Chapter 3

It was so still, everything so perfectly suspended, that I felt them talking. They marched with the peculiar march of monks, a long, loping stride, their heads together, their skirts swaying slowly, two brown monks with hidden hands, sliding under the bony vines and beside the cabbages, their heads always together in hidden converse. It was as if I were attending with my dark soul to their inaudible undertone. All the time I sat still in silence, I was one with them, a partaker, though I could hear no sound of their voices. I went with the long stride of their skirted feet, that slid springless and noiseless from end to end of the garden, and back again. Their hands were kept down at their sides, hidden in the long sleeves, and the skirts of their robes. They did not touch each other, nor gesticulate as they walked. There was no motion save the long, furtive stride and the heads leaning together. Yet there was an eagerness in their conversation. Almost like shadow-creatures ventured out of their cold, obscure element, they went backwards and forwards in their wintry garden, thinking nobody could see them.

Across, above them, was the faint, rousing dazzle of snow. They never looked up. But the dazzle of snow began to glow as they walked, the wonderful, faint, ethereal flush of the long range of snow in the heavens, at evening, began to kindle. Another world was coming to pass, the cold, rare night. It was dawning in exquisite, icy rose upon the long mountain-summit opposite. The monks walked backwards and forwards, talking, in the first undershadow.

And I noticed that up above the snow, frail in the bluish sky, a frail moon had put forth, like a thin, scalloped film of ice floated out on the slow current of the coming night. And a bell sounded.

And still the monks were pacing backwards and forwards, backwards and forwards, with a strange, neutral regularity.

The shadows were coming across everything, because of the mountains in the west. Already the olive wood where I sat was extinguished. This was the world of the monks, the rim of pallor between night and day. Here they paced, backwards and forwards, backwards and forwards, in the neutral, shadowless light of shadow.

Neither the flare of day nor the completeness of night reached them, they paced the narrow path of the twilight, treading in the neutrality of the law. Neither the blood nor the spirit spoke in them, only the law, the abstraction of the average. The infinite is positive and negative. But the average is only neutral. And the monks trod backward and forward down the line of neutrality.

Meanwhile, on the length of mountain-ridge, the snow grew rosy-incandescent, like heaven breaking into blossom. After all, eternal not-being and eternal being are the same. In the rosy snow that shone in heaven over a darkened earth was the ecstasy of consummation. Night and day are one, light and dark are one, both the same in the origin and in the issue, both the same in the moment, of ecstasy, light fused in darkness and darkness fused in light, as in the rosy snow above the twilight.

But in the monks it was not ecstasy, in them it was neutrality, the under earth. Transcendent, above the shadowed, twilit earth was the rosy snow of ecstasy. But spreading far over us, down below, was the neutrality of the twilight, of the monks. The flesh neutralizing the spirit, the spirit neutralizing the flesh, the law of the average asserted, this was the monks as they paced backward and forward.

The moon climbed higher, away from the snowy, fading ridge, she became gradually herself. Between the roots of the olive tree was a rosy-tipped daisy just going to sleep. I gathered it and put it among the frail, moony little bunch of primroses, so that its sleep should warm the rest. Also I put in some little periwinkles, that were very blue, reminding me of the eyes of the old woman.

The day was gone, the twilight was gone, and the snow was invisible as I came down to the side of the lake. Only the moon, white and shining, was in the sky, like a woman glorying in her own loveliness as she loiters superbly to the gaze of all the world, looking sometimes through the fringe of dark olive leaves, sometimes looking at her own superb, quivering body, wholly naked in the water of the lake.

My little old woman was gone. She, all day-sunshine, would have none of the moon. Always she must live like a bird, looking down on all the world at once, so that it lay all subsidiary to herself, herself the wakeful consciousness hovering over the world like a hawk, like a sleep of wakefulness. And, like a bird, she went to sleep as the shadows came.

She did not know the yielding up of the senses and the possession of the unknown, through the senses, which happens under a superb moon. The all-glorious sun knows none of these yieldings up. He takes his way. And the daisies at once go to sleep. And the soul of the old spinning-woman also closed up at sunset, the rest was a sleep, a cessation.

It is all so strange and varied: the dark-skinned Italians ecstatic in the night and the moon, the blue-eyed old woman ecstatic in the busy sunshine, the monks in the garden below, who are supposed to unite both, passing only in the neutrality of the average. Where, then, is the meeting-point: where in mankind is the ecstasy of light and dark together, the supreme transcendence of the afterglow, day hovering in the embrace of the coming night like two angels embracing in the heavens, like Eurydice in the arms of Orpheus, or Persephone embraced by Pluto?

Where is the supreme ecstasy in mankind, which makes day a delight and night a delight, purpose an ecstasy and a concourse in ecstasy, and single abandon of the single body and soul also an ecstasy under the moon? Where is the transcendent knowledge in our hearts, uniting sun and darkness, day and night, spirit and senses? Why do we not know that the two in consummation are one; that each is only part; partial and alone for ever; but that the two in consummation are perfect, beyond the range of loneliness or solitude?

_2_

THE LEMON GARDENS

The padrone came just as we were drinking coffee after dinner. It was two o'clock, because the steamer going down the lake to Desenzano had bustled through the sunshine, and the rocking of the water still made lights that danced up and down upon the wall among the shadows by the piano.

The signore was very apologetic. I found him bowing in the hall, cap in one hand, a slip of paper in the other, protesting eagerly, in broken French, against disturbing me.

He is a little, shrivelled man, with close-cropped grey hair on his skull, and a protruding jaw, which, with his gesticulations, always makes me think of an ancient, aristocratic monkey. The signore is a gentleman, and the last, shrivelled representative of his race. His only outstanding quality, according to the villagers, is his avarice.

_'Mais--mais, monsieur--je crains que--que--que je vous dérange--'_

He spreads wide his hands and bows, looking up at me with implicit brown eyes, so ageless in his wrinkled, monkey's face, like onyx. He loves to speak French, because then he feels grand. He has a queer, naïve, ancient passion to be grand. As the remains of an impoverished family, he is not much better than a well-to-do peasant. But the old spirit is eager and pathetic in him.

He loves to speak French to me. He holds his chin and waits, in his anxiety for the phrase to come. Then it stammers forth, a little rush, ending in Italian. But his pride is all on edge: we must continue in French.

The hall is cold, yet he will not come into the large room. This is not a courtesy visit. He is not here in his quality of gentleman. He is only an anxious villager.

'_Voyez, monsieur--cet--cet--qu'est-ce que--qu'est-ce que veut dire cet--cela?_'

He shows me the paper. It is an old scrap of print, the picture of an American patent door-spring, with directions: 'Fasten the spring either end up. Wind it up. Never unwind.'

It is laconic and American. The signore watches me anxiously, waiting, holding his chin. He is afraid he ought to understand my English. I stutter off into French, confounded by the laconic phrases of the directions. Nevertheless, I make it clear what the paper says.

He cannot believe me. It must say something else as well. He has not done anything contrary to these directions. He is most distressed.

'_Mais, monsieur, la porte--la porte--elle ferme_ pas--_elle s'ouvre_--'

He skipped to the door and showed me the whole tragic mystery. The door, it is shut--_ecco_! He releases the catch, and pouf!--she flies open. She flies _open_. It is quite final.

The brown, expressionless, ageless eyes, that remind me of a monkey's, or of onyx, wait for me. I feel the responsibility devolve upon me. I am anxious.

'Allow me,' I said, 'to come and look at the door.'

I feel uncomfortably like Sherlock Holmes. The padrone protests--_non, monsieur, non, cela vous dérange_--that he only wanted me to translate the words, he does not want to disturb me. Nevertheless, we go. I feel I have the honour of mechanical England in my hands.

The Casa di Paoli is quite a splendid place. It is large, pink and cream, rising up to a square tower in the centre, throwing off a painted loggia at either extreme of the façade. It stands a little way back from the road, just above the lake, and grass grows on the bay of cobbled pavement in front. When at night the moon shines full on this pale façade, the theatre is far outdone in staginess.

The hall is spacious and beautiful, with great glass doors at either end, through which shine the courtyards where bamboos fray the sunlight and geraniums glare red. The floor is of soft red tiles, oiled and polished like glass, the walls are washed grey-white, the ceiling is painted with pink roses and birds. This is half-way between the outer world and the interior world, it partakes of both.

The other rooms are dark and ugly. There is no mistake about their being interior. They are like furnished vaults. The red-tiled, polished floor in the drawing-room seems cold and clammy, the carved, cold furniture stands in its tomb, the air has been darkened and starved to death, it is perished.

Outside, the sunshine runs like birds singing. Up above, the grey rocks build the sun-substance in heaven, San Tommaso guards the terrace. But inside here is the immemorial shadow.

Again I had to think of the Italian soul, how it is dark, cleaving to the eternal night. It seems to have become so, at the Renaissance, after the Renaissance.

In the Middle Ages Christian Europe seems to have been striving, out of a strong, primitive, animal nature, towards the self-abnegation and the abstraction of Christ. This brought about by itself a great sense of completeness. The two halves were joined by the effort towards the one as yet unrealized. There was a triumphant joy in the Whole.

But the movement all the time was in one direction, towards the elimination of the flesh. Man wanted more and more to become purely free and abstract. Pure freedom was in pure abstraction. The Word was absolute. When man became as the Word, a pure law, then he was free.

But when this conclusion was reached, the movement broke. Already Botticelli painted Aphrodite, queen of the senses, supreme along with Mary, Queen of Heaven. And Michelangelo suddenly turned back on the whole Christian movement, back to the flesh. The flesh was supreme and god-like, in the oneness of the flesh, in the oneness of our physical being, we are one with God, with the Father. God the Father created man in the flesh, in His own image. Michelangelo swung right back to the old Mosaic position. Christ did not exist. To Michelangelo there was no salvation in the spirit. There was God the Father, the Begetter, the Author of all flesh. And there was the inexorable law of the flesh, the Last Judgement, the fall of the immortal flesh into Hell.

This has been the Italian position ever since. The mind, that is the Light; the senses, they are the Darkness. Aphrodite, the queen of the senses, she, born of the sea-foam, is the luminousness of the gleaming senses, the phosphorescence of the sea, the senses become a conscious aim unto themselves; she is the gleaming darkness, she is the luminous night, she is goddess of destruction, her white, cold fire consumes and does not create.

This is the soul of the Italian since the Renaissance. In the sunshine he basks asleep, gathering up a vintage into his veins which in the night-time he will distil into ecstatic sensual delight, the intense, white-cold ecstasy of darkness and moonlight, the raucous, cat-like, destructive enjoyment, the senses conscious and crying out in their consciousness in the pangs of the enjoyment, which has consumed the southern nation, perhaps all the Latin races, since the Renaissance.

It is a lapse back, back to the original position, the Mosaic position, of the divinity of the flesh, and the absoluteness of its laws. But also there is the Aphrodite-worship. The flesh, the senses, are now self-conscious. They know their aim. Their aim is in supreme sensation. They seek the maximum of sensation. They seek the reduction of the flesh, the flesh reacting upon itself, to a crisis, an ecstasy, a phosphorescent transfiguration in ecstasy.

The mind, all the time, subserves the senses. As in a cat, there is subtlety and beauty and the dignity of the darkness. But the fire is cold, as in the eyes of a cat, it is a green fire. It is fluid, electric. At its maximum it is the white ecstasy of phosphorescence, in the darkness, always amid the darkness, as under the black fur of a cat. Like the feline fire, it is destructive, always consuming and reducing to the ecstasy of sensation, which is the end in itself.

There is the I, always the I. And the mind is submerged, overcome. But the senses are superbly arrogant. The senses are the absolute, the god-like. For I can never have another man's senses. These are me, my senses absolutely me. And all that is can only come to me through my senses. So that all is me, and is administered unto me. The rest, that is not me, is nothing, it is something which is nothing. So the Italian, through centuries, has avoided our Northern purposive industry, because it has seemed to him a form of nothingness.

It is the spirit of the tiger. The tiger is the supreme manifestation of the senses made absolute. This is the

Tiger, tiger burning bright, In the forests of the night

of Blake. It does indeed burn within the darkness. But the _essential_ fate, of the tiger is cold and white, a white ecstasy. It is seen in the white eyes of the blazing cat. This is the supremacy of the flesh, which devours all, and becomes transfigured into a magnificent brindled flame, a burning bush indeed.

This is one way of transfiguration into the eternal flame, the transfiguration through ecstasy in the flesh. Like the tiger in the night, I devour all flesh, I drink all blood, until this fuel blazes up in me to the consummate fire of the Infinite. In the ecstacy I am Infinite, I become again the great Whole, I am a flame of the One White Flame which is the Infinite, the Eternal, the Originator, the Creator, the Everlasting God. In the sensual ecstasy, having drunk all blood and devoured all flesh, I am become again the eternal Fire, I am infinite.

This is the way of the tiger; the tiger is supreme. His head is flattened as if there were some great weight on the hard skull, pressing, pressing, pressing the mind into a stone, pressing it down under the blood, to serve the blood. It is the subjugate instrument of the blood. The will lies above the loins, as it were at the base of the spinal column, there is the living will, the living mind of the tiger, there in the slender loins. That is the node, there in the spinal cord.

So the Italian, so the soldier. This is the spirit of the soldier. He, too, walks with his consciousness concentrated at the base of the spine, his mind subjugated, submerged. The will of the soldier is the will of the great cats, the will to ecstasy in destruction, in absorbing life into his own life, always his own life supreme, till the ecstasy burst into the white, eternal flame, the Infinite, the Flame of the Infinite. Then he is satisfied, he has been consummated in the Infinite.

This is the true soldier, this is the immortal climax of the senses. This is the acme of the flesh, the one superb tiger who has devoured all living flesh, and now paces backwards and forwards in the cage of its own infinite, glaring with blind, fierce, absorbed eyes at that which is nothingness to it.

The eyes of the tiger cannot see, except with the light from within itself, by the light of its own desire. Its own white, cold light is so fierce that the other warm light of day is outshone, it is not, it does not exist. So the white eyes of the tiger gleam to a point of concentrated vision, upon that which does not exist. Hence its terrifying sightlessness. The something which I know I am is hollow space to its vision, offers no resistance to the tiger's looking. It can only see of me that which it knows I am, a scent, a resistance, a voluptuous solid, a struggling warm violence that it holds overcome, a running of hot blood between its Jaws, a delicious pang of live flesh in the mouth. This it sees. The rest is not.

And what is the rest, that which is-not the tiger, that which the tiger is-not? What is this?

What is that which parted ways with the terrific eagle-like angel of the senses at the Renaissance? The Italians said, 'We are one in the Father: we will go back.' The Northern races said, 'We are one in Christ: we will go on.'

What _is_ the consummation in Christ? Man knows satisfaction when he surpasses all conditions and becomes, to himself, consummate in the Infinite, when he reaches a state of infinity. In the supreme ecstasy of the flesh, the Dionysic ecstasy, he reaches this state. But how does it come to pass in Christ?

It is not the mystic ecstasy. The mystic ecstasy is a special sensual ecstasy, it is the senses satisfying themselves with a self-created object. It is self-projection into the self, the sensuous self satisfied in a projected self.

Blessed are the poor in spirit, for theirs is the kingdom of heaven.

Blessed are they which are persecuted for righteousness' sake, for theirs is the kingdom of heaven.

The kingdom of heaven is this Infinite into which we may be consummated, then, if we are poor in spirit or persecuted for righteousness' sake.

Whosoever shall smite thee on the right cheek, turn to him the other also.

Love your enemies, bless them that curse you, do good to them that hate you, and pray for them which despitefully use you, and persecute you.

Be ye therefore perfect, even as your Father which is in heaven is perfect.

To be perfect, to be one with God, to be infinite and eternal, what shall we do? We must turn the other cheek, and love our enemies.

Christ is the lamb which the eagle swoops down upon, the dove taken by the hawk, the deer which the tiger devours.

What then, if a man come to me with a sword, to kill me, and I do not resist him, but suffer his sword and the death from his sword, what am I? Am I greater than he, am I stronger than he? Do I know a consummation in the Infinite, I, the prey, beyond the tiger who devours me? By my non-resistance I have robbed him of his consummation. For a tiger knows no consummation unless he kill a violated and struggling prey. There is no consummation merely for the butcher, nor for a hyena. I can rob the tiger of his ecstasy, his consummation, his very __my non-resistance. In my non-resistance the tiger is infinitely destroyed.

But I, what am I? 'Be ye therefore perfect.' Wherein am I perfect in this submission? Is there an affirmation, behind my negation, other than the tiger's affirmation of his own glorious infinity?

What is the Oneness to which I subscribe, I who offer no resistance in the flesh?

Have I only the negative ecstasy of being devoured, of becoming thus part of the Lord, the Great Moloch, the superb and terrible God? I have this also, this subject ecstasy of consummation. But is there nothing else?

The Word of the tiger is: my senses are supremely Me, and my senses are God in me. But Christ said: God is in the others, who are not-me. In all the multitude of the others is God, and this is the great God, greater than the God which is Me. God is that which is Not-Me.

And this is the Christian truth, a truth complementary to the pagan affirmation: 'God is that which is Me.'

God is that which is Not-Me. In realizing the Not-Me I am consummated, I become infinite. In turning the other cheek I submit to God who is greater than I am, other than I am, who is in that which is not me. This is the supreme consummation. To achieve this consummation I love my neighbour as myself. My neighbour is all that is not me. And if I love all this, have I not become one with the Whole, is not my consummation complete, am I not one with God, have I not achieved the Infinite?

After the Renaissance the Northern races continued forward to put into practice this religious belief in the God which is Not-Me. Even the idea of the saving of the soul was really negative: it was a question of escaping damnation. The Puritans made the last great attack on the God who is Me. When they beheaded Charles the First, the king by Divine Right, they destroyed, symbolically, for ever, the supremacy of the Me who am the image of God, the Me of the flesh, of the senses, Me, the tiger burning bright, me the king, the Lord, the aristocrat, me who am divine because I am the body of God.

After the Puritans, we have been gathering data for the God who is not-me. When Pope said 'Know then thyself, presume not God to scan, The proper study of mankind is Man,' he was stating the proposition: A man is right, he is consummated, when he is seeking to know Man, the great abstract; and the method of knowledge is by the analysis, which is the destruction, of the Self. The proposition up to that time was, a man is the epitome of the universe. He has only to express himself, to fulfil his desires, to satisfy his supreme senses.

Now the change has come to pass. The individual man is a limited being, finite in himself. Yet he is capable of apprehending that which is not himself. 'The proper study of mankind is Man.' This is another way of saying, 'Thou shalt love thy neighbour as thyself.' Which means, a man is consummated in his knowledge of that which is not himself, the abstract Man. Therefore the consummation lies in seeking that other, in knowing that other. Whereas the Stuart proposition was: 'A man is consummated in expressing his own Self.'

The new spirit developed into the empirical and ideal systems of philosophy. Everything that is, is consciousness. And in every man's consciousness, Man is great and illimitable, whilst the individual is small and fragmentary. Therefore the individual must sink himself in the great whole of Mankind.

This is the spirituality of Shelley, the perfectibility of man. This is the way in which we fulfil the commandment, 'Be ye therefore perfect, even as your Father which is in heaven is perfect.' This is Saint Paul's, 'Now I know in part; but then shall I know even as I am known.'

When a man knows everything and understands everything, then he will be perfect, and life will be blessed. He is capable of knowing everything and understanding everything. Hence he is justified in his hope of infinite freedom and blessedness.