And finally the bread varies immensely from town to town, from commune to commune. The so-called just and equal distribution is all my-eye. One place has abundance of good sweet bread, another sc.r.a.pes along, always stinted, on an allowance of harsh coa.r.s.e stuff. And the poor suffer bitterly, really, from the bread-stinting, because they depend so on this one food. They say the inequality and the injustice of distribution comes from the Camorra--la grande Camorra--which is no more nowadays than a profiteering combine, which the poor hate. But for myself, I don't know. I only know that one town--Venice, for example--seems to have an endless supply of pure bread, of sugar, of tobacco, of salt--while Florence is in one continual ferment of irritation over the stinting of these supplies--which are all government monopoly, doled out accordingly.

We said Good-night to our three railway friends, and went up to bed. We had only been in the room a minute or two, when the brown woman tapped: and if you please, the black-cap had sent us one of his little white loaves. We were really touched. Such delicate little generosities have almost disappeared from the world.

It was a queer little bread--three-cornered, and almost as hard as ships biscuit, made of starch flour. Not strictly bread at all.

The night was cold, the blankets flat and heavy, but one slept quite well till dawn. At seven o'clock it was a clear, cold morning, the sun not yet up. Standing at the bedroom window looking out, I could hardly believe my eyes it was so like England, like Cornwall in the bleak parts, or Derbyshire uplands. There was a little paddock-garden at the back of the Station, rather tumble-down, with two sheep in it. There were several forlorn-looking out-buildings, very like Cornwall. And then the wide, forlorn country road stretched away between borders of gra.s.s and low, drystone walls, towards a grey stone farm with a tuft of trees, and a naked stone village in the distance. The sun came up yellow, the bleak country glimmered bluish and reluctant. The low, green hill-slopes were divided into fields, with low drystone walls and ditches. Here and there a stone barn rose alone, or with a few bare, windy trees attached.

Two rough-coated winter horses pastured on the rough gra.s.s, a boy came along the naked, wide, gra.s.s-bordered high-road with a couple of milk cans, drifting in from nowhere: and it was all so like Cornwall, or a part of Ireland, that the old nostalgia for the Celtic regions began to spring up in me. Ah, those old, drystone walls dividing the fields--pale and granite-blenched! Ah, the dark, sombre gra.s.s, the naked sky! the forlorn horses in the wintry morning! Strange is a Celtic landscape, far more moving, disturbing than the lovely glamor of Italy and Greece.

Before the curtains of history lifted, one feels the world was like this--this Celtic bareness and sombreness and _air_. But perhaps it is not Celtic at all: Iberian. Nothing is more unsatisfactory than our conception of what is Celtic and what is not Celtic. I believe there never were any Celts, as a race.--As for the Iberians--!

[Ill.u.s.tration: TONARA]

Wonderful to go out on a frozen road, to see the gra.s.s in shadow bluish with h.o.a.r-frost, to see the gra.s.s in the yellow winter-sunrise beams melting and going cold-twinkly. Wonderful the bluish, cold air, and things standing up in cold distance. After two southern winters, with roses blooming all the time, this bleakness and this touch of frost in the ringing morning goes to my soul like an intoxication. I am so glad, on this lonely naked road, I don't know what to do with myself. I walk down in the shallow gra.s.sy ditches under the loose stone walls, I walk on the little ridge of gra.s.s, the little bank on which the wall is built, I cross the road across the frozen cow-droppings: and it is all so familiar to my _feet_, my very feet in contact, that I am wild as if I had made a discovery. And I realize that I hate lime-stone, to live on lime-stone or marble or any of those limey rocks. I hate them. They are dead rocks, they have no life--thrills for the feet. Even sandstone is much better. But granite! Granite is my favorite. It is so live under the feet, it has a deep sparkle of its own. I like its roundnesses--and I hate the jaggy dryness of lime-stone, that burns in the sun, and withers.

After coming to a deep well in a gra.s.sy plot in a wide s.p.a.ce of the road, I go back, across the sunny naked upland country, towards the pink station and its out-buildings. An engine is steaming its white clouds in the new light. Away to the left there is even a row of small houses, like a row of railway-mens' dwellings. Strange and familiar sight. And the station precincts are disorderly and rather dilapidated. I think of our Sicilian host.

The brown woman gives us coffee, and very strong, rich goats' milk, and bread. After which the q-b and I set off once more along the road to the village. She too is thrilled. She too breathes deep. She too feels _s.p.a.ce_ around her, and freedom to move the limbs: such as one does not feel in Italy and Sicily, where all is so cla.s.sic and fixed.

The village itself is just a long, winding, darkish street, in shadow, of houses and shops and a smithy. It might almost be Cornwall: not quite. Something, I don't know what, suggests the stark burning glare of summer. And then, of course, there is none of the cosiness which climbing roses and lilac trees and cottage shops and haystacks would give to an English scene. This is harder, barer, starker, more dreary.

An ancient man in the black-and-white costume comes out of a hovel of a cottage. The butcher carries a huge side of meat. The women peer at us--but more furtive and reticent than the howling stares of Italy.

So we go on, down the rough-cobbled street through the whole length of the village. And emerging on the other side, past the last cottage, we find ourselves again facing the open country, on the gentle down-slope of the rolling hill. The landscape continues the same: low, rolling upland hills, dim under the yellow sun of the January morning: stone fences, fields, grey-arable land: a man slowly, slowly ploughing with a pony and a dark-red cow: the road trailing empty across the distance: and then, the one violently unfamiliar note, the enclosed cemetery lying outside on the gentle hill-side, closed in all round, very compact, with high walls: and on the inside face of the enclosure wall the marble slabs, like shut drawers of the sepulchres, shining white, the wall being like a chest of drawers, or pigeon holes to hold the dead. Tufts of dark and plumy cypresses rise among the flat graves of the enclosure.

In the south, cemeteries are walled off and isolated very tight. The dead, as it were, are kept fast in pound. There is no spreading of graves over the face of the country. They are penned in a tight fold, with cypresses to fatten on the bones. This is the one thoroughly strange note in the landscape. But all-pervading there is a strangeness, that strange feeling as if the _depths_ were barren, which comes in the south and the east, sun-stricken. Sun-stricken, and the heart eaten out by the dryness.

"I like it! I like it!" cries the q-b.

"But could you live here?" She would like to say yes, but daren't.

We stray back. The q-b wants to buy one of those saddle-bag arrangements. I say what for? She says to keep things in. Ach! but peeping in the shops, we see one and go in and examine it. It is quite a sound one, properly made: but plain, quite plain. On the white cross-stripes there are no lovely colored flowers of rose and green and magenta: the three favorite Sardinian colors: nor are there any of the fantastic and griffin-like beasts. So it won't do. How much does it cost? Forty-five francs.

There is nothing to do in Mandas. So we will take the morning train and go to the terminus, to Sorgono. Thus, we shall cross the lower slopes of the great central knot of Sardinia, the mountain knot called Gennargentu. And Sorgono we feel will be lovely.

Back at the station we make tea on the spirit lamp, fill the thermos, pack the knapsack and the kitchenino, and come out into the sun of the platform. The q-b goes to thank the black-cap for the white bread, whilst I settle the bill and ask for food for the journey. The brown woman fishes out from a huge black pot in the background sundry hunks of coa.r.s.e boiled pork, and gives me two of these, hot, with bread and salt.

This is the luncheon. I pay the bill: which amounts to twenty-four francs, for everything. (One says francs or liras, irrespective, in Italy.) At that moment arrives the train from Cagliari, and men rush in, roaring for the soup--or rather, for the broth. "Ready, ready!" she cries, going to the black pot.

V.

TO SORGONO.

The various trains in the junction squatted side by side and had long, long talks before at last we were off. It was wonderful to be running in the bright morning towards the heart of Sardinia, in the little train that seemed so familiar. We were still going third cla.s.s, rather to the disgust of the railway officials at Mandas.

At first the country was rather open: always the long spurs of hills, steep-sided, but not high. And from our little train we looked across the country, across hill and dale. In the distance was a little town, on a low slope. But for its compact, fortified look it might have been a town on the English downs. A man in the carriage leaned out of the window holding out a white cloth, as a signal to someone in the far off town that he was coming. The wind blew the white cloth, the town in the distance glimmered small and alone in its hollow. And the little train pelted along.

It was rather comical to see it. We were always climbing. And the line curved in great loops. So that as one looked out of the window, time and again one started, seeing a little train running in front of us, in a diverging direction, making big puffs of steam. But lo, it was our own little engine pelting off around a loop away ahead. We were quite a long train, but all trucks in front, only our two pa.s.senger coaches. .h.i.tched on behind. And for this reason our own engine was always running fussily into sight, like some dog scampering in front and swerving about us, while we followed at the tail end of the thin string of trucks.

I was surprised how well the small engine took the continuous steep slopes, how bravely it emerged on the sky-line. It is a queer railway. I would like to know who made it. It pelts up hill and down dale and round sudden bends in the most unconcerned fashion, not as proper big railways do, grunting inside deep cuttings and stinking their way through tunnels, but running up the hill like a panting, small dog, and having a look round, and starting off in another direction, whisking us behind unconcernedly. This is much more fun than the tunnel-and-cutting system.

They told me that Sardinia mines her own coal: and quite enough for her own needs: but very soft, not fit for steam-purposes. I saw heaps of it: small, dull, dirty-looking stuff. Truck-loads of it too. And truck-loads of grain.

At every station we were left ignominiously planted, while the little engines--they had gay gold names on their black little bodies--strolled about along the side-lines, and snuffed at the various trucks. There we sat, at every station, while some truck was discarded and some other sorted out like a branded sheep, from the sidings and hitched on to us.

It took a long time, this did.

All the stations so far had had wire netting over the windows. This means malaria-mosquitoes. The malaria climbs very high in Sardinia. The shallow upland valleys, moorland with their intense summer sun and the riverless, boggy behaviour of the water breed the pest inevitably. But not very terribly, as far as one can make out: August and September being the danger months. The natives don't like to admit there is any malaria: a tiny bit, they say, a tiny bit. As soon as you come to the _trees_ there is no more. So they say. For many miles the landscape is moorland and down-like, with no trees. But wait for the trees. Ah, the woods and forests of Gennargentu: the woods and forests higher up: no malaria there!

The little engine whisks up and up, around its loopy curves as if it were going to bite its own tail: we being the tail: then suddenly dives over the sky-line out of sight. And the landscape changes. The famous woods begin to appear. At first it is only hazel-thickets, miles of hazel-thickets, all wild, with a few black cattle trying to peep at us out of the green myrtle and arbutus scrub which forms the undergrowth; and a couple of rare, wild peasants peering at the train. They wear the black sheepskin tunic, with the wool outside, and the long stocking caps. Like cattle they too peer out from between deep bushes. The myrtle scrub here rises man-high, and cattle and men are smothered in it. The big hazels rise bare above. It must be difficult getting about in these parts.

Sometimes, in the distance one sees a black-and-white peasant riding lonely across a more open place, a tiny vivid figure. I like so much the proud instinct which makes a living creature distinguish itself from its background. I hate the rabbity khaki protection-colouration. A black-and-white peasant on his pony, only a dot in the distance beyond the foliage, still flashes and dominates the landscape. Ha-ha! proud mankind! There you ride! But alas, most of the men are still khaki-m.u.f.fled, rabbit-indistinguishable, ignominious. The Italians look curiously rabbity in the grey-green uniform: just as our sand-colored khaki men look doggy. They seem to scuffle rather abased, ignominious on the earth. Give us back the scarlet and gold, and devil take the hindmost.

The landscape really begins to change. The hillsides tilt sharper and sharper. A man is ploughing with two small red cattle on a craggy, tree-hanging slope as sharp as a roof-side. He stoops at the small wooden plough, and jerks the ploughlines. The oxen lift their noses to heaven, with a strange and beseeching snake-like movement, and taking tiny little steps with their frail feet, move slantingly across the slope-face, between rocks and tree-roots. Little, frail, jerky steps the bullocks take, and again they put their horns back and lift their muzzles snakily to heaven, as the man pulls the line. And he skids his wooden plough round another scoop of earth. It is marvellous how they hang upon that steep, craggy slope. An English labourer's eyes would bolt out of his head at the sight.

There is a stream: actually a long tress of a water-fall pouring into a little gorge, and a stream-bed that opens a little, and shows a marvellous cl.u.s.ter of naked poplars away below. They are like ghosts.

They have a ghostly, almost phosph.o.r.escent luminousness in the shadow of the valley, by the stream of water. If not phosph.o.r.escent, then incandescent: a grey, goldish-pale incandescence of naked limbs and myriad cold-glowing twigs, gleaming strangely. If I were a painter I would paint them: for they seem to have living, sentient flesh. And the shadow envelopes them.

Another naked tree I would paint is the gleaming mauve-silver fig, which burns its cold incandescence, tangled, like some sensitive creature emerged from the rock. A fig tree come forth in its nudity gleaming over the dark winter-earth is a sight to behold. Like some white, tangled sea anemone. Ah, if it could but answer! or if we had tree-speech!

Yes, the steep valley sides become almost gorges, and there are trees.

Not forests such as I had imagined, but scattered, grey, smallish oaks, and some lithe chestnuts. Chestnuts with their long whips, and oaks with their stubby boughs, scattered on steep hillsides where rocks crop out.

The train perilously winding round, half way up. Then suddenly bolting over a bridge and into a completely unexpected station. What is more, men crowd in--the station is connected with the main railway by a post motor-omnibus.

An unexpected irruption of men--they may be miners or navvies or land-workers. They all have huge sacks: some lovely saddle-bags with rose-coloured flowers across the darkness. One old man is in full black-and-white costume, but very dirty and coming to pieces. The others wear the tight madder-brown breeches and sleeved waistcoats. Some have the sheepskin tunic, and all wear the long stocking cap. And how they smell! of sheep-wool and of men and goat. A rank scent fills the carriage.

They talk and are very lively. And they have mediaeval faces, _ruse_, never really abandoning their defences for a moment, as a badger or a pole-cat never abandons its defences. There is none of the brotherliness and civilised simplicity. Each man knows he must guard himself and his own: each man knows the devil is behind the next bush. They have never known the post-Renaissance Jesus. Which is rather an eye-opener.

Not that they are suspicious or uneasy. On the contrary, noisy, a.s.sertive, vigorous presences. But with none of that implicit belief that everybody will be and ought to be good to them, which is the mark of our era. They don't expect people to be good to them: they don't want it. They remind me of half-wild dogs that will love and obey, but which won't be handled. They won't have their heads touched. And they won't be fondled. One can almost hear the half-savage growl.

The long stocking caps they wear as a sort of crest, as a lizard wears his crest at mating time. They are always moving them, settling them on their heads. One fat fellow, young, with sly brown eyes and a young beard round his face folds his stocking-foot in three, so that it rises over his brow martial and handsome. The old boy brings his stocking-foot over the left ear. A handsome fellow with a jaw of ma.s.sive teeth pushes his cap back and lets it hang a long way down his back. Then he shifts it forward over his nose, and makes it have two sticking-out points, like fox-ears, above his temples. It is marvellous how much expression these caps can take on. They say that only those born to them can wear them. They seem to be just long bags, nearly a yard long, of black stockinette stuff.

The conductor comes to issue them their tickets. And they all take out rolls of paper money. Even a little mothy rat of a man who sits opposite me has quite a pad of ten-franc notes. n.o.body seems short of a hundred francs nowadays: n.o.body.

They shout and expostulate with the conductor. Full of coa.r.s.e life they are: but so coa.r.s.e! The handsome fellow has his sleeved waistcoat open, and his shirt-breast has come unb.u.t.toned. Not looking, it seems as if he wears a black undervest. Then suddenly, one sees it is his own hair. He is quite black inside his shirt, like a black goat.

But there is a gulf between oneself and them. They have no inkling of our crucifixion, our universal consciousness. Each of them is pivoted and limited to himself, as the wild animals are. They look out, and they see other objects, objects to ridicule or mistrust or to sniff curiously at. But "thou shalt love thy neighbour as thyself" has never entered their souls at all, not even the thin end of it. They might love their neighbour, with a hot, dark, unquestioning love. But the love would probably leave off abruptly. The fascination of what is beyond them has not seized on them. Their neighbour is a mere external. Their life is centripetal, pivoted inside itself, and does not run out towards others and mankind. One feels for the first time the real old mediaeval life, which is enclosed in itself and has no interest in the world outside.

And so they lie about on the seats, play a game, shout, and sleep, and settle their long stocking-caps: and spit. It is wonderful in them that at this time of day they still wear the long stocking-caps as part of their inevitable selves. It is a sign of obstinate and powerful tenacity. They are not going to be broken in upon by world-consciousness. They are not going into the world's common clothes.

Coa.r.s.e, vigorous, determined, they will stick to their own coa.r.s.e dark stupidity and let the big world find its own way to its own enlightened h.e.l.l. Their h.e.l.l is their own h.e.l.l, they prefer it unenlightened.