Women in Love By David Herbert Lawrence

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Women in Love

David Herbert Lawrence

Published: 1920

Categorie(s): Fiction, Romance

Source: http://www.gutenberg.org About Lawrence:

David Herbert Lawrence (11 September 1885 - 2 March 1930) was an important and controversial English writer of the 20th century, whose prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, literary criticism and personal letters. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, sexuality, and instinctive behaviour. Lawrence's unsettling opinions earned him many enemies and he endured hardships, official persecution, censorship and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage." At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as "the greatest imaginative novelist of our generation." Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. He is now generally valued as a visionary thinker and a significant representative of modernism in English literature, although some feminists object to the attitudes toward women and sexuality found in his works. Source: Wikipedia

Also available on Feedbooks Lawrence:

- Lady Chatterley's Lover (1928)

- Sons and Lovers (1913)

- Fantasia of the Unconscious (1922)

- The Rainbow (1915)

- The Prussian Officer (1914)

- Twilight in Italy (1916)

- The Virgin and the Gipsy (1930)

- The Horse-Dealer's Daughter (1922)

- Love Among the Haystacks (1930)

- 'Tickets, Please!' (1919)

Copyright: This work is available for countries where copyright is Life+70 and in the USA.

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Chapter 1 Sisters

Ursula and Gudrun Brangwen sat one morning in the window-bay of their father's house in Beldover, working and talking. Ursula was stitching a piece of brightly-coloured embroidery, and Gudrun was drawing upon a board which she held on her knee. They were mostly silent, talking as their thoughts strayed through their minds.

'Ursula,' said Gudrun, 'don't you REALLY WANT to get married?' Ursula laid her embroidery in her lap and looked up. Her face was calm and considerate.

'I don't know,' she replied. 'It depends how you mean.'

Gudrun was slightly taken aback. She watched her sister for some moments.

'Well,' she said, ironically, 'it usually means one thing! But don't you think anyhow, you'd be—' she darkened slightly—'in a better position than you are in now.'

A shadow came over Ursula's face.

'I might,' she said. 'But I'm not sure.'

Again Gudrun paused, slightly irritated. She wanted to be quite definite.

'You don't think one needs the EXPERIENCE of having been married?' she asked.

'Do you think it need BE an experience?' replied Ursula.

'Bound to be, in some way or other,' said Gudrun, coolly. 'Possibly undesirable, but bound to be an experience of some sort.'

'Not really,' said Ursula. 'More likely to be the end of experience.'

Gudrun sat very still, to attend to this.

'Of course,' she said, 'there's THAT to consider.' This brought the conversation to a close. Gudrun, almost angrily, took up her rubber and began to rub out part of her drawing. Ursula stitched absorbedly.

'You wouldn't consider a good offer?' asked Gudrun.

'I think I've rejected several,' said Ursula.

'REALLY!' Gudrun flushed dark—'But anything really worth while? Have you REALLY?'

'A thousand a year, and an awfully nice man. I liked him awfully,' said Ursula.

'Really! But weren't you fearfully tempted?'

'In the abstract but not in the concrete,' said Ursula. 'When it comes to the point, one isn't even tempted—oh, if I were tempted, I'd marry like a shot. I'm only tempted NOT to.' The faces of both sisters suddenly lit up with amusement.

'Isn't it an amazing thing,' cried Gudrun, 'how strong the temptation is, not to!' They both laughed, looking at each other. In their hearts they were frightened.

There was a long pause, whilst Ursula stitched and Gudrun went on with her sketch. The sisters were women, Ursula twenty-six, and Gudrun twenty-five. But both had the remote, virgin look of modern girls, sisters of Artemis rather than of Hebe. Gudrun was very beautiful, passive, soft-skinned, soft-limbed. She wore a dress of dark-blue silky stuff, with ruches of blue and green linen lace in the neck and sleeves; and she had emerald-green stockings. Her look of confidence and diffidence contrasted with Ursula's sensitive expectancy. The provincial people, intimidated by Gudrun's perfect sang-froid and exclusive bareness of manner, said of her: 'She is a smart woman.' She had just come back from London, where she had spent several years, working at an art-school, as a student, and living a studio life.

'I was hoping now for a man to come along,' Gudrun said, suddenly catching her underlip between her teeth, and making a strange grimace, half sly smiling, half anguish. Ursula was afraid.

'So you have come home, expecting him here?' she laughed.

'Oh my dear,' cried Gudrun, strident, 'I wouldn't go out of my way to look for him. But if there did happen to come along a highly attractive individual of sufficient means—well—' she tailed off ironically. Then she looked searchingly at Ursula, as if to probe her. 'Don't you find yourself getting bored?' she asked of her sister. 'Don't you find, that things fail to materialise? NOTHING MATERIALISES! Everything withers in the bud.'

'What withers in the bud?' asked Ursula.

'Oh, everything—oneself—things in general.' There was a pause, whilst each sister vaguely considered her fate.

'It does frighten one,' said Ursula, and again there was a pause. 'But do you hope to get anywhere by just marrying?'

'It seems to be the inevitable next step,' said Gudrun. Ursula pondered this, with a little bitterness. She was a class mistress herself, in Willey Green Grammar School, as she had been for some years.

'I know,' she said, 'it seems like that when one thinks in the abstract. But really imagine it: imagine any man one knows, imagine him coming home to one every evening, and saying "Hello," and giving one a kiss—'

There was a blank pause.

'Yes,' said Gudrun, in a narrowed voice. 'It's just impossible. The man makes it impossible.'

'Of course there's children—' said Ursula doubtfully.

Gudrun's face hardened.

'Do you REALLY want children, Ursula?' she asked coldly. A dazzled, baffled look came on Ursula's face.

'One feels it is still beyond one,' she said.

'DO you feel like that?' asked Gudrun. 'I get no feeling whatever from the thought of bearing children.'

Gudrun looked at Ursula with a masklike, expressionless face. Ursula knitted her brows.

'Perhaps it isn't genuine,' she faltered. 'Perhaps one doesn't really want them, in one's soul—only superficially.' A hardness came over Gudrun's face. She did not want to be too definite.

'When one thinks of other people's children—' said Ursula.

Again Gudrun looked at her sister, almost hostile.

'Exactly,' she said, to close the conversation.

The two sisters worked on in silence, Ursula having always that strange brightness of an essential flame that is caught, meshed, contravened. She lived a good deal by herself, to herself, working, passing on from day to day, and always thinking, trying to lay hold on life, to grasp it in her own understanding. Her active living was suspended, but underneath, in the darkness, something was coming to pass. If only she could break through the last integuments! She seemed to try and put her hands out, like an infant in the womb, and she could not, not yet. Still she had a strange prescience, an intimation of something yet to come.

She laid down her work and looked at her sister. She thought Gudrun so CHARMING, so infinitely charming, in her softness and her fine, exquisite richness of texture and delicacy of line. There was a certain playfulness about her too, such a piquancy or ironic suggestion, such an untouched reserve. Ursula admired her with all her soul.

'Why did you come home, Prune?' she asked.

Gudrun knew she was being admired. She sat back from her drawing and looked at Ursula, from under her finely-curved lashes.

'Why did I come back, Ursula?' she repeated. 'I have asked myself a thousand times.'

'And don't you know?'

'Yes, I think I do. I think my coming back home was just RECULER POUR MIEUX SAUTER.'

And she looked with a long, slow look of knowledge at Ursula.

'I know!' cried Ursula, looking slightly dazzled and falsified, and as if she did NOT know. 'But where can one jump to?'

'Oh, it doesn't matter,' said Gudrun, somewhat superbly. 'If one jumps over the edge, one is bound to land somewhere.'

'But isn't it very risky?' asked Ursula.

A slow mocking smile dawned on Gudrun's face.

'Ah!' she said laughing. 'What is it all but words!' And so again she closed the conversation. But Ursula was still brooding.

'And how do you find home, now you have come back to it?' she asked.

Gudrun paused for some moments, coldly, before answering. Then, in a cold truthful voice, she said:

'I find myself completely out of it.'

'And father?'

Gudrun looked at Ursula, almost with resentment, as if brought to bay.

'I haven't thought about him: I've refrained,' she said coldly.

'Yes,' wavered Ursula; and the conversation was really at an end. The sisters found themselves confronted by a void, a terrifying chasm, as if they had looked over the edge.

They worked on in silence for some time, Gudrun's cheek was flushed with repressed emotion. She resented its having been called into being.

'Shall we go out and look at that wedding?' she asked at length, in a voice that was too casual.

'Yes!' cried Ursula, too eagerly, throwing aside her sewing and leaping up, as if to escape something, thus betraying the tension of the situation and causing a friction of dislike to go over Gudrun's nerves.

As she went upstairs, Ursula was aware of the house, of her home round about her. And she loathed it, the sordid, too-familiar place! She was afraid at the depth of her feeling against the home, the milieu, the whole atmosphere and condition of this obsolete life. Her feeling frightened her.

The two girls were soon walking swiftly down the main road of Beldover, a wide street, part shops, part dwelling-houses, utterly formless and sordid, without poverty. Gudrun, new from her life in Chelsea and Sussex, shrank cruelly from this amorphous ugliness of a small colliery town in the Midlands. Yet forward she went, through the whole sordid gamut of pettiness, the long amorphous, gritty street. She was exposed to every stare, she passed on through a stretch of torment. It was strange that she should have chosen to come back and test the full effect of this shapeless, barren ugliness upon herself. Why had she wanted to submit herself to it, did she still want to submit herself to it, the insufferable torture of these ugly, meaningless people, this defaced countryside? She felt like a beetle toiling in the dust. She was filled with repulsion.

They turned off the main road, past a black patch of common-garden, where sooty cabbage stumps stood shameless. No one thought to be ashamed. No one was ashamed of it all.

'It is like a country in an underworld,' said Gudrun. 'The colliers bring it above-ground with them, shovel it up. Ursula, it's marvellous, it's really marvellous—it's really wonderful, another world. The people are all ghouls, and everything is ghostly. Everything is a ghoulish replica of the real world, a replica, a ghoul, all soiled, everything sordid. It's like being mad, Ursula.'

The sisters were crossing a black path through a dark, soiled field. On the left was a large landscape, a valley with collieries, and opposite hills with cornfields and woods, all blackened with distance, as if seen through a veil of crape. White and black smoke rose up in steady columns, magic within the dark air. Near at hand came the long rows of dwellings, approaching curved up the hill-slope, in straight lines along the brow of the hill. They were of darkened red brick, brittle, with dark slate roofs. The path on which the sisters walked was black, trodden-in by the feet of the recurrent colliers, and bounded from the field by iron fences; the stile that led again into the road was rubbed shiny by the moleskins of the passing miners. Now the two girls were going between some rows of dwellings, of the poorer sort. Women, their arms folded over their coarse aprons, standing gossiping at the end of their block, stared after the Brangwen sisters with that long, unwearying stare of aborigines; children called out names.

Gudrun went on her way half dazed. If this were human life, if these were human beings, living in a complete world, then what was her own world, outside? She was aware of her grass-green stockings, her large grass-green velour hat, her full soft coat, of a strong blue colour. And she felt as if she were treading in the air, quite unstable, her heart was contracted, as if at any minute she might be precipitated to the ground. She was afraid.

She clung to Ursula, who, through long usage was inured to this violation of a dark, uncreated, hostile world. But all the time her heart was crying, as if in the midst of some ordeal: 'I want to go back, I want to go away, I want not to know it, not to know that this exists.' Yet she must go forward.

Ursula could feel her suffering.

'You hate this, don't you?' she asked.

'It bewilders me,' stammered Gudrun.

'You won't stay long,' replied Ursula.

And Gudrun went along, grasping at release.

They drew away from the colliery region, over the curve of the hill, into the purer country of the other side, towards Willey Green. Still the faint glamour of blackness persisted over the fields and the wooded hills, and seemed darkly to gleam in the air. It was a spring day, chill, with snatches of sunshine. Yellow celandines showed out from the hedge-bottoms, and in the cottage gardens of Willey Green, currant-bushes were breaking into leaf, and little flowers were coming white on the grey alyssum that hung over the stone walls.

Turning, they passed down the high-road, that went between high banks towards the church. There, in the lowest bend of the road, low under the trees, stood a little group of expectant people, waiting to see the wedding. The daughter of the chief mine-owner of the district, Thomas Crich, was getting married to a naval officer.

'Let us go back,' said Gudrun, swerving away. 'There are all those people.'

And she hung wavering in the road.

'Never mind them,' said Ursula, 'they're all right. They all know me, they don't matter.'

'But must we go through them?' asked Gudrun.

'They're quite all right, really,' said Ursula, going forward. And together the two sisters approached the group of uneasy, watchful common people. They were chiefly women, colliers' wives of the more shiftless sort. They had watchful, underworld faces.

The two sisters held themselves tense, and went straight towards the gate. The women made way for them, but barely sufficient, as if grudging to yield ground. The sisters passed in silence through the stone gateway and up the steps, on the red carpet, a policeman estimating their progress.

'What price the stockings!' said a voice at the back of Gudrun. A sudden fierce anger swept over the girl, violent and murderous. She would have liked them all annihilated, cleared away, so that the world was left clear for her. How she hated walking up the churchyard path, along the red carpet, continuing in motion, in their sight.

'I won't go into the church,' she said suddenly, with such final decision that Ursula immediately halted, turned round, and branched off up a small side path which led to the little private gate of the Grammar School, whose grounds adjoined those of the church.

Just inside the gate of the school shrubbery, outside the churchyard, Ursula sat down for a moment on the low stone wall under the laurel bushes, to rest. Behind her, the large red building of the school rose up peacefully, the windows all open for the holiday. Over the shrubs, before her, were the pale roofs and tower of the old church. The sisters were hidden by the foliage.

Gudrun sat down in silence. Her mouth was shut close, her face averted. She was regretting bitterly that she had ever come back. Ursula looked at her, and thought how amazingly beautiful she was, flushed with discomfiture. But she caused a constraint over Ursula's nature, a certain weariness. Ursula wished to be alone, freed from the tightness, the enclosure of Gudrun's presence.

'Are we going to stay here?' asked Gudrun.

'I was only resting a minute,' said Ursula, getting up as if rebuked. 'We will stand in the corner by the fives-court, we shall see everything from there.'

For the moment, the sunshine fell brightly into the churchyard, there was a vague scent of sap and of spring, perhaps of violets from off the graves. Some white daisies were out, bright as angels. In the air, the unfolding leaves of a copper-beech were blood-red.

Punctually at eleven o'clock, the carriages began to arrive. There was a stir in the crowd at the gate, a concentration as a carriage drove up, wedding guests were mounting up the steps and passing along the red carpet to the church. They were all gay and excited because the sun was shining.

Gudrun watched them closely, with objective curiosity. She saw each one as a complete figure, like a character in a book, or a subject in a picture, or a marionette in a theatre, a finished creation. She loved to recognise their various characteristics, to place them in their true light, give them their own surroundings, settle them for ever as they passed before her along the path to the church. She knew them, they were finished, sealed and stamped and finished with, for her. There was none that had anything unknown, unresolved, until the Criches themselves began to appear. Then her interest was piqued. Here was something not quite so preconcluded.

There came the mother, Mrs Crich, with her eldest son Gerald. She was a queer unkempt figure, in spite of the attempts that had obviously been made to bring her into line for the day. Her face was pale, yellowish, with a clear, transparent skin, she leaned forward rather, her features were strongly marked, handsome, with a tense, unseeing, predative look. Her colourless hair was untidy, wisps floating down on to her sac coat of dark blue silk, from under her blue silk hat. She looked like a woman with a monomania, furtive almost, but heavily proud.

Her son was of a fair, sun-tanned type, rather above middle height, well-made, and almost exaggeratedly well-dressed. But about him also was the strange, guarded look, the unconscious glisten, as if he did not belong to the same creation as the people about him. Gudrun lighted on him at once. There was something northern about him that magnetised her. In his clear northern flesh and his fair hair was a glisten like sunshine refracted through crystals of ice. And he looked so new, unbroached, pure as an arctic thing. Perhaps he was thirty years old, perhaps more. His gleaming beauty, maleness, like a young, good-humoured, smiling wolf, did not blind her to the significant, sinister stillness in his bearing, the lurking danger of his unsubdued temper. 'His totem is the wolf,' she repeated to herself. 'His mother is an old, unbroken wolf.' And then she experienced a keen paroxyism, a transport, as if she had made some incredible discovery, known to nobody else on earth. A strange transport took possession of her, all her veins were in a paroxysm of violent sensation. 'Good God!' she exclaimed to herself, 'what is this?' And then, a moment after, she was saying assuredly, 'I shall know more of that man.' She was tortured with desire to see him again, a nostalgia, a necessity to see him again, to make sure it was not all a mistake, that she was not deluding herself, that she really felt this strange and overwhelming sensation on his account, this knowledge of him in her essence, this powerful apprehension of him. 'Am I REALLY singled out for him in some way, is there really some pale gold, arctic light that envelopes only us two?' she asked herself. And she could not believe it, she remained in a muse, scarcely conscious of what was going on around.

The bridesmaids were here, and yet the bridegroom had not come. Ursula wondered if something was amiss, and if the wedding would yet all go wrong. She felt troubled, as if it rested upon her. The chief bridesmaids had arrived. Ursula watched them come up the steps. One of them she knew, a tall, slow, reluctant woman with a weight of fair hair and a pale, long face. This was Hermione Roddice, a friend of the Criches. Now she came along, with her head held up, balancing an enormous flat hat of pale yellow velvet, on which were streaks of ostrich feathers, natural and grey. She drifted forward as if scarcely conscious, her long blanched face lifted up, not to see the world. She was rich. She wore a dress of silky, frail velvet, of pale yellow colour, and she carried a lot of small rose-coloured cyclamens. Her shoes and stockings were of brownish grey, like the feathers on her hat, her hair was heavy, she drifted along with a peculiar fixity of the hips, a strange unwilling motion. She was impressive, in her lovely pale-yellow and brownish-rose, yet macabre, something repulsive. People were silent when she passed, impressed, roused, wanting to jeer, yet for some reason silenced. Her long, pale face, that she carried lifted up, somewhat in the Rossetti fashion, seemed almost drugged, as if a strange mass of thoughts coiled in the darkness within her, and she was never allowed to escape.

Ursula watched her with fascination. She knew her a little. She was the most remarkable woman in the Midlands. Her father was a Derbyshire Baronet of the old school, she was a woman of the new school, full of intellectuality, and heavy, nerve-worn with consciousness. She was passionately interested in reform, her soul was given up to the public cause. But she was a man's woman, it was the manly world that held her.

She had various intimacies of mind and soul with various men of capacity. Ursula knew, among these men, only Rupert Birkin, who was one of the school-inspectors of the county. But Gudrun had met others, in London. Moving with her artist friends in different kinds of society, Gudrun had already come to know a good many people of repute and standing. She had met Hermione twice, but they did not take to each other. It would be queer to meet again down here in the Midlands, where their social standing was so diverse, after they had known each other on terms of equality in the houses of sundry acquaintances in town. For Gudrun had been a social success, and had her friends among the slack aristocracy that keeps touch with the arts.

Hermione knew herself to be well-dressed; she knew herself to be the social equal, if not far the superior, of anyone she was likely to meet in Willey Green. She knew she was accepted in the world of culture and of intellect. She was a KULTURTRAGER, a medium for the culture of ideas. With all that was highest, whether in society or in thought or in public action, or even in art, she was at one, she moved among the foremost, at home with them. No one could put her down, no one could make mock of her, because she stood among the first, and those that were against her were below her, either in rank, or in wealth, or in high association of thought and progress and understanding. So, she was invulnerable. All her life, she had sought to make herself invulnerable, unassailable, beyond reach of the world's judgment.

And yet her soul was tortured, exposed. Even walking up the path to the church, confident as she was that in every respect she stood beyond all vulgar judgment, knowing perfectly that her appearance was complete and perfect, according to the first standards, yet she suffered a torture, under her confidence and her pride, feeling herself exposed to wounds and to mockery and to despite. She always felt vulnerable, vulnerable, there was always a secret chink in her armour. She did not know herself what it was. It was a lack of robust self, she had no natural sufficiency, there was a terrible void, a lack, a deficiency of being within her.

And she wanted someone to close up this deficiency, to close it up for ever. She craved for Rupert Birkin. When he was there, she felt complete, she was sufficient, whole. For the rest of time she was established on the sand, built over a chasm, and, in spite of all her vanity and securities, any common maid-servant of positive, robust temper could fling her down this bottomless pit of insufficiency, by the slightest movement of jeering or contempt. And all the while the pensive, tortured woman piled up her own defences of aesthetic knowledge, and culture, and world-visions, and disinterestedness. Yet she could never stop up the terrible gap of insufficiency.

If only Birkin would form a close and abiding connection with her, she would be safe during this fretful voyage of life. He could make her sound and triumphant, triumphant over the very angels of heaven. If only he would do it! But she was tortured with fear, with misgiving. She made herself beautiful, she strove so hard to come to that degree of beauty and advantage, when he should be convinced. But always there was a deficiency.

He was perverse too. He fought her off, he always fought her off. The more she strove to bring him to her, the more he battled her back. And they had been lovers now, for years. Oh, it was so wearying, so aching; she was so tired. But still she believed in herself. She knew he was trying to leave her. She knew he was trying to break away from her finally, to be free. But still she believed in her strength to keep him, she believed in her own higher knowledge. His own knowledge was high, she was the central touchstone of truth. She only needed his conjunction with her.

And this, this conjunction with her, which was his highest fulfilment also, with the perverseness of a wilful child he wanted to deny. With the wilfulness of an obstinate child, he wanted to break the holy connection that was between them.

He would be at this wedding; he was to be groom's man. He would be in the church, waiting. He would know when she came. She shuddered with nervous apprehension and desire as she went through the church-door. He would be there, surely he would see how beautiful her dress was, surely he would see how she had made herself beautiful for him. He would understand, he would be able to see how she was made for him, the first, how she was, for him, the highest. Surely at last he would be able to accept his highest fate, he would not deny her.

In a little convulsion of too-tired yearning, she entered the church and looked slowly along her cheeks for him, her slender body convulsed with agitation. As best man, he would be standing beside the altar. She looked slowly, deferring in her certainty.

And then, he was not there. A terrible storm came over her, as if she were drowning. She was possessed by a devastating hopelessness. And she approached mechanically to the altar. Never had she known such a pang of utter and final hopelessness. It was beyond death, so utterly null, desert.

The bridegroom and the groom's man had not yet come. There was a growing consternation outside. Ursula felt almost responsible. She could not bear it that the bride should arrive, and no groom. The wedding must not be a fiasco, it must not.

But here was the bride's carriage, adorned with ribbons and cockades. Gaily the grey horses curvetted to their destination at the church-gate, a laughter in the whole movement. Here was the quick of all laughter and pleasure. The door of the carriage was thrown open, to let out the very blossom of the day. The people on the roadway murmured faintly with the discontented murmuring of a crowd.

The father stepped out first into the air of the morning, like a shadow. He was a tall, thin, careworn man, with a thin black beard that was touched with grey. He waited at the door of the carriage patiently, self-obliterated.

In the opening of the doorway was a shower of fine foliage and flowers, a whiteness of satin and lace, and a sound of a gay voice saying:

'How do I get out?'

A ripple of satisfaction ran through the expectant people. They pressed near to receive her, looking with zest at the stooping blond head with its flower buds, and at the delicate, white, tentative foot that was reaching down to the step of the carriage. There was a sudden foaming rush, and the bride like a sudden surf-rush, floating all white beside her father in the morning shadow of trees, her veil flowing with laughter.

'That's done it!' she said.

She put her hand on the arm of her care-worn, sallow father, and frothing her light draperies, proceeded over the eternal red carpet. Her father, mute and yellowish, his black beard making him look more careworn, mounted the steps stiffly, as if his spirit were absent; but the laughing mist of the bride went along with him undiminished.

And no bridegroom had arrived! It was intolerable for her. Ursula, her heart strained with anxiety, was watching the hill beyond; the white, descending road, that should give sight of him. There was a carriage. It was running. It had just come into sight. Yes, it was he. Ursula turned towards the bride and the people, and, from her place of vantage, gave an inarticulate cry. She wanted to warn them that he was coming. But her cry was inarticulate and inaudible, and she flushed deeply, between her desire and her wincing confusion.

The carriage rattled down the hill, and drew near. There was a shout from the people. The bride, who had just reached the top of the steps, turned round gaily to see what was the commotion. She saw a confusion among the people, a cab pulling up, and her lover dropping out of the carriage, and dodging among the horses and into the crowd.

'Tibs! Tibs!' she cried in her sudden, mocking excitement, standing high on the path in the sunlight and waving her bouquet. He, dodging with his hat in his hand, had not heard.

'Tibs!' she cried again, looking down to him.

He glanced up, unaware, and saw the bride and her father standing on the path above him. A queer, startled look went over his face. He hesitated for a moment. Then he gathered himself together for a leap, to overtake her.

'Ah-h-h!' came her strange, intaken cry, as, on the reflex, she started, turned and fled, scudding with an unthinkable swift beating of her white feet and fraying of her white garments, towards the church. Like a hound the young man was after her, leaping the steps and swinging past her father, his supple haunches working like those of a hound that bears down on the quarry.

'Ay, after her!' cried the vulgar women below, carried suddenly into the sport.

She, her flowers shaken from her like froth, was steadying herself to turn the angle of the church. She glanced behind, and with a wild cry of laughter and challenge, veered, poised, and was gone beyond the grey stone buttress. In another instant the bridegroom, bent forward as he ran, had caught the angle of the silent stone with his hand, and had swung himself out of sight, his supple, strong loins vanishing in pursuit.

Instantly cries and exclamations of excitement burst from the crowd at the gate. And then Ursula noticed again the dark, rather stooping figure of Mr Crich, waiting suspended on the path, watching with expressionless face the flight to the church. It was over, and he turned round to look behind him, at the figure of Rupert Birkin, who at once came forward and joined him.

'We'll bring up the rear,' said Birkin, a faint smile on his face.

'Ay!' replied the father laconically. And the two men turned together up the path.

Birkin was as thin as Mr Crich, pale and ill-looking. His figure was narrow but nicely made. He went with a slight trail of one foot, which came only from self-consciousness. Although he was dressed correctly for his part, yet there was an innate incongruity which caused a slight ridiculousness in his appearance. His nature was clever and separate, he did not fit at all in the conventional occasion. Yet he subordinated himself to the common idea, travestied himself.

He affected to be quite ordinary, perfectly and marvellously commonplace. And he did it so well, taking the tone of his surroundings, adjusting himself quickly to his interlocutor and his circumstance, that he achieved a verisimilitude of ordinary commonplaceness that usually propitiated his onlookers for the moment, disarmed them from attacking his singleness.

Now he spoke quite easily and pleasantly to Mr Crich, as they walked along the path; he played with situations like a man on a tight-rope: but always on a tight-rope, pretending nothing but ease.

'I'm sorry we are so late,' he was saying. 'We couldn't find a button-hook, so it took us a long time to button our boots. But you were to the moment.'

'We are usually to time,' said Mr Crich.

'And I'm always late,' said Birkin. 'But today I was REALLY punctual, only accidentally not so. I'm sorry.'

The two men were gone, there was nothing more to see, for the time. Ursula was left thinking about Birkin. He piqued her, attracted her, and annoyed her.

She wanted to know him more. She had spoken with him once or twice, but only in his official capacity as inspector. She thought he seemed to acknowledge some kinship between her and him, a natural, tacit understanding, a using of the same language. But there had been no time for the understanding to develop. And something kept her from him, as well as attracted her to him. There was a certain hostility, a hidden ultimate reserve in him, cold and inaccessible.

Yet she wanted to know him.

'What do you think of Rupert Birkin?' she asked, a little reluctantly, of Gudrun. She did not want to discuss him.

'What do I think of Rupert Birkin?' repeated Gudrun. 'I think he's attractive—decidedly attractive. What I can't stand about him is his way with other people—his way of treating any little fool as if she were his greatest consideration. One feels so awfully sold, oneself.'

'Why does he do it?' said Ursula.

'Because he has no real critical faculty—of people, at all events,' said Gudrun. 'I tell you, he treats any little fool as he treats me or you—and it's such an insult.'

'Oh, it is,' said Ursula. 'One must discriminate.'

'One MUST discriminate,' repeated Gudrun. 'But he's a wonderful chap, in other respects—a marvellous personality. But you can't trust him.'

'Yes,' said Ursula vaguely. She was always forced to assent to Gudrun's pronouncements, even when she was not in accord altogether.

The sisters sat silent, waiting for the wedding party to come out. Gudrun was impatient of talk. She wanted to think about Gerald Crich. She wanted to see if the strong feeling she had got from him was real. She wanted to have herself ready.

Inside the church, the wedding was going on. Hermione Roddice was thinking only of Birkin. He stood near her. She seemed to gravitate physically towards him. She wanted to stand touching him. She could hardly be sure he was near her, if she did not touch him. Yet she stood subjected through the wedding service.

She had suffered so bitterly when he did not come, that still she was dazed. Still she was gnawed as by a neuralgia, tormented by his potential absence from her. She had awaited him in a faint delirium of nervous torture. As she stood bearing herself pensively, the rapt look on her face, that seemed spiritual, like the angels, but which came from torture, gave her a certain poignancy that tore his heart with pity. He saw her bowed head, her rapt face, the face of an almost demoniacal ecstatic. Feeling him looking, she lifted her face and sought his eyes, her own beautiful grey eyes flaring him a great signal. But he avoided her look, she sank her head in torment and shame, the gnawing at her heart going on. And he too was tortured with shame, and ultimate dislike, and with acute pity for her, because he did not want to meet her eyes, he did not want to receive her flare of recognition.

The bride and bridegroom were married, the party went into the vestry. Hermione crowded involuntarily up against Birkin, to touch him. And he endured it.

Outside, Gudrun and Ursula listened for their father's playing on the organ. He would enjoy playing a wedding march. Now the married pair were coming! The bells were ringing, making the air shake. Ursula wondered if the trees and the flowers could feel the vibration, and what they thought of it, this strange motion in the air. The bride was quite demure on the arm of the bridegroom, who stared up into the sky before him, shutting and opening his eyes unconsciously, as if he were neither here nor there. He looked rather comical, blinking and trying to be in the scene, when emotionally he was violated by his exposure to a crowd. He looked a typical naval officer, manly, and up to his duty.

Birkin came with Hermione. She had a rapt, triumphant look, like the fallen angels restored, yet still subtly demoniacal, now she held Birkin by the arm. And he was expressionless, neutralised, possessed by her as if it were his fate, without question.

Gerald Crich came, fair, good-looking, healthy, with a great reserve of energy. He was erect and complete, there was a strange stealth glistening through his amiable, almost happy appearance. Gudrun rose sharply and went away. She could not bear it. She wanted to be alone, to know this strange, sharp inoculation that had changed the whole temper of her blood.

Chapter 2 Shortlands

The Brangwens went home to Beldover, the wedding-party gathered at Shortlands, the Criches' home. It was a long, low old house, a sort of manor farm, that spread along the top of a slope just beyond the narrow little lake of Willey Water. Shortlands looked across a sloping meadow that might be a park, because of the large, solitary trees that stood here and there, across the water of the narrow lake, at the wooded hill that successfully hid the colliery valley beyond, but did not quite hide the rising smoke. Nevertheless, the scene was rural and picturesque, very peaceful, and the house had a charm of its own.

It was crowded now with the family and the wedding guests. The father, who was not well, withdrew to rest. Gerald was host. He stood in the homely entrance hall, friendly and easy, attending to the men. He seemed to take pleasure in his social functions, he smiled, and was abundant in hospitality.

The women wandered about in a little confusion, chased hither and thither by the three married daughters of the house. All the while there could be heard the characteristic, imperious voice of one Crich woman or another calling 'Helen, come here a minute,' 'Marjory, I want you—here.' 'Oh, I say, Mrs Witham—.' There was a great rustling of skirts, swift glimpses of smartly-dressed women, a child danced through the hall and back again, a maidservant came and went hurriedly.

Meanwhile the men stood in calm little groups, chatting, smoking, pretending to pay no heed to the rustling animation of the women's world. But they could not really talk, because of the glassy ravel of women's excited, cold laughter and running voices. They waited, uneasy, suspended, rather bored. But Gerald remained as if genial and happy, unaware that he was waiting or unoccupied, knowing himself the very pivot of the occasion.

Suddenly Mrs Crich came noiselessly into the room, peering about with her strong, clear face. She was still wearing her hat, and her sac coat of blue silk.

'What is it, mother?' said Gerald.

'Nothing, nothing!' she answered vaguely. And she went straight towards Birkin, who was talking to a Crich brother-in-law.

'How do you do, Mr Birkin,' she said, in her low voice, that seemed to take no count of her guests. She held out her hand to him.

'Oh Mrs Crich,' replied Birkin, in his readily-changing voice, 'I couldn't come to you before.'

'I don't know half the people here,' she said, in her low voice. Her son-in-law moved uneasily away.

'And you don't like strangers?' laughed Birkin. 'I myself can never see why one should take account of people, just because they happen to be in the room with one: why SHOULD I know they are there?'

'Why indeed, why indeed!' said Mrs Crich, in her low, tense voice. 'Except that they ARE there. I don't know people whom I find in the house. The children introduce them to me—"Mother, this is Mr So-and-so." I am no further. What has Mr So-and-so to do with his own name?—and what have I to do with either him or his name?'

She looked up at Birkin. She startled him. He was flattered too that she came to talk to him, for she took hardly any notice of anybody. He looked down at her tense clear face, with its heavy features, but he was afraid to look into her heavy-seeing blue eyes. He noticed instead how her hair looped in slack, slovenly strands over her rather beautiful ears, which were not quite clean. Neither was her neck perfectly clean. Even in that he seemed to belong to her, rather than to the rest of the company; though, he thought to himself, he was always well washed, at any rate at the neck and ears.

He smiled faintly, thinking these things. Yet he was tense, feeling that he and the elderly, estranged woman were conferring together like traitors, like enemies within the camp of the other people. He resembled a deer, that throws one ear back upon the trail behind, and one ear forward, to know what is ahead.

'People don't really matter,' he said, rather unwilling to continue.

The mother looked up at him with sudden, dark interrogation, as if doubting his sincerity.

'How do you mean, MATTER?' she asked sharply.

'Not many people are anything at all,' he answered, forced to go deeper than he wanted to. 'They jingle and giggle. It would be much better if they were just wiped out. Essentially, they don't exist, they aren't there.'

She watched him steadily while he spoke.

'But we didn't imagine them,' she said sharply.

'There's nothing to imagine, that's why they don't exist.'

'Well,' she said, 'I would hardly go as far as that. There they are, whether they exist or no. It doesn't rest with me to decide on their existence. I only know that I can't be expected to take count of them all. You can't expect me to know them, just because they happen to be there. As far as I go they might as well not be there.'

'Exactly,' he replied.

'Mightn't they?' she asked again.

'Just as well,' he repeated. And there was a little pause.

'Except that they ARE there, and that's a nuisance,' she said. 'There are my sons-in-law,' she went on, in a sort of monologue. 'Now Laura's got married, there's another. And I really don't know John from James yet. They come up to me and call me mother. I know what they will say—"how are you, mother?" I ought to say, "I am not your mother, in any sense." But what is the use? There they are. I have had children of my own. I suppose I know them from another woman's children.'

'One would suppose so,' he said.

She looked at him, somewhat surprised, forgetting perhaps that she was talking to him. And she lost her thread.

She looked round the room, vaguely. Birkin could not guess what she was looking for, nor what she was thinking. Evidently she noticed her sons.

'Are my children all there?' she asked him abruptly.

He laughed, startled, afraid perhaps.

'I scarcely know them, except Gerald,' he replied.

'Gerald!' she exclaimed. 'He's the most wanting of them all. You'd never think it, to look at him now, would you?'

'No,' said Birkin.

The mother looked across at her eldest son, stared at him heavily for some time.

'Ay,' she said, in an incomprehensible monosyllable, that sounded profoundly cynical. Birkin felt afraid, as if he dared not realise. And Mrs Crich moved away, forgetting him. But she returned on her traces.

'I should like him to have a friend,' she said. 'He has never had a friend.'

Birkin looked down into her eyes, which were blue, and watching heavily. He could not understand them. 'Am I my brother's keeper?' he said to himself, almost flippantly.

Then he remembered, with a slight shock, that that was Cain's cry. And Gerald was Cain, if anybody. Not that he was Cain, either, although he had slain his brother. There was such a thing as pure accident, and the consequences did not attach to one, even though one had killed one's brother in such wise. Gerald as a boy had accidentally killed his brother. What then? Why seek to draw a brand and a curse across the life that had caused the accident? A man can live by accident, and die by accident. Or can he not? Is every man's life subject to pure accident, is it only the race, the genus, the species, that has a universal reference? Or is this not true, is there no such thing as pure accident? Has EVERYTHING that happens a universal significance? Has it? Birkin, pondering as he stood there, had forgotten Mrs Crich, as she had forgotten him.

He did not believe that there was any such thing as accident. It all hung together, in the deepest sense.

Just as he had decided this, one of the Crich daughters came up, saying:

'Won't you come and take your hat off, mother dear? We shall be sitting down to eat in a minute, and it's a formal occasion, darling, isn't it?' She drew her arm through her mother's, and they went away. Birkin immediately went to talk to the nearest man.

The gong sounded for the luncheon. The men looked up, but no move was made to the dining-room. The women of the house seemed not to feel that the sound had meaning for them. Five minutes passed by. The elderly manservant, Crowther, appeared in the doorway exasperatedly. He looked with appeal at Gerald. The latter took up a large, curved conch shell, that lay on a shelf, and without reference to anybody, blew a shattering blast. It was a strange rousing noise, that made the heart beat. The summons was almost magical. Everybody came running, as if at a signal. And then the crowd in one impulse moved to the dining-room.

Gerald waited a moment, for his sister to play hostess. He knew his mother would pay no attention to her duties. But his sister merely crowded to her seat. Therefore the young man, slightly too dictatorial, directed the guests to their places.

There was a moment's lull, as everybody looked at the BORS D'OEUVRES that were being handed round. And out of this lull, a girl of thirteen or fourteen, with her long hair down her back, said in a calm, self-possessed voice:

'Gerald, you forget father, when you make that unearthly noise.'

'Do I?' he answered. And then, to the company, 'Father is lying down, he is not quite well.'

'How is he, really?' called one of the married daughters, peeping round the immense wedding cake that towered up in the middle of the table shedding its artificial flowers.

'He has no pain, but he feels tired,' replied Winifred, the girl with the hair down her back.

The wine was filled, and everybody was talking boisterously. At the far end of the table sat the mother, with her loosely-looped hair. She had Birkin for a neighbour. Sometimes she glanced fiercely down the rows of faces, bending forwards and staring unceremoniously. And she would say in a low voice to Birkin:

'Who is that young man?'

'I don't know,' Birkin answered discreetly.

'Have I seen him before?' she asked.

'I don't think so. I haven't,' he replied. And she was satisfied. Her eyes closed wearily, a peace came over her face, she looked like a queen in repose. Then she started, a little social smile came on her face, for a moment she looked the pleasant hostess. For a moment she bent graciously, as if everyone were welcome and delightful. And then immediately the shadow came back, a sullen, eagle look was on her face, she glanced from under her brows like a sinister creature at bay, hating them all.

'Mother,' called Diana, a handsome girl a little older than Winifred, 'I may have wine, mayn't I?'

'Yes, you may have wine,' replied the mother automatically, for she was perfectly indifferent to the question.

And Diana beckoned to the footman to fill her glass.

'Gerald shouldn't forbid me,' she said calmly, to the company at large.

'All right, Di,' said her brother amiably. And she glanced challenge at him as she drank from her glass.

There was a strange freedom, that almost amounted to anarchy, in the house. It was rather a resistance to authority, than liberty. Gerald had some command, by mere force of personality, not because of any granted position. There was a quality in his voice, amiable but dominant, that cowed the others, who were all younger than he.

Hermione was having a discussion with the bridegroom about nationality.

'No,' she said, 'I think that the appeal to patriotism is a mistake. It is like one house of business rivalling another house of business.'

'Well you can hardly say that, can you?' exclaimed Gerald, who had a real PASSION for discussion. 'You couldn't call a race a business concern, could you?—and nationality roughly corresponds to race, I think. I think it is MEANT to.'

There was a moment's pause. Gerald and Hermione were always strangely but politely and evenly inimical.

'DO you think race corresponds with nationality?' she asked musingly, with expressionless indecision.

Birkin knew she was waiting for him to participate. And dutifully he spoke up.

'I think Gerald is right—race is the essential element in nationality, in Europe at least,' he said.

Again Hermione paused, as if to allow this statement to cool. Then she said with strange assumption of authority:

'Yes, but even so, is the patriotic appeal an appeal to the racial instinct? Is it not rather an appeal to the proprietory instinct, the COMMERCIAL instinct? And isn't this what we mean by nationality?'

'Probably,' said Birkin, who felt that such a discussion was out of place and out of time.

But Gerald was now on the scent of argument.

'A race may have its commercial aspect,' he said. 'In fact it must. It is like a family. You MUST make provision. And to make provision you have got to strive against other families, other nations. I don't see why you shouldn't.'

Again Hermione made a pause, domineering and cold, before she replied: 'Yes, I think it is always wrong to provoke a spirit of rivalry. It makes bad blood. And bad blood accumulates.'

'But you can't do away with the spirit of emulation altogether?' said Gerald. 'It is one of the necessary incentives to production and improvement.'

'Yes,' came Hermione's sauntering response. 'I think you can do away with it.'

'I must say,' said Birkin, 'I detest the spirit of emulation.' Hermione was biting a piece of bread, pulling it from between her teeth with her fingers, in a slow, slightly derisive movement. She turned to Birkin.

'You do hate it, yes,' she said, intimate and gratified.

'Detest it,' he repeated.

'Yes,' she murmured, assured and satisfied.

'But,' Gerald insisted, 'you don't allow one man to take away his neighbour's living, so why should you allow one nation to take away the living from another nation?'

There was a long slow murmur from Hermione before she broke into speech, saying with a laconic indifference:

'It is not always a question of possessions, is it? It is not all a question of goods?'

Gerald was nettled by this implication of vulgar materialism.

'Yes, more or less,' he retorted. 'If I go and take a man's hat from off his head, that hat becomes a symbol of that man's liberty. When he fights me for his hat, he is fighting me for his liberty.'

Hermione was nonplussed.

'Yes,' she said, irritated. 'But that way of arguing by imaginary instances is not supposed to be genuine, is it? A man does NOT come and take my hat from off my head, does he?'

'Only because the law prevents him,' said Gerald.

'Not only,' said Birkin. 'Ninety-nine men out of a hundred don't want my hat.'

'That's a matter of opinion,' said Gerald.

'Or the hat,' laughed the bridegroom.

'And if he does want my hat, such as it is,' said Birkin, 'why, surely it is open to me to decide, which is a greater loss to me, my hat, or my liberty as a free and indifferent man. If I am compelled to offer fight, I lose the latter. It is a question which is worth more to me, my pleasant liberty of conduct, or my hat.'

'Yes,' said Hermione, watching Birkin strangely. 'Yes.'

'But would you let somebody come and snatch your hat off your head?' the bride asked of Hermione.

The face of the tall straight woman turned slowly and as if drugged to this new speaker.

'No,' she replied, in a low inhuman tone, that seemed to contain a chuckle. 'No, I shouldn't let anybody take my hat off my head.'

'How would you prevent it?' asked Gerald.

'I don't know,' replied Hermione slowly. 'Probably I should kill him.'

There was a strange chuckle in her tone, a dangerous and convincing humour in her bearing.

'Of course,' said Gerald, 'I can see Rupert's point. It is a question to him whether his hat or his peace of mind is more important.'

'Peace of body,' said Birkin.

'Well, as you like there,' replied Gerald. 'But how are you going to decide this for a nation?'

'Heaven preserve me,' laughed Birkin.

'Yes, but suppose you have to?' Gerald persisted.

'Then it is the same. If the national crown-piece is an old hat, then the thieving gent may have it.'

'But CAN the national or racial hat be an old hat?' insisted Gerald.

'Pretty well bound to be, I believe,' said Birkin.

'I'm not so sure,' said Gerald.

'I don't agree, Rupert,' said Hermione.

'All right,' said Birkin.

'I'm all for the old national hat,' laughed Gerald.

'And a fool you look in it,' cried Diana, his pert sister who was just in her teens.

'Oh, we're quite out of our depths with these old hats,' cried Laura Crich. 'Dry up now, Gerald. We're going to drink toasts. Let us drink toasts. Toasts—glasses, glasses—now then, toasts! Speech! Speech!'

Birkin, thinking about race or national death, watched his glass being filled with champagne. The bubbles broke at the rim, the man withdrew, and feeling a sudden thirst at the sight of the fresh wine, Birkin drank up his glass. A queer little tension in the room roused him. He felt a sharp constraint.

'Did I do it by accident, or on purpose?' he asked himself. And he decided that, according to the vulgar phrase, he had done it 'accidentally on purpose.' He looked round at the hired footman. And the hired footman came, with a silent step of cold servant-like disapprobation. Birkin decided that he detested toasts, and footmen, and assemblies, and mankind altogether, in most of its aspects. Then he rose to make a speech. But he was somehow disgusted.

At length it was over, the meal. Several men strolled out into the garden. There was a lawn, and flower-beds, and at the boundary an iron fence shutting off the little field or park. The view was pleasant; a highroad curving round the edge of a low lake, under the trees. In the spring air, the water gleamed and the opposite woods were purplish with new life. Charming Jersey cattle came to the fence, breathing hoarsely from their velvet muzzles at the human beings, expecting perhaps a crust.

Birkin leaned on the fence. A cow was breathing wet hotness on his hand.

'Pretty cattle, very pretty,' said Marshall, one of the brothers-in-law. 'They give the best milk you can have.'

'Yes,' said Birkin.

'Eh, my little beauty, eh, my beauty!' said Marshall, in a queer high falsetto voice, that caused the other man to have convulsions of laughter in his stomach.

'Who won the race, Lupton?' he called to the bridegroom, to hide the fact that he was laughing.

The bridegroom took his cigar from his mouth.

'The race?' he exclaimed. Then a rather thin smile came over his face. He did not want to say anything about the flight to the church door. 'We got there together. At least she touched first, but I had my hand on her shoulder.'

'What's this?' asked Gerald.

Birkin told him about the race of the bride and the bridegroom.

'H'm!' said Gerald, in disapproval. 'What made you late then?'

'Lupton would talk about the immortality of the soul,' said Birkin, 'and then he hadn't got a button-hook.'

'Oh God!' cried Marshall. 'The immortality of the soul on your wedding day! Hadn't you got anything better to occupy your mind?'

'What's wrong with it?' asked the bridegroom, a clean-shaven naval man, flushing sensitively.

'Sounds as if you were going to be executed instead of married. THE IMMORTALITY OF THE SOUL!' repeated the brother-in-law, with most killing emphasis.

But he fell quite flat.

'And what did you decide?' asked Gerald, at once pricking up his ears at the thought of a metaphysical discussion.

'You don't want a soul today, my boy,' said Marshall. 'It'd be in your road.'

'Christ! Marshall, go and talk to somebody else,' cried Gerald, with sudden impatience.

'By God, I'm willing,' said Marshall, in a temper. 'Too much bloody soul and talk altogether—'

He withdrew in a dudgeon, Gerald staring after him with angry eyes, that grew gradually calm and amiable as the stoutly-built form of the other man passed into the distance.

'There's one thing, Lupton,' said Gerald, turning suddenly to the bridegroom. 'Laura won't have brought such a fool into the family as Lottie did.'

'Comfort yourself with that,' laughed Birkin.

'I take no notice of them,' laughed the bridegroom.

'What about this race then—who began it?' Gerald asked.

'We were late. Laura was at the top of the churchyard steps when our cab came up. She saw Lupton bolting towards her. And she fled. But why do you look so cross? Does it hurt your sense of the family dignity?'

'It does, rather,' said Gerald. 'If you're doing a thing, do it properly, and if you're not going to do it properly, leave it alone.'

'Very nice aphorism,' said Birkin.

'Don't you agree?' asked Gerald.

'Quite,' said Birkin. 'Only it bores me rather, when you become aphoristic.'

'Damn you, Rupert, you want all the aphorisms your own way,' said Gerald.

'No. I want them out of the way, and you're always shoving them in it.'

Gerald smiled grimly at this humorism. Then he made a little gesture of dismissal, with his eyebrows.

'You don't believe in having any standard of behaviour at all, do you?' he challenged Birkin, censoriously.

'Standard—no. I hate standards. But they're necessary for the common ruck. Anybody who is anything can just be himself and do as he likes.'

'But what do you mean by being himself?' said Gerald. 'Is that an aphorism or a cliche?'

'I mean just doing what you want to do. I think it was perfect good form in Laura to bolt from Lupton to the church door. It was almost a masterpiece in good form. It's the hardest thing in the world to act spontaneously on one's impulses—and it's the only really gentlemanly thing to do—provided you're fit to do it.'

'You don't expect me to take you seriously, do you?' asked Gerald.

'Yes, Gerald, you're one of the very few people I do expect that of.'

'Then I'm afraid I can't come up to your expectations here, at any rate. You think people should just do as they like.'

'I think they always do. But I should like them to like the purely individual thing in themselves, which makes them act in singleness. And they only like to do the collective thing.'

'And I,' said Gerald grimly, 'shouldn't like to be in a world of people who acted individually and spontaneously, as you call it. We should have everybody cutting everybody else's throat in five minutes.'

'That means YOU would like to be cutting everybody's throat,' said Birkin.

'How does that follow?' asked Gerald crossly.

'No man,' said Birkin, 'cuts another man's throat unless he wants to cut it, and unless the other man wants it cutting. This is a complete truth. It takes two people to make a murder: a murderer and a murderee. And a murderee is a man who is murderable. And a man who is murderable is a man who in a profound if hidden lust desires to be murdered.'

'Sometimes you talk pure nonsense,' said Gerald to Birkin. 'As a matter of fact, none of us wants our throat cut, and most other people would like to cut it for us—some time or other—'

'It's a nasty view of things, Gerald,' said Birkin, 'and no wonder you are afraid of yourself and your own unhappiness.'

'How am I afraid of myself?' said Gerald; 'and I don't think I am unhappy.'

'You seem to have a lurking desire to have your gizzard slit, and imagine every man has his knife up his sleeve for you,' Birkin said.

'How do you make that out?' said Gerald.

'From you,' said Birkin.

There was a pause of strange enmity between the two men, that was very near to love. It was always the same between them; always their talk brought them into a deadly nearness of contact, a strange, perilous intimacy which was either hate or love, or both. They parted with apparent unconcern, as if their going apart were a trivial occurrence. And they really kept it to the level of trivial occurrence. Yet the heart of each burned from the other. They burned with each other, inwardly. This they would never admit. They intended to keep their relationship a casual free-and-easy friendship, they were not going to be so unmanly and unnatural as to allow any heart-burning between them. They had not the faintest belief in deep relationship between men and men, and their disbelief prevented any development of their powerful but suppressed friendliness.

Chapter 3 Class-room

A school-day was drawing to a close. In the class-room the last lesson was in progress, peaceful and still. It was elementary botany. The desks were littered with catkins, hazel and willow, which the children had been sketching. But the sky had come overdark, as the end of the afternoon approached: there was scarcely light to draw any more. Ursula stood in front of the class, leading the children by questions to understand the structure and the meaning of the catkins.

A heavy, copper-coloured beam of light came in at the west window, gilding the outlines of the children's heads with red gold, and falling on the wall opposite in a rich, ruddy illumination. Ursula, however, was scarcely conscious of it. She was busy, the end of the day was here, the work went on as a peaceful tide that is at flood, hushed to retire.

This day had gone by like so many more, in an activity that was like a trance. At the end there was a little haste, to finish what was in hand. She was pressing the children with questions, so that they should know all they were to know, by the time the gong went. She stood in shadow in front of the class, with catkins in her hand, and she leaned towards the children, absorbed in the passion of instruction.

She heard, but did not notice the click of the door. Suddenly she started. She saw, in the shaft of ruddy, copper-coloured light near her, the face of a man. It was gleaming like fire, watching her, waiting for her to be aware. It startled her terribly. She thought she was going to faint. All her suppressed, subconscious fear sprang into being, with anguish.

'Did I startle you?' said Birkin, shaking hands with her. 'I thought you had heard me come in.'

'No,' she faltered, scarcely able to speak. He laughed, saying he was sorry. She wondered why it amused him.

'It is so dark,' he said. 'Shall we have the light?'

And moving aside, he switched on the strong electric lights. The class-room was distinct and hard, a strange place after the soft dim magic that filled it before he came. Birkin turned curiously to look at Ursula. Her eyes were round and wondering, bewildered, her mouth quivered slightly. She looked like one who is suddenly wakened. There was a living, tender beauty, like a tender light of dawn shining from her face. He looked at her with a new pleasure, feeling gay in his heart, irresponsible.

'You are doing catkins?' he asked, picking up a piece of hazel from a scholar's desk in front of him. 'Are they as far out as this? I hadn't noticed them this year.'

He looked absorbedly at the tassel of hazel in his hand.

'The red ones too!' he said, looking at the flickers of crimson that came from the female bud.

Then he went in among the desks, to see the scholars' books. Ursula watched his intent progress. There was a stillness in his motion that hushed the activities of her heart. She seemed to be standing aside in arrested silence, watching him move in another, concentrated world. His presence was so quiet, almost like a vacancy in the corporate air.

Suddenly he lifted his face to her, and her heart quickened at the flicker of his voice.

'Give them some crayons, won't you?' he said, 'so that they can make the gynaecious flowers red, and the androgynous yellow. I'd chalk them in plain, chalk in nothing else, merely the red and the yellow. Outline scarcely matters in this case. There is just the one fact to emphasise.'

'I haven't any crayons,' said Ursula.

'There will be some somewhere—red and yellow, that's all you want.'

Ursula sent out a boy on a quest.

'It will make the books untidy,' she said to Birkin, flushing deeply.

'Not very,' he said. 'You must mark in these things obviously. It's the fact you want to emphasise, not the subjective impression to record. What's the fact?—red little spiky stigmas of the female flower, dangling yellow male catkin, yellow pollen flying from one to the other. Make a pictorial record of the fact, as a child does when drawing a face—two eyes, one nose, mouth with teeth—so—' And he drew a figure on the blackboard.

At that moment another vision was seen through the glass panels of the door. It was Hermione Roddice. Birkin went and opened to her.

'I saw your car,' she said to him. 'Do you mind my coming to find you? I wanted to see you when you were on duty.'

She looked at him for a long time, intimate and playful, then she gave a short little laugh. And then only she turned to Ursula, who, with all the class, had been watching the little scene between the lovers.

'How do you do, Miss Brangwen,' sang Hermione, in her low, odd, singing fashion, that sounded almost as if she were poking fun. 'Do you mind my coming in?'

Her grey, almost sardonic eyes rested all the while on Ursula, as if summing her up.

'Oh no,' said Ursula.

'Are you SURE?' repeated Hermione, with complete sang froid, and an odd, half-bullying effrontery.

'Oh no, I like it awfully,' laughed Ursula, a little bit excited and bewildered, because Hermione seemed to be compelling her, coming very close to her, as if intimate with her; and yet, how could she be intimate?

This was the answer Hermione wanted. She turned satisfied to Birkin.

'What are you doing?' she sang, in her casual, inquisitive fashion.

'Catkins,' he replied.

'Really!' she said. 'And what do you learn about them?' She spoke all the while in a mocking, half teasing fashion, as if making game of the whole business. She picked up a twig of the catkin, piqued by Birkin's attention to it.

She was a strange figure in the class-room, wearing a large, old cloak of greenish cloth, on which was a raised pattern of dull gold. The high collar, and the inside of the cloak, was lined with dark fur. Beneath she had a dress of fine lavender-coloured cloth, trimmed with fur, and her hat was close-fitting, made of fur and of the dull, green-and-gold figured stuff. She was tall and strange, she looked as if she had come out of some new, bizarre picture.

'Do you know the little red ovary flowers, that produce the nuts? Have you ever noticed them?' he asked her. And he came close and pointed them out to her, on the sprig she held.

'No,' she replied. 'What are they?'

'Those are the little seed-producing flowers, and the long catkins, they only produce pollen, to fertilise them.'

'Do they, do they!' repeated Hermione, looking closely.

'From those little red bits, the nuts come; if they receive pollen from the long danglers.'

'Little red flames, little red flames,' murmured Hermione to herself. And she remained for some moments looking only at the small buds out of which the red flickers of the stigma issued.

'Aren't they beautiful? I think they're so beautiful,' she said, moving close to Birkin, and pointing to the red filaments with her long, white finger.

'Had you never noticed them before?' he asked.

'No, never before,' she replied.

'And now you will always see them,' he said.

'Now I shall always see them,' she repeated. 'Thank you so much for showing me. I think they're so beautiful—little red flames—'

Her absorption was strange, almost rhapsodic. Both Birkin and Ursula were suspended. The little red pistillate flowers had some strange, almost mystic-passionate attraction for her.

The lesson was finished, the books were put away, at last the class was dismissed. And still Hermione sat at the table, with her chin in her hand, her elbow on the table, her long white face pushed up, not attending to anything. Birkin had gone to the window, and was looking from the brilliantly-lighted room on to the grey, colourless outside, where rain was noiselessly falling. Ursula put away her things in the cupboard.

At length Hermione rose and came near to her.

'Your sister has come home?' she said.

'Yes,' said Ursula.

'And does she like being back in Beldover?'

'No,' said Ursula.

'No, I wonder she can bear it. It takes all my strength, to bear the ugliness of this district, when I stay here. Won't you come and see me? Won't you come with your sister to stay at Breadalby for a few days?—do—'

'Thank you very much,' said Ursula.

'Then I will write to you,' said Hermione. 'You think your sister will come? I should be so glad. I think she is wonderful. I think some of her work is really wonderful. I have two water-wagtails, carved in wood, and painted—perhaps you have seen it?'

'No,' said Ursula.

'I think it is perfectly wonderful—like a flash of instinct.'

'Her little carvings ARE strange,' said Ursula.

'Perfectly beautiful—full of primitive passion—'

'Isn't it queer that she always likes little things?—she must always work small things, that one can put between one's hands, birds and tiny animals. She likes to look through the wrong end of the opera glasses, and see the world that way—why is it, do you think?'

Hermione looked down at Ursula with that long, detached scrutinising gaze that excited the younger woman.