Comes over one an absolute necessity to move. And what is more, to move in some particular direction. A double necessity then: to get on the move, and to know whither.
Why can't one sit still? Here in Sicily it is so pleasant: the sunny Ionian sea, the changing jewel of Calabria, like a fire-opal moved in the light; Italy and the panorama of Christmas clouds, night with the dog-star laying a long, luminous gleam across the sea, as if baying at us, Orion marching above; how the dog-star Sirius looks at one, looks at one! he is the hound of heaven, green, glamorous and fierce!--and then oh regal evening star, hung westward flaring over the jagged dark precipices of tall Sicily: then Etna, that wicked witch, resting her thick white snow under heaven, and slowly, slowly rolling her orange-coloured smoke. They called her the Pillar of Heaven, the photographs, there are so infinitely many water-colour drawings and oil paintings which purport to render Etna. But pedestal of heaven! You must cross the invisible border. Between the foreground, which is our own, and Etna, pivot of winds in lower heaven, there is a dividing line. You must change your state of mind. A metempsychosis. It is no use thinking you can see and behold Etna and the foreground both at once. Never. One or the other. Foreground and a transcribed Etna. Or Etna, pedestal of heaven.
Why, then, must one go? Why not stay? Ah, what a mistress, this Etna! with her strange winds prowling round her like Circe's panthers, some black, some white. With her strange, remote communications and her terrible dynamic exhalations. She makes men mad. Such terrible vibrations of wicked and beautiful electricity she throws about her, like a deadly net! Nay, sometimes, verily, one can feel a new current of her demon magnetism seize one's living tissue and change the peaceful life of one's active cells. She makes a storm in the living plasm and a new adjustment. And sometimes it is like a madness.
This timeless Grecian Etna, in her lower-heaven loveliness, so lovely, so lovely, what a torturer! Not many men can really stand her, without losing their souls. She is like Circe. Unless a man is very strong, she takes his soul away from him and leaves him not a beast, but an elemental creature, intelligent and soulless. Intelligent, almost inspired, and soulless, like the Etna Sicilians. Intelligent daimons, and humanly, according to us, the most stupid people on earth. Ach, horror! How many men, how many races, has Etna put to flight? It was she who broke the quick of the Greek soul. And after the Greeks, she gave the Romans, the Normans, the Arabs, the Spaniards, the French, the Italians, even the English, she gave them all their inspired hour and broke their souls.
Perhaps it is she one must flee from. At any rate, one must go: and at once. After having come back only at the end of October, already one must dash away. And it is only the third of January. And one cannot afford to move. Yet there you are: at the Etna bidding one goes.
Where does one go? There is Girgenti by the south. There is Tunis at hand. Girgenti, and the sulphur spirit and the Greek guarding temples, to make one madder? Never. Neither Syracuse and the madness of its great quarries. Tunis? Africa? Not yet, not yet. Not the Arabs, not yet. Naples, Rome, Florence? No good at all. Where then?
Where then? Spain or Sardinia. Spain or Sardinia. Sardinia, which is like nowhere. Sardinia, which has no history, no date, no race, no offering. Let it be Sardinia. They say neither Romans nor Phoenicians, Greeks nor Arabs ever subdued Sardinia. It lies outside; outside the circuit of civilisation. Like the Basque lands. Sure enough, it is Italian now, with its railways and its motor-omnibuses. But there is an uncaptured Sardinia still. It lies within the net of this European civilisation, but it isn't landed yet. And the net is getting old and tattered. A good many fish are slipping through the net of the old European civilisation. Like that great whale of Russia. And probably even Sardinia. Sardinia then. Let it be Sardinia.
There is a fortnightly boat sailing from Palermo--next Wednesday, three days ahead. Let us go, then. Away from abhorred Etna, and the Ionian sea, and these great stars in the water, and the almond trees in bud, and the orange trees heavy with red fruit, and these maddening, exasperating, impossible Sicilians, who never knew what truth was and have long lost all notion of what a human being is. A sort of sulphureous demons. Andiamo!
But let me confess, in parenthesis, that I am not at all sure whether I don't really prefer these demons to our sanctified humanity.
Why does one create such discomfort for oneself! To have to get up in the middle of the night--half past one--to go and look at the clock. Of course this fraud of an American watch has stopped, with its impudent phosphorescent face. Half past one! Half past one, and a dark January night. Ah, well! Half past one! And an uneasy sleep till at last it is five o'clock. Then light a candle and get up.
The dreary black morning, the candle-light, the house looking night-dismal. Ah, well, one does all these things for one's pleasure. So light the charcoal fire and put the kettle on. The queen bee shivering round half dressed, fluttering her unhappy candle.
"It's fun," she says, shuddering.
"Great," say I, grim as death.
First fill the thermos with hot tea. Then fry bacon--good English bacon from Malta, a god-send, indeed--and make bacon sandwiches. Make also sandwiches of scrambled eggs. Make also bread and butter. Also a little toast for breakfast--and more tea. But ugh, who wants to eat at this unearthly hour, especially when one is escaping from bewitched Sicily.
Fill the little bag we call the kitchenino. Methylated spirit, a small aluminium saucepan, a spirit-lamp, two spoons, two forks, a knife, two aluminium plates, salt, sugar, tea--what else? The thermos flask, the various sandwiches, four apples, and a little tin of butter. So much for the kitchenino, for myself and the queen bee. Then my knapsack and the q-b's handbag.
Under the lid of the half-cloudy night sky, far away at the rim of the Ionian sea, the first light, like metal fusing. So swallow the cup of tea and the bit of toast. Hastily wash up, so that we can find the house decent when we come back. Shut the door-windows of the upper terrace and go down. Lock the door: the upper half of the house made fast.
The sky and sea are parting like an oyster shell, with a low red gape. Looking across from the veranda at it, one shivers. Not that it is cold. The morning is not at all cold. But the ominousness of it: that long red slit between a dark sky and a dark Ionian sea, terrible old bivalve which has held life between its lips so long. And here, at this house, we are ledged so awfully above the dawn, naked to it.
Fasten the door-windows of the lower veranda. One won't fasten at all. The summer heat warped it one way, the masses of autumn rain warped it another. Put a chair against it. Lock the last door and hide the key. Sling the knapsack on one's back, take the kitchenino in one's hand and look round. The dawn-red widening, between the purpling sea and the troubled sky. A light in the capucin convent across there. Cocks crowing and the long, howling, hiccuping, melancholy bray of an ass. "All females are dead, all females--och! och! och!--hoooo! Ahaa!--there's one left." So he ends on a moaning grunt of consolation. This is what the Arabs tell us an ass is howling when he brays.
Very dark under the great carob tree as we go down the steps. Dark still the garden. Scent of mimosa, and then of jasmine. The lovely mimosa tree invisible. Dark the stony path. The goat whinnies out of her shed. The broken Roman tomb which lolls right over the garden track does not fall on me as I slip under its massive tilt. Ah, dark garden, dark garden, with your olives and your wine, your medlars and mulberries and many almond trees, your steep terraces ledged high up above the sea, I am leaving you, slinking out. Out between the rosemary hedges, out of the tall gate, on to the cruel steep stony road. So under the dark, big eucalyptus trees, over the stream, and up towards the village. There, I have got so far.
It is full dawn--dawn, not morning, the sun will not have risen. The village is nearly all dark in the red light, and asleep still. No one at the fountain by the capucin gate: too dark still. One man leading a horse round the corner of the Palazzo Corvaia. One or two dark men along the Corso. And so over the brow, down the steep cobble-stone street between the houses, and out to the naked hill front. This is the dawn-coast of Sicily. Nay, the dawn-coast of Europe. Steep, like a vast cliff, dawn-forward. A red dawn, with mingled curdling dark clouds, and some gold. It must be seven o'clock. The station down below, by the sea. And noise of a train. Yes, a train. And we still high on the steep track, winding downwards. But it is the train from Messina to Catania, half an hour before ours, which is from Catania to Messina.
So jolt, and drop, and jolt down the old road that winds on the cliff face. Etna across there is smothered quite low, quite low in a dense puther of ink-black clouds. Playing some devilry in private, no doubt. The dawn is angry red, and yellow above, the sea takes strange colors. I hate the station, pigmy, drawn out there beside the sea. On this steep face, especially in the windless nooks, the almond blossom is already out. In little puffs and specks and stars, it looks very like bits of snow scattered by winter. Bits of snow, bits of blossom, fourth day of the year 1921. Only blossom. And Etna indescribably cloaked and secretive in her dense black clouds. She has wrapped them quite round her, quite low round her skirts.
At last we are down. We pass the pits where men are burning lime--red-hot, round pits--and are out on the high-way. Nothing can be more depressing than an Italian high-road. From Syracuse to Airolo it is the same: horrible, dreary, slummy high-roads the moment you approach a village or any human habitation. Here there is an acrid smell of lemon juice. There is a factory for making citrate. The houses flush on the road, under the great lime-stone face of the hill, open their slummy doors, and throw out dirty water and coffee dregs. We walk over the dirty water and coffee dregs. Mules rattle past with carts. Other people are going to the station. We pass the Dazio and are there.
Humanity is, externally, too much alike. Internally there are insuperable differences. So one sits and thinks, watching the people on the station: like a line of caricatures between oneself and the naked sea and the uneasy, clouding dawn.
You would look in vain this morning for the swarthy feline southerner of romance. It might, as far as features are concerned, be an early morning crowd waiting for the train on a north London suburb station. As far as features go. For some are fair and some colorless and none racially typical. The only one that is absolutely like a race caricature is a tall stout elderly fellow with spectacles and a short nose and a bristling moustache, and he is the German of the comic papers of twenty years ago. But he is pure Sicilian.
They are mostly young fellows going up the line to Messina to their job: not artizans, lower middle class. And externally, so like any other clerks and shop-men, only rather more shabby, much less socially self-conscious. They are lively, they throw their arms round one another's necks, they all but kiss. One poor chap has had earache, so a black kerchief is tied round his face, and his black hat is perched above, and a comic sight he looks. No one seems to think so, however. Yet they view my arrival with a knapsack on my back with cold disapprobation, as unseemly as if I had arrived riding on a pig. I ought to be in a carriage, and the knapsack ought to be a new suit-case. I know it, but am inflexible.
That is how they are. Each one thinks he is as handsome as Adonis, and as "fetching" as Don Juan. Extraordinary! At the same time, all flesh is grass, and if a few trouser-buttons are missing or if a black hat perches above a thick black face-muffle and a long excruciated face, it is all in the course of nature. They seize the black-edged one by the arm, and in profound commiseration: "Do you suffer? Are you suffering?" they ask.
And that also is how they are. So terribly physically all over one another. They pour themselves one over the other like so much melted butter over parsnips. They catch each other under the chin, with a tender caress of the hand, and they smile with sunny melting tenderness into each other's face. Never in the world have I seen such melting gay tenderness as between casual Sicilians on railway platforms, whether they be young lean-cheeked Sicilians or huge stout Sicilians.
There must be something curious about the proximity of a volcano. Naples and Catania alike, the men are hugely fat, with great macaroni paunches, they are expansive and in a perfect drip of casual affection and love. But the Sicilians are even more wildly exuberant and fat and all over one another than the Neapolitans. They never leave off being amorously friendly with almost everybody, emitting a relentless physical familiarity that is quite bewildering to one not brought up near a volcano.
This is more true of the middle classes than of the lower. The working men are perforce thinner and less exuberant. But they hang together in clusters, and can never be physically near enough.
It is only thirty miles to Messina, but the train takes two hours. It winds and hurries and stops beside the lavender grey morning sea. A flock of goats trail over the beach near the lapping wave's edge, dismally. Great wide deserts of stony river-beds run down to the sea, and men on asses are picking their way across, and women are kneeling by the small stream-channel washing clothes. The lemons hang pale and innumerable in the thick lemon groves. Lemon trees, like Italians, seem to be happiest when they are touching one another all round. Solid forests of not very tall lemon trees lie between the steep mountains and the sea, on the strip of plain. Women, vague in the orchard under-shadow, are picking the lemons, lurking as if in the undersea. There are heaps of pale yellow lemons under the trees. They look like pale, primrose-smouldering fires. Curious how like fires the heaps of lemons look, under the shadow of foliage, seeming to give off a pallid burning amid the suave, naked, greenish trunks. When there comes a cluster of orange trees, the oranges are red like coals among the darker leaves. But lemons, lemons, innumerable, speckled like innumerable tiny stars in the green firmament of leaves. So many lemons! Think of all the lemonade crystals they will be reduced to! Think of America drinking them up next summer.
I always wonder why such vast wide river-beds of pale boulders come out of the heart of the high-rearing, dramatic stone mountains, a few miles to the sea. A few miles only: and never more than a few threading water-trickles in river-beds wide enough for the Rhine. But that is how it is. The landscape is ancient, and classic--romantic, as if it had known far-off days and fiercer rivers and more verdure. Steep, craggy, wild, the land goes up to its points and precipices, a tangle of heights. But all jammed on top of one another. And in old landscapes, as in old people, the flesh wears away, and the bones become prominent. Rock sticks up fantastically. The jungle of peaks in this old Sicily.
The sky is all grey. The Straits are grey. Reggio, just across the water, is white looking, under the great dark toe of Calabria, the toe of Italy. On Aspromonte there is grey cloud. It is going to rain. After such marvelous ringing blue days, it is going to rain. What luck!
Aspromonte! Garibaldi! I could always cover my face when I see it, Aspromonte. I wish Garibaldi had been prouder. Why did he go off so humbly, with his bag of seed-corn and a flea in his ear, when His Majesty King Victor Emmanuel arrived with his little short legs on the scene. Poor Garibaldi! He wanted to be a hero and a dictator of free Sicily. Well, one can't be a dictator and humble at the same time. One must be a hero, which he was, and proud, which he wasn't. Besides people don't nowadays choose proud heroes for governors. Anything but. They prefer constitutional monarchs, who are paid servants and who know it. That is democracy. Democracy admires its own servants and nothing else. And you couldn't make a real servant even of Garibaldi. Only of His Majesty King Victor Emmanuel. So Italy chose Victor Emmanuel, and Garibaldi went off with a corn bag and a whack on the behind like a humble ass.
It is raining--dismally, dismally raining. And this is Messina coming. Oh horrible Messina, earthquake-shattered and renewing your youth like a vast mining settlement, with rows and streets and miles of concrete shanties, squalor and a big street with shops and gaps and broken houses still, just back of the tram-lines, and a dreary squalid earthquake-hopeless port in a lovely harbor. People don't forget and don't recover. The people of Messina seem to be today what they were nearly twenty years ago, after the earthquake: people who have had a terrible shock, and for whom all life's institutions are really nothing, neither civilization nor purpose. The meaning of everything all came down with a smash in that shuddering earthquake, and nothing remains but money and the throes of some sort of sensation. Messina between the volcanoes, Etna and Stromboli, having known the death-agony's terror. I always dread coming near the awful place, yet I have found the people kind, almost feverishly so, as if they knew the awful need for kindness.
Raining, raining hard. Clambering down on to the wet platform and walking across the wet lines to the cover. Many human beings scurrying across the wet lines, among the wet trains, to get out into the ghastly town beyond. Thank heaven one need not go out into the town. Two convicts chained together among the crowd--and two soldiers. The prisoners wear fawny homespun clothes, of cloth such as the peasants weave, with irregularly occurring brown stripes. Rather nice handmade rough stuff. But linked together, dear God! And those horrid caps on their hairless foreheads. No hair. Probably they are going to a convict station on the Lipari islands. The people take no notice.
No, but convicts are horrible creatures: at least, the old one is, with his long, nasty face: his long, clean-shaven, horrible face, without emotions, or with emotions one cannot follow. Something cold, sightless. A sightless, ugly look. I should loathe to have to touch him. Of the other I am not so sure. He is younger, and with dark eyebrows. But a roundish, softish face, with a sort of leer. No, evil is horrible. I used to think there was no absolute evil. Now I know there is a great deal. So much that it threatens life altogether. That ghastly abstractness of criminals. They don't know any more what other people feel. Yet some horrible force drives them.
It is a great mistake to abolish the death penalty. If I were dictator, I should order the old one to be hung at once. I should have judges with sensitive, living hearts: not abstract intellects. And because the instinctive heart recognised a man as evil, I would have that man destroyed. Quickly. Because good warm life is now in danger.