David Herbert Lawrence

rolled on away, away to the sea. Straggling, haphazard little villages

ledged on the slope, high up, beside their wet, green, hanging meadows,

with pine trees behind and the valley bottom far below, and rocks right

above, on both sides, seemed like little temporary squattings of outcast

people. It seemed impossible that they should persist there, with great

shadows wielded over them, like a menace, and gleams of brief sunshine,

like a window. There was a sense of momentariness and expectation. It

seemed as though some dramatic upheaval must take place, the mountains

fall down into their own shadows. The valley beds were like deep graves,

the sides of the mountains like the collapsing walls of a grave. The

very mountain-tops above, bright with transcendent snow, seemed like

death, eternal death.

There, it seemed, in the glamorous snow, was the source of death, which

fell down in great waves of shadow and rock, rushing to the level earth.

And all the people of the mountains, on the slopes, in the valleys,

seemed to live upon this great, rushing wave of death, of breaking-down,

of destruction.

The very pure source of breaking-down, decomposition, the very quick of

cold death, is the snowy mountain-peak above. There, eternally, goes on

the white foregathering of the crystals, out of the deathly cold of the

heavens; this is the static nucleus where death meets life in its

elementality. And thence, from their white, radiant nucleus of death in

life, flows the great flux downwards, towards life and warmth. And we

below, we cannot think of the flux upwards, that flows from the

needle-point of snow to the unutterable cold and death.

The people under the mountains, they seem to live in the flux of death,

the last, strange, overshadowed units of life. Big shadows wave over

them, there is the eternal noise of water falling icily downwards from

the source of death overhead.

And the people under the shadows, dwelling in the tang of snow and the

noise of icy water, seem dark, almost sordid, brutal. There is no

flowering or coming to flower, only this persistence, in the ice-touched

air, of reproductive life.

But it is difficult to get a sense of a native population. Everywhere

are the hotels and the foreigners, the parasitism. Yet there is, unseen,

this overshadowed, overhung, sordid mountain population, ledged on the

slopes and in the crevices. In the wider valleys there is still a sense

of cowering among the people. But they catch a new tone from their

contact with the foreigners. And in the towns are nothing but

tradespeople.

So I climbed slowly up, for a whole day, first along the highroad,

sometimes above and sometimes below the twisting, serpentine railway,

then afterwards along a path on the side of the hill--a path that went

through the crew-yards of isolated farms and even through the garden of

a village priest. The priest was decorating an archway. He stood on a

chair in the sunshine, reaching up with a garland, whilst the

serving-woman stood below, talking loudly.

The valley here seemed wider, the great flanks of the mountains gave

place, the peaks above were further back. So one was happier. I was

pleased as I sat by the thin track of single flat stones that dropped

swiftly downhill.

At the bottom was a little town with a factory or quarry, or a foundry,

some place with long, smoking chimneys; which made me feel quite at home

among the mountains.

It is the hideous rawness of the world of men, the horrible, desolating

harshness of the advance of the industrial world upon the world of

nature, that is so painful. It looks as though the industrial spread of

mankind were a sort of dry disintegration advancing and advancing, a

process of dry disintegration. If only we could learn to take thought

for the whole world instead of for merely tiny bits of it.

I went through the little, hideous, crude factory-settlement in the high

valley, where the eternal snows gleamed, past the enormous

advertisements for chocolate and hotels, up the last steep slope of the

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