Massimo Lollini

For a more than human humanism

Posts from the ‘More than human humanism’ category


The reading of Dirty-boy – a myth of the Native American Okanagan– allows us to briefly analyze the religious conception of Simone Weil in the second part of the post, The Great Revelation. The French philosopher Simone Weil (1909-1943) is a remarkable thinker and activist who speaks to the complexities of our times. She defies the usual religious categories and remains one of the most interesting spiritual figures of the twentieth century.

1. Dirty-boy

The moon had taken on the aspect of a decrepit old woman in rags and the sun that of a dirty boy, with his face covered with scabs, disgusting. They had come down to earth to overcome the resistance of the beautiful daughters of the Okanagan leader.

Paul Nash, 1889-1946. (1924). Sun and Moon. [woodcut]

They had rejected all the young men that her father had proposed to them in marriage. To win the chief’s daughter, Dirty-boy must participate in two skill competitions.

In the first, he has to hit an eagle in flight with an arrow, and in the second, he has to show his ability to capture an animal that lived in the mountains and was quite rare in those parts.

Dirty-boy wins both contests, despite never having used a bow and arrow and being unable to walk.

Everyone had made fun of him, and the boss had done everything possible to prevent that lousy boy from becoming the husband of his daughter. But now, he too had to yield to the evidence and give the girls in marriage to Dirty-Boy.

On their way to their future husband, the elder daughter stopped by Raven’s house and eventually decided to become the wife of the eldest son of that family. Like all the other Ravens, he was ugly and had a big head; but she thought it better to marry him than to become the wife of a dirty, sickly boy.

The younger daughter went on, entered Dirty-Boy’s lodge, and sat down by his side. The moon-old woman asked her who she was and why she had come. When the old woman had been told, she said, “Your husband is sick, and soon he will die. He stinks too much. You must not sleep with him. Go back to your father’s lodge every evening, but come here in the daytime, and watch him and attend him.” 

Frida Kahlo (1942). Portrait of Lucha Maria, Girl from Tehuacán (Sun and Moon).

Frida Kahlo (1942). Portrait of Lucha Maria, Girl from Tehuacán (Sun and Moon).

The younger sister paid no attention to the elder who was making fun of her with her husband. She returned every morning to help her grandmother-in-law gather firewood and attend to her sick husband. 

For three days, matters remained this way. In the evening of the third day, Sun said to his sister, “We will resume our true forms tonight so that people may see us tomorrow.” That night they transformed themselves. The old mat lodge became a fine new skin lodge…

The old woman became a fine-looking person with a tall figure, clothes covered with shining stars. Dirty-Boy became a young, handsome man of light complexion. His clothes were covered with shining copper. His hair reached to the ground and shone like the rays of the sun.

When the girl arrived, she was much surprised to see the transformation. The moon-woman addressed her in a familiar voice, saying, “Come in and sit with your husband!” The girl then knew who she was.

When she entered, she saw a handsome man reclining, with his head on a beautiful parfleche. His garments and hair were decorated with bright suns. The girl did not recognize him and looked around. The woman said, “That is your husband; go and sit beside him.” Then she was glad. 

Sun took his wife to the copper kettle which stood at the door. It contained a shining liquid. He pushed her head into it, and when the liquid ran down over her hair and body, lines of sparkling small stars formed on her. He told her to empty the kettle. When she did so, the liquid ran to the chief’s lodge, forming a path as of gold dust. He said, “This will be your trail when you go to see your father.” (Thomson, 120-124)

Anonymous Artists. (circa 1481). The Paths of the Sun and Moon

2. Simone Weil and the great Revelation

This myth of the North-American Okanagan, which I have partly recounted and partly quoted from Thomson’s Tales of the North American Indians, is one of the mythological tales analyzed by Simone Weil in her Cahiers d’Amerique. Unlike her teacher Alain, for whom myths are a creation of the human spirit, Simone Weil argues that myths are a metaphor for divine truth: “The foundation of mythology is that the universe is a metaphor of the divine truths” (First and Last Notebooks, 191).

Simone Weil (1909–1943)

For Simone Weil, divine truths are inscribed in the universe, and it is necessary to recognize them. Her conception of mythology appears to be linked to her religious conception, which emphasizes similar spiritual needs in all humans regardless of their spatial-temporal location.

After the rapprochement with Christ, the desire to verify the universal character of the Gospel led her to dedicate a large part of the research on mythology of the last years of her life (1940-43) to the identification of elements similar to the story of Christ in the different mythologies. Simone Weil’s religious conception is based on the idea of ​​a “Great Revelation” according to which God and the “supernatural” are everywhere if only we can recognize them.

For Weil, all humans of all times have access to this “Great Revelation;” between them and God, there is an abyss that can be bridged thanks to the work of different forms of mediation and mediators. In myths, these mediators take the form of divine incarnations for the benefit of humanity. The incarnation is combined with the idea of ​​suffering endowed with a spiritual value both in the form of redemptive suffering and in the form of suffering that allows access to “supernatural knowledge.”

A group of myths studied by Simone Weil in the “Great Revelation” perspective concerns the search for humans by God through the descent and the incarnation. At a certain point in the myth, the seduction of the soul by God occurs and thus leaves a sign of its passage on earth. Simone Weil is not interested in the considerable difference between the gods of ancient Greece, the cosmological beings mentioned in American Indian myths, and the historical figure of Christ. What interests her is the common essential symbolic structure of stories and myths that are very distant and different. In all these myths, as in the Greek myth of Prometheus itself, Simone Weil sees Christological figures, mediators who allow access to the supernatural.

In this light, Simone Weil also interprets the myth of the “Dirty-boy” of the North American Okanagon. For her, that myth is a myth of Incarnation and Redemption. The Sun and the Moon, once incarnated, had lost consciousness of their divine character. After all, in the sky, there was always a sun because there were days and nights. But above all, it seems remarkable to her that the chief’s young daughter must have rejected all her suitors before the sun came down to earth for her sake.

Simone Weil sees an image of Christ connected to a myth of Resurrection also in the custom of the North American Indians of not breaking the bones of animals killed in hunting and eaten to allow their resurrection. She also suggests a biblical parallel in the practice of not breaking a single bone of the paschal lamb. She points out that the bones of the slain animals were thrown into the water, which was considered a factor of resurrection, as will later happen in baptism.

In another post on this blog, the Pale mountains, we applied Weil’s ideas to a Ladin myth of the Dolomites. Here we have a divine image of the moon in the form of a princess who comes down to earth to reign with a prince who is in love with her.

The divine female lunar figure in the ancestral knowledge of many peoples, including the Greeks and the peoples of the Mediterranean, plays a mediating role between the extreme poles of life and death, indicating the possibility of rebirth and fertility in the perseverance of the life cycle. This is what the Greek myths relating to the lunar deities such as Hecate and Artemis speak of. The female deities of the earth such as Demeter and Persephone are connected to them and speak of the same vital cycle. The interpretation of Simone Weil emphasizes in these myths their prefiguration of Christ, the divine mediator who has imposed himself with Christian culture. As she writes in Letter to a Priest,

“All the mediator-gods, comparable to the Word, are lunar, bearers of horns, lyres or bows that evoke the crescent (Osiris, Artemis, Apollo, Hermes, Dionysus, Zagreus, Eros, …). Prometheus is the exception, but in Aeschylus, Io is his counterpart, condemned to perpetual vagabondage as he is to crucifixion, and she is horned. (It is worth remarking that before he was crucified, Christ was a vagabond—and Plato depicts Eros as a miserable vagabond). If the sun is the image of the Father, the moon—perfect reflection of solar splendor, but a reflection that we may contemplate (i.e. gaze on), and which suffers diminution and disappearance—is the image of the Son. The light is then that of the Spirit” (292).

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I present here some reflections initiated by a re-reading of Manzoni’s novel that I have completed in recent months during the outbreak of the Covid-19. Is there anything that this novel written two centuries ago can teach us today at the time of this Coronavirus? This question came to my mind when I realized that narrating the plague that struck Milan in 1630 in chapters 31 and 32 of The Betrothed, Manzoni reveals political, social, and cultural mechanisms very similar to ours struggling with the Coronavirus contagion. In this perspective, I thought, the reading of this 1630 story could become a mirror to look at what we can hardly see in our present.

The 1840 edition of The Betrothed also included the History of the Column of Infamy, published as an appendix, and illustrations created by a famous romantic painter, Francesco Gonin; Manzoni himself selected these images for publication. I am using some of these images curated by Guido Mura and Michele Losacco for the Biblioteca Braidense in my presentation.


The contagion in the Betrothed 

Manzoni sets his novel during the oppressive years of direct Spanish rule in Milan and Lombardy. In chapter 31, he recounts the plague contagion’s origin and how the population experienced it. Gonin introduces this chapter with this allegory of the plague:  

Francesco Gonin, Allegory of the Plague

The contagion was brought to Lombardy by the German troops allied with the Spanish ones who opposed the French ones in the war of succession of the state of Mantua. The physician Ludovico Settala was the first to report the plague to the Tribunal of Health. He alarmed the authorities, urging precise and rapid interventions. Still, political and medical leaders did not believe him and failed to take the timely decisions that were needed to contain the contagion.

The Spanish governor Ambrogio Spinola was busy with the war and told the authorities they should take care of the plague because he had “more important things to think about.” Therefore, the law that imposed the sanitary norms to protect Milan was issued only when the plague had already entered the city, provoking thousands of deaths and the lockdown of thousands of infected people in a special hospital named the Lazzaretto.

Another negligent attitude of both the political and religious powers favored the contagion’s spread. They could not renounce the public display of their powers’ symbols even in the epidemic’s lethal time. On the one hand, although informed of the plague, Governor Spinola decreed public festivities for Prince Carlos’s birth, King Philip IV’s firstborn son. He was uncaring of the danger of a great public gathering in those circumstances, “just as if the times had been normal, and no one had mentioned the plague to him at all,” Manzoni writes.

On the other hand, Cardinal Borromeo, pressured by public authorities, authorized a solemn procession through the streets, invoking divine help to contain the terrible calamity. The procession was held with an incredible crowd of people and crossed the entire city.

Francesco Gonin, The procession

The following day, however, as Manzoni underlines, the disease’s deaths increased dramatically due to the faster spread of the infection through the multiplication of contacts between people gathered in the street.

We witnessed a similar situation in early 2020, at the beginning of Covid-19. We saw the irresponsible refusal to admit the contagion’s existence by various countries’ political authorities, including permission to hold political rallies, sports events, and religious services, despite the danger represented by the multiplication of contagion opportunities. The reappearance of similar irrational and irresponsible attitudes in the middle of the 21st century is disconcerting, especially when compared to times when science and the media had not yet provided the elements for a more sophisticated perception and analyses of the contagion.

Given the public authorities’ dismissing attitude, in 1630 Milan, most people took a denier and superstitious attitude. The people became angry and protested against the health authorities when they started requiring quarantine and confinement to the hospital. Then, began what historians call “conspiracy syndrome,” of which there are ample examples in the past and, as you know, in our present. This syndrome arises from the obsession with imaginary hidden enemies that would cause evil and destructive crises. This fear triggers aggression, violence, illegality, and the imposition of a state of exception.

Thus, Milan’s people started believing that particularly dreadful humans caused the plague, the untori, anointers, or plague-spreaders. Driven by political reasons or by perverse murderous tendencies, they would go around to scatter and stain things and public places like churches with poisonous unguents and greasy items. In this image, you can see how Gonin imagined one of these scenes in Milan’s cathedral where some thought they saw people in the cathedral greasing a floorboard, as Manzoni writes.

Francesco Gonin, Anointers in the Cathedral

This other drawing represents what happened in the church of St. Anthony, where an older adult prayed a little on his knees and then dusted the bench with the hood because he wanted to sit down. Mistaken for an infector, he was savagely beaten and taken to the police, where he was tortured. (Betrothed, Chap. XXXII).

Francesco Gonin, The old man beaten in the Church of St. Anthony

Foreigners, especially French people but also Spaniards, were suspected as such to be responsible for the conspiracy and the spreading of the plague. People often would beat them in the street and considered them dangerous enemies of the homeland (16). This is what happened to the three young French people represented in this drawing by Gonin. (Betrothed, Chap. XXXII).

Francesco Gonin, Three young French comrades

Similarly, today in the early stages of the coronavirus pandemic, Chinese citizens have been the object of gratuitous violence in Italy and elsewhere. Not to mention the conspiracy theories we hear about and the rise of racism and xenophobia that has affected the Asian Pacific population in the United States since the pandemic began. 

In seventeenth-century Milanese society, the opinion that in the end prevailed set aside political conspiracy by the French and focused on a delínquent plot instead, with the only intent of preparing for a disorder, robbery, and looting. Some Milanese people were identified as untori by the citizen obsessed by the fear of the contagion. Under torture, they admitted being guilty of something for which they were not responsible. Consequently, they were sentenced to death.  

The trial and conviction of the untori anticipated in chapter 32 of the Betrothed are at the center of Manzoni’s History of the Column of Infamy. I analyze the latter in another publication. Here I focus on some ethical reflections that Manzoni develops in the plague chapters.

Language, ethics and compassion

First, he expresses concerns about the use of language. Then, just as today, language could become the tool to create false statements, escape from an unwanted reality, or build an “alternative reality” to avoid personal or public responsibilities. This attitude is hazardous if we consider that, as Foucault writes

“… when humans remain alienated from what happens in their language being constrained by economic and social determinations without feeling at home in the real world, they live in a culture that loses any sense of objectivity and makes pathological forms possible at all levels of society.” (Michel Foucault, Mental Illness and Psychology).

Manzoni describes the process with great precision that leads to the alienation from language and reality, starting from the outbreak of the plague. At first, the political and medical authorities prohibited using the word plague and used the expression “pestilential fever” instead. As Manzoni writes, they admitted the idea of the disease only indirectly in the adjective. He adds,

“Then it was not real plague – that is to say, it was plague, but only in a certain sense; not true plague, but something for which no other name could be found. Finally, it was plague without any doubt or contradiction. But already another idea – the idea of poison and sorcery – had become attached to it, which altered and confused the meaning of the word that could no longer be suppressed.” (The Betrothed, ch. 31).

In recent months, we have witnessed the same linguistic denial process with the definition of Covid 19, first, as a kind of “flu;” then, as something more dangerous than the regular flu. Finally, for some political authorities, the virus became a “Chinese virus,” altering and confusing the meaning of a word that they could no longer suppress.

The general reflection on the hazards of the use of language that Manzoni develops is particularly important. It is worth pondering it with full attention. He writes that in defining

“… little as much as in great things, this long and winding path (in the use of language to define the contagion) could be avoided by following the method laid down for so long, of observing, listening, comparing, and thinking before speaking.” The Betrothed, ch. 31.

In other words, he suggests that instead of following the political and religious powers and their supportive crowds in using words as propaganda, one should always go back to the sources of the discourses, think of their motivations, and confront them with critical attention. Still useful advice, especially in a time like ours overwhelmed by fakes news and alternative facts.

Manzoni’s recommendation is not based on moralism, which limits itself to establishing good and evil, but on ethics that makes us understand the conditions and restrictions within which good and evil are practicable. Indeed, trying to explain the scarce practice of critical attention in the use of language, he concludes by saying with some irony,

“But speaking by itself is so much easier than all the others put together, that we, too – I mean we humans in general – ought to some extent to be forgiven” (Ibidem).

In short, he is suggesting that speaking immediately and reactively is much easier, and therefore widespread, than comparing and thinking critically. Thus, to some extent, one should excuse all human beings and, therefore, the writer himself for their mistakes. Thinking critically for Manzoni also means distinguishing between, on the one hand, human and historical truth and, on the other, eschatological, eternal truth, to which human beings have only limited access. For this reason, in his Observations on Catholic morality, Manzoni wrote that human beings never must make truth triumph. (8)  

“… human beings may sometimes have the duty to speak for the truth, but never to make it triumph.” 
A. Manzoni, Observations on the Catholic Morality, “To the Reader.”

In this statement, I see a theological reformulation of ethics of truth as it emerged at the origins of Western philosophical discourse understood as an endless search for wisdom. Once he has established the distinction between historical truth and theological truth, Manzoni undertakes to transcend it in a continuous and restless movement of references to one element and the other without ever reaching a definitive synthesis from their dialectical collaboration. In this perspective, Pierantonio Frare has defined Manzoni as a writer of restlessness. I argue that from this restlessness comes his need for continuous reflections on language use, which should be considered a form of ethics of writing. 

On the one hand, Manzoni underlines the difficulty of communication at all levels, and intellectuals’ responsibility. On the other hand, he points to the ease with which people using language in an uncontrolled way can contribute to unpleasant misunderstandings and violent discrimination in society, eventually ruining the lives of individuals and entire social categories. Let me provide a few examples of this ethics of writing. First, I would like to mention a memorable narrative sequence from Chapter XXVII of Manzoni’s Betrothed that stages the problem of communication from a distance

It is no coincidence that this sequence constitutes a turning point in the novel because from this moment on, Manzoni inserts Renzo and Lucia’s love story into a broader historical and tragic context—famine, the war for the Mantua succession, and finally, the plague. Separated from Lucia due to Don Rodrigo’s threats to prevent their marriage, Renzo intends to communicate with her. Still, since he is illiterate, he must hire a letter-writer. At this point, Manzoni comments that those who know the art of writing and depend on it are bound to misunderstand their interlocutors being unable to give faithful expression to their thoughts and sometimes even their own ideas. Then, he adds 

“… it even happens to us who write for a press.”

Manzoni points out the difficulties and limits implicit in written communication in general and literary writing for print. By extending his writing ethics to scribes and modern authors alike, he also addresses intellectuals’ responsibility in social communication. Indeed, he recognizes here the pitfalls of intellectual statements that claim to speak in the name of illiterate people. A problem that, for his own admission affects his novel as well. This problem is also alive today as, not by chance, there still is talk of a profound rift between the intellectual elite and the people. Today, by moving away from the world of handwriting and printing towards an ever more pervasive and fast digital writing, quite often, we have done nothing but multiply the communication difficulties reported by Manzoni.  

In light of today’s problems, Manzoni’s work reveals surprising, insightful, and far-sighted attention to the sociolinguistic elements that structure otherness’s marginalization. Like any great novel, as Bakhtin suggests, Betrothed also includes multiple languages ​​and a diversity of social speech types. The language of power that excludes in Manzoni’s novel is not only the cumbersome Latin of the clergy (Don Abbondio) and the legal profession (Dr. Azzeccagarbugli) in the service of the powerful. The language of the empire, Don Ferrer’s Spanish, which deceives and dominates the crowd, also finds a significant space in the macrostructure of power. On the other hand, a local Italian dialect, which affects and discriminates against migration, also acts in power’s microstructure. 

This form of discrimination is what Renzo experiences in chapter XVII; when to survive the economic disasters provoked by the war, famine, and plague, he decides to migrate to the province of Bergamo. In the absence of an Italian state, this meant migrating from Duchy of Milan under Spanish rule to Venice’s Republic.

Here he is forced to suffer the offensive slur baggiano (blockhead) with which Bergamo’s population called the Milanese migrants. Even in these sociolinguistic observations that testify to micro-aggressions against migrants, Manzoni’s novel reflects a current situation and problem. Our culture is often unaware of the terrible possibility that linguistic offense –alienating humans from reality– can lead to violence and destruction. 

The most resounding example of this dreadful possibility is the use of the word untore. The process of clouding of conscience that prevented the various social actors from identifying the plague is further explored in the analysis that Manzoni conducts in the historical appendix. Thus, it becomes increasingly clear that the contagion of the soul, of the human conscience is at the center of his investigation. With few exceptions, this contagion involves practically all people, including the two women who identified Guglielmo Piazza as an untore only because he had touched the wall of a house with a hand. Manzoni writes that the word untore, already full of what he calls “deplorable certainty” passed without checking or correction from the street people’s mouth into that of the judges.

Francesco Gonin, Caterina Rosa identifies an alleged untore

Faced with the threat of the plague, everyone has silenced their ethical conscience and forgotten the meaning of justice; everyone only saw what they wanted to see and eliminated any rational inquiry by surrendering to insane fears and unsupported beliefs. Manzoni concludes, 

“… fear and fury, when not controlled by reason and charity, are unhappily liable, on the flimsiest pretexts and following the wildest assertions, to presume the guilt of men who are simply unfortunate.” History of the Column of Infamy, ch. 1.  

Reason and charity well express the two primary sources of Manzoni’s culture, rational Enlightenment and evangelical culture. Reason and charity are for Manzoni what can control the irresponsible use of language, avoid obscuring conscience, and stop the violence. Charity, that is, the recognition of the other in his most immediate and urgent needs, is what can make human conscience re-awake, bringing it closer to that reality that was previously stubbornly and selfishly denied. 

Noble examples of this charity are the Capuchin friars who died with joy at the Lazaretto assisting the sick with the plague, responding directly to the extreme condition of their pain. The Capuchins did not remain prisoners of the lies about the epidemic in the collective madness that had taken Milan.

Gonin, The Lazzaretto

At the extreme levels, this madness revealed the dark areas of the human soul in the gratuitous and obscene violence of the monatti. These were people sentenced to death, prisoners, appointed by the municipalities to transport the sick or corpses to the hospital. They quite often saw the plague as an occasion for a macabre carnival feast.

Francesco Gonin, Renzo on the wagon of the monatti

 The Capuchins are not as concerned about defining the plague as doctors, intellectuals, and politicians. They are concerned only with responding unshakably to the dire consequences of the epidemic, and in this way, with a gesture of radical altruism, they regain a sense of reality. 

I cannot help but note that even today, at the time of Covid-19, the contagion’s reality often denied by some politicians, newsmakers, and ordinary people alike, was witnessed and recognized only in the reports of the front-line workers of the hospitals. They have faced their duties as caregivers tirelessly and heroically. In their compassionate gestures, they also helped re-establish contact with the language, reality, and a world where one no longer feels stranger but a participant in becoming a healer. Here then is how, in Manzoni’s writing, the plague, from an allegory of evil and madness that grips human bodies and souls, paradoxically becomes a cognitive apparatus revealing an authentic human condition, the bare life of suffering. As Artaud wrote in his The Plague and the Theater,  

“… the plague, is beneficial because it impels us to see ourselves as we are, making the masks fall and divulging our world’s lies, aimlessness, meanness and even two-facedness. It shakes off stifling material dullness which even overcomes the senses’ clearest testimony, and collectively reveals their dark powers and hidden strength to humans, urging them to take a nobler, more heroic stand in the face of destiny than they would have assumed without it.”  Antonin Artaud, The Theater and the Plague

Bibliography

 

Artaud, Antonin, and Victor Corti. “Theathre and the plague” in The Theatre and Its Double. London: Alma Classics, 2014. Print. 9-22.

Bakhtin, M M, Caryl Emerson, and Michael Holquist. The Dialogic Imagination: Four Essays. Austin: University of Texas Press, 1981.

Foucault, Michel. Mental Illness and Psychology. Foucault. New York: Harper & Row, 1976. Print.

Gonin, Francesco, Manzonian images: sketches of the illustrations for the edition of “I Promessi Sposi” of 1840 / n. 316; 328; 329; 330; 412; 426; 442; 405; 454. Curated by Guido Mura and Michele Losacco. Internet resource. 

Frare, Pierantonio. La Scrittura Dell’inquietudine: Saggio Su Alessandro Manzoni. Firenze: Olschki, 2006. Print.

Lollini, Massimo. “Poetic Inspiration and Ethics of Writing as Source of Higher Narrative in Cervantes and Manzoni.” Epic and Other Higher Narratives: Essays in Intercultural Studies, eds. Steven Shankman, Amiya Dev. Pearson Education, India: 2010. 242-252. Print.

Manzoni, Alessandro, David Forgacs, and Matthew Reynolds. The Betrothed: And, History of the Column of Infamy. London: J.M. Dent, 1997. Print.  

—. Manzoni, Alessandro, and Franco Mollia. Osservazioni Sulla Morale Cattolica: Storia Della Colonna Infame. Milano: Garzanti, 1985. Print. 

Raimondi, Ezio. Il Romanzo Senza Idillio: Saggio Sui Promessi Sposi. Torino: Einaudi, 1995. Print.  

 

This reflection on borders begins with the Monument to Victory in Bolzano, built by the Fascist regime in 1928 to remember Italian soldiers who fell in the First World War and to celebrate the victory over the Austro-Hungarian army. A reading from Hermann Hesse’s Wandering will follow.

The monument was controversial and opposed by the German-speaking majority in the province of South Tyrol that was annexed to Italy after WW1. Today the monument remains controversial despite being somehow accepted by the entire South Tyrolean community.

 

 

Since 2014, it hosts along a permanent exhibition (under the title “BZ ’18–’45: one monument, one city, two dictatorships”) focusing on the history of the monument, within the context of Fascism and the Nazi occupation during WW2.

In the museum inside the monument you will find inscriptions that concern above all the historical time and the idea of borders and boundaries like the following expression of Fascist nationalism that can be read in Latin on the facade monument itself: “Here at the border of the fatherland set down the banner. From this point we educate others with language, law and culture.”

The exhibition is particularly critical and self-reflexive about the role of this monument and the monuments in general in keeping traces of the past alive. What is the function of the monuments? Is it still needed? Are there alternative ways to remember the past?

These are some of the questions that the visit to this monument-museum poses.

 


 

At the beginning of the  precious little book by the German born writer Hermann Hesse (1877-1962) entitled Wandering (1919-1920) there is a profound ethical reflection on borders. The author was able to remain true to the highest spiritual and cultural values ​​amid the collapse of European civil society during  WWI. While participating in the war as a volunteer in the imperial army –where he was assigned to the care of prisoners of war– he refused the general war enthusiasm of the time and in 1914 wrote an essay titled “O Friends, Not These Tones” (“O Freunde, nicht diese Töne”) published in the Neue Zürcher Zeitung to appeal to his fellow European intellectuals not to fall for nationalistic folly and hatred. As he write in his autobiographical notes for the Nobel Prize he received in 1946, “when the First World War broke out each year brought me more and more into conflict with German nationalism; ever since my first shy protests against mass suggestion and violence I have been exposed to continuous attacks and floods of abusive letters from Germany.”

Wandering (Wanderung) is one of Hermann Hesse’s most poetic works. It records thoughts and observations of someone who is traveling to rediscover the meaning of life and death and the importance of invisible spiritual values, such as the mystical sense of belonging and love for life and nature in all its forms.

In his autobiographical notes he lists his philosophical and spiritual influences,

“of the Western philosophers, I have been influenced most by Plato, Spinoza, Schopenhauer, and Nietzsche as well as the historian Jacob Burckhardt. But they did not influence me as much as Indian and, later, Chinese philosophy.”

 

Another significant influence on Hesse, not listed in his autobiographical notes, has been St. Francis. Notably, Hesse wrote a biography of St Francis (1904) and derived from him and some of the sources listed above (Indian and Chinese philosophy) the idea of the divine presence first and foremost in nature, in trees (see post of March 21, 2019), streams, meadows, clouds, or birds.  Hence the mystical and religious sense of life so widespread in Wandering, which is capable of establishing a dialogue, an intimate conversation with the small creatures of the earth and the particular attention to the most apparently insignificant details of animated and inanimate life in the style of conversation with the birds of St. Francis …

 

Giotto, Assisi, St.Francis talking to the birds

The juxtaposition of St. Francis to the Eastern Buddhist mysticism that we see in a certain way in Hermann Hesse recalls that between Milarepa and St. Francis which is established by Reinhold Messner in his Museum of the Mountain of Bolzano. Messner also insists on the importance of human dialogue with the mountain, nature in general in the formation of mystical human spirituality

Immediately after the end of World War I, Hesse embarked on a journey south. Throughout his life he has been a traveler and this trip to Ticino –where he resettled alone in the town Montagnola near lake Lugano and renting four small rooms in a castle-like building, the Casa Camuzzi– is one of the most important of his life in incorporating the reflections, experiences and premises of the great masterpieces that will follow.

He crossed the Alps hiking from North to South experiencing the moment in which German architecture, German countryside and language come to an end. He wanted to get away from a world that, although familiar, he did not accept anymore. He needed to rediscover his own world; he was looking for a new meaning in his life after the horror and agony of war. After millions of military and civilian casualties fallen in the war to defend national borders, how could one now think of borders? What was their value? Here is his answer:

How lovely it is to cross such a boundary. The wandering man becomes a primitive man in so many ways, in the same way that the nomad is more primitive than the farmer. But the longing to get on the other side of everything already settled, this makes me, and everybody like me, a road sign to the future. If there were many other people who loathed the borders between countries as I do, then there would be no more wars and blockades. Nothing on earth is more disgusting, more contemptible than borders. They’re like cannons, like generals: as long as peace, loving kindness and peace go on, nobody pays any attention to them — but as soon as war and insanity appear, they become urgent and sacred. While the war went on, how they were pain and prison to us wanderers. Devil take them! (5)

The hike and crossing of the borders of the Alps is counter posed to the farmhouse that he leaves behind to undertake his new journey.

Farmhouse, Hermann Hesse, Wandering

In drawing his farmhouse he reflects,

 

“Once again I love deeply everything at home, because I have to leave it. Tomorrow I will love other roofs, other cottages. I won’t leave my heart behind me, as they say in love letters. No, I am going to carry it with me over the mountains, because I need it, always. I am a nomad, not a farmer. I am an adorer of the unfaithful, the changing, the fantastic. I don’t care to secure my love to one bare place on this earth. I believe that what we love is only a symbol. Whenever our love becomes too attached to one thing, one faith, one virtue, then I become suspicious (6).”
Hesse’s ethical reading opens a series of important questions about the role of borders in our time. What is their function? Are they to be conceived in an absolute sense or in a relative and contextual sense? Do they remain essential for establishing individual and national identities? Has the time come to rethink the boundaries in a new, dynamic way more responsive to the needs not only of particular communities but also of the whole of humanity?

Bibliography

Giotto Assisi  Fresco 10. Artstor, library.artstor.org/asset/SS37414_37414_38037347. Web.
Hermann Hesse. Wandering: Notes and Sketches. London: Triad Paladin Grafton, 1988. Print.
—. Hermann Hesse – Biographical. NobelPrize.org. Nobel Media AB 2019. Tue. 16 Jul 2019. Web
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According to historian George Duby, the contemporary situation in the Mediterranean appears to be characterized by two trends that are the result of tendencies already established in previous centuries. On the one hand, there are the consequences of European colonialism that make the difference between the North and the South, between Europe and the rest of the Mediterranean world, more evident than ever. The imbalance persists and worsens in a worrying manner. The countries freed from colonialism live in growing poverty, partly linked to exuberant demography. Europe appears increasingly wary and closed to the Southern part of the Mediterranean world. The dramatic social and economic problems of our time, together with all the fundamentalist identities both cultural and religious, originate from this situation. On the other hand, our time appears to be characterized by the moment in which tourism takes a “pathological form” both from a social and cultural point of view (30). European tourism, argues Duby, is the bearer of a closed and contemptuous sub-culture that produces serious and negative effects on local cultures.

Mountain tourism is not an exception in the race for immoderate consumption of intangible assets such as the enjoyment of the isolated beauty of a landscape. The sedimentation of the anthropocene characteristic waste has violated every hill, every mountain, every cave. The mountain has been commodified, reduced to tourist attraction, with its luxury hotels, its chair lifts and its artificial lights that obscure the night light of the starry sky. Even on the highest peak of earth, on Mount Everest, waste is a serious threat to environmental sustainability. It is estimated that some 50 tonnes of mountaineering rubbish has accumulated beyond the Everest Base Camp ().

The human signs have “civilized” the highest peaks and most remote parts of the earth. Consequently, the mountain no longer offers itself as a unified and sublime image. Contemporary artists tend to emphasize this new dimension of the mountain landscape and the breaking of its magic. Here are two photographs by Andreas Gursky that represent the extreme human possession of the winter mountain landscape. Born in Leipzig in 1955, he is famous for representing the places of vacation and entertainment favored by tourism. The long queues of ski tourists draw the back of the mountains with serpentine waves that use the mountain as a writing medium.

AndreasGursky-Albertville, 1992

The people represented in their swarming look like a row of ants. In these photographs there is no shadow of a human personality, only a movement of nameless multitudes.

Andreas Gursky-Engadina, 1995

But there are artists who are still able to rediscover the wonder and charm of the mountains even and despite the consumerist wave of mass tourism. Georg Tappeiner, the photographer born in Merano in 1964 who lives in the Dolomites exposing himself to their magical beauty, has proved capable of catching the breath of their majestic sometimes disturbing presence on earth. In his photographs the Dolomites emerge with the force of an archaic epic poem as if they were the “heart stone of the world” that pulsates in the sky in the infinite movement of light and clouds.

The Marmolada (in the background, on the left), the Sella Group (in the center) and the Sass Ciampac (in the foreground), from the top | photo by Georg Tappeiner

The Dolominites have recently been included in the list of UNESCO World Heritage for the beauty of the landscape and the importance of their geological history. This fact has led to an increase in mass tourism in these mountains. The problem therefore arises of making this new tourism sustainable to avoid what Geneviève Clastres has recently called “the tourist paradox” that produces overcrowded destinations reduced to stage sets. This problem is common to all UNESCO World Heritage sites. For sure, tourism brings money, growth and hope, but at the same time can have negative consequences because visitors tend to “destroy the sites they admire wearing away the soil around the standing stones at Carnac, causing gully erosion in the Puyde-Dôme, damaging the cave paintings at Lascaux, trampling over Machu Picchu” (Clastres).

Clastres article based on the French situation closes with a pessimistic note because France does not have an independent tourism ministry since 1995 letting the commercial aspect of tourism to become very much dominant. The Nepal article on the unsustainable tourist treatment of Mt Everest also ends with a pessimistic note. He underlines that the Nepalese government earns US $3.3 million annually in Everest-related climbing royalty and is “not truly committed to making sure that its mountaineering peaks are not polluted.”

These examples make it clear that it is very difficult to find a balance between ecological and commercial needs in the absence of a precise orientation in this sense from public authorities. From this point of view, it appears remarkable that the Article 9 of Italian Constitution states that the Republic “protects the landscape and the historical and artistic heritage of the nation.” Regarding the Dolomites a first step in this direction has been taken through the process of candidacy and the consequent enrollment in the World Heritage List. The Italian State that was part of the Convention along with the regional, provincial and local administrations involved, committed to ensuring the protection, conservation, the presentation and transmission to the future generations of the Natural Heritage. In other words, they committed to develop sustainable tourism not only in the core and buffer areas of the Dolomites UNESCO, but also in the surrounding areas.

The Management Framework of the Dolomites Heritage UNESCO, document elaborated a series of indications on the sustainable tourism management of the site. Among the main objectives the document  highlights that of the “promotion of a gradual transition
from mass tourism to forms of quality tourism and responsible hiking” (Province of Belluno, Autonomous Province of Bolzano – Alto Adige / Autonomous Province of Bozen – Südtirol, Province of Pordenone, Autonomous Province of Trento, Province of Udine, Friuli Venezia Giulia Autonomous Region 2008, cited in Elmi and Wagner, 13).

Interventions and state and local government awareness in favor of responsible tourism are very important, as well as the conscience and action of each individual citizen. Similarly, the work of artists who re-create and re-invent the mountain landscape is significant, as it goes beyond pure preservation to renew its vitality in a creative way. L’Echo (2003), the video installation by Su-Mei Tse, the artist born in Luxembourg city in 1973, gives us a sense of wonder in front of a mountain landscape that also appears distant and impenetrable but at the same time responsive.

 

The artist and her cello are near the edge of a vast mountain canyon. She is still and silent then  plays, pauses and listens. The echo of the mountain reverberates establishing an intimacy between the artist and the landscape in the common musical breath. But the intimacy is only momentary and interrupted by a sublime silence.

 

Bibliography

Clastres, Geneviève. (2019, 07). “Overcrowded destinations reduced to stage sets; the tourist paradox.” Le Monde Diplomatique English ed.; Paris [Paris]01 July 2019.

Duby, Georges. Los Ideales Del Mediterráneo: Historia, Filosofía Y Literatura En La Cultura Europea. Barcelona: Icaria, 1997. Print.

Elmi, Marianna and Wagner Matthias. Turismo sostenibile nelle Dolomiti. Una strategia per il bene patrimonio mondiale Unesco. Bolzano: Accademia Europea, 2013.

Sanjay Nepal. “Everest tourism is causing a mountain of problems.” The Conversation, April 9, 2014.

Su-Mei Tse, L’Echo (2003), Video installation. Web. Preview from “https://vimeo.com/edouardmalinguegallery”.

 

 

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This legend was published by Karl Felix Wolff in 1905, as part of the folkloric tradition of the Dolomites in an attempt to enhance the Ladin minority that elaborated most of the legends today associated with the Dolomites. In fact, it was first published in the magazine L’amik di Ladins/Der Ladinerfreund (The friend of the Ladins). The most recent studies have highlighted the merits but also the problems of the collection of Ladin myths published by him. Among the merits is undoubtedly that of having saved from oblivion an extraordinary heritage of myths and legends destined to disappear when they were no longer told. Criticism of his work emphasizes the fact that he is a self-taught ethnographer and that he intervened heavily to integrate the legendary material in a personal way where it seemed contradictory or incomplete.

The Pale Mountains explains in an imaginative way the birth of the characteristic pale color of the Dolomites and the existential importance of their flowers like the edelweiss (Star of the Alps) and the rhododendron (Alpenrose). Reading this legend you will learn how the son of the King of the Alps with the help of hundreds of dwarfs prepared for the daughter of the King of the Moon a  world of white so that she would never have to languish for light, because every high mountain top in his country had become a  flame of stone, flaring, resplendently to the clouds …

The time of the story is the immemorial one of the origins and myth. The mountains we are talking about were not yet recognized with the name “Dolomites”. As is well known, the name Dolomites was coined in 1792 by the Swiss naturalist H.-B. de Saussure in honor of the French geologist Déodat de Dolomieu (1750–1801), who had discovered a new type of sedimentary rock, dolómia, made up of crystals of a double carbonate of magnesium and calcium (dolomite).

The central motif of the legend is the moonlight that is associated with the lunar deity, from the moon princess to the salvans. This was an ancestral people in deep contact with nature, able to weave the moon rays that would cover the mountains of the kingdom to alleviate the queen’s nostalgia for the moonlight. To recall Simone Weil’s conception elaborated in another post, Simone Weil and a myth of the Okanagan, in this legend we find a metaphor of divine truth inscribed in the universe. The moon princess is a divine incarnation, a mediator who benefits humans.

As Ulrike Kindl writes, “the legend of the Pale Mountains has its roots in a remote imago mundi, when the order of space and time was still perceived according to powerful symbolic projections, at the center, in all probability, was the figure of a primordial divinity, a numinous power identified with the entire cosmos, a goddess of heaven and earth, imagined as Mater Magna, fertile womb and deadly cave, source of birth, protector of growth and reproduction, and finally guardian of dead souls, until a new cycle begins” (194-195).

Once upon a time there lived the son of a King. His father’s kingdom lay in the southern territory of the Alps, with its green pastures and shady forests and steep mountains with black rocks. The inhabitants lived as hunters and shepherds, loved their country, and considered themselves happy. One, alone, was not content with his life and the world about him – the King’s son. He felt tormented by a desire which no one could grant him – he wanted to visit the Moon. He had already consulted all the wise men of the kingdom as to what he should do in order to reach the Moon, but nobody knew how to advise him. The Prince, therefore, was discontented and sad. In vain his companions endeavored to distract him and to turn his thoughts to other things – he talked and dreamed only about the Moon. At the time of Full Moon, he always became very sad. From evening until the morning he wandered restlessly around on the rocks and meadows, gazing all the time at the Moon. The most expert physicians came to the Court but no one was able to cure the strange malady of the Prince. And it continued to become worse.

One day, while hunting, the Prince left his companions and lost his way in the forests. When evening came and the sun had set he found himself in a lonely, high valley, all covered with Alproses, and surrounded on three sides by steep ridges and mighty towers of rock. No longer hoping to meet with his hunting companions again that day, the King’s son decided to spend the night there. So he lay down on a green lawn in the midst of Alprose bushes and looked thoughtfully, in the distance, at the red clouds and mountain-tops which were just fading away. As he felt very tired, however, he soon fell asleep and had a curious dream … he stood on a meadow all covered with strange flowers, and spoke to a wonderful girl whom he had never seen before. All around, as far as the Prince could see, it was white, but he himself held some red Alproses in his hand, and gave them to the beautiful stranger.  She, smiling, accepted the flowers, asking him what this country was like, and after a while she told him that she was the daughter of the Moon King. On hearing these words the King’s son felt an indescribable joy, and awoke.

It was already past midnight; the Moon stood high, and its silver light shone into the deserted clefts and on the pointed rocks of the lonely high valley: the Prince looked up and his joy changed, becoming deep sorrow. The usual ardent longing took possession of him, and for a long time, he gave free play to his sad thoughts. Finally, a gentle breeze passed through the Alproses, and the King’s son thought of what should happen if he really should meet the Moon Princess. So he began to gather the beautiful Alproses and to make a bouquet, and he was occupied with it for a long time. All at once, he thought he heard someone speaking high up in the rocks. He listened, but a great silence ruled, except that in the distance a waterfall murmured.

The Prince gathered some more flowers, but for the second time, he heard words, and now very clearly. The sound came down from the highest rock tower, and the top of this tower was wrapped up in a thick white cloud. Up there mountain-demons have to dwell, so the King’s son thought, and he grasped the hilt of his sword. Without putting away the Alprose bouquet he slowly strode to the tower, went around the foot of the mountain walls, and began to climb up on the back wall which was not so steep. The speaking became more clear, but it was not yet possible to distinguish words. Soon the King’s son came into a cloud, the moonlight could no longer get through, and he only groped his way forward. Finally, he struck something hard, a door was opened, and the Prince stood before a brightly Illuminated little space where two very, very old men were sitting.

Rhododendron ferrugineum (also called alpenrose)

They rose, frightened; but he calmed them, excusing himself by saying that he was a hunter who had lost his way in the mountain wildness. On hearing these words both went to meet him, asking him to come in, and they became very friendly. They talked of one thing and another, and the Prince asked them if they were old men of the mountains. But the two old men replied that they were inhabitants of the Moon who had made a long journey all around the world and that they were on the point of returning to their own country. Hearing this, the King’s son became quite pale with excitement and he told them that for years and years he felt an ardent desire to make a journey to the Moon. The two old men laughed, saying that if he wished to join them they were quite content and that they were starting immediately.

The Prince was very happy, thanking the good old men with endless words. Meanwhile the cloud had drifted from the rock summit and began to sail towards the Moon with increasing speed. During the long journey the Prince told the two old men many things concerning his father’s kingdom, and they told him how things were on the Moon, and how one had to live there. Thus, they informed him that an inhabitant of the earth could not stay for a long time on the Moon because everything there was white-plains and mountains, plants and cities – all shining in silver sheen, and an inhabitant of the earth became blind, after a time, from this dazzling brightness. So also, said they, a Moon dweller could not remain for a long time on the earth because of the dark colors of the forests and rocks, which are saddening, and if such a one could not return soon, very soon, to the Moon he would surely die from too much pining for the white fields of his country.

With such conversation and considerations did the three Moon-travellers beguile their time. At last, the cloud on which they were, came down upon one of the mountains of the Moon and rested there. The first part of their journey was over, now they had to proceed on foot. The two old men explained to the Prince that they had to turn westwards, and they advised him to travel towards the east in order to reach the Capital as soon as possible. The Prince said goodbye and went down the mountain in an easterly direction. All the country around about was white, especially because of little white flowers which covered the surface of the Moon in endless numbers. But, in addition, the ground, which in some places was bare, appeared white, and even the flaming walls of rock had faint bright colors.

After a while the King’s son saw the houses and tower tops of the Capital. All these buildings, however, were made, from their foundations to their battlements, of white marble. With quick steps, the Prince hastened to meet this white splendor until he was stopped by a hedge that barred the way. This hedge was made, with great skill, of sparkling metal, and its slicks bore strange decorations. Beyond the hedge, a gardener was working. As soon as he noticed the stranger he advanced slowly, saluted, and inquired, in an astonished manner, as to the origin of the red flowers which the Prince was holding in his hands. These were the Alproses which he had gathered during the night. The Prince explained that he had come from the earth, and that the flowers grew there. Now, the gardener told him that in the castle, which stood in the background, lived the Moon King and his daughter. The Princess was very fond of rare and beautiful flowers, and she would surely reward the stranger in a royal manner if he would leave the red bouquet for her.

The Prince laughed and said that he would give his Alproses to the Princess with great pleasure, but that he would seek no reward for them as he himself was the son of a King. At this, the astonished gardener opened the gate and invited the stranger to enter the garden. Then he ran up to the castle. After a while here returned, breathless, begging the Prince to go with him to the castle. The King’s son followed his guide through many, many halls and corridors, looking amazedly at the walls of alabaster white, and at the bright arms which adorned them.

The Prince was received by the Moon King and his daughter in a large illuminated hall and was welcomed in a very friendly way. The Moon King was a very old man with a long silvery-white beard; but, on seeing the Princess, the Prince recognized that wonderful girl whom he had met in his night-dream. She accepted the Alproses gratefully, praising their glorious color, and asked the Prince if there were many such flowers in his country, what kind of people lived there, and how large was his father’s kingdom. It was only after a lengthy conversation that they parted, the Moon King telling the Prince that he was to consider himself as his guest.

The Prince remained then for a time at the royal castle, taking long walks through its surroundings, and became well acquainted with the Moon to which he had so often looked up with longing. After some weeks the Moon King asked his foreign guest, at lunch, how he liked the Moon. The Prince replied that the white, shining landscape of the Moon was the most beautiful he ever had seen, but its unaccustomed brightness was so affecting his eyes that he feared he would go blind if he did not return soon to his own country. The Princess interjected that she did not share the apprehension of the earth Prince and that with time he could accustom himself to the splendor of the landscape. A wise old courtier, however, ventured to contradict the Princess, saying that it really was not advisable for an inhabitant of the earth to remain too long on the Moon. After that, the Princess said no more.


At the time that the King’s son lost his way while hunting, his companions searched for him everywhere in the gloomy forests and among the pathless rocks, but though their quest lasted for many days they were unable to find him. They were obliged, then, to return to the royal castle and to inform the old King of what had happened, but he sent them away, warning them that they should not dare to appear before him again without his son. At the same time the whole kingdom was informed that anyone who could bring any tidings of the Prince might expect a great reward.

But it was all to no purpose. No one knew anything, and the Prince was not heard of again. Everyone believed that he had perished at night on the mountains, when suddenly, it was reported through the country that the Prince had come back, bringing with him the Moon King’s daughter as his wife. The simple people of the Alps were very glad, and they all went to the palace to try to see the Princess as they could not imagine what an inhabitant of the Moon should look like, but she differed only from the women of the earth in that a bright light seemed to emanate from her, and that in the meadows each tree shadow vanished as soon as she appeared. The people were astonished at the white flower which grows everywhere on the Moon, and which the Princess had brought with her. This flower spread with time over the whole Alps, and even today the bright stars salute one from the rock walls, they are called Edelweiss.

Edelweiss
The flower’s common name ” Edelweiss”  derives from the German word “Edelweiß”, which is a compound of edel “noble” and weiß “white”. In the Italian speaking Alps the flower is referred as “Stella Alpina”, while in the French Alps as “Étoile des Alpes”, both names meaning “Star of the Alps”.

The Princess for her part was enchanted by the colored meadows and pastures of the Alps, never getting tired of admiring the variegated flowers and the green lawns. She also loved the blue mountain lakes, and, ever and always, she praised the variety of the earth’s surface, comparing it with the monotony of the Moon landscape, where everything was white. A proud satisfaction came over the Prince when he saw that the Moon daughter was so well and happy, and he delighted to show her everything, the valleys of the kingdom and their different curiosities, and all the beauties of the country. Both of them fell very glad and cheerful, and had no other thought but to remain like that.

Once, however, when the King’s son returned late one evening from hunting he saw his wife standing on the balcony and looking up at the Moon. He thought it was strange. He went up softly, surprising the dreamer, and asked her why she was looking up so thoughtfully at the Moon. She smiled and was silent, but on being asked again she confessed that she had been pining for the white Moon-fields. The meadows and valleys of the Alps are beautiful, she said, but the confusion of dark mountain tops which extend themselves threateningly towards the sky, like the black fists of gigantic demons, give the landscape a gloomy closeness, and this in time presses like deep sorrow upon the soul.

On hearing this complaint the Prince grew afraid, for it recalled to his mind what the two old men said to him when he went up to the Moon: they said that a Moon dweller would soon miss the white beauty of his country and die, languishing for light …..
At present, of course, there was no cause for a serious fear, and the Prince hoped to be able to release his wife from her dangerous homesickness by amusement and all kinds of diversion. He was mistaken, however, for her condition became worse little by little. Just like the Prince before his journey to the Moon, she now gazed at the Moon for hours and hours, becoming finally so pale and weak that there were grave fears for her life, and always she lamented about the black rocks which threatened down in such a ghostly way, just as if they would darken the valleys. And just as once no one was able to help the Prince, so now, also, nobody could bring deliverance. In the meantime, the suffering of the Princess was becoming worse, and the words of the two old Moon dwellers seemed to be terribly true. The Prince felt desolate, and those about him were helpless.

As soon as the Moon King heard that his daughter was in danger of death, he left the Moon and came down to the earth to visit his son-in-law who told him about her terrible home-sickness, which grew worse and worse and was now about to kill her. The Moon King said he could not let his daughter die, and, therefore, that he wished to bring her back to the Moon. At the same time he invited the Prince in a very friendly way to accompany them if he wished to do so, but said that in case the Prince should be obliged to stay on the earth he would be very sorry, without, however, being able to change his resolution to take the Princess back to her country.

Now people from all parts besieged the Prince, begging him to think of the kingdom he was appointed to rule, to remain among his native mountains and to renounce his wife. They praised the great future he had before him, advising him to undertake a campaign in the beautiful south, but the Prince would listen to no such speeches, and went with his father-in-law and his sick wife to the Moon. Here she recovered her health very soon, but long before she was perfectly healthy the Prince perceived with horror that he was seeing less from day to day and that he would be blind after a short time. The old Moon King now advised him to leave the Moon before it was too late. The Prince struggled against it, but seeing the danger growing more and more apparent he finally gave it up and returned, wretched, to the earth.

Now the Moon-home-sickness took hold of him more strongly than ever. At full Moon time he was never to be seen in the castle but was wandering restlessly around on the mountains. During the day she slept in caverns and under trees, and at night he climbed high peaks, looking steadfastly up at the Moon. With the new Moon, then, the Prince would return but so changed that scarcely anyone could recognize him. Eventually it wearied him to see people at all, and he no longer went down to the valleys, so completely wild did he become. Ceaselessly he traversed the large forests and rock deserts of his kingdom, climbing every mountain-top.

Nowhere could he find consolation and peace. Many weeks had passed since the King’s son had last seen or spoken to anyone. One evening, in a rubbled valley-end, he was surprised by a thunderstorm and obliged to flee into a cavern. There he met a strange little man, hardly three shoes tall but with a long beard and a serious face and a golden crown upon his head. The Prince spoke to the little man and soon realized that he had found a fellow-sufferer, for what the little man with the golden crown had to tell about his fate was very pitiful and sad.

The little man was the king of the”Salvans” (Salvan in the Ladin language, signifies cavern-inhabitant, wild man). From olden times they had inhabited a beautiful kingdom in the far east. This kingdom, having reached the height of its glory, and possessing as many inhabitants as a large forest has leaves, was subjected to an invasion of hostile foreign forces who devastated the country by fire and sword and killed so many Salvans in protracted battles that the survivors had to flee from their own country. Then the king, with the remainder of his people, marched from one neighboring kingdom to another begging for a mountain, or a marsh, or some other piece of ground so that his people could settle there. No sovereign would listen to him, however, and everywhere the Salvans were ejected with scorn. At last, they found shelter in a distant country, but they were obliged to work so hard that many of them died and others escaped in order that they might not witness any longer the misery of their brothers. Thus, it was with the king.

Having related this, the little man sighed and said that no creature could be more unhappy than a sovereign whose people had entirely perished and he unable to prevent it. The Prince then sympathized with the dwarf king on the hard fate which had befallen him but he said that his own destiny was no less cruel and he, too, related his distressful history. At first the dwarf king listened with a gloomy look but, little by little, his face began to brighten, and at last he smiled, quite pleased, and when the Prince, who did not notice this, had finished, the little man jumped up, clapped his hands and cried out joyously: Prince, be happy, we are now both saved. On hearing such an unexpected exclamation the Prince was almost afraid to look at the dwarf, for he thought that the little man had surely lost his reason and gone crazy.

But the dwarf king had not spoken without reason and he now began to explain his meaning quite clearly. He pointed out that the Princess was only obliged to return to her own country because a Moon child, accustomed to light could not bear the look of the black rocks for long. If the mountains of the Alp-kingdom were of the same clear color as those on the Moon, the Princess would never have been attacked by such a home-sickness. The little Salvans, he said, are a clever and skilled people and they would be willing to cover the innumerable dark mountain tops, from head to foot, with the whiteness of the Moon landscape if only the King of the Alp-kingdom would give them permission to live there forever without being molested. This would give help to both, to the Prince as well as to the dwarf-people.

The Prince listened to this promising speech half astonished, half unbelieving, and then he said he did not think it would be difficult to obtain permission for the Salvans to remain in his kingdom but that he did not understand how they could make a dark rock wall white. The dwarf-king smiled in a superior way and then he said the Prince could rest assured about that because the dwarfs had already done things that were more difficult. The Prince then hesitated no longer, inviting the little man to come with him to the court. The Salvans agreed and in addition, as the storm had ceased, they immediately left the cavern, walking on together. They had to wander for two days through desert solitudes before they reached the principal valley and the castle.

The old King was very pleased al the return of his son but he considered the request of himself and his companion a strange one. He did not bother about to look at the mountain-tops but he thought he could not agree to the immigration of strange people. It was only when the king of the Salvans had explained that they would never lay claim to the rich valleys, meadows, and fields, but be satisfied to remain in the forests and wild rocks, that the Alp King and his advisers gave their consent. The agreement was confirmed by documents and both parties swore to observe it faithfully.

The dwarf king departed immediately to look for his poor people and to bring them the good news. Some days later the exhausted little people were seen to cross the frontiers of the kingdom in long columns and turn towards the high mountains. After having selected their dwelling places under clefts and rock sand behind waterfalls, the dwarf king sent word to the Prince that the Salvans would begin next evening the work they had undertaken by contract. The Prince who could scarcely restrain his impatience was in addition, tormented by doubts, for it seemed incredible to him that the dwarfs would be able to accomplish the difficult work. He ascended one of the highest mountain-top to await the evening.

As soon as the moon had risen, seven Salvans appeared, forming a circle and beginning to make all sorts of contortions. Their little hands worked convulsively, like the waves of a torrent. Astonished, the Prince watched this performance; finally, he asked the little men what they intended to do. They answered that they were about to weave the moonlight, and, sure enough, after a while, in the middle of a circle, one saw a clew which radiated a soft but continuing brightness. The dwarfs worked busily, the clew was growing and became a large bundle. The Prince gazed steadily at the seven little men, while hour after hour passed. Then he looked in the distance and behold, on every mountain top a point of light was glowing: everywhere stood little dwarfs who had spun the lights.

In deep astonishment the Prince looked at this wonderful picture; the stars seemed to have fallen down on the dark sea of mountains tops. Already the valley had become all black, and the Moon shone only on the highest peaks, then it sank down beyond long wavy borders. The Salvans did not rest but immediately began another task; they pulled apart their bundle of light, drawing glittering threads down from the tops over the declivities, and they went around the mountains wrapping them, little by little, into a net of light. As soon as every edge and top had been spun over, the meshes were drawn closer together until finally, every dark plain vanished and the whole ground radiated a pale glimmer.

The next day no one, down in the valley, could believe their eyes, for the high mountains all around, once towering aloft so gloomily, were now all white, and their bright color formed a strange contrast with the maze of mountains which remained black beyond the frontier. In a single night, the dwarfs had covered all the mountain tops in the kingdom with the white color of the Moon-landscape. When the Prince arrived at the castle highly pleased, a messenger was brought before him with a sad message: the Moon King informed the Prince that the Princess had contracted an illness which endangered her life, and had expressed a desire to see her husband once again. The Prince made no answer, not even a single word, but when the messenger departed he was his companion.

As soon as he arrived at the Moon, he hastened towards the glittering palace. On reaching the hall the Prince was informed that the Princess was on the point of death. But he ran to her, crying that she must not die now, for all their sorrow was ended: the mountain tops of his kingdom were glittering like Moon-mountains; she must return with him once more lo the earth,  as he had prepared for her a  world of white where she would never again have to languish for light, because every high mountain top in his country had now become a  flame of stone, flaring, resplendently to the clouds.

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These cheerful, happy words revived the spirits of the Princess, and soon it  was obvious that she had recovered again. After a  short lime the Prince was able to bring his wife back to the earth, and how joyful was the astonishment of the young Princess who had lain so near to death,  when she beheld the shining landscape: the smiling Alp-garden united in its white rocks, green meadows and variegated flowers, the Moon’s regions of light with the rich color-beauty of the earth. Never again did the Moon-daughter sigh for her own country, as it was now more beautiful on the white mountains than in the Moon.


The pale mountains are standing there today, and they are called the Dolomites. The kingdom as such has ceased to exist for a long time, but the Salvans still dwell in the wildness of the rocks and forests. But not only does an enchanting brightness still cling to those pale mountains -they are haunted by the deep home-sickness of that Moon-Princess, for anyone who has ever been there, is always called back to the marvel of the light-girded Dolomites by an infinite longing.

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