Complete Works of D.H. Lawrence

by D. H. Lawrence

  For the pure splendidness of vocal assertion: “Lo! It is I!” you have to listen to the nightingale. Perhaps for the visual perfection of the same assertion, you have a look at a peacock shaking all his eyes. Among all the creatures created in final splendor, these two are perhaps the most finally perfect; the one is invisible, triumphing sound, the other is voiceless visibility. The nightingale is a quite undistinguished grey-brown bird, if you do see him, although he’s got that tender, hopping mystery about him, of a thing that is rich alive inside. Just as the peacock, when he does make himself heard, is awful, but still impressive: such a fearful shout from out of the menacing jungle. You can actually see him, in Ceylon, yell from a high bough, then stream away past the monkeys, into the impenetrable jungle that seethes and is dark.

  And perhaps for this reason — the reason, that is, of pure, angel- keen or demon-keen assertion of true self — the nightingale makes a man feel sad, and the peacock often makes him angry. It is a sadness that is half envy. The birds are so triumphantly positive in their created selves, eternally new from the hand of the rich, bright God, and perfect. The nightingale ripples with his own perfection. And the peacock arches all his bronze and purple eyes with assuredness.

  This — this rippling assertion of a perfect bit of creation — this green shimmer of a perfect beauty in a bird — makes men angry or melancholy, according as it assails the eye or the ear.

  The ear is much less cunning than the eye. You can say to somebody: “I like you awfully, you look so beautiful this morning,” and she will believe it utterly, though your voice may really be vibrating with mortal hatred. The ear is so stupid, it will accept any amount of false money in words. But let one tiny gleam of the mortal hatred come into your eye, or across your face, and it is detected immediately. The eye is so shrewd and rapid.

  For this reason we get the peacock at once, in all his showy, male self-assertion; and we say, rather sneeringly: “Fine feathers make fine birds!” But when we hear the nightingale, we don’t know what we hear, we only know we feel sad, forlorn. And so we say it is the nightingale that is sad.

  The nightingale, let us repeat, is the most unsad thing in the world; even more unsad than the peacock full of gleam. He has nothing to be sad about. He feels perfect with life. It isn’t conceit. He just feels life-perfect, and he trills it out — shouts, jugs, gurgles, trills, gives long, mock-plaintiff calls, makes declarations, assertions, and triumphs; but he never reflects. It is pure music, in so far as you could never put words to it. But there are words for the feelings aroused in us by the song. No, even that is not true. There are no words to tell what one really feels, hearing the nightingale. It is something so much purer than words, which are all tainted. Yet we can say, it is some sort of feeling of triumph in one’s own life-perfection.

  ‘Tis not through envy of thy happy lot,

  But being too happy in thine happiness, —

  That thou, light-winged Dryad of the trees,

  In some melodious plot

  Of becchen green, and shadows numberless,

  Singest of summer in full-throated ease.

  Poor Keats, he has to be “too happy” in the nightingale’s happiness, not being very happy in himself at all. So he wants to drink the blushful Hippocrene, and fade away with the nightingale into the forest dim.

  Fade far away, dissolve, and quite forget

  What thou among the leaves hast never known,

  The weariness, the fever, and the fret. . . .

  It is such sad, beautiful poetry of the human male. Yet the next line strikes me as a bit ridiculous.

  Here, where men sit and hear each other groan;

  Where palsy shakes a few, sad, last gray hairs. . . .

  This is Keats, not at all the nightingale. But the sad human male still tries to break away, and get over into the nightingale world. Wine will not take him across. Yet he will go.

  Away! away! for I will fly lo thee,

  Not charioted by Bacchus and his pards,

  But on the viewless wings of Poesy. . . .

  He doesn’t succeed, however. The viewless wings of Poesy carry him only into the bushes, not into the nightingale world. He is still outside.

  Darkling I listen: and for many a time

  I have been half in love with easeful Death. . . .

  The nightingale never made any man in love with easeful death, except by contrast. The contrast between the bright flame of positive pure self-aliveness, in the bird, and the uneasy flickering of yearning selflessness, for ever yearning for something outside himself, which is Keats:

  To cease upon the midnight with no pain,

  While thou art pouring forth thy soul abroad

  In such an ecstasy!

  Still wouldst thou sing, and I have ears in vain, —

  To thy high requiem become a sod.

  How astonished the nightingale would be if he could be made to realize what sort of answer the poet was answering to his song. He would fall off the bough with amazement.

  Because a nightingale, when you answer him back, only shouts and sings louder. Suppose a few other nightingales pipe up in neighbouring bushes — as they always do. Then the blue-white sparks of sound go dazzling up to heaven. And suppose you, mere mortal, happen to be sitting on the shady bank having an altercation with the mistress of your heart, hammer and tongs, then the chief nightingale swells and goes at it like Caruso in the Third Act — simply a brilliant, bursting frenzy of music, singing you down, till you simply can’t hear yourself speak to quarrel.

  There was, in fact, something very like a nightingale in Caruso — that bird-like, bursting, miraculous energy of song, and fullness of himself, and self-luxuriance.

  Thou wast not born for death, immortal Bird!

  No hungry generations tread thee down.

  Not yet in Tuscany, anyhow. They are twenty to the dozen. Whereas the cuckoo seems remote and low-voiced, calling his low, half secretive call as he flies past. Perhaps it really is different in England.

  The voice I hear this passing night was heard

  In ancient days by emperor and clown:

  Perhaps the self-same song that found a path

  Through the sad heart of Ruth, when, sick for home,

  She stood in tears amid the alien corn.

  And why in tears? Always tears. Did Diocletian, I wonder, among the emperors, burst into tears when he heard the nightingale, and vF.sop among the clowns? And Ruth, really? Myself, I strongly suspect that young lady of setting the nightingale singing, like the nice damsel in Boccaccio’s story, who went to sleep with the lively bird in her hand, “ — tua figliuola e slata si vaga dell’usignuolo, ch’ella I’ha preso e tienlosi in mano!”

  And what does the hen nightingale think of it all, as she mildly sits upon the eggs and hears milord giving himself forth? Probably she likes it, for she goes on breeding him as jaunty as ever. Probably she prefers his high cockalorum to the poet’s humble moan:

  Now more than ever seems it rich to die,

  To cease upon the midnight with no pain. . . .

  That wouldn’t be much use to the hen nightingale. And one sympathizes with Keats’s Fanny, and understands why she wasn’t having any. Much good such a midnight would have been to her!

  Perhaps, when all’s said and done, the female of the species gets more out of life when the male isn’t wanting to cease upon the midnight, with or without pain. There are better uses for midnights. And a bird that sings because he’s full of his own bright life, and leaves her to keep the eggs cozy, is perhaps preferable to one who moans, even with love of her.

  Of course, the nightingale is utterly unconscious of the little dim hen, while he sings. And he never mentions her name. But she knows well enough that the song is half her; just as she knows the eggs are half him. And just as she doesn’t want him coming in and putting a heavy foot down on her little bunch of eggs, he doesn’t want her poking into his song, and fussing over it, and mussing it up. Every man to his trade, and
every woman to hers:

  Adieu! adieu! thy plaintive anthem fades. . . .

  It never was a plaintive anthem — it was Caruso at his jauntiest. But don’t try to argue with a poet.

  FLOWERY TUSCANY

  I

  Each country has its own flowers, that shine out specially there. In England it is daisies and buttercups, hawthorn and cowslips. In America, it is goldenrod, stargrass, June daisies, Mayapple and asters, that we call Michaelmas daisies. In India, hibiscus and dattura and champa flowers, and in Australia mimosa, that they call wattle, and sharp-tongued strange heath-flowers. In Mexico it is cactus flowers, that they call roses of the desert, lovely and crystalline among many thorns; and also the dangling yard-long clusters of the cream bells of the yucca, like dropping froth.

  But by the Mediterranean, now as in the days of the Argosy, and, we hope, for ever, it is narcissus and anemone, asphodel and myrtle. Narcissus and anemone, asphodel, crocus, myrtle, and parsley, they leave their sheer significance only by the Mediterranean. There are daisies in Italy too: at Paestum there are white little carpets of daisies, in March, and Tuscany is spangled with celandine. But for all that, the daisy and the celandine are English flowers, their best significance is for us and for the North.

  The Mediterranean has narcissus and anemone, myrtle and asphodel and grape hyacinth. These are the flowers that speak and are understood in the sun round the Middle Sea.

  Tuscany is especially flowery, being wetter than Sicily and more homely than the Roman hills. Tuscany manages to remain so remote, and secretly smiling to itself in its many sleeves. There are so many hills popping up, and they take no notice of one another. There are so many little deep valleys with streams that seem to go their own little way entirely, regardless of river or sea. There are thousands, millions of utterly secluded little nooks, though the land has been under cultivation these thousands of years. But the intensive culture of vine and olive and wheat, by the ceaseless industry of naked human hands and winter-shod feet, and slow-stepping, soft-eyed oxen does not devastate a country, does not denude it, does not lay it bare, does not uncover its nakedness, does not drive away either Pan or his children. The streams run and rattle over wild rocks of secret places, and murmur through blackthorn thickets where the nightingales sing all together, unruffled and undaunted.

  It is queer that a country so perfectly cultivated as Tuscany, where half the produce of five acres of land will have to support ten human mouths, still has so much room for the wild flowers and the nightingale. When little hills heave themselves suddenly up, and shake themselves free of neighbours, man has to build his garden and his vineyard, and sculp his landscape. Talk of hanging gardens of Babylon, all Italy, apart from the plains, is a hanging garden. For centuries upon centuries man has been patiently modelling the surface of the Mediterranean countries, gently rounding the hills, and graduating the big slopes and the little slopes into the almost invisible levels of terraces. Thousands of square miles of Italy have been lifted in human hands, piled and laid back in tiny little flats, held up by the drystone walls, whose stones came from the lifted earth. It is a work of many, many centuries. It is the gentle sensitive sculpture of all the landscape. And it is the achieving of the peculiar Italian beauty which is so exquisitely natural, because man, feeling his way sensitively to the fruitfulness of the earth, has moulded the earth to his necessity without violating it.

  Which shows that it can be done. Man can live on the earth and by the earth without disfiguring the earth. It has been done here, on all these sculptured hills and softly, sensitively terraced slopes.

  But, of course, you can’t drive a steam plough on terraces four yards wide, terraces that dwindle and broaden and sink and rise a little, all according to the pitch and the breaking outline of the mother hill. Corn has got to grow on these little shelves of earth, where already the grey olive stands semi-invisible, and the grapevine twists upon its own scars. If oxen can step with that lovely pause at every little stride, they can plough the narrow field. But they will have to leave a tiny fringe, a grassy lip over the drystone wall below. And if the terraces are too narrow to plough, the peasant digging them will still leave the grassy lip, because it helps to hold the surface in the rains.

  And here the flowers take refuge. Over and over and over and over has this soil been turned, twice a year, sometimes three times a year, for several thousands of years. Yet the flowers have never been driven out. There is a very rigorous digging and sifting, the little bulbs and tubers are flung away into perdition, not a weed shall remain.

  Yet spring returns, and on the terrace lips, and in the stony nooks between terraces, up rise the aconites, the crocuses, the narcissus and the asphodel, the inextinguishable wild tulips. There they are, for ever hanging on the precarious brink of an existence, but for ever triumphant, never quite losing their footing. In England, in America, the flowers get rooted out, driven back. They become fugitive. But in the intensive cultivation of ancient Italian terraces, they dance round and hold their own.

  Spring begins with the first narcissus, rather cold and shy and wintry. They are the little bunchy, creamy narcissus with the yellow cup like the yolk of the flower. The natives call these flowers taizette, little cups. They grow on the grassy banks rather sparse, or push up among thorns.

  To me they are winter flowers, and their scent is winter. Spring starts in February, with the winter aconite. Some icy day, when the wind is down from the snow of the mountains, early in February, you will notice on a bit of fallow land, under the olive trees, tight, pale-gold little balls, clenched tight as nuts, and resting on round ruffs of green near the ground. It is the winter aconite suddenly come.

  The winter aconite is one of the most charming flowers. Like all the early blossoms, once her little flower emerges it is quite naked. No shutting a little green sheath over herself, like the daisy or the dandelion. Her bubble of frail, pale, pure gold rests on the round frill of her green collar, with the snowy wind trying to blow it away.

  But without success. The tramontana ceases, comes a day of wild February sunshine. The clenched little nuggets of the aconite puff out, they become light bubbles, like small balloons, on a green base. The sun blazes on, with February splendour. And by noon, all under the olives are wide-open little suns, the aconites spreading all their rays; and there is an exquisitely sweet scent, honey-sweet, not narcissus-frosty; and there is a February humming of little brown bees.

  Till afternoon, when the sun slopes, and the touch of snow comes back into the air.

  But at evening, under the lamp on the table, the aconites are wide and excited, and there is a perfume of sweet spring that makes one almost start humming and trying to be a bee.

  Aconites don’t last very long. But they turn up in all odd places — on clods of dug earth, and in land where the broad-beans are thrusting up, and along the lips of terraces. But they like best land left fallow for one winter. There they throng, showing how quick they are to seize on an opportunity to live and shine forth.

  In a fortnight, before February is over, the yellow bubbles of the aconite are crumpling to nothingness. But already in a cosy-nook the violets are dark purple, and there is a new little perfume in the air.

  Like the debris of winter stand the hellebores, in all the wild places, and the butcher’s broom is flaunting its last bright red berry. Hellebore is Christmas roses, but in Tuscany the flowers never come white. They emerge out of the grass towards the end of December, flowers wintry of winter, and they are delicately pale green, and of a lovely shape, with yellowish stamens. They have a peculiar wintry quality of invisibility, so lonely rising from the sere grass, and pallid green, held up like a little hand-mirror that reflects nothing. At first they are single upon a stem, short and lovely, and very wintry- beautiful, with a will not to be touched, not to be noticed. One instinctively leaves them alone. But as January draws towards February, these hellebores, these greenish Christmas roses become more assertive. Their pallid water-green become
s yellower, pale sulphur-yellow-green, and they rise up, they are in tufts, in throngs, in veritable bushes of greenish open flowers, assertive, bowing their faces with a hellebore assertiveness. In some places they throng among the bushes and above the water of the stream, giving the peculiar pale glimmer almost of primroses, as you walk among them. Almost of primroses, yet with a coarse hellebore leaf and an up- rearing hellebore assertiveness, like snakes in winter.

  And as one walks among them, one brushes the last scarlet off the butcher’s broom. This low little shrub is the Christmas holly of Tuscany, only a foot or so high, with a vivid red berry stuck on in the middle of its sharp hard leaf. In February the last red ball rolls off the prickly plume, and winter rolls with it. The violets already are emerging from the moisture.

  But before the violets make any show, there are the crocuses. If you walk up through the pine-wood, that lifts its umbrellas of pine so high, up till you come to the brow of the hill at the top, you can look south, due south, and see snow on the Apennines, and on a blue afternoon, seven layers of blue-hilled distance.

  Then you sit down on that southern slope, out of the wind, and there it is warm, whether it be January or February, tramonlana or not. There the earth has been baked by innumerable suns, baked and baked again; moistened by many rains, but never wetted for long. Because it is rocky, and full to the south, and sheering steep in the slope.

  And there, in February, in the sunny baked desert of that crumbly slope, you will find the first crocuses. On the sheer aridity of crumbled stone you see a queer, alert little star, very sharp and quite small. It has opened out rather flat, and looks like a tiny freesia flower, creamy, with a smear of yellow yolk. It has no stem, seems to have been just lightly dropped on the crumbled, baked rock. It is the first hill-crocus.