Downstairs the villagers are crowding, drifting like a heavy current. The women are seated, by church instinct, all together on the left, with perhaps an odd man at the end of a row, beside his wife. On the right, sprawling in the benches, are several groups of bersaglieri, in grey uniforms and slanting cock’s-feather hats; then peasants, fishermen, and an odd couple or so of brazen girls taking their places on the men’s side.
At the back, lounging against the pillars or standing very dark and sombre, are the more reckless spirits of the village. Their black felt hats are pulled down, their cloaks are thrown over their mouths, they stand very dark and isolated in their moments of stillness, they shout and wave to each other when anything occurs.
The men are clean, their clothes are all clean washed. The rags of the poorest porter are always well washed. But it is Sunday to-morrow, and they are shaved only on a Sunday. So that they have a week’s black growth on their chins. But they have dark, soft eyes, unconscious and vulnerable. They move and balance with loose, heedless motion upon their clattering zoccoli, they lounge with wonderful ease against the wall at the back, or against the two pillars, unconscious of the patches on their clothes or of their bare throats, that are knotted perhaps with a scarlet rag. Loose and abandoned, they lounge and talk, or they watch with wistful absorption the play that is going on.
They are strangely isolated in their own atmosphere, and as if revealed. It is as if their vulnerable being was exposed and they have not the wit to cover it. There is a pathos of physical sensibility and mental inadequacy. Their mind is not sufficiently alert to run with their quick, warm senses.
The men keep together, as if to support each other, the women also are together, in a hard, strong herd. It is as if the power, the hardness, the triumph, even in this Italian village, were with the women in their relentless, vindictive unity.
That which drives men and women together, the indomitable necessity, is like a bondage upon the people. They submit as under compulsion, under constraint. They come together mostly in anger and in violence of destructive passion. There is no comradeship between men and women, none whatsoever, but rather a condition of battle, reserve, hostility.
On Sundays the uncomfortable, excited, unwilling youth walks for an hour with his sweetheart, at a little distance from her, on the public highway in the afternoon. This is a concession to the necessity for marriage. There is no real courting, no happiness of being together, only the roused excitement which is based on a fundamental hostility. There is very little flirting, and what there is is of the subtle, cruel kind, like a sex duel. On the whole, the men and women avoid each other, almost shun each other. Husband and wife are brought together in a child, which they both worship. But in each of them there is only the great reverence for the infant, and the reverence for fatherhood or motherhood, as the case may be; there is no spiritual love.
In marriage, husband and wife wage the subtle, satisfying war of sex upon each other. It gives a profound satisfaction, a profound intimacy. But it destroys all joy, all unanimity in action.
On Sunday afternoons the uncomfortable youth walks by the side of his maiden for an hour in the public highway. Then he escapes; as from a bondage he goes back to his men companions. On Sunday afternoons and evenings the married woman, accompanied by a friend or by a child – she dare not go alone, afraid of the strange, terrible sex-war between her and the drunken man – is seen leading home the wine-drunken, liberated husband. Sometimes she is beaten when she gets home. It is part of the process. But there is no synthetic love between men and women, there is only passion, and passion is fundamental hatred, the act of love is a fight.
The child, the outcome, is divine. Here the union, the oneness, is manifest. Though spirit strove with spirit, in mortal conflict, during the sex-passion, yet the flesh united with flesh in oneness. The phallus is still divine. But the spirit, the mind of man, this has become nothing.
So the women triumph. They sit down below in the theatre, their perfectly dressed hair gleaming, their backs very straight, their heads carried tensely. They are not very noticeable. They seem held in reserve. They are just as tense and stiff as the men are slack and abandoned. Some strange will holds the women taut. They seem like weapons, dangerous. There is nothing charming nor winning about them; at the best a full, prolific maternity, at the worst a yellow poisonous bitterness of the flesh that is like a narcotic. But they are too strong for the men. The male spirit, which would subdue the immediate flesh to some conscious or social purpose, is overthrown. The woman in her maternity is the law-giver, the supreme authority. The authority of the man, in work, in public affairs, is something trivial in comparison. The pathetic ignominy of the village male is complete on Sunday afternoon, on his great day of liberation, when he is accompanied home, drunk but sinister, by the erect, unswerving, slightly cowed woman. His drunken terrorising is only pitiable, she is so obviously the more constant power.
And this is why the men must go away to America. It is not the money. It is the profound desire to rehabilitate themselves, to recover some dignity as men, as producers, as workers, as creators from the spirit, not only from the flesh. It is a profound desire to get away from women altogether, the terrible subjugation to sex, the phallic worship.
The company of actors in the little theatre was from a small town away on the plain, beyond Brescia. The curtain rose, everybody was still, with that profound, naïve attention which children give. And after a few minutes I realised that I Spettri was Ibsen’s Ghosts. The peasants and fishermen of the Garda, even the rows of ungovernable children, sat absorbed in watching as the Norwegian drama unfolded itself.
The actors are peasants. The leader is the son of a peasant proprietor. He is qualified as a chemist, but is unsettled, vagrant, prefers play-acting. The Signor Pietro di Paoli shrugs his shoulders and apologises for their vulgar accent. It is all the same to me. I am trying to get myself to rights with the play, which I have just lately seen in Munich, perfectly produced and detestable.
It was such a change from the hard, ethical, slightly mechanised characters in the German play, which was as perfect an interpretation as I can imagine, to the rather pathetic notion of the Italian peasants, that I had to wait to adjust myself.
The mother was a pleasant, comfortable woman harassed by something, she did not quite know what. The pastor was a ginger-haired caricature imitated from the northern stage, quite a lay figure. The peasants never laughed, they watched solemnly and absorbedly like children. The servant was just a slim, pert, forward hussy, much too flagrant. And then the son, the actor-manager: he was a dark, ruddy man, broad and thick-set, evidently of peasant origin, but with some education now; he was the important figure, the play was his.
And he was strangely disturbing. Dark, ruddy, and powerful, he could not be the blighted son of Ghosts, the hectic, unsound, northern issue of a diseased father. His flashy Italian passion for his half-sister was real enough to make one uncomfortable: something he wanted and would have in spite of his own soul, something which fundamentally he did not want.
It was this contradiction within the man that made the play so interesting. A robust, vigorous man of thirty-eight, flaunting and florid as a rather successful Italian can be, there was yet a secret sickness which oppressed him. But it was no taint in the blood, it was rather a kind of debility in the soul. That which he wanted and would have, the sensual excitement, in his soul he did not want it, no, not at all. And yet he must act from his physical desires, his physical will.
His true being, his real self, was impotent. In his soul he was dependent, forlorn. He was childish and dependent on the mother. To hear him say, “Grazia, mamma!” would have tormented the mother-soul in any woman living. Such a child crying in the night! And for what?
For he was hot-blooded, healthy, almost in his prime, and free as a man can be in his circumstances. He had his own way, he admitted no thwarting. He governed his circumstances pretty much, coming to our village with his little compa
ny, playing the plays he chose himself. And yet, that which he would have he did not vitally want, it was only a sort of inflamed obstinacy that made him so insistent, in the masculine way. He was not going to be governed by women, he was not going to be dictated to in the least by any one. And this because he was beaten by his own flesh.
His real man’s soul, the soul that goes forth and builds up a new world out of the void, was ineffectual. It could only revert to the senses. His divinity was the phallic divinity. The other male divinity, which is the spirit that fulfils in the world the new germ of an idea, this was denied and obscured in him, unused. And it was this spirit which cried out helplessly in him through the insistent, inflammable flesh. Even this play-acting was a form of physical gratification for him, it had in it neither real mind nor spirit.
It was so different from Ibsen, and so much more moving. Ibsen is exciting, nervously sensational. But this was really moving, a real crying in the night. One loved the Italian nation, and wanted to help it with all one’s soul. But when one sees the perfect Ibsen, how one hates the Norwegian and Swedish nations! They are detestable.
They seem to be fingering with the mind the secret places and sources of the blood, impertinent, irreverent, nasty. There is a certain intolerable nastiness about the real Ibsen: the same thing is in Strindberg and in most of the Norwegian and Swedish writings. It is with them a sort of phallic worship also, but now the worship is mental and perverted: the phallus is the real fetish, but it is the source of uncleanliness and corruption and death, it is the Moloch, worshipped in obscenity.
Which is unbearable. The phallus is a symbol of creative divinity. But it represents only part of creative divinity. The Italian has made it represent the whole. Which is now his misery, for he has to destroy his symbol in himself.
Which is why the Italian men have the enthusiasm for war, unashamed. Partly it is the true phallic worship, for the phallic principle is to absorb and dominate all life. But also it is a desire to expose themselves to death, to know death, that death may destroy in them this too strong dominion of the blood, may once more liberate the spirit of outgoing, of uniting, of making order out of chaos, in the outer world, as the flesh makes a new order from chaos in begetting a new life, set them free to know and serve a greater idea.
The peasants below sat and listened intently, like children who hear and do not understand, yet who are spellbound. The children themselves sit spellbound on the benches till the play is over. They do not fidget or lose interest. They watch with wide, absorbed eyes at the mystery, held in thrall by the sound of emotion.
But the villagers do not really care for Ibsen. They let it go. On the feast of Epiphany, as a special treat, was given a poetic drama by D’Annunzio, La Fiaccola sotto il Moggio – The Light under the Bushel.
It is a foolish romantic play of no real significance. There are several murders and a good deal of artificial horror. But it is all a very nice and romantic piece of make-believe, like a charade.
So the audience loved it. After the performance of Ghosts I saw the barber, and he had the curious grey clayey look of an Italian who is cold and depressed. The sterile cold inertia, which the so-called passionate nations know so well, had settled on him, and he went obliterating himself in the street, as if he were cold, dead.
But after the D’Annunzio play he was like a man who has drunk sweet wine and is warm.
“Ah, bellissimo, bellissimo!” he said, in tones of intoxicated reverence, when he saw me.
“Better than I Spettri?” I said.
He half-raised his hands, as if to imply the fatuity of the question.
“Ah, but – ” he said, “it was D’Annunzio. The other …” “That was Ibsen – a great Norwegian,” I said, “famous all over the world.”
“But, you know – D’Annunzio is a poet – oh, beautiful, beautiful!” There was no going beyond this “bello – bellissimo.”
It was the language which did it. It was the Italian passion for rhetoric, for the speech which appeals to the senses and makes no demand on the mind. When an Englishman listens to a speech he wants at least to imagine that he understands thoroughly and impersonally what is meant. But an Italian only cares about the emotion. It is the movement, the physical effect of the language upon the blood which gives him supreme satisfaction. His mind is scarcely engaged at all. He is like a child, hearing and feeling without understanding. It is the sensuous gratification he asks for. Which is why D’Annunzio is a god in Italy. He can control the current of the blood with his words, and although much of what he says is bosh, yet the hearer is satisfied, fulfilled.
Carnival ends on the 5th of February, so each Thursday there is a Serata d’Onore of one of the actors. The first, and the only one for which prices were raised – to a fourpence entrance fee instead of threepence – was for the leading lady. The play was The Wife of the Doctor, a modern piece, sufficiently uninteresting; the farce that followed made me laugh.
Since it was her Evening of Honour, Adelaida was the person to see. She is very popular, though she is no longer young. In fact, she is the mother of the young pert person of Ghosts.
Nevertheless, Adelaida, stout and blonde and soft and pathetic, is the real heroine of the theatre, the prima. She is very good at sobbing; and afterwards the men exclaim involuntarily, out of their strong emotion, “bella, bella!” The women say nothing. They sit stiffly and dangerously as ever. But, no doubt, they quite agree this is the true picture of ill-used, tear-stained woman, the bearer of many wrongs. Therefore they take unto themselves the homage of the men’s “bella, bella!” that follows the sobs: it is due recognition of their hard wrongs: “the woman pays.” Nevertheless, they despise in their souls the plump, soft Adelaida.
Dear Adelaida, she is irreproachable. In every age, in every clime, she is dear, at any rate to the masculine soul, this soft, tear-blenched, blonde, ill-used thing. She must be ill-used and unfortunate. Dear Gretchen, dear Desdemona, dear Iphigenia, dear Dame aux Camélias, dear Lucy of Lammermoor, dear Mary Magdalene, dear, pathetic, unfortunate soul, in all ages and lands, how we love you. In the theatre she blossoms forth, she is the lily of the stage. Young and inexperienced as I am, I have broken my heart over her several times. I could write a sonnet-sequence to her, yes, the fair, pale, tear-stained thing, white-robed, with her hair down her back; I could call her by a hundred names, in a hundred languages, Mélisande, Elizabeth, Juliet, Butterfly, Phèdre, Minnehaha, etc. Each new time I hear her voice, with its faint clang of tears, my heart grows big and hot, and my bones melt. I detest her, but it is no good. My heart begins to swell like a bud under the plangent rain.
The last time I saw her was here, on the Garda, at Salò. She was the chalked, thin-armed daughter of Rigoletto. I detested her, her voice had a chalky squeak in it. And yet, by the end, my heart was over-ripe in my breast, ready to burst with loving affection. I was ready to walk on to the stage, to wipe out the odious, miscreant lover, and to offer her all myself, saying, “I can see it is real love you want, and you shall have it: I will give it to you.”
Of course I know the secret of the Gretchen magic; it is all in the “Save me, Mr. Hercules!” phrase. Her shyness, her timidity, her trustfulness, her tears foster my own strength and grandeur. I am the positive half of the universe. But so I am, if it comes to that, just as positive as the other half.
Adelaida is plump, and her voice has just that moist, plangent strength which gives one a real voluptuous thrill. The moment she comes on the stage and looks round – a bit scared – she is she, Electra, Isolde, Sieglinde, Marguerite. She wears a dress of black voile, like the lady who weeps at the trial in the police-court. This is her modem uniform. Her antique garment is of trailing white, with a blonde pigtail and a flower. Realistically, it is black voile and a handkerchief.
Adelaida always has a handkerchief. And still I cannot resist it. I say, “There’s the hanky!” Nevertheless, in two minutes it has worked its way with me. She squeezes it in her poor, plump hand as the
tears begin to rise; Fate, or man, is inexorable, so cruel. There is a sob, a cry; she presses the fist and the hanky to her eyes, one eye, then the other. She weeps real tears, tears shaken from the depths of her soft, vulnerable, victimised female self. I cannot stand it. There I sit in the padrone’s little red box and stifle my emotion, whilst I repeat in my heart: “What a shame, child, what a shame!” She is twice my age, but what is age in such a circumstance? “Your poor little hanky, it’s sopping. There, then, don’t cry. It’ll be all right. I’ll see you’re all right. All men are not beasts, you know.” So I cover her protectively in my arms, and soon I shall be kissing her, for comfort, in the heat and prowess of my compassion, kissing her soft, plump cheek and neck closely, bringing my comfort nearer and nearer.
It is a pleasant and exciting rôle for me to play. Robert Burns did the part to perfection:
O wert thou in the cauld blast
On yonder lea, on yonder lea.
How many times does one recite that to all the Ophelias and Gretchens in the world:
Thy bield should be my bosom.
How one admires one’s bosom in that capacity! Looking down at one’s shirt-front, one is filled with strength and pride.
Why are the women so bad at playing this part in real life, this Ophelia-Gretchen rôle? Why are they so unwilling to go mad and die for our sakes? They do it regularly on the stage.
But perhaps, after all, we write the plays. What a villain I am, what a black-browed, passionate, ruthless, masculine villain I am to the leading lady on the stage; and, on the other hand, dear heart, what a hero, what a fount of chivalrous generosity and faith! I am anything but a dull and law-abiding citizen. I am a Galahad, full of purity and spirituality, I am the Lancelot of valour and lust; I fold my hands, or I cock my hat on one side, as the case may be: I am myself. Only, I am not a respectable citizen, not that, in this hour of my glory and my escape.
Twilight in Italy Page 8
