Chapter 7

It is a strange thing, if a man covers his face, and speaks with his eyes blinded, how significant and poignant he becomes. The ghost of this Hamlet was very simple. He was wrapped down to the knees in a great white cloth, and over his face was an open-work woollen shawl. But the naïve blind helplessness and verity of his voice was strangely convincing. He seemed the most real thing in the play. From the knees downward he was Laertes, because he had on Laertes' white trousers and patent leather slippers. Yet he was strangely real, a voice out of the dark.

The Ghost is really one of the play's failures, it is so trivial and unspiritual and vulgar. And it was spoilt for me from the first. When I was a child I went to the twopenny travelling theatre to see _Hamlet_. The Ghost had on a helmet and a breastplate. I sat in pale transport.

''Amblet, 'Amblet, I _am_ thy father's ghost.'

Then came a voice from the dark, silent audience, like a cynical knife to my fond soul:

'Why tha arena, I can tell thy voice.'

The peasants loved Ophelia: she was in white with her hair down her back. Poor thing, she was pathetic, demented. And no wonder, after Hamlet's 'O, that this too, too solid flesh would melt!' What then of her young breasts and her womb? Hamlet with her was a very disagreeable sight. The peasants loved her. There was a hoarse roar, half of indignation, half of roused passion, at the end of her scene.

The graveyard scene, too, was a great success, but I could not bear Hamlet. And the grave-digger in Italian was a mere buffoon. The whole scene was farcical to me because of the Italian, '_Questo cranio, Signore_--'And Enrico, dainty fellow, took the skull in a corner of his black cloak. As an Italian, he would not willingly touch it. It was unclean. But he looked a fool, hulking himself in his lugubriousness. He was as self-important as D'Annunzio.

The close fell flat. The peasants had applauded the whole graveyard scene wildly. But at the end of all they got up and crowded to the doors, as if to hurry away: this in spite of Enrico's final feat: he fell backwards, smack down three steps of the throne platform, on to the stage. But planks and braced muscle will bounce, and Signer Amleto bounced quite high again.

It was the end of _Amleto_, and I was glad. But I loved the theatre, I loved to look down on the peasants, who were so absorbed. At the end of the scenes the men pushed back their black hats, and rubbed their hair across their brows with a pleased, excited movement. And the women stirred in their seats.

Just one man was with his wife and child, and he was of the same race as my old woman at San Tommaso. He was fair, thin, and clear, abstract, of the mountains. He seemed to have gathered his wife and child together into another, finer atmosphere, like the air of the mountains, and to guard them in it. This is the real Joseph, father of the child. He has a fierce, abstract look, wild and untamed as a hawk, but like a hawk at its own nest, fierce with love. He goes out and buys a tiny bottle of lemonade for a penny, and the mother and child sip it in tiny sips, whilst he bends over, like a hawk arching its wings.

It is the fierce spirit of the Ego come out of the primal infinite, but detached, isolated, an aristocrat. He is not an Italian, dark-blooded. He is fair, keen as steel, with the blood of the mountaineer in him. He is like my old spinning woman. It is curious how, with his wife and child, he makes a little separate world down there in the theatre, like a hawk's nest, high and arid under the gleaming sky.

The Bersaglieri sit close together in groups, so that there is a strange, corporal connexion between them. They have close-cropped, dark, slightly bestial heads, and thick shoulders, and thick brown hands on each other's shoulders. When an act is over they pick up their cherished hats and fling on their cloaks and go into the hall. They are rather rich, the Bersaglieri.

They are like young, half-wild oxen, such strong, sturdy, dark lads, thickly built and with strange hard heads, like young male caryatides. They keep close together, as if there were some physical instinct connecting them. And they are quite womanless. There is a curious inter-absorption among themselves, a sort of physical trance that holds them all, and puts their minds to sleep. There is a strange, hypnotic unanimity among them as they put on their plumed hats and go out together, always very close, as if their bodies must touch. Then they feel safe and content in this heavy, physical trance. They are in love with one another, the young men love the young men. They shrink from the world beyond, from the outsiders, from all who are not Bersaglieri of their barracks.

One man is a sort of leader. He is very straight and solid, solid like a wall, with a dark, unblemished will. His cock-feathers slither in a profuse, heavy stream from his black oil-cloth hat, almost to his shoulder. He swings round. His feathers slip into a cascade. Then he goes out to the hall, his feather tossing and falling richly. He must be well off. The Bersaglieri buy their own black cock's-plumes, and some pay twenty or thirty francs for the bunch, so the maestra said. The poor ones have only poor, scraggy plumes.

There is something very primitive about these men. They remind me really of Agamemnon's soldiers clustered oil the seashore, men, all men, a living, vigorous, physical host of men. But there is a pressure on these Italian soldiers, as if they were men caryatides, with a great weight on their heads, making their brain hard, asleep, stunned. They all look is if their real brain were stunned, as if there were another centre of physical consciousness from which they lived.

Separate from them all is Pietro, the young man who lounges on the wharf to carry things from the steamer. He starts up from sleep like a wild-cat as somebody claps him on the shoulder. It is the start of a man who has many enemies. He is almost an outlaw. Will he ever find himself in prison? He is the _gamin_ of the village, well detested.

He is twenty-four years old, thin, dark, handsome, with a cat-like lightness and grace, and a certain repulsive, _gamin_ evil in his face. Where everybody is so clean and tidy, he is almost ragged. His week's beard shows very black in his slightly hollow cheeks. He hates the man who has waked him by clapping him on the shoulder.

Pietro is already married, yet he behaves as if he were not. He has been carrying on with a loose woman, the wife of the citron-coloured barber, the Siciliano. Then he seats himself on the women's side of the theatre, behind a young person from Bogliaco, who also has no reputation, and makes her talk to him. He leans forward, resting his arms on the seat before him, stretching his slender, cat-like, flexible loins. The padrona of the hotel hates him--'_ein frecher Kerl_,' she says with contempt, and she looks away. Her eyes hate to see him.

In the village there is the clerical party, which is the majority; there is the anti-clerical party, and there are the ne'er-do-wells. The clerical people are dark and pious and cold; there is a curious stone-cold, ponderous darkness over them, moral and gloomy. Then the anti-clerical party, with the Syndaco at the head, is bourgeois and respectable as far as the middle-aged people are concerned, banal, respectable, shut off as by a wall from the clerical people. The young anti-clericals are the young bloods of the place, the men who gather every night in the more expensive and less-respectable cafe. These young men are all free-thinkers, great dancers, singers, players of the guitar. They are immoral and slightly cynical. Their leader is the young shopkeeper, who has lived in Vienna, who is a bit of a bounder, with a veneer of sneering irony on an original good nature. He is well-to-do, and gives dances to which only the looser women go, with these reckless young men. He also gets up parties of pleasure, and is chiefly responsible for the coming of the players to the theatre this carnival. These young men are disliked, but they belong to the important class, they are well-to-do, and they have the life of the village in their hands. The clerical peasants are priest-ridden and good, because they are poor and afraid and superstitious. There is, lastly, a sprinkling of loose women, one who keeps the inn where the soldiers drink. These women are a definite set. They know what they are, they pretend nothing else. They are not prostitutes, but just loose women. They keep to their own clique, among men and women, never wanting to compromise anybody else.

And beyond all these there are the Franciscan friars in their brown robes, so shy, so silent, so obliterated, as they stand back in the shop, waiting to buy the bread for the monastery, waiting obscure and neutral, till no one shall be in the shop wanting to be served. The village women speak to them in a curious neutral, official, slightly contemptuous voice. They answer neutral and humble, though distinctly.

At the theatre, now the play is over, the peasants in their black hats and cloaks crowd the hall. Only Pietro, the wharf-lounger, has no cloak, and a bit of a cap on the side of his head instead of a black felt hat. His clothes are thin and loose on his thin, vigorous, cat-like body, and he is cold, but he takes no notice. His hands are always in his pockets, his shoulders slightly raised.

The few women slip away home. In the little theatre bar the well-to-do young atheists are having another drink. Not that they spend much. A tumbler of wine or a glass of vermouth costs a penny. And the wine is horrible new stuff. Yet the little baker, Agostino, sits on a bench with his pale baby on his knee, putting the wine to its lips. And the baby drinks, like a blind fledgeling.

Upstairs, the quality has paid its visits and shaken hands: the Syndaco and the well-to-do half-Austrian owners of the woodyard, the Bertolini, have ostentatiously shown their mutual friendship; our padrone, the Signer Pietro Di Paoli, has visited his relatives the Graziani in the box next the stage and has spent two intervals with us in our box; meanwhile, his two peasants standing down below, pathetic, thin contadini of the old school, like worn stones, have looked up at us as if we are the angels in heaven, with a reverential, devotional eye, they themselves far away below, standing in the bay at the back, below all.

The chemist and the grocer and the schoolmistress pay calls. They have all sat self-consciously posed in the front of their boxes, like framed photographs of themselves. The second grocer and the baker visit each other. The barber looks in on the carpenter, then drops downstairs among the crowd. Class distinctions are cut very fine. As we pass with the padrona of the hotel, who is a Bavarian, we stop to speak to our own padroni, the Di Paoli. They have a warm handshake and effusive polite conversation for us; for Maria Samuelli, a distant bow. We realize our mistake.

The barber--not the Siciliano, but flashy little Luigi with the big tie-ring and the curls--knows all about the theatre. He says that Enrico Persevalli has for his mistress Carina, the servant in _Ghosts_: that the thin, gentle, old-looking king in _Hamlet_ is the husband of Adelaida, and Carina is their daughter: that the old, sharp, fat little body of a queen is Adelaida's mother: that they all like Enrico Persevalli, because he is a very clever man: but that the 'Comic', Il Brillante, Francesco, is unsatisfied.

In three performances in Epiphany week, the company took two hundred and sixty-five francs, which was phenomenal. The manager, Enrico Persevalli, and Adelaida pay twenty-four francs for every performance, or every evening on which a performance is given, as rent for the theatre, including light. The company is completely satisfied with its reception on the Lago di Garda.

So it is all over. The Bersaglieri go running all the way home, because it is already past half past ten. The night is very dark. About four miles up the lake the searchlights of the Austrian border are swinging, looking for smugglers. Otherwise the darkness is complete.

_4_

SAN GAUDENZIO

In the autumn the little rosy cyclamens blossom in the shade of this west side of the lake. They are very cold and fragrant, and their scent seems to belong to Greece, to the Bacchae. They are real flowers of the past. They seem to be blossoming in the landscape of Phaedra and Helen. They bend down, they brood like little chill fires. They are little living myths that I cannot understand.

After the cyclamens the Christmas roses are in bud. It is at this season that the cacchi are ripe on the trees in the garden, whole naked trees full of lustrous, orange-yellow, paradisal fruit, gleaming against the wintry blue sky. The monthly roses still blossom frail and pink, there are still crimson and yellow roses. But the vines are bare and the lemon-houses shut. And then, mid-winter, the lowest buds of the Christmas roses appear under the hedges and rocks and by the streams. They are very lovely, these first large, cold, pure buds, like violets, like magnolias, but cold, lit up with the light from the snow.

The days go by, through the brief silence of winter, when the sunshine is so still and pure, like iced wine, and the dead leaves gleam brown, and water sounds hoarse in the ravines. It is so still and transcendent, the cypress trees poise like flames of forgotten darkness, that should have been blown out at the end of the summer. For as we have candles to light the darkness of night, so the cypresses are candles to keep the darkness aflame in the full sunshine.

Meanwhile, the Christmas roses become many. They rise from their budded, intact humbleness near the ground, they rise up, they throw up their crystal, they become handsome, they are heaps of confident, mysterious whiteness in the shadow of a rocky stream. It is almost uncanny to see them. They are the flowers of darkness, white and wonderful beyond belief.

Then their radiance becomes soiled and brown, they thaw, break, and scatter and vanish away. Already the primroses are coming out, and the almond is in bud. The winter is passing away. On the mountains the fierce snow gleams apricot gold as evening approaches, golden, apricot, but so bright that it is almost frightening. What can be so fiercely gleaming when all is shadowy? It is something inhuman and unmitigated between heaven and earth.

The heavens are strange and proud all the winter, their progress goes on without reference to the dim earth. The dawns come white and translucent, the lake is a moonstone in the dark hills, then across the lake there stretches a vein of fire, then a whole, orange, flashing track over the whiteness. There is the exquisite silent passage of the day, and then at evening the afterglow, a huge incandescence of rose, hanging above and gleaming, as if it were the presence of a host of angels in rapture. It gleams like a rapturous chorus, then passes away, and the stars appear, large and flashing.

Meanwhile, the primroses are dawning on the ground, their light is growing stronger, spreading over the banks and under the bushes. Between the olive roots the violets are out, large, white, grave violets, and less serious blue ones. And looking down the bill, among the grey smoke of olive leaves, pink puffs of smoke are rising up. It is the almond and the apricot trees, it is the Spring.

Soon the primroses are strong on the ground. There is a bank of small, frail crocuses shooting the lavender into this spring. And then the tussocks and tussocks of primroses are fully out, there is full morning everywhere on the banks and roadsides and stream-sides, and around the olive roots, a morning of primroses underfoot, with an invisible threading of many violets, and then the lovely blue clusters of hepatica, really like pieces of blue sky showing through a clarity of primrose. The few birds are piping thinly and shyly, the streams sing again, there is a strange flowering shrub full of incense, overturned flowers of crimson and gold, like Bohemian glass. Between the olive roots new grass is coming, day is leaping all clear and coloured from the earth, it is full Spring, full first rapture.

Does it pass away, or does it only lose its pristine quality? It deepens and intensifies, like experience. The days seem to be darker and richer, there is a sense of power in the strong air. On the banks by the lake the orchids are out, many, many pale bee-orchids standing clear from the short grass over the lake. And in the hollows are the grape hyacinths, purple as noon, with the heavy, sensual fragrance of noon. They are many-breasted, and full of milk, and ripe, and sun-darkened, like many-breasted Diana.

We could not bear to live down in the village any more, now that the days opened large and spacious and the evenings drew out in sunshine. We could not bear the indoors, when above us the mountains shone in clear air. It was time to go up, to climb with the sun.

So after Easter we went to San Gaudenzio. It was three miles away, up the winding mule-track that climbed higher and higher along the lake. Leaving the last house of the village, the path wound on the steep, cliff-like side of the lake, curving into the hollow where the landslip had tumbled the rocks in chaos, then out again on to the bluff of a headland that hung over the lake.

Thus we came to the tall barred gate of San Gaudenzio, on which was the usual little fire-insurance tablet, and then the advertisements for beer, 'Birra, Verona', which is becoming a more and more popular drink.

Through the gate, inside the high wall, is the little Garden of Eden, a property of three or four acres fairly level upon a headland over the lake. The high wall girds it on the land side, and makes it perfectly secluded. On the lake-side it is bounded by the sudden drops of the land, in sharp banks and terraces, overgrown with ilex and with laurel bushes, down to the brink of the cliff, so that the thicket of the first declivities seems to safeguard the property.

The pink farm-house stands almost in the centre of the little territory, among the olive trees. It is a solid, six-roomed place, about fifty years old, having been rebuilt by Paolo's uncle. Here we came to live for a time with the Fiori, Maria and Paolo, and their three children, Giovanni and Marco and Felicina.

Paolo had inherited, or partly inherited, San Gaudenzio, which had been in his family for generations. He was a peasant of fifty-three, very grey and wrinkled and worn-looking, but at the same time robust, with full strong limbs and a powerful chest. His face was old, but his body was solid and powerful. His eyes were blue like upper ice, beautiful. He had been a fair-haired man, now he was almost white.

He, was strangely like the pictures of peasants in the northern Italian pictures, with the same curious nobility, the same aristocratic, eternal look of motionlessness, something statuesque. His head was hard and fine, the bone finely constructed, though the skin of his face was loose and furrowed with work. His temples had that fine, hard clarity which is seen in Mantegna, an almost jewel-like quality.

We all loved Paolo, he was so finished in his being, detached, with an almost classic simplicity and gentleness, an eternal kind of sureness. There was also something concluded and unalterable about him, something inaccessible.

Maria Fiori was different. She was from the plain, like Enrico Persevalli and the Bersaglier from the Venetian district. She reminded me again of oxen, broad-boned and massive in physique, dark-skinned, slow in her soul. But, like the oxen of the plain, she knew her work, she knew the other people engaged in the work. Her intelligence was attentive and purposive. She had been a housekeeper, a servant, in Venice and Verona, before her marriage. She had got the hang of this world of commerce and activity, she wanted to master it. But she was weighted down by her heavy animal blood.

Paolo and she were the opposite sides of the universe, the light and the dark. Yet they lived together now without friction, detached, each subordinated in their common relationship. With regard to Maria, Paolo omitted himself; Maria omitted herself with regard to Paolo. Their souls were silent and detached, completely apart, and silent, quite silent. They shared the physical relationship of marriage as if it were something beyond them, a third thing.

They had suffered very much in the earlier stages of their connexion. Now the storm had gone by, leaving them, as it were, spent. They were both by nature passionate, vehement. But the lines of their passion were opposite. Hers was the primitive, crude, violent flux of the blood, emotional and undiscriminating, but wanting to mix and mingle. His was the hard, clear, invulnerable passion of the bones, finely tempered and unchangeable. She was the flint and he the steel. But in continual striking together they only destroyed each other. The fire was a third thing, belonging to neither of them.

She was still heavy and full of desire. She was much younger than he.

'How long did you know your Signora before you were married?' she asked me.

'Six weeks,' I said.

'_Il Paolo e me, venti giorni, tre settimane_,' she cried vehemently. Three weeks they had known each other when they married. She still triumphed in the fact. So did Paolo. But it was past, strangely and rather terribly past.

What did they want when they came together, Paolo and she? He was a man over thirty, she was a woman of twenty-three. They were both violent in desire and of strong will. They came together at once, like two wrestlers almost matched in strength. Their meetings must have been splendid. Giovanni, the eldest child, was a tall lad of sixteen, with soft brown hair and grey eyes, and a clarity of brow, and the same calm simplicity of bearing which made Paolo so complete; but the son had at the same time a certain brownness of skin, a heaviness of blood, which he had from his mother. Paolo was so clear and translucent.

In Giovanni the fusion of the parents was perfect, he was a perfect spark from the flint and steel. There was in Paolo a subtle intelligence in feeling, a delicate appreciation of the other person. But the mind was unintelligent, he could not grasp a new order. Maria Fiori was much sharper and more adaptable to the ways of the world. Paolo had an almost glass-like quality, fine and clear and perfectly tempered; but he was also finished and brittle. Maria was much coarser, more vulgar, but also she was more human, more fertile, with crude potentiality. His passion was too fixed in its motion, hers too loose and overwhelming.

But Giovanni was beautiful, gentle, and courtly like Paolo, but warm, like Maria, ready to flush like a girl with anger or confusion. He stood straight and tall, and seemed to look into the far distance with his clear grey eyes. Yet also he could look at one and touch one with his look, he could meet one. Paolo's blue eyes were like the eyes of the old spinning-woman, clear and blue and belonging to the mountains, their vision seemed to end in space, abstract. They reminded me of the eyes of the eagle, which looks into the sun, and which teaches its young to do the same, although they are unwilling.

Marco, the second son, was thirteen years old. He was his mother's favourite, Giovanni loved his father best. But Marco was his mother's son, with the same brown-gold and red complexion, like a pomegranate, and coarse black hair, and brown eyes like pebble, like agate, like an animal's eyes. He had the same broad, bovine figure, though he was only a boy. But there was some discrepancy in him. He was not unified, he had no identity.