Twilight in Italy | Page 3

and of warm experience in the flesh, all the time it is steaming up to the changeless brilliance above, the light of the everlasting snows. This is the eternal issue.
Whether it is singing or dancing or play-acting or physical transport of love, or vengeance or cruelty, or whether it is work or sorrow or religion, the issue is always the same at last, into the radiant negation of eternity. Hence the beauty and completeness, the finality of the highland peasant. His figure, his limbs, his face, his motion, it is all formed in beauty, and it is all completed. There is no flux nor hope nor becoming, all is, once and for all. The issue is eternal, timeless, and changeless. All being and all passing away is part of the issue, which is eternal and changeless. Therefore there is no becoming and no passing away. Everything is, now and for ever. Hence the strange beauty and finality and isolation of the Bavarian peasant.
It is plain in the crucifixes. Here is the essence rendered in sculpture of wood. The face is blank and stiff, almost expressionless. One realizes with a start how unchanging and conventionalized is the face of the living man and woman of these parts, handsome, but motionless as pure form. There is also an underlying meanness, secretive, cruel. It is all part of the beauty, the pure, plastic beauty. The body also of the Christus is stiff and conventionalized, yet curiously beautiful in proportion, and in the static tension which makes it unified into one clear thing. There is no movement, no possible movement. The being is fixed, finally. The whole body is locked in one knowledge, beautiful, complete. It is one with the nails. Not that it is languishing or dead. It is stubborn, knowing its own undeniable being, sure of the absolute reality of the sensuous experience. Though he is nailed down upon an irrevocable fate, yet, within that fate he has the power and the delight of all sensuous experience. So he accepts the fate and the mystic delight of the senses with one will, he is complete and final. His sensuous experience is supreme, a consummation of life and death at once.
It is the same at all times, whether it is moving with the scythe on the hill-slopes, or hewing the timber, or steering the raft down the river which is all effervescent with ice; whether it is drinking in the Gasthaus, or making love, or playing some mummer's part, or hating steadily and cruelly, or whether it is kneeling in spellbound subjection in the incense-filled church, or walking in the strange, dark, subject-procession to bless the fields, or cutting the young birch-trees for the feast of Frohenleichnam, it is always the same, the dark, powerful mystic, sensuous experience is the whole of him, he is mindless and bound within the absoluteness of the issue, the unchangeability of the great icy not-being which holds good for ever, and is supreme.
Passing further away, towards Austria, travelling up the Isar, till the stream becomes smaller and whiter and the air is colder, the full glamour of the northern hills, which are so marvellously luminous and gleaming with flowers, wanes and gives way to a darkness, a sense of ominousness. Up there I saw another little Christ, who seemed the very soul of the place. The road went beside the river, that was seething with snowy ice-bubbles, under the rocks and the high, wolf-like pine-trees, between the pinkish shoals. The air was cold and hard and high, everything was cold and separate. And in a little glass case beside the road sat a small, hewn Christ, the head resting on the hand; and he meditates, half-wearily, doggedly, the eyebrows lifted in strange abstraction, the elbow resting on the knee. Detached, he sits and dreams and broods, wearing his little golden crown of thorns, and his little cloak of red flannel that some peasant woman has stitched for him.
No doubt he still sits there, the small, blank-faced Christ in the cloak of red flannel, dreaming, brooding, enduring, persisting. There is a wistfulness about him, as if he knew that the whole of things was too much for him. There was no solution, either, in death. Death did not give the answer to the soul's anxiety. That which is, is. It does not cease to be when it is cut. Death cannot create nor destroy. What is, is.
The little brooding Christ knows this. What is he brooding, then? His static patience and endurance is wistful. What is it that he secretly yearns for, amid all the placidity of fate? 'To be, or not to be,' this may be the question, but is it not a question for death to answer. It is not a question of living or not-living.