I agreed with him really, and was thankful we hadn’t a lot of smirking, twitching girls and lasses in the audience. This male audience was so tense and pure in its attention.
But hist! the play is going to begin. A lad is grinding a broken street-piano under the stage. The padrone yells Silenzio! with a roar, and reaching over, pokes obstreperous boys with his long fennel-stalk, like a beadle in church. When the curtain rises the piano stops, and there is dead silence. On swings a knight, glittering, marching with that curious hippety lilt, and gazing round with fixed and martial eyes. He begins the prologue, telling us where we are. And dramatically he waves his sword and stamps his foot, and wonderfully sounds his male, martial, rather husky voice. Then the Paladins, his companions who are to accompany him, swing one by one on to the stage, till they are five in all, handsome knights, including the Babylonian Princess and the Knight of Britain. They stand in a handsome, glittering line. And then comes Merlin in his red robe. Merlin has a bright, fair, rather chubby face and blue eyes, and seems to typify the northern intelligence. He now tells them, in many words, how to proceed and what is to be done.
So then, the glittering knights are ready. Are they ready? Rinaldo flourishes his sword with the wonderful cry “Andiamo!” let us go — and the others respond: “Andiamo.” Splendid word.
The first enemy were the knights of Spain, in red kirtles and half turbans. With these a terrible fight. First of all rushes in the Knight of Britain. He is the boaster, who always in words, does everything. But in fact, poor Knight of Britain, he falls lamed. The four Paladins have stood shoulder to shoulder, glittering, watching the fray. Forth now steps another knight, and the fight recommences. Terrible is the smacking of swords, terrible the gasps from behind the dropped visors. Till at last the Knight of Spain falls — and the Paladin stands with his foot on the dead. Then loud acclamations from the Paladins, and yells of joy from the audience.
“Silenzio!” yells the padrone, flourishing the fennel-stalk.
Dead silence, and the story goes on. The Knight of Britain of course claims to have slain the foe: and the audience faintly, jeeringly hisses. “He’s always the boaster, and he never does anything, the Knight of Britain,” whispers my fat friend. He has forgotten my nationality. I wonder if the Knight of Britain is pure tradition, or if a political touch of to-day has crept in.
However, this fray is over — Merlin comes to advise for the next move. And are we ready? We are ready. Andiamo! Again the word is yelled out, and they set off. At first one is all engaged watching the figures: their brilliance, their blank, martial stare, their sudden, angular gestures. There is something extremely suggestive in them. How much better they fit the old legend-tales than living people would do. Nay, if we are going to have human beings on the stage, they should be masked and disguised. For in fact drama is enacted by symbolic creatures formed out of human consciousness: puppets if you like: but not human individuals. Our stage is all wrong, so boring in its personality.
Gradually, however, I found that my eyes were of minor importance. Gradually it was the voice that gained hold of the blood. It is a strong, rather husky, male voice that acts direct on the blood, not on the mind. Again the old male Adam began to stir at the roots of my soul. Again the old, first-hand indifference, the rich, untamed male blood rocked down my veins. What does one care? What does one care for precept and mental dictation? Is there not the massive, brilliant, out-flinging recklessness in the male soul, summed up in the sudden word: Andiamo! Andiamo! Let us go on. Andiamo! — let us go hell knows where, but let us go on. The splendid recklessness and passion that knows no precept and no school-teacher, whose very molten spontaneity is its own guide.
I loved the voices of the Paladins — Rinaldo’s voice, and Orlando’s voice: the voice of men once more, men who are not to be tutored. To be sure there was Merlin making his long speeches in rather a chuntering, prosy tone. But who was he? Was he a Paladin and a splendour? Not he. A long-gowned chunterer. It is the reckless blood which achieves all, the piff-piff-piffing of the mental and moral intelligence is but a subsidiary help, a mere instrument.
The dragon was splendid: I have seen dragons in Wagner, at Covent Garden and at the Prinz-Regenten Theatre in Munich, and they were ridiculous. But this dragon simply frightened me, with his leaping and twisting. And when he seized the knight by the leg, my blood ran cold.
With smoke and sulphur leaps in Beelzebub. But he is merely the servant of the great old witch. He is black and grinning, and he flourishes his posterior and his tail. But he is curiously inefficacious: a sort of lackey of wicked powers.
The old witch with her grey hair and staring eyes succeeds in being ghastly. With just a touch, she would be a tall, benevolent old lady. But listen to her. Hear her horrible female voice with its scraping yells of evil lustfulness. Yes, she fills me with horror. And I am staggered to find how I believe in her as the evil principle. Beelzebub, poor devil, is only one of her instruments.
It is her old, horrible, girning female soul which locks up the heroes, and which sends forth the awful and almost omnipotent malevolence. This old, ghastly woman-spirit is the very core of mischief. And I felt my heart getting as hot against her as the hearts of the lads in the audience were. Red, deep hate I felt of that symbolic old ghoul-female. Poor male Beelzebub is her loutish slave. And it takes all Merlin’s bright-faced intelligence, and all the surging hot urgency of the Paladins, to conquer her.
She will never be finally destroyed — she will never finally die, till her statue, which is immured in the vaults of the castle, is burned. Oh, it was a very psycho-analytic performance altogether, and one could give a very good Freudian analysis of it. But behold this image of the witch: this white, submerged idea of woman which rules from the deeps of the unconscious. Behold, the reckless, untamable male knights will do for it. As the statue goes up in flame — it is only paper over wires — the audience yells! And yells again. And would God the symbolic act were really achieved. It is only little boys who yell. Men merely smile at the trick. They know well enough the white image endures.
So it is over. The knights look at us once more. Orlando, hero of heroes, has a slight inward cast of the eyes. This gives him that look of almost fierce good-nature which these people adore: the look of a man who does not think, but whose heart is all the time red hot with burning, generous blood-passion. This is what they adore.
So my knights go. They all have wonderful faces, and are so splendidly glittering and male. I am sorry they will be laid in a box now.
There is a great gasp of relief. The piano starts its lame rattle. Somebody looking round laughs. And we all look round. And seated on the top of the ticket office is a fat, solemn urchin of two or three years, hands folded over his stomach, his forehead big and blank, like some queer little Buddha. The audience laughs with that southern sympathy: physical sympathy: that is what they love to feel and to arouse.
But there is a little after-scene: in front of the drop-curtain jerks out a little fat flat caricature of a Neapolitan, and from the opposite side jerks the tall caricature of a Sicilian. They jerk towards one another and bump into one another with a smack. And smack goes the Neapolitan, down on his posterior. And the boys howl with joy. It is the eternal collision between the two peoples, Neapolitan and Sicilian. Now goes on a lot of fooling between the two clowns, in the two dialects. Alas, I can hardly understand anything at all. But it sounds comic, and looks very funny. The Neapolitan of course gets most of the knocks. And there seems to be no indecency at all — unless once. The boys howl and rock with joy, and no one says Silenzio!
But it is over. All is over. The theatre empties in a moment. And I shake hands with my fat neighbour, affectionately, and in the right spirit. Truly I loved them all in the theatre: the generous, hot southern blood, so subtle and spontaneous, that asks for blood contact, not for mental communion or spirit sympathy. I was sorry to leave them.
THE END
SKETCHES OF ETRUSCAN PLACES
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br /> This collection of travel writing was first published posthumously in 1932. In these essays Lawrence explores the world of the Etruscans and Benito Mussolini’s Italy during the late 1920s. In preparing these essays, Lawrence travelled through the countryside of Tuscany with his friend Earl Brewster during the spring of 1927.
Tellaro, a medieval village in the Gulf della Spezia, which Lawrence stayed in at this time
CONTENTS
1 — CERVETERI
2 — TARQUINIA
3 — THE PAINTED TOMBS OF TARQUINIA – 1
4 — THE PAINTED TOMBS OF TARQUINIA - 2
5 — VULCI
6 — VOLTERRA
1 — CERVETERI
The Etruscans, as everyone knows, were the people who occupied the middle of Italy in early Roman days and whom the Romans, in their usual neighbourly fashion, wiped out entirely in order to make room for Rome with a very big R. They couldn’t have wiped them all out, there were too many of them. But they did wipe out the Etruscan existence as a nation and a people. However, this seems to be the inevitable result of expansion with a big E, which is the sole raison d’étre of people like the Romans.
Now, we know nothing about the Etruscans except what we find in their tombs. There are references to them in Latin writers. But of first-hand knowledge we have nothing except what the tombs offer.
So to the tombs we must go: or to the museums containing the things that have been rifled from the tombs.
Myself, the first time I consciously saw Etruscan things, in the museum at Perugia, I was instinctively attracted to them. And it seems to be that way. Either there is instant sympathy, or instant contempt and indifference. Most people despise everything B.C. that isn’t Greek, for the good reason that it ought to be Greek if it isn’t. So Etruscan things are put down as a feeble Greco-Roman imitation. And a great scientific historian like Mommsen hardly allows that the Etruscans existed at all. Their existence was antipathetic to him. The Prussian in him was enthralled by the Prussian in the all-conquering Romans. So being a great scientific historian, he almost denies the very existence of the Etruscan people. He didn’t like the idea of them. That was enough for a great scientific historian.
Besides, the Etruscans were vicious. We know it, because their enemies and exterminators said so. Just as we knew the unspeakable depths of our enemies in the late war. Who isn’t vicious to his enemy? To my detractors I am a very effigy of vice. À la bonne heure!
However, those pure, clean-living, sweet-souled Romans, who smashed nation after nation and crushed the free soul in people after people, and were ruled by Messalina and Heliogabalus and such-like snowdrops, they said the Etruscans were vicious. So basta! Quand le mâitre parle, tout le monde se tait. The Etruscans were vicious! The only vicious people on the face of the earth presumably. You and I, dear reader, we are two unsullied snowflakes, aren’t we? We have every right to judge.
Myself, however, if the Etruscans were vicious, I’m glad they were. To the Puritan all things are impure, as somebody says. And those naughty neighbours of the Romans at least escaped being Puritans.
But to the tombs, to the tombs! On a sunny April morning we set out for the tombs. From Rome, the eternal city, now in a black bonnet. It was not far to go — about twenty miles over the Campagna towards the sea, on the line to Pisa.
The Campagna, with its great green spread of growing wheat, is almost human again. But still there are damp empty tracts, where now the little narcissus stands in clumps, or covers whole fields. And there are places green and foam-white, all with camomile, on a sunny morning in early April.
We are going to Cerveteri, which was the ancient Caere, or Cere, and which had a Greek name too, Agylla. It was a gay and gaudy Etruscan city when Rome put up her first few hovels: probably. Anyhow, there are tombs’ there now.
The inestimable big Italian railway-guide says the station is Palo, and Cerveteri is eight and a half kilometres away: about five miles. But there is a post-omnibus.
We arrive at Palo, a station in nowhere, and ask if there is a bus to Cerveteri. No! An ancient sort of wagon with an ancient white horse stands outside. Where does that go? To Ladispoli. We know we don’t want to go to Ladispoli, so we stare at the landscape. Could we get a carriage of any sort? It would be difficult. That is what they always say: difficult! Meaning impossible. At least they won’t lift a finger to help. Is there an hotel at Cerveteri? They don’t know. They have none of them ever been, though it is only five miles away, and there are tombs. Well, we will leave our two bags at the station. But they cannot accept them. Because they are not locked. But when did a hold-all ever lock? Difficult! Well then, let us leave them, and steal if you want to. Impossible! Such a moral responsibility! Impossible to leave an unlocked small hold-all at the station. So much for the officials!
However, we try the man at the small buffet. He is very laconic, but seems all right. We abandon our things in a corner of the dark little eating-place, and set off on foot. Luckily it is only something after ten in the morning.
A flat, white road with a rather noble avenue of umbrella-pines for the first few hundred yards. A road not far from the sea, a bare, flattish, hot white road with nothing but a tilted oxen-wagon in the distance like a huge snail with four horns. Beside the road the tall asphodel is letting off its spasmodic pink sparks, rather at random, and smelling of cats. Away to the left is the sea, beyond the flat green wheat, the Mediterranean glistening flat and deadish, as it does on the low shores. Ahead are hills, and a ragged bit of a grey village with an ugly big grey building: that is Cerveteri. We trudge on along the dull road. After all, it is only five miles and a bit.
We creep nearer, and climb the ascent. Caere, like most Etruscan cities, lay on the crown of a hill with cliff-like escarpments. Not that this Cerveteri is an Etruscan city. Caere, the Etruscan city, was swallowed by the Romans, and after the fall of the Roman Empire it fell out of existence altogether. But it feebly revived, and today we come to an old Italian village, walled in with grey walls, and having a few new, pink, box-shaped houses and villas outside the walls.
We pass through the gateway, where men are lounging talking and mules are tied up, and in the bits of crooked grey streets look for a place where we can eat. We see the notice, Vini e Cucina, Wines and Kitchen; but it is only a deep cavern where mule-drivers are drinking blackish wine.
However, we ask the man who is cleaning the post-omnibus in the street if there is any other place. He says no, so in we go, into the cavern, down a few steps.
Everybody is perfectly friendly. But the food is as usual, meat broth, very weak, with thin macaroni in it: the boiled meat that made the broth: and tripe: also spinach. The broth tastes of nothing, the meat tastes almost of less, the spinach, alas: has been cooked over-in the fat skimmed from the boiled beef. It is a meal — with a piece of so-called sheep’s cheese, that is pure salt and rancidity, and probably comes from Sardinia; and wine that tastes like, and probably is, the black wine of Calabria wetted with a good proportion of water. But it is a meal. We will go to the tombs.
Into the cavern swaggers a spurred shepherd wearing goatskin trousers with the long, rusty brown goat’s hair hanging shaggy from his legs. He grins and drinks wine, and immediately one sees again the shaggy-legged faun. His face is a faun-face, not deadened by morals. He grins quietly, and talks very subduedly, shyly, to the fellow who draws the wine from the barrels. It is obvious fauns are shy, very shy, especially of moderns like ourselves. He glances at us from a corner of his eye, ducks, wipes his mouth on the back of his hand, and is gone, clambering with his hairy legs on to his lean pony, swirling, and rattling away with a neat little clatter of hoofs, under the ramparts and away to the open. He is the faun escaping again out of the city precincts, far more shy and evanescent than any Christian virgin. You cannot hard-boil him.
It occurs to me how rarely one sees the faun-face now, in Italy, that one used to see so often before the war: the brown, rather still, straight-nosed face with
a little black moustache and often a little tuft of black beard; yellow eyes, rather shy, under long lashes, but able to glare with a queer glare, on occasion; and mobile lips that had a queer way of showing the teeth when talking, bright white teeth. It was an old, old type, and rather common in the South. But now you will hardly see one of these men left, with the unconscious, ungrimacing faun-face. They were all, apparently, killed in the war: they would be sure not to survive such a war. Anyway the last one I know, a handsome fellow of my own age — forty and a bit — is going queer and morose, crushed between war memories, that have revived, and remorseless go-ahead women-folk. Probably when I go South again he will have disappeared. They can’t survive, the faun-faced men, with their pure outlines and their strange non-moral calm. Only the deflowered faces survive.
So much for a Maremma shepherd! We went out into the sunny April street of this Cerveteri, Cerevetus, the old Caere. It is a worn-out little knot of streets shut in inside a wall. Rising on the left is the citadel, the acropolis, the high place, that which is the arx in Etruscan cities. But now the high place is forlorn, with a big, weary building like a governor’s palace, or a bishop’s palace, spreading on the crest behind the castle gate, and a desolate sort of yard tilting below it, surrounded by ragged, ruinous enclosure. It is forlorn beyond words, dead, and still too big for the grey knot of inhabited streets below.
The girl of the cavern, a nice girl but a bad cook, has found us a guide, obviously her brother, to take us to the necropolis. He is a lad of about fourteen, and like everybody in this abandoned place shy and suspicious, holding off. He bids us wait while he runs away somewhere. So we drink coffee in the tiny café outside which the motor-omnibus reposes all day long, till the return of our guide and another little boy, who will come with him and see him through. The two boys cotton together, make a little world secure from us, and move on ahead of us, ignoring us as far as possible. The stranger is always a menace. B. and I are two very quiet-mannered harmless men. But that first boy could not have borne to go alone with us. Not alone! He would have been afraid, as if he were in the dark.
Complete Works of D.H. Lawrence Page 795
