Twilight in Italy

by D. H. Lawrence

This cast-off church made a good theatre. I realized how cleverly it had been constructed for the dramatic presentation of religious ceremonies. The east end is round, the walls are windowless, sound is well distributed. Now everything is theatrical, except the stone floor and two pillars at the back of the auditorium, and the slightly ecclesiastical seats below.

There are two tiers of little boxes in the theatre, some forty in all, with fringe and red velvet, and lined with dark red paper, quite like real boxes in a real theatre. And the padrone's is one of the best. It just holds three people.

We paid our threepence entrance fee in the stone hall and went upstairs. I opened the door of Number 8, and we were shut in our little cabin, looking down on the world. Then I found the barber, Luigi, bowing profusely in a box opposite. It was necessary to make bows all round: ah, the chemist, on the upper tier, near the barber; how-do-you-do to the padrona of the hotel, who is our good friend, and who sits, wearing a little beaver shoulder-cape, a few boxes off; very cold salutation to the stout village magistrate with the long brown beard, who leans forward in the box facing the stage, while a grouping of faces look out from behind him; a warm smile to the family of the Signora Gemma, across next to the stage. Then we are settled.

I cannot tell why I hate the village magistrate. He looks like a family portrait by a Flemish artist, he himself weighing down the front of the picture with his portliness and his long brown beard, whilst the faces of his family are arranged in two groups for the background. I think he is angry at our intrusion. He is very republican and self-important. But we eclipse him easily, with the aid of a large black velvet hat, and black furs, and our Sunday clothes.

Downstairs the villagers are crowding, drifting like a heavy current. The women are seated, by church instinct, all together on the left, with perhaps an odd man at the end of a row, beside his wife. On the right, sprawling in the benches, are several groups of bersaglieri, in grey uniforms and slanting cock's-feather hats; then peasants, fishermen, and an odd couple or so of brazen girls taking their places on the men's side.

At the back, lounging against the pillars or standing very dark and sombre, are the more reckless spirits of the village. Their black felt hats are pulled down, their cloaks are thrown over their mouths, they stand very dark and isolated in their moments of stillness, they shout and wave to each other when anything occurs.

The men are clean, their clothes are all clean washed. The rags of the poorest porter are always well washed. But it is Sunday tomorrow, and they are shaved only on a Sunday. So that they have a week's black growth on their chins. But they have dark, soft eyes, unconscious and vulnerable. They move and balance with loose, heedless motion upon their clattering zoccoli, they lounge with wonderful ease against the wall at the back, or against the two pillars, unconscious of the patches on their clothes or of their bare throats, that are knotted perhaps with a scarlet rag. Loose and abandoned, they lounge and talk, or they watch with wistful absorption the play that is going on.

They are strangely isolated in their own atmosphere, and as if revealed. It is as if their vulnerable being was exposed and they have not the wit to cover it. There is a pathos of physical sensibility and mental inadequacy. Their mind is not sufficiently alert to run with their quick, warm senses.

The men keep together, as if to support each other, the women also are together; in a hard, strong herd. It is as if the power, the hardness, the triumph, even in this Italian village, were with the women in their relentless, vindictive unity.

That which drives men and women together, the indomitable necessity, is like a bondage upon the people. They submit as under compulsion, under constraint. They come together mostly in anger and in violence of destructive passion. There is no comradeship between men and women, none whatsoever, but rather a condition of battle, reserve, hostility.