate truth
or itself on the altar of consistency.
Public-domain text, read in full here on John Shaqi.
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