Twilight In Italy

D. H. Lawrence

• Publisher: Youcanprint
• Year: 2017
• ISBN:
  9788892657533
• Topic: Literature
• Subtopic: Classics
• Index: Literature

Twilight In Italy by D.H.Lawrence - First Published In 1916 and written at the height of D.H. Lawrence's creative energies, is composed of seven short pieces that are filled with the humor and lively sensory images for which he is known.

ON THE LAGO DI GARDA

1. THE SPINNER AND THE MONKS

The Holy Spirit is a Dove, or an Eagle. In the Old Testament it was an Eagle; in the New Testament it is a Dove.

And there are, standing over the Christian world, the Churches of the Dove and the Churches of the Eagle. There are, moreover, the Churches which do not belong to the Holy Spirit at all, but which are built to pure fancy and logic; such as the Wren Churches in London.

The Churches of the Dove are shy and hidden: they nestle among trees, and their bells sound in the mellowness of Sunday; or they are gathered into a silence of their own in the very midst of the town, so that one passes them by without observing them; they are as if invisible, offering no resistance to the storming of the traffic.

But the Churches of the Eagle stand high, with their heads to the skies, as if they challenged the world below. They are the Churches of the Spirit of David, and their bells ring passionately, imperiously, falling on the subservient world below.

The Church of San Francesco was a Church of the Dove. I passed it several times in the dark, silent little square, without knowing it was a church. Its pink walls were blind, windowless, unnoticeable, it gave no sign, unless one caught sight of the tan curtain hanging in the door, and the slit of darkness beneath. Yet it was the chief church of the village.

But the Church of San Tommaso perched over the village. Coming down the cobbled, submerged street, many a time I looked up between the houses and saw the thin old church standing above in the light, as if it perched on the house-roofs. Its thin grey neck was held up stiffly, beyond was a vision of dark foliage, and the high hillside.

I saw it often, and yet for a long time it never occurred to me that it actually existed. It was like a vision, a thing one does not expect to come close to. It was there standing away upon the house-tops, against a glamour of foliaged hillside. I was submerged in the village, on the uneven, cobbled street, between old high walls and cavernous shops and the houses with flights of steps.

For a long time I knew how the day went, by the imperious clangour of midday and evening bells striking down upon the houses and the edge of the lake. Yet it did not occur to me to ask where these bells rang. Till at last my everyday trance was broken in upon, and I knew the ringing of the Church of San Tommaso. The church became a living connexion with me.

So I set out to find it, I wanted to go to it. It was very near. I could see it from the piazza by the lake. And the village itself had only a few hundreds of inhabitants. The church must be within a stone's throw.

Yet I could not find it. I went out of the back door of the house, into the narrow gully of the back street. Women glanced down at me from the top of the flights of steps, old men stood, half-turning, half-crouching under the dark shadow of the walls, to stare. It was as if the strange creatures of the under-shadow were looking at me. I was of another element.

The Italian people are called 'Children of the Sun'. They might better be called 'Children of the Shadow'. Their souls are dark and nocturnal. If they are to be easy, they must be able to hide, to be hidden in lairs and caves of darkness. Going through these tiny chaotic backways of the village was like venturing through the labyrinth made by furtive creatures, who watched from out of another element. And I was pale, and clear, and evanescent, like the light, and they were dark, and close, and constant, like the shadow.

So I was quite baffled by the tortuous, tiny, deep passages of the village. I could not find my way. I hurried towards the broken end of a street, where the sunshine and the olive trees looked like a mirage before me. And there above me I saw the thin, stiff neck of old San Tommaso, grey and pale in the sun. Yet I could not get up to the church, I found myself again on the piazza.

Another day, however, I found a broken staircase, where weeds grew in the gaps the steps had made in falling, and maidenhair hung on the darker side of the wall. I went up unwillingly, because the Italians used this old staircase as a privy, as they will any deep side-passage.

But I ran up the broken stairway, and came out suddenly, as by a miracle, clean on the platform of my San Tommaso, in the tremendous sunshine.

It was another world, the world of the eagle, the world of fierce abstraction. It was all clear, overwhelming sunshine, a platform hung in the light. Just below were the confused, tiled roofs of the village, and beyond them the pale blue water, down below; and opposite, opposite my face and breast, the clear, luminous snow of the mountain across the lake, level with me apparently, though really much above.

I was in the skies now, looking down from my square terrace of cobbled pavement, that was worn like the threshold of the ancient church. Round the terrace ran a low, broad wall, the coping of the upper heaven where I had climbed.

There was a blood-red sail like a butterfly breathing down on the blue water, whilst the earth on the near side gave off a green-silver smoke of olive trees, coming up and around the earth-coloured roofs.

It always remains to me that San Tommaso and its terrace hang suspended above the village, like the lowest step of heaven, of Jacob's ladder. Behind, the land rises in a high sweep. But the terrace of San Tommaso is let down from heaven, and does not touch the earth.

I went into the church. It was very dark, and impregnated with centuries of incense. It affected me like the lair of some enormous creature. My senses were roused, they sprang awake in the hot, spiced darkness. My skin was expectant, as if it expected some contact, some embrace, as if it were aware of the contiguity of the physical world, the physical contact with the darkness and the heavy, suggestive substance of the enclosure. It was a thick, fierce darkness of the senses. But my soul shrank.

I went out again. The pavemented threshold was clear as a jewel, the marvellous clarity of sunshine that becomes blue in the height seemed to distil me into itself.

Across, the heavy mountain crouched along the side of the lake, the upper half brilliantly white, belonging to the sky, the lower half dark and grim. So, then, that is where heaven and earth are divided. From behind me, on the left, the headland swept down out of a great, pale-grey, arid height, through a rush of russet and crimson, to the olive smoke and the water of the level earth. And between, like a blade of the sky cleaving the earth asunder, went the pale-blue lake, cleaving mountain from mountain with the triumph of the sky.

Then I noticed that a big, blue-checked cloth was spread on the parapet before me, over the parapet of heaven. I wondered why it hung there.

Turning round, on the other side of the terrace, under a caper-bush that hung like a blood-stain from the grey wall above her, stood a little grey woman whose fingers were busy. Like the grey church, she made me feel as if I were not in existence. I was wandering by the parapet of heaven, looking down. But she stood back against the solid wall, under the caperbush, unobserved and unobserving. She was like a fragment of earth, she was a living stone of the terrace, sun-bleached. She took no notice of me, who was hesitating looking down at the earth beneath. She stood back under the sun-bleached solid wall, like a stone rolled down and stayed in a crevice.

Her head was tied in a dark-red kerchief, but pieces of hair, like dirty snow, quite short, stuck out over her ears. And she was spinning. I wondered so much, that I could not cross towards her. She was grey, and her apron, and her dress, and her kerchief, and her hands and her face were all sun-bleached and sun-stained, greyey, bluey, browny, like stones and half-coloured leaves, sunny in their colourlessness. In my black coat, I felt myself wrong, false, an outsider.

She was spinning, spontaneously, like a little wind. Under her arm she held a distaff of dark, ripe wood, just a straight stick with a clutch at the end, like a grasp of brown fingers full of a fluff of blackish, rusty fleece, held up near her shoulder. And her fingers were plucking spontaneously at the strands of wool drawn down from it. And hanging near her feet, spinning round upon a black thread, spinning busily, like a thing in a gay wind, was her shuttle, her bobbin wound fat with the coarse, blackish worsted she was making.

All the time, like motion without thought, her fingers teased out the fleece, drawing it down to a fairly uniform thickness: brown, old, natural fingers that worked as in a sleep, the thumb having a long grey nail; and from moment to moment there was a quick, downward rub, between thumb and forefinger, of the thread that hung in front of her apron, the heavy bobbin spun more briskly, and she felt again at the fleece as she drew it down, and she gave a twist to the thread that issued, and the bobbin spun swiftly.

Her eyes were clear as the sky, blue, empyrean, transcendent. They were dear, but they had no looking in them. Her face was like a sun-worn stone.

'You are spinning,' I said to her.

Her eyes glanced over me, making no effort of attention.

'Yes,' she said.

She saw merely a man's figure, a stranger standing near. I was a bit of the outside, negligible. She remained as she was, clear and sustained like an old stone upon the hillside. She stood short and sturdy, looking for the most part straight in front, unseeing, but glancing from time to time, with a little, unconscious attention, at the thread. She was slightly more animated than the sunshine and the stone and the motionless caper-bush above her. Still her fingers went along the strand of fleece near her breast.

'That is an old way of spinning,' I said.

'What?'

She looked up at me with eyes clear and transcendent as the heavens. But she was slightly roused. There was the slight motion of the eagle in her turning to look at me, a faint gleam of rapt light in her eyes. It was my unaccustomed Italian.

'That is an old way of spinning,' I repeated.

'Yes—an old way,' she repeated, as if to say the words so that they should be natural to her. And I became to her merely a transient circumstance, a man, part of the surroundings. We divided the gift of speech, that was all.

She glanced at me again, with her wonderful, unchanging eyes, that were like the visible heavens, unthinking, or like two flowers that are open in pure clear unconsciousness. To her I was a piece of the environment. That was all. Her world was clear and absolute, without consciousness of self. She was not self-conscious, because she was not aware that there was anything in the universe except her universe. In her universe I was a stranger, a foreign signore. That I had a world of my own, other than her own, was not conceived by her. She did not care.

So we conceive the stars. We are told that they are other worlds. But the stars are the clustered and single gleaming lights in the night-sky of our world. When I come home at night, there are the stars. When I cease to exist as the microcosm, when I begin to think of the cosmos, then the stars are other worlds. Then the macrocosm absorbs me. But the macrocosm is not me. It is something which I, the microcosm, am not.

So that there is something which is unknown to me and which nevertheless exists. I am finite, and my understanding has limits. The universe is bigger than I shall ever see, in mind or spirit. There is that which is not me.

If I say 'The planet Mars is inhabited,' I do not know what I mean by 'inhabited', with reference to the planet Mars. I can only mean that that world is not my world. I can only know there is that which is not me. I am the microcosm, but the macrocosm is that also which I am not.

The old woman on the terrace in the sun did not know this. She was herself the core and centre to the world, the sun, and the single firmament. She knew that I was an inhabitant of lands which she had never seen. But what of that! There were parts of her own body which she had never seen, which physiologically she could never see. They were none the less her own because she had never seen them. The lands she had not seen were corporate parts of her own living body, the knowledge she had not attained was only the hidden knowledge of her own self. She was the substance of the knowledge, whether she had the knowledge in her mind or not. There was nothing which was not herself, ultimately. Even the man, the male, was part of herself. He was the mobile, separate part, but he was none the less herself because he was sometimes severed from her. If every apple in the world were cut in two, the apple would not be changed. The reality is the apple, which is just the same in the halfapple as in the whole.

And she, the old spinning-woman, was the apple, eternal, unchangeable, whole even in her partiality. It was this which gave the wonderful clear unconsciousness to her eyes. How could she be conscious of herself when all was herself?

She was talking to me of a sheep that had died, but I could not understand because of her dialect. It never occurred to her that I could not understand. She only thought me different, stupid. And she talked on. The ewes had lived under the house, and a part was divided off for the he-goat, because the other people brought their she-goats to be covered by the he-goat. But how the ewe came to die I could not make out.

Her fingers worked away all the time in a little, half-fretful movement, yet spontaneous as butterflies leaping here and there. She chattered rapidly on in her Italian that I could not understand, looking meanwhile into my face, because the story roused her somewhat. Yet not a feature moved. Her eyes remained candid and open and unconscious as the skies. Only a sharp will in them now and then seemed to gleam at me, as if to dominate me.

Her shuttle had caught in a dead chicory plant, and spun no more. She did not notice. I stooped and broke off the twigs. There was a glint of blue on them yet. Seeing what I was doing, she merely withdrew a few inches from the plant. Her bobbin hung free.

She went on with her tale, looking at me wonderfully. She seemed like the Creation, like the beginning of the world, the first morning. Her eyes were like the first morning of the world, so ageless.

Her thread broke. She seemed to take no notice, but mechanically picked up the shuttle, wound up a length of worsted, connected the ends from her wool strand, set the bobbin spinning again, and went on talking, in her half-intimate, half-unconscious fashion, as if she were talking to her own world in me.

So she stood in the sunshine on the little platform, old and yet like the morning, erect and solitary, sun-coloured, sun-discoloured, whilst I at her elbow, like a piece of night and moonshine, stood smiling into her eyes, afraid lest she should deny me existence.

Which she did. She had stopped talking, did not look at me any more, but went on with her spinning, the brown shuttle twisting gaily. So she stood, belonging to the sunshine and the weather, taking no more notice of me than of the dark-stained caper-bush which hung from the wall above her head, whilst I, waiting at her side, was like the moon in the daytime sky, overshone, obliterated, in spite of my black clothes.

'How long has it taken you to do that much?' I asked.

She waited a minute, glanced at her bobbin.

'This much? I don't know. A day or two.'

'But you do it quickly.'

She looked at me, as if suspiciously and derisively. Then, quite suddenly, she started forward and went across the terrace to the great blue-andwhite checked cloth that was drying on the wall. I hesitated. She had cut off her consciousness from me. So I turned and ran away, taking the steps two at a time, to get away from her. In a moment I was between the walls, climbing upwards, hidden.

The schoolmistress had told me I should find snowdrops behind San Tommaso. If she had not asserted such confident knowledge I should have doubted her translation of perce-neige. She meant Christmas roses all the while.

However, I went looking for snowdrops. The walls broke down suddenly, and I was out in a grassy olive orchard, following a track beside pieces of fallen overgrown masonry. So I came to skirt the brink of a steep little gorge, at the bottom of which a stream was rushing down its steep slant to the lake. Here I stood to look for my snowdrops. The grassy, rocky bank went down steep from my feet. I heard water tittle-tattling away in deep shadow below. There were pale flecks in the dimness, but these, I knew, were primroses. So I scrambled down.

Looking up, out of the heavy shadow that lay in the cleft, I could see, right in the sky, grey rocks shining transcendent in the pure empyrean. 'Are they so far up?' I thought. I did not dare to say, 'Am I so far do...