Women in Loveby D. H. Lawrence
- Editorial Reviews
- Product Details
- Related Subjects
- Read an Excerpt
- What People Are Saying
- Meet the author
One of the greatest of twentieth-century novelists and poets, D. H. Lawrence wrote and lived with a passionate intensity that shocked his contemporaries. Lawrence composed Women in Love while at the height of his powers, and indeed, in its blend of lyricism, psychological revelation, and an eroticism that is never very far from violence, it can still startle and even discomfit readers. In this story of two very unconventional sisters, Ursula and Gudrun Brangwen, and the men they love, Lawrence argues urgently for a new conjunction between man and woman as "two pure beings, each constituting the freedom of the other." The ardent struggle of human souls coming into being, and into relationship with one another, is at the heart of Women in Love, and this wrenching, sometimes painful, thoroughly exhilarating process is brilliantly illuminated in Lawrence's masterpiece.
Read an Excerpt
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 temptedoh, 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 meanswell" 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 materialize? Nothing materializes! Everything withers in the bud."
"What withers in the bud?" asked Ursula.
"Oh, everythingoneselfthings 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 mask-like, expressionless face. Ursula knitted her brows.
"Perhaps it isn't genuine," she faltered. "Perhaps one doesn't really want them, in one's soulonly 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 was 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."
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 marvellousit'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 still 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 paroxysm, 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 Kulturträger, 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 æsthetic 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, care-worn 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 care-worn, 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 to-day I was really punctual, only accidently 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 attractivedecidedly attractive. What I can't stand about him is his way with other peoplehis 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 facultyof people, at all events," said Gudrun. "I tell you, he treats any little fool as he treats me or youand 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 respectsa 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, goodlooking, 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.
What People are saying about this
Meet the Author
David Ellis is the author of Lawrence's Non-Fiction: Art, Thought and Genre and Wordsworth, Freud and the Spots of Time. He has been commissioned to write Volume HI of the New Cambridge biography of Lawrence.
- Date of Birth:
- September 11, 1885
- Date of Death:
- March 2, 1930
- Place of Birth:
- Eastwood, Nottinghamshire, England
- Place of Death:
- Vence, France
- Nottingham University College, teacher training certificate, 1908
and post it to your social network
Most Helpful Customer Reviews
See all customer reviews >
Women in Love by D. H. Lawrence is a sequel, but knowledge of The Rainbow is not necessary to appreciate the second novel. The title is somewhat misleading, as it is really about women and men, men and women, and men and men¿and it's not always clear with what they are in love. It is the tale of two teachers, sisters Gudrun and Ursula Brangwen, the son of the local mine owner, Gerald Crich, and school inspector Rupert Birkin. Their complex relationships start to take shape the day of Gerald's sister's wedding, as Gudrun and Gerald and Ursula and Rupert are drawn together, often despite themselves. The Gudrun/Gerald relationship becomes a series of conflicts that are won only temporarily and that lead to more conflicts and then temporary reprieves of tenderness and sex. His emotional conflicts with Gudrun are mirrored in Gerald's dealings with animals; he brutally forces his mare to stay at a railroad crossing despite her terror until blood is drawn and until the cars have passed. Later, when his sister's rabbit resists being picked up so he can be sketched, Gerald punches him in the head so he will submit instantly. His blind will must triumph in all. The only time that he and Gudrun seem to find an equilibrium is when they balance each other by accepting but not gravitating toward each other. It becomes a tenuous relatonship at best and a dangerous one at worst. Gerald is incapable of love, as is his brooding mother. Meanwhile, Ursula finds herself in a different kind of battle, with Rupert and his self-contemptous philosophies about relationships, death, and the will. His vision of love, if he even believes it exists, is of two planets circling one another in perfect equilibrium. He did not find that with his former lover Hermione, who does not satisfy his physical desires and who does not calibrate with his spiritual needs. At the end of the novel, he reinforces what he has said all along¿his love will always have a missing component and be incomplete without it. As a side note, Rupert seems to be Lawrence's own mouthpiece, reflecting many of his own views. As with Lady Chatterley's lover, the setting for Women in Love becomes a character¿the grimy village, the sordid town, the sullen miners and their wives provide a backdrop of inevitable modernization and dehumanization that counterbalances the individual stories. As mining is mechanized to death, so is the human soul. The will either accepts the inevitable crush of the modern world or fights it to the death. The weakest part of Women in Love may be when the setting changes, that is, when the couples decide to leave all that England has become and to take their relationships and their futures to the Alps, where they find art truly does imitate life with its mechanism. The novel seems to lose a little of its footing at this point, giving in to its tendency to become an intellectual exercise in the arts rather than a human story in a regimented world. Women in Love starts out slowly, as a lengthy series of vignettes and conversations that seem unlikely or unrealistic, but develops a crescendo as the battles begin. In the end, despite dramatic events and drastic changes, the conundrums remain, and even Ursula's persistence and will cannot eliminate them now, let alone forever. Women in Love is about destruction and regeneration in an endless cycle and the human under the surface that we are not entirely aware of and cannot express.
It is hard to give a definite thumbs-up or thumbs-down to this this story. On the one hand, it is very disjointed. It is filled with many long inner monologues that have no relationship with each other. The ending is bizarre and unsatisfying. On the other hand, the writing is brilliant and beautiful. When there is diaglogue and interaction between the characters, the story comes back to life. The study of human nature, and the differences in what all people (not just men vs. women) want in love is very insightful. It is certainly not a book for everyone.
By far what I found most interesting about this novel was the relationship between Gerald and Birkin. These two men are involved in an emotional dependency...that sometimes verges on erotic...but they are unsure of what do do with their feelings, in light of social propriety and the current age in which they live. The last two pages of the novel, to me, make the book worth reading. It totally sums up the entire book in a seemingly simple conversation between Birkin and his wife Ursula. Why shouldn't he be allowed a different kind of love? Why isn't this the way? Why is it considered unnatural? Makes you think.
In this D.H. Lawrence tale, he bravely focuses on the love men feel for both women and men. Two sisters, Gudrun and Ursula are school teachers who are dating Gerald and Birkin, respectively. The relationships take tumultuous turns because the men have not fully admitted their feelings for each other. It ends with one marriage, one death and a newly wedded wife feeling shock when she sees her husband’s grief for the other man. Women in Love is believed to be based on some the Lawrence’s personal experiences with a miner, according to his wife. It was risqué to approach such topics and certainly in 1920; but he does it in a tasteful manner.
I am not a fan of his at the best of times and the three is for classic literature that was once coniidered daring and rated x and banned in boston m.a.@sparta