Twilight in Italy. D. H. Lawrence

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СКАЧАТЬ pale Christ. He is larger than life-size. He has fallen forward, just dead, and the weight of the full-grown, mature body hangs on the nails of the hands. So the dead, heavy body drops forward, sags, as if it would tear away and fall under its own weight.

      It is the end. The face is barren with a dead expression of weariness, and brutalized with pain and bitterness. The rather ugly, passionate mouth is set for ever in the disillusionment of death. Death is the complete disillusionment, set like a seal over the whole body and being, over the suffering and weariness and the bodily passion.

      The pass is gloomy and damp, the water roars unceasingly, till it is almost like a constant pain. The driver of the pack-horses, as he comes up the narrow path in the side of the gorge, cringes his sturdy cheerfulness as if to obliterate himself, drawing near to the large, pale Christ, and he takes his hat off as he passes, though he does not look up, but keeps his face averted from the crucifix. He hurries by in the gloom, climbing the steep path after his horses, and the large white Christ hangs extended above.

      The driver of the pack-horses is afraid. The fear is always there in him, in spite of his sturdy, healthy robustness. His soul is not sturdy. It is blenched and whitened with fear. The mountains are dark overhead, the water roars in the gloom below. His heart is ground between the mill-stones of dread. When he passes the extended body of the dead Christ he takes off his hat to the Lord of Death. Christ is the Deathly One, He is Death incarnate.

      And the driver of the pack-horses acknowledges this deathly Christ as supreme Lord. The mountain peasant seems grounded upon fear, the fear of death, of physical death. Beyond this he knows nothing. His supreme sensation is in physical pain, and in its culmination. His great climax, his consummation, is death. Therefore he worships it, bows down before it, and is fascinated by it all the while. It is his fulfilment, death, and his approach to fulfilment is through physical pain.

      And so these monuments to physical death are found everywhere in the valleys. By the same hand that carved the big Christ, a little further on, at the end of a bridge, was another crucifix, a small one. This Christ had a fair beard, and was thin, and his body was hanging almost lightly, whereas the other Christ was large and dark and handsome. But in this, as well as in the other, was the same neutral triumph of death, complete, negative death, so complete as to be abstract, beyond cynicism in its completeness of leaving off.

      Everywhere is the same obsession with the fact of physical pain, accident, and sudden death. Wherever a misfortune has befallen a man, there is nailed up a little memorial of the event, in propitiation of the God of hurt and death. A man is standing up to his waist in water, drowning in full stream, his arms in the air. The little painting in its wooden frame is nailed to the tree, the spot is sacred to the accident. Again, another little crude picture fastened to a rock: a tree, falling on a man's leg, smashes it like a stalk, while the blood flies up. Always there is the strange ejaculation of anguish and fear, perpetuated in the little paintings nailed up in the place of the disaster.

      This is the worship, then, the worship of death and the approaches to death, physical violence, and pain. There is something crude and sinister about it, almost like depravity, a form of reverting, turning back along the course of blood by which we have come.

      Turning the ridge on the great road to the south, the imperial road to Rome, a decisive change takes place. The Christs have been taking on various different characters, all of them more or less realistically conveyed. One Christus is very elegant, combed and brushed and foppish on his cross, as Gabriele D'Annunzio's son posing as a martyred saint. The martyrdom of this Christ is according to the most polite convention. The elegance is very important, and very Austrian. One might almost imagine the young man had taken up this striking and original position to create a delightful sensation among the ladies. It is quite in the Viennese spirit. There is something brave and keen in it, too. The individual pride of body triumphs over every difficulty in the situation. The pride and satisfaction in the clean, elegant form, the perfectly trimmed hair, the exquisite bearing, are more important than the fact of death or pain. This may be foolish, it is at the same time admirable.

      But the tendency of the crucifix, as it nears the ridge to the south, is to become weak and sentimental. The carved Christs turn up their faces and roll back their eyes very piteously, in the approved Guido Reni fashion. They are overdoing the pathetic turn. They are looking to heaven and thinking about themselves, in self-commiseration. Others again are beautiful as elegies. It is dead Hyacinth lifted and extended to view, in all his beautiful, dead youth. The young, male body droops forward on the cross, like a dead flower. It looks as if its only true nature were to be dead. How lovely is death, how poignant, real, satisfying! It is the true elegiac spirit.

      Then there are the ordinary, factory-made Christs, which are not very significant. They are as null as the Christs we see represented in England, just vulgar nothingness. But these figures have gashes of red, a red paint of blood, which is sensational.

      Beyond the Brenner, I have only seen vulgar or sensational crucifixes. There are great gashes on the breast and the knees of the Christ-figure, and the scarlet flows out and trickles down, till the crucified body has become a ghastly striped thing of red and white, just a sickly thing of striped red.

      They paint the rocks at the corners of the tracks, among the mountains; a blue and white ring for the road to Ginzling, a red smear for the way to St. Jakob. So one follows the blue and white ring, or the three stripes of blue and white, or the red smear, as the case may be. And the red on the rocks, the dabs of red paint, are of just the same colour as the red upon the crucifixes; so that the red upon the crucifixes is paint, and the signs on the rocks are sensational, like blood.

      I remember the little brooding Christ of the Isar, in his little cloak of red flannel and his crown of gilded thorns, and he remains real and dear to me, among all this violence of representation.

      'Couvre-toi de gloire, Tartarin—couvre-toi de flanelle.' Why should it please me so that his cloak is of red flannel?

      In a valley near St. Jakob, just over the ridge, a long way from the railway, there is a very big, important shrine by the roadside. It is a chapel built in the baroque manner, florid pink and cream outside, with opulent small arches. And inside is the most startling sensational Christus I have ever seen. He is a big, powerful man, seated after the crucifixion, perhaps after the resurrection, sitting by the grave. He sits sideways, as if the extremity were over, finished, the agitation done with, only the result of the experience remaining. There is some blood on his powerful, naked, defeated body, that sits rather hulked. But it is the face which is so terrifying. It is slightly turned over the hulked, crucified shoulder, to look. And the look of this face, of which the body has been killed, is beyond all expectation horrible. The eyes look at one, yet have no seeing in them, they seem to see only their own blood. For they are bloodshot till the whites are scarlet, the iris is purpled. These red, bloody eyes with their stained pupils, glancing awfully at all who enter the shrine, looking as if to see through the blood of the late brutal death, are terrible. The naked, strong body has known death, and sits in utter dejection, finished, hulked, a weight of shame. And what remains of life is in the face, whose expression is sinister and gruesome, like that of an unrelenting criminal violated by torture. The criminal look of misery and hatred on the fixed, violated face and in the bloodshot eyes is almost impossible. He is conquered, beaten, broken, his body is a mass of torture, an unthinkable shame. Yet his will remains obstinate and ugly, integral with utter hatred.

      It is a great shock to find this figure sitting in a handsome, baroque, pink-washed shrine in one of those Alpine valleys which to our thinking are all flowers and romance, like the picture in the Tate Gallery. 'Spring in the Austrian Tyrol' is to our minds a vision of pristine loveliness. It contains also this Christ of the heavy body defiled by torture and death, the strong, virile life overcome by physical violence, the eyes still looking back bloodshot in consummate hate and misery.

      The shrine СКАЧАТЬ