Twilight in Italy

by D. H. Lawrence

And he was strangely disturbing. Dark, ruddy, and powerful, he could not be the blighted son of 'Ghosts', the hectic, unsound, northern issue of a diseased father. His flashy Italian passion for his half-sister was real enough to make one uncomfortable: something he wanted and would have in spite of his own soul, something which fundamentally he did not want.

It was this contradiction within the man that made the play so interesting. A robust, vigorous man of thirty-eight, flaunting and florid as a rather successful Italian can be, there was yet a secret sickness which oppressed him. But it was no taint in the blood, it was rather a kind of debility in the soul. That which he wanted and would have, the sensual excitement, in his soul he did not want it, no, not at all. And yet he must act from his physical desires, his physical will.

His true being, his real self, was impotent. In his soul he was dependent, forlorn. He was childish and dependent on the mother. To hear him say, 'Grazia, mamma!' would have tormented the mother-soul in any woman living. Such a child crying in the night! And for what?

For he was hot-blooded, healthy, almost in his prime, and free as a man can be in his circumstances. He had his own way, he admitted no thwarting. He governed his circumstances pretty much, coming to our village with his little company, playing the plays he chose himself. And yet, that which he would have he did not vitally want, it was only a sort of inflamed obstinacy that made him so insistent, in the masculine way. He was not going to be governed by women, he was not going to be dictated to in the least by any one. And this because he was beaten by his own flesh.

His real man's soul, the soul that goes forth and builds up a new world out of the void, was ineffectual. It could only revert to the senses. His divinity was the phallic divinity. The other male divinity, which is the spirit that fulfils in the world the new germ of an idea, this was denied and obscured in him, unused. And it was this spirit which cried out helplessly in him through the insistent, inflammable flesh. Even this play-acting was a form of physical gratification for him, it had in it neither real mind nor spirit.

It was so different from Ibsen, and so much more moving. Ibsen is exciting, nervously sensational. But this was really moving, a real crying in the night. One loved the Italian nation, and wanted to help it with all one's soul. But when one sees the perfect Ibsen, how one hates the Norwegian and Swedish nations! They are detestable.

They seem to be fingering with the mind the secret places and sources of the blood, impertinent, irreverent, nasty. There is a certain intolerable nastiness about the real Ibsen: the same thing is in Strindberg and in most of the Norwegian and Swedish writings. It is with them a sort of phallic worship also, but now the worship is mental and perverted: the phallus is the real fetish, but it is the source of uncleanliness and corruption and death, it is the Moloch, worshipped in obscenity.

Which is unbearable. The phallus is a symbol of creative divinity. But it represents only part of creative divinity. The Italian has made it represent the whole. Which is now his misery, for he has to destroy his symbol in himself.

Which is why the Italian men have the enthusiasm for war, unashamed. Partly it is the true phallic worship, for the phallic principle is to absorb and dominate all life. But also it is a desire to expose themselves to death, to know death, that death may destroy in them this too strong dominion of the blood, may once more liberate the spirit of outgoing, of uniting, of making order out of chaos, in the outer world, as the flesh makes a new order from chaos in begetting a new life, set them free to know and serve a greater idea.

The peasants below sat and listened intently, like children who hear and do not understand, yet who are spellbound. The children themselves sit spellbound on the benches till the play is over. They do not fidget or lose interest. They watch with wide, absorbed eyes at the mystery, held in thrall by the sound of emotion.