Eva Colombo, Come la luce ovunque tocca l’ombra, capitolo secondo: L’ancella della Notte
Eva Colombo, As light wherever touches shadow, second chapter: The Maid of the Night ( from Dino Campana, Orfic songs, 1914 )
A barbaric tower penetrates with his cone of shadow a long avenue of planes. A dark and violent something stirs among the leaves: a mystic and wild myth has impressed its prints on that place and streetwalkers are fatally magnetized by those prints as if an ancient curse obliges them to run along that avenue almost hypnotized by the indistinct glow which seeps through a desirable, very distant door. Their long dresses stroke a torpid countryside which softly slips into the hypnotic network of canals. The sharp profile of ancient maidens sinks into green bends. Something alive shines through the bottom of torpid canals: it is a mocking shadow, the shadow of the poet at the beginning of his initiation path. It is this shadow from that muddy bottom which leads him to a border and a door: a barbaric and massive matron receives him. The shadow behind her shoulders doesn’t hide the amber – coloured maid who wheezes burdened with sound sleep. The long procession of the matron’s ancient lovers parades monotonous to the poet’s ears while the maid frees herself from sleep’s load and, leaning on the elbows, assumes a Sphinx’s attitude. Outside, green gardens among red walls. The complementary of green and red appeases the paradoxicality of the condition of the poet, of the matron and of the maid: out of the world and of the time but the only ones alive. Then the night envelops the poet and the maid but the darkness doesn’t succeed in extinguishing the amber of her paradoxical golden but wild body, unripe but sweet, a body closed in the fence of a mystery which is humble: adherent to the ground. One frozen December night the poet meets again the matron and the maid. In the block of frozen fog, a frozen fog which oppresses with its shadow frozen arcades, drops of light dig means of escape - drops of light that flow into another light which bursts out a suddenly open door. Poet’s eyes are immediately attracted by the red of an ottoman where the massive matron supports with the hand her heavy head, the young – eyed matron who is ancient as the world. Beside her, the slim maid enveloped in a bright dressing – gown. Over her head, a white curtain which bears enigmatic white images. In the shadow of this red and white room the maid wheezes burdened with dark dreams, troubled by the mystic fusion which is unifying the opposite and complementary parts of her being: young and ancient, female and male, human animal and holy icon. Another meeting, this time in a city by the sea. In a burning - red shadow lily – white streetwalkers are dreaming in a wind which bears the purifying salt of the green sea while the Mediterranean night glows with stars and flames. The streetwalker chosen by the poet is pure and shining, winged by her light dress. Red, green and white have become violet: in the violet night the maid has reunited in a harmonious unity her paradoxicality and she can now soar unburdened. In the beyond of the mirror her real identity becomes visible: she is a volatile but concrete divine epiphany.