'Her whole manner. Oh, It's impossible, the way she tries to bully one. Pure bullying. She's an impudent woman. "You'll come and see me," as if we should be falling over ourselves for the privilege.'

'I can't understand, Ursula, what you are so much put out about,' said Gudrun, in some exasperation. 'One knows those women are impudent—these free women who have emancipated themselves from the aristocracy.'

'But it is so UNNECESSARY—so vulgar,' cried Ursula.

'No, I don't see it. And if I did—pour moi, elle n'existe pas. I don't grant her the power to be impudent to me.'

'Do you think she likes you?' asked Ursula.

'Well, no, I shouldn't think she did.'

'Then why does she ask you to go to Breadalby and stay with her?'

Gudrun lifted her shoulders in a low shrug.

'After all, she's got the sense to know we're not just the ordinary run,' said Gudrun. 'Whatever she is, she's not a fool. And I'd rather have somebody I detested, than the ordinary woman who keeps to her own set. Hermione Roddice does risk herself in some respects.'

Ursula pondered this for a time.

'I doubt it,' she replied. 'Really she risks nothing. I suppose we ought to admire her for knowing she CAN invite us—school teachers—and risk nothing.'

'Precisely!' said Gudrun. 'Think of the myriads of women that daren't do it. She makes the most of her privileges—that's something. I suppose, really, we should do the same, in her place.'

'No,' said Ursula. 'No. It would bore me. I couldn't spend my time playing her games. It's infra dig.'

The two sisters were like a pair of scissors, snipping off everything that came athwart them; or like a knife and a whetstone, the one sharpened against the other.

'Of course,' cried Ursula suddenly, 'she ought to thank her stars if we will go and see her. You are perfectly beautiful, a thousand times more beautiful than ever she is or was, and to my thinking, a thousand times more beautifully dressed, for she never looks fresh and natural, like a flower, always old, thought-out; and we ARE more intelligent than most people.'

'Undoubtedly!' said Gudrun.

'And it ought to be admitted, simply,' said Ursula.

'Certainly it ought,' said Gudrun. 'But you'll find that the really chic thing is to be so absolutely ordinary, so perfectly commonplace and like the person in the street, that you really are a masterpiece of humanity, not the person in the street actually, but the artistic creation of her—'

'How awful!' cried Ursula.

'Yes, Ursula, it IS awful, in most respects. You daren't be anything that isn't amazingly A TERRE, SO much A TERRE that it is the artistic creation of ordinariness.'

'It's very dull to create oneself into nothing better,' laughed Ursula.

'Very dull!' retorted Gudrun. 'Really Ursula, it is dull, that's just the word. One longs to be high-flown, and make speeches like Corneille, after it.'

Gudrun was becoming flushed and excited over her own cleverness.

'Strut,' said Ursula. 'One wants to strut, to be a swan among geese.'

'Exactly,' cried Gudrun, 'a swan among geese.'

'They are all so busy playing the ugly duckling,' cried Ursula, with mocking laughter. 'And I don't feel a bit like a humble and pathetic ugly duckling. I do feel like a swan among geese—I can't help it. They make one feel so. And I don't care what THEY think of me. FE M'EN FICHE.'

Gudrun looked up at Ursula with a queer, uncertain envy and dislike.

'Of course, the only thing to do is to despise them all—just all,' she said.

The sisters went home again, to read and talk and work, and wait for Monday, for school. Ursula often wondered what else she waited for, besides the beginning and end of the school week, and the beginning and end of the holidays. This was a whole life! Sometimes she had periods of tight horror, when it seemed to her that her life would pass away, and be gone, without having been more than this. But she never really accepted it. Her spirit was active, her life like a shoot that is growing steadily, but which has not yet come above ground.



CHAPTER V.

IN THE TRAIN

One day at this time Birkin was called to London. He was not very fixed in his abode. He had rooms in Nottingham, because his work lay chiefly in that town. But often he was in London, or in Oxford. He moved about a great deal, his life seemed uncertain, without any definite rhythm, any organic meaning.

On the platform of the railway station he saw Gerald Crich, reading a newspaper, and evidently waiting for the train. Birkin stood some distance off, among the people. It was against his instinct to approach anybody.

From time to time, in a manner characteristic of him, Gerald lifted his head and looked round. Even though he was reading the newspaper closely, he must keep a watchful eye on his external surroundings. There seemed to be a dual consciousness running in him. He was thinking vigorously of something he read in the newspaper, and at the same time his eye ran over the surfaces of the life round him, and he missed nothing. Birkin, who was watching him, was irritated by his duality. He noticed too, that Gerald seemed always to be at bay against everybody, in spite of his queer, genial, social manner when roused.

Now Birkin started violently at seeing this genial look flash on to Gerald's face, at seeing Gerald approaching with hand outstretched.

'Hallo, Rupert, where are you going?'

'London. So are you, I suppose.'

'Yes—'

Gerald's eyes went over Birkin's face in curiosity.

'We'll travel together if you like,' he said.

'Don't you usually go first?' asked Birkin.

'I can't stand the crowd,' replied Gerald. 'But third'll be all right. There's a restaurant car, we can have some tea.'

The two men looked at the station clock, having nothing further to say.

'What were you reading in the paper?' Birkin asked.

Gerald looked at him quickly.

'Isn't it funny, what they DO put in the newspapers,' he said. 'Here are two leaders—' he held out his DAILY TELEGRAPH, 'full of the ordinary newspaper cant—' he scanned the columns down—'and then there's this little—I dunno what you'd call it, essay, almost—appearing with the leaders, and saying there must arise a man who will give new values to things, give us new truths, a new attitude to life, or else we shall be a crumbling nothingness in a few years, a country in ruin—'

'I suppose that's a bit of newspaper cant, as well,' said Birkin.

'It sounds as if the man meant it, and quite genuinely,' said Gerald.

'Give it to me,' said Birkin, holding out his hand for the paper.

The train came, and they went on board, sitting on either side a little table, by the window, in the restaurant car. Birkin glanced over his paper, then looked up at Gerald, who was waiting for him.

'I believe the man means it,' he said, 'as far as he means anything.'

'And do you think it's true? Do you think we really want a new gospel?' asked Gerald.

Birkin shrugged his shoulders.

'I think the people who say they want a new religion are the last to accept anything new. They want novelty right enough. But to stare straight at this life that we've brought upon ourselves, and reject it, absolutely smash up the old idols of ourselves, that we sh'll never do. You've got very badly to want to get rid of the old, before anything new will appear—even in the self.'

Gerald watched him closely.

'You think we ought to break up this life, just start and let fly?' he asked.

'This life. Yes I do. We've got to bust it completely, or shrivel inside it, as in a tight skin. For it won't expand any more.'

There was a queer little smile in Gerald's eyes, a look of amusement, calm and curious.

'And how do you propose to begin? I suppose you mean, reform the whole order of society?' he asked.

Birkin had a slight, tense frown between the brows. He too was impatient of the conversation.

'I don't propose at all,' he replied. 'When we really want to go for something better, we shall smash the old. Until then, any sort of proposal, or making proposals, is no more than a tiresome game for self-important people.'

The little smile began to die out of Gerald's eyes, and he said, looking with a cool stare at Birkin:

'So you really think things are very bad?'

'Completely bad.'

The smile appeared again.

'In what way?'

'Every way,' said Birkin. 'We are such dreary liars. Our one idea is to lie to ourselves. We have an ideal of a perfect world, clean and straight and sufficient. So we cover the earth with foulness; life is a blotch of labour, like insects scurrying in filth, so that your collier can have a pianoforte in his parlour, and you can have a butler and a motor-car in your up-to-date house, and as a nation we can sport the Ritz, or the Empire, Gaby Deslys and the Sunday newspapers. It is very dreary.'

Gerald took a little time to re-adjust himself after this tirade.

'Would you have us live without houses—return to nature?' he asked.

'I would have nothing at all. People only do what they want to do—and what they are capable of doing. If they were capable of anything else, there would be something else.'

Again Gerald pondered. He was not going to take offence at Birkin.

'Don't you think the collier's PIANOFORTE, as you call it, is a symbol for something very real, a real desire for something higher, in the collier's life?'

'Higher!' cried Birkin. 'Yes. Amazing heights of upright grandeur. It makes him so much higher in his neighbouring collier's eyes. He sees himself reflected in the neighbouring opinion, like in a Brocken mist, several feet taller on the strength of the pianoforte, and he is satisfied. He lives for the sake of that Brocken spectre, the reflection of himself in the human opinion. You do the same. If you are of high importance to humanity you are of high importance to yourself. That is why you work so hard at the mines. If you can produce coal to cook five thousand dinners a day, you are five thousand times more important than if you cooked only your own dinner.'

'I suppose I am,' laughed Gerald.

'Can't you see,' said Birkin, 'that to help my neighbour to eat is no more than eating myself. "I eat, thou eatest, he eats, we eat, you eat, they eat"—and what then? Why should every man decline the whole verb. First person singular is enough for me.'

'You've got to start with material things,' said Gerald. Which statement Birkin ignored.

'And we've got to live for SOMETHING, we're not just cattle that can graze and have done with it,' said Gerald.

'Tell me,' said Birkin. 'What do you live for?'

Gerald's face went baffled.

'What do I live for?' he repeated. 'I suppose I live to work, to produce something, in so far as I am a purposive being. Apart from that, I live because I am living.'

'And what's your work? Getting so many more thousands of tons of coal out of the earth every day. And when we've got all the coal we want, and all the plush furniture, and pianofortes, and the rabbits are all stewed and eaten, and we're all warm and our bellies are filled and we're listening to the young lady performing on the pianoforte—what then? What then, when you've made a real fair start with your material things?'

Gerald sat laughing at the words and the mocking humour of the other man. But he was cogitating too.

'We haven't got there yet,' he replied. 'A good many people are still waiting for the rabbit and the fire to cook it.'

'So while you get the coal I must chase the rabbit?' said Birkin, mocking at Gerald.

'Something like that,' said Gerald.

Birkin watched him narrowly. He saw the perfect good-humoured callousness, even strange, glistening malice, in Gerald, glistening through the plausible ethics of productivity.

'Gerald,' he said, 'I rather hate you.'

'I know you do,' said Gerald. 'Why do you?'

Birkin mused inscrutably for some minutes.

'I should like to know if you are conscious of hating me,' he said at last. 'Do you ever consciously detest me—hate me with mystic hate? There are odd moments when I hate you starrily.'

Gerald was rather taken aback, even a little disconcerted. He did not quite know what to say.

'I may, of course, hate you sometimes,' he said. 'But I'm not aware of it—never acutely aware of it, that is.'

'So much the worse,' said Birkin.

Gerald watched him with curious eyes. He could not quite make him out.

'So much the worse, is it?' he repeated.

There was a silence between the two men for some time, as the train ran on. In Birkin's face was a little irritable tension, a sharp knitting of the brows, keen and difficult. Gerald watched him warily, carefully, rather calculatingly, for he could not decide what he was after.

Suddenly Birkin's eyes looked straight and overpowering into those of the other man.

'What do you think is the aim and object of your life, Gerald?' he asked.

Again Gerald was taken aback. He could not think what his friend was getting at. Was he poking fun, or not?

'At this moment, I couldn't say off-hand,' he replied, with faintly ironic humour.

'Do you think love is the be-all and the end-all of life?' Birkin asked, with direct, attentive seriousness.

'Of my own life?' said Gerald.

'Yes.'

There was a really puzzled pause.

'I can't say,' said Gerald. 'It hasn't been, so far.'

'What has your life been, so far?'

'Oh—finding out things for myself—and getting experiences—and making things GO.'

Birkin knitted his brows like sharply moulded steel.

'I find,' he said, 'that one needs some one REALLY pure single activity—I should call love a single pure activity. But I DON'T really love anybody—not now.'

'Have you ever really loved anybody?' asked Gerald.

'Yes and no,' replied Birkin.

'Not finally?' said Gerald.

'Finally—finally—no,' said Birkin.

'Nor I,' said Gerald.

'And do you want to?' said Birkin.

Gerald looked with a long, twinkling, almost sardonic look into the eyes of the other man.

'I don't know,' he said.

'I do—I want to love,' said Birkin.

'You do?'

'Yes. I want the finality of love.'

'The finality of love,' repeated Gerald. And he waited for a moment.

'Just one woman?' he added. The evening light, flooding yellow along the fields, lit up Birkin's face with a tense, abstract steadfastness. Gerald still could not make it out.

'Yes, one woman,' said Birkin.

But to Gerald it sounded as if he were insistent rather than confident.

'I don't believe a woman, and nothing but a woman, will ever make my life,' said Gerald.

'Not the centre and core of it—the love between you and a woman?' asked Birkin.

Gerald's eyes narrowed with a queer dangerous smile as he watched the other man.

'I never quite feel it that way,' he said.

'You don't? Then wherein does life centre, for you?'

'I don't know—that's what I want somebody to tell me. As far as I can make out, it doesn't centre at all. It is artificially held TOGETHER by the social mechanism.'

Birkin pondered as if he would crack something.

'I know,' he said, 'it just doesn't centre. The old ideals are dead as nails—nothing there. It seems to me there remains only this perfect union with a woman—sort of ultimate marriage—and there isn't anything else.'

'And you mean if there isn't the woman, there's nothing?' said Gerald.

'Pretty well that—seeing there's no God.'

'Then we're hard put to it,' said Gerald. And he turned to look out of the window at the flying, golden landscape.

Birkin could not help seeing how beautiful and soldierly his face was, with a certain courage to be indifferent.

'You think its heavy odds against us?' said Birkin.

'If we've got to make our life up out of a woman, one woman, woman only, yes, I do,' said Gerald. 'I don't believe I shall ever make up MY life, at that rate.'

Birkin watched him almost angrily.

'You are a born unbeliever,' he said.

'I only feel what I feel,' said Gerald. And he looked again at Birkin almost sardonically, with his blue, manly, sharp-lighted eyes. Birkin's eyes were at the moment full of anger. But swiftly they became troubled, doubtful, then full of a warm, rich affectionateness and laughter.

'It troubles me very much, Gerald,' he said, wrinkling his brows.

'I can see it does,' said Gerald, uncovering his mouth in a manly, quick, soldierly laugh.

Gerald was held unconsciously by the other man. He wanted to be near him, he wanted to be within his sphere of influence. There was something very congenial to him in Birkin. But yet, beyond this, he did not take much notice. He felt that he, himself, Gerald, had harder and more durable truths than any the other man knew. He felt himself older, more knowing. It was the quick-changing warmth and venality and brilliant warm utterance he loved in his friend. It was the rich play of words and quick interchange of feelings he enjoyed. The real content of the words he never really considered: he himself knew better.

Birkin knew this. He knew that Gerald wanted to be FOND of him without taking him seriously. And this made him go hard and cold. As the train ran on, he sat looking at the land, and Gerald fell away, became as nothing to him.

Birkin looked at the land, at the evening, and was thinking: 'Well, if mankind is destroyed, if our race is destroyed like Sodom, and there is this beautiful evening with the luminous land and trees, I am satisfied. That which informs it all is there, and can never be lost. After all, what is mankind but just one expression of the incomprehensible. And if mankind passes away, it will only mean that this particular expression is completed and done. That which is expressed, and that which is to be expressed, cannot be diminished. There it is, in the shining evening. Let mankind pass away—time it did. The creative utterances will not cease, they will only be there. Humanity doesn't embody the utterance of the incomprehensible any more. Humanity is a dead letter. There will be a new embodiment, in a new way. Let humanity disappear as quick as possible.'

Gerald interrupted him by asking,

'Where are you staying in London?'

Birkin looked up.

'With a man in Soho. I pay part of the rent of a flat, and stop there when I like.'

'Good idea—have a place more or less your own,' said Gerald.

'Yes. But I don't care for it much. I'm tired of the people I am bound to find there.'

'What kind of people?'

'Art—music—London Bohemia—the most pettifogging calculating Bohemia that ever reckoned its pennies. But there are a few decent people, decent in some respects. They are really very thorough rejecters of the world—perhaps they live only in the gesture of rejection and negation—but negatively something, at any rate.'

'What are they?—painters, musicians?'

'Painters, musicians, writers—hangers-on, models, advanced young people, anybody who is openly at outs with the conventions, and belongs to nowhere particularly. They are often young fellows down from the University, and girls who are living their own lives, as they say.'

'All loose?' said Gerald.

Birkin could see his curiosity roused.

'In one way. Most bound, in another. For all their shockingness, all on one note.'

He looked at Gerald, and saw how his blue eyes were lit up with a little flame of curious desire. He saw too how good-looking he was. Gerald was attractive, his blood seemed fluid and electric. His blue eyes burned with a keen, yet cold light, there was a certain beauty, a beautiful passivity in all his body, his moulding.

'We might see something of each other—I am in London for two or three days,' said Gerald.

'Yes,' said Birkin, 'I don't want to go to the theatre, or the music hall—you'd better come round to the flat, and see what you can make of Halliday and his crowd.'

'Thanks—I should like to,' laughed Gerald. 'What are you doing tonight?'

'I promised to meet Halliday at the Pompadour. It's a bad place, but there is nowhere else.'

'Where is it?' asked Gerald.

'Piccadilly Circus.'

'Oh yes—well, shall I come round there?'

'By all means, it might amuse you.'

The evening was falling. They had passed Bedford. Birkin watched the country, and was filled with a sort of hopelessness. He always felt this, on approaching London.

His dislike of mankind, of the mass of mankind, amounted almost to an illness.

'"Where the quiet coloured end of evening smiles Miles and miles—"'

he was murmuring to himself, like a man condemned to death. Gerald, who was very subtly alert, wary in all his senses, leaned forward and asked smilingly:

'What were you saying?' Birkin glanced at him, laughed, and repeated:

'"Where the quiet coloured end of evening smiles, Miles and miles, Over pastures where the something something sheep Half asleep—"'

Gerald also looked now at the country. And Birkin, who, for some reason was now tired and dispirited, said to him:

'I always feel doomed when the train is running into London. I feel such a despair, so hopeless, as if it were the end of the world.'

'Really!' said Gerald. 'And does the end of the world frighten you?'

Birkin lifted his shoulders in a slow shrug.

'I don't know,' he said. 'It does while it hangs imminent and doesn't fall. But people give me a bad feeling—very bad.'

There was a roused glad smile in Gerald's eyes.

'Do they?' he said. And he watched the other man critically.

In a few minutes the train was running through the disgrace of outspread London. Everybody in the carriage was on the alert, waiting to escape. At last they were under the huge arch of the station, in the tremendous shadow of the town. Birkin shut himself together—he was in now.

The two men went together in a taxi-cab.

'Don't you feel like one of the damned?' asked Birkin, as they sat in a little, swiftly-running enclosure, and watched the hideous great street.

'No,' laughed Gerald.

'It is real death,' said Birkin.



CHAPTER VI.

CREME DE MENTHE

They met again in the cafe several hours later. Gerald went through the push doors into the large, lofty room where the faces and heads of the drinkers showed dimly through the haze of smoke, reflected more dimly, and repeated ad infinitum in the great mirrors on the walls, so that one seemed to enter a vague, dim world of shadowy drinkers humming within an atmosphere of blue tobacco smoke. There was, however, the red plush of the seats to give substance within the bubble of pleasure.

Gerald moved in his slow, observant, glistening-attentive motion down between the tables and the people whose shadowy faces looked up as he passed. He seemed to be entering in some strange element, passing into an illuminated new region, among a host of licentious souls. He was pleased, and entertained. He looked over all the dim, evanescent, strangely illuminated faces that bent across the tables. Then he saw Birkin rise and signal to him.

At Birkin's table was a girl with dark, soft, fluffy hair cut short in the artist fashion, hanging level and full almost like the Egyptian princess's. She was small and delicately made, with warm colouring and large, dark hostile eyes. There was a delicacy, almost a beauty in all her form, and at the same time a certain attractive grossness of spirit, that made a little spark leap instantly alight in Gerald's eyes.

Birkin, who looked muted, unreal, his presence left out, introduced her as Miss Darrington. She gave her hand with a sudden, unwilling movement, looking all the while at Gerald with a dark, exposed stare. A glow came over him as he sat down.

The waiter appeared. Gerald glanced at the glasses of the other two. Birkin was drinking something green, Miss Darrington had a small liqueur glass that was empty save for a tiny drop.

'Won't you have some more—?'

'Brandy,' she said, sipping her last drop and putting down the glass. The waiter disappeared.

'No,' she said to Birkin. 'He doesn't know I'm back. He'll be terrified when he sees me here.'

She spoke her r's like w's, lisping with a slightly babyish pronunciation which was at once affected and true to her character. Her voice was dull and toneless.

'Where is he then?' asked Birkin.

'He's doing a private show at Lady Snellgrove's,' said the girl. 'Warens is there too.'

There was a pause.

'Well, then,' said Birkin, in a dispassionate protective manner, 'what do you intend to do?'

The girl paused sullenly. She hated the question.

'I don't intend to do anything,' she replied. 'I shall look for some sittings tomorrow.'

'Who shall you go to?' asked Birkin.

'I shall go to Bentley's first. But I believe he's angwy with me for running away.'

'That is from the Madonna?'

'Yes. And then if he doesn't want me, I know I can get work with Carmarthen.'

'Carmarthen?'

'Lord Carmarthen—he does photographs.'

'Chiffon and shoulders—'

'Yes. But he's awfully decent.' There was a pause.

'And what are you going to do about Julius?' he asked.

'Nothing,' she said. 'I shall just ignore him.'

'You've done with him altogether?' But she turned aside her face sullenly, and did not answer the question.

Another young man came hurrying up to the table.

'Hallo Birkin! Hallo PUSSUM, when did you come back?' he said eagerly.

'Today.'

'Does Halliday know?'

'I don't know. I don't care either.'

'Ha-ha! The wind still sits in that quarter, does it? Do you mind if I come over to this table?'

'I'm talking to Wupert, do you mind?' she replied, coolly and yet appealingly, like a child.

'Open confession—good for the soul, eh?' said the young man. 'Well, so long.'

And giving a sharp look at Birkin and at Gerald, the young man moved off, with a swing of his coat skirts.

All this time Gerald had been completely ignored. And yet he felt that the girl was physically aware of his proximity. He waited, listened, and tried to piece together the conversation.

'Are you staying at the flat?' the girl asked, of Birkin.

'For three days,' replied Birkin. 'And you?'

'I don't know yet. I can always go to Bertha's.' There was a silence.

Suddenly the girl turned to Gerald, and said, in a rather formal, polite voice, with the distant manner of a woman who accepts her position as a social inferior, yet assumes intimate CAMARADERIE with the male she addresses:

'Do you know London well?'

'I can hardly say,' he laughed. 'I've been up a good many times, but I was never in this place before.'

'You're not an artist, then?' she said, in a tone that placed him an outsider.

'No,' he replied.

'He's a soldier, and an explorer, and a Napoleon of industry,' said Birkin, giving Gerald his credentials for Bohemia.

'Are you a soldier?' asked the girl, with a cold yet lively curiosity.

'No, I resigned my commission,' said Gerald, 'some years ago.'

'He was in the last war,' said Birkin.

'Were you really?' said the girl.

'And then he explored the Amazon,' said Birkin, 'and now he is ruling over coal-mines.'

The girl looked at Gerald with steady, calm curiosity. He laughed, hearing himself described. He felt proud too, full of male strength. His blue, keen eyes were lit up with laughter, his ruddy face, with its sharp fair hair, was full of satisfaction, and glowing with life. He piqued her.

'How long are you staying?' she asked him.

'A day or two,' he replied. 'But there is no particular hurry.'

Still she stared into his face with that slow, full gaze which was so curious and so exciting to him. He was acutely and delightfully conscious of himself, of his own attractiveness. He felt full of strength, able to give off a sort of electric power. And he was aware of her dark, hot-looking eyes upon him. She had beautiful eyes, dark, fully-opened, hot, naked in their looking at him. And on them there seemed to float a film of disintegration, a sort of misery and sullenness, like oil on water. She wore no hat in the heated cafe, her loose, simple jumper was strung on a string round her neck. But it was made of rich peach-coloured crepe-de-chine, that hung heavily and softly from her young throat and her slender wrists. Her appearance was simple and complete, really beautiful, because of her regularity and form, her soft dark hair falling full and level on either side of her head, her straight, small, softened features, Egyptian in the slight fulness of their curves, her slender neck and the simple, rich-coloured smock hanging on her slender shoulders. She was very still, almost null, in her manner, apart and watchful.

She appealed to Gerald strongly. He felt an awful, enjoyable power over her, an instinctive cherishing very near to cruelty. For she was a victim. He felt that she was in his power, and he was generous. The electricity was turgid and voluptuously rich, in his limbs. He would be able to destroy her utterly in the strength of his discharge. But she was waiting in her separation, given.

They talked banalities for some time. Suddenly Birkin said:

'There's Julius!' and he half rose to his feet, motioning to the newcomer. The girl, with a curious, almost evil motion, looked round over her shoulder without moving her body. Gerald watched her dark, soft hair swing over her ears. He felt her watching intensely the man who was approaching, so he looked too. He saw a pale, full-built young man with rather long, solid fair hair hanging from under his black hat, moving cumbrously down the room, his face lit up with a smile at once naive and warm, and vapid. He approached towards Birkin, with a haste of welcome.

It was not till he was quite close that he perceived the girl. He recoiled, went pale, and said, in a high squealing voice:

'Pussum, what are YOU doing here?'

The cafe looked up like animals when they hear a cry. Halliday hung motionless, an almost imbecile smile flickering palely on his face. The girl only stared at him with a black look in which flared an unfathomable hell of knowledge, and a certain impotence. She was limited by him.

'Why have you come back?' repeated Halliday, in the same high, hysterical voice. 'I told you not to come back.'

The girl did not answer, only stared in the same viscous, heavy fashion, straight at him, as he stood recoiled, as if for safety, against the next table.

'You know you wanted her to come back—come and sit down,' said Birkin to him.

'No I didn't want her to come back, and I told her not to come back. What have you come for, Pussum?'

'For nothing from YOU,' she said in a heavy voice of resentment.

'Then why have you come back at ALL?' cried Halliday, his voice rising to a kind of squeal.

'She comes as she likes,' said Birkin. 'Are you going to sit down, or are you not?'

'No, I won't sit down with Pussum,' cried Halliday.

'I won't hurt you, you needn't be afraid,' she said to him, very curtly, and yet with a sort of protectiveness towards him, in her voice.

Halliday came and sat at the table, putting his hand on his heart, and crying:

'Oh, it's given me such a turn! Pussum, I wish you wouldn't do these things. Why did you come back?'

'Not for anything from you,' she repeated.

'You've said that before,' he cried in a high voice.

She turned completely away from him, to Gerald Crich, whose eyes were shining with a subtle amusement.

'Were you ever vewy much afwaid of the savages?' she asked in her calm, dull childish voice.

'No—never very much afraid. On the whole they're harmless—they're not born yet, you can't feel really afraid of them. You know you can manage them.'

'Do you weally? Aren't they very fierce?'

'Not very. There aren't many fierce things, as a matter of fact. There aren't many things, neither people nor animals, that have it in them to be really dangerous.'

'Except in herds,' interrupted Birkin.

'Aren't there really?' she said. 'Oh, I thought savages were all so dangerous, they'd have your life before you could look round.'

'Did you?' he laughed. 'They are over-rated, savages. They're too much like other people, not exciting, after the first acquaintance.'

'Oh, it's not so very wonderfully brave then, to be an explorer?'

'No. It's more a question of hardships than of terrors.'

'Oh! And weren't you ever afraid?'

'In my life? I don't know. Yes, I'm afraid of some things—of being shut up, locked up anywhere—or being fastened. I'm afraid of being bound hand and foot.'

She looked at him steadily with her dark eyes, that rested on him and roused him so deeply, that it left his upper self quite calm. It was rather delicious, to feel her drawing his self-revelations from him, as from the very innermost dark marrow of his body. She wanted to know. And her dark eyes seemed to be looking through into his naked organism. He felt, she was compelled to him, she was fated to come into contact with him, must have the seeing him and knowing him. And this roused a curious exultance. Also he felt, she must relinquish herself into his hands, and be subject to him. She was so profane, slave-like, watching him, absorbed by him. It was not that she was interested in what he said; she was absorbed by his self-revelation, by HIM, she wanted the secret of him, the experience of his male being.

Gerald's face was lit up with an uncanny smile, full of light and rousedness, yet unconscious. He sat with his arms on the table, his sunbrowned, rather sinister hands, that were animal and yet very shapely and attractive, pushed forward towards her. And they fascinated her. And she knew, she watched her own fascination.

Other men had come to the table, to talk with Birkin and Halliday. Gerald said in a low voice, apart, to Pussum:

'Where have you come back from?'

'From the country,' replied Pussum, in a very low, yet fully resonant voice. Her face closed hard. Continually she glanced at Halliday, and then a black flare came over her eyes. The heavy, fair young man ignored her completely; he was really afraid of her. For some moments she would be unaware of Gerald. He had not conquered her yet.

'And what has Halliday to do with it?' he asked, his voice still muted.

She would not answer for some seconds. Then she said, unwillingly:

'He made me go and live with him, and now he wants to throw me over. And yet he won't let me go to anybody else. He wants me to live hidden in the country. And then he says I persecute him, that he can't get rid of me.'

'Doesn't know his own mind,' said Gerald.

'He hasn't any mind, so he can't know it,' she said. 'He waits for what somebody tells him to do. He never does anything he wants to do himself—because he doesn't know what he wants. He's a perfect baby.'

Gerald looked at Halliday for some moments, watching the soft, rather degenerate face of the young man. Its very softness was an attraction; it was a soft, warm, corrupt nature, into which one might plunge with gratification.

'But he has no hold over you, has he?' Gerald asked.

'You see he MADE me go and live with him, when I didn't want to,' she replied. 'He came and cried to me, tears, you never saw so many, saying HE COULDN'T bear it unless I went back to him. And he wouldn't go away, he would have stayed for ever. He made me go back. Then every time he behaves in this fashion. And now I'm going to have a baby, he wants to give me a hundred pounds and send me into the country, so that he would never see me nor hear of me again. But I'm not going to do it, after—'

A queer look came over Gerald's face.

'Are you going to have a child?' he asked incredulous. It seemed, to look at her, impossible, she was so young and so far in spirit from any child-bearing.

She looked full into his face, and her dark, inchoate eyes had now a furtive look, and a look of a knowledge of evil, dark and indomitable. A flame ran secretly to his heart.

'Yes,' she said. 'Isn't it beastly?'

'Don't you want it?' he asked.

'I don't,' she replied emphatically.

'But—' he said, 'how long have you known?'

'Ten weeks,' she said.

All the time she kept her dark, inchoate eyes full upon him. He remained silent, thinking. Then, switching off and becoming cold, he asked, in a voice full of considerate kindness:

'Is there anything we can eat here? Is there anything you would like?'

'Yes,' she said, 'I should adore some oysters.'

'All right,' he said. 'We'll have oysters.' And he beckoned to the waiter.

Halliday took no notice, until the little plate was set before her. Then suddenly he cried:

'Pussum, you can't eat oysters when you're drinking brandy.'

'What has it go to do with you?' she asked.

'Nothing, nothing,' he cried. 'But you can't eat oysters when you're drinking brandy.'

'I'm not drinking brandy,' she replied, and she sprinkled the last drops of her liqueur over his face. He gave an odd squeal. She sat looking at him, as if indifferent.

'Pussum, why do you do that?' he cried in panic. He gave Gerald the impression that he was terrified of her, and that he loved his terror. He seemed to relish his own horror and hatred of her, turn it over and extract every flavour from it, in real panic. Gerald thought him a strange fool, and yet piquant.

'But Pussum,' said another man, in a very small, quick Eton voice, 'you promised not to hurt him.'

'I haven't hurt him,' she answered.

'What will you drink?' the young man asked. He was dark, and smooth-skinned, and full of a stealthy vigour.

'I don't like porter, Maxim,' she replied.

'You must ask for champagne,' came the whispering, gentlemanly voice of the other.

Gerald suddenly realised that this was a hint to him.

'Shall we have champagne?' he asked, laughing.

'Yes please, dwy,' she lisped childishly.

Gerald watched her eating the oysters. She was delicate and finicking in her eating, her fingers were fine and seemed very sensitive in the tips, so she put her food apart with fine, small motions, she ate carefully, delicately. It pleased him very much to see her, and it irritated Birkin. They were all drinking champagne. Maxim, the prim young Russian with the smooth, warm-coloured face and black, oiled hair was the only one who seemed to be perfectly calm and sober. Birkin was white and abstract, unnatural, Gerald was smiling with a constant bright, amused, cold light in his eyes, leaning a little protectively towards the Pussum, who was very handsome, and soft, unfolded like some red lotus in dreadful flowering nakedness, vainglorious now, flushed with wine and with the excitement of men. Halliday looked foolish. One glass of wine was enough to make him drunk and giggling. Yet there was always a pleasant, warm naivete about him, that made him attractive.

'I'm not afwaid of anything except black-beetles,' said the Pussum, looking up suddenly and staring with her black eyes, on which there seemed an unseeing film of flame, fully upon Gerald. He laughed dangerously, from the blood. Her childish speech caressed his nerves, and her burning, filmed eyes, turned now full upon him, oblivious of all her antecedents, gave him a sort of licence.

'I'm not,' she protested. 'I'm not afraid of other things. But black-beetles—ugh!' she shuddered convulsively, as if the very thought were too much to bear.

'Do you mean,' said Gerald, with the punctiliousness of a man who has been drinking, 'that you are afraid of the sight of a black-beetle, or you are afraid of a black-beetle biting you, or doing you some harm?'

'Do they bite?' cried the girl.

'How perfectly loathsome!' exclaimed Halliday.

'I don't know,' replied Gerald, looking round the table. 'Do black-beetles bite? But that isn't the point. Are you afraid of their biting, or is it a metaphysical antipathy?'

The girl was looking full upon him all the time with inchoate eyes.

'Oh, I think they're beastly, they're horrid,' she cried. 'If I see one, it gives me the creeps all over. If one were to crawl on me, I'm SURE I should die—I'm sure I should.'

'I hope not,' whispered the young Russian.

'I'm sure I should, Maxim,' she asseverated.

'Then one won't crawl on you,' said Gerald, smiling and knowing. In some strange way he understood her.

'It's metaphysical, as Gerald says,' Birkin stated.

There was a little pause of uneasiness.

'And are you afraid of nothing else, Pussum?' asked the young Russian, in his quick, hushed, elegant manner.

'Not weally,' she said. 'I am afwaid of some things, but not weally the same. I'm not afwaid of BLOOD.'

'Not afwaid of blood!' exclaimed a young man with a thick, pale, jeering face, who had just come to the table and was drinking whisky.

The Pussum turned on him a sulky look of dislike, low and ugly.

'Aren't you really afraid of blud?' the other persisted, a sneer all over his face.

'No, I'm not,' she retorted.

'Why, have you ever seen blood, except in a dentist's spittoon?' jeered the young man.

'I wasn't speaking to you,' she replied rather superbly.

'You can answer me, can't you?' he said.

For reply, she suddenly jabbed a knife across his thick, pale hand. He started up with a vulgar curse.

'Show's what you are,' said the Pussum in contempt.

'Curse you,' said the young man, standing by the table and looking down at her with acrid malevolence.

'Stop that,' said Gerald, in quick, instinctive command.

The young man stood looking down at her with sardonic contempt, a cowed, self-conscious look on his thick, pale face. The blood began to flow from his hand.

'Oh, how horrible, take it away!' squealed Halliday, turning green and averting his face.

'D'you feel ill?' asked the sardonic young man, in some concern. 'Do you feel ill, Julius? Garn, it's nothing, man, don't give her the pleasure of letting her think she's performed a feat—don't give her the satisfaction, man—it's just what she wants.'

'Oh!' squealed Halliday.

'He's going to cat, Maxim,' said the Pussum warningly. The suave young Russian rose and took Halliday by the arm, leading him away. Birkin, white and diminished, looked on as if he were displeased. The wounded, sardonic young man moved away, ignoring his bleeding hand in the most conspicuous fashion.

'He's an awful coward, really,' said the Pussum to Gerald. 'He's got such an influence over Julius.'

'Who is he?' asked Gerald.

'He's a Jew, really. I can't bear him.'

'Well, he's quite unimportant. But what's wrong with Halliday?'

'Julius's the most awful coward you've ever seen,' she cried. 'He always faints if I lift a knife—he's tewwified of me.'

'H'm!' said Gerald.

'They're all afwaid of me,' she said. 'Only the Jew thinks he's going to show his courage. But he's the biggest coward of them all, really, because he's afwaid what people will think about him—and Julius doesn't care about that.'

'They've a lot of valour between them,' said Gerald good-humouredly.

The Pussum looked at him with a slow, slow smile. She was very handsome, flushed, and confident in dreadful knowledge. Two little points of light glinted on Gerald's eyes.

'Why do they call you Pussum, because you're like a cat?' he asked her.

'I expect so,' she said.

The smile grew more intense on his face.

'You are, rather; or a young, female panther.'

'Oh God, Gerald!' said Birkin, in some disgust.

They both looked uneasily at Birkin.

'You're silent tonight, Wupert,' she said to him, with a slight insolence, being safe with the other man.

Halliday was coming back, looking forlorn and sick.

'Pussum,' he said, 'I wish you wouldn't do these things—Oh!' He sank in his chair with a groan.

'You'd better go home,' she said to him.

'I WILL go home,' he said. 'But won't you all come along. Won't you come round to the flat?' he said to Gerald. 'I should be so glad if you would. Do—that'll be splendid. I say?' He looked round for a waiter. 'Get me a taxi.' Then he groaned again. 'Oh I do feel—perfectly ghastly! Pussum, you see what you do to me.'

'Then why are you such an idiot?' she said with sullen calm.

'But I'm not an idiot! Oh, how awful! Do come, everybody, it will be so splendid. Pussum, you are coming. What? Oh but you MUST come, yes, you must. What? Oh, my dear girl, don't make a fuss now, I feel perfectly—Oh, it's so ghastly—Ho!—er! Oh!'

'You know you can't drink,' she said to him, coldly.

'I tell you it isn't drink—it's your disgusting behaviour, Pussum, it's nothing else. Oh, how awful! Libidnikov, do let us go.'

'He's only drunk one glass—only one glass,' came the rapid, hushed voice of the young Russian.

They all moved off to the door. The girl kept near to Gerald, and seemed to be at one in her motion with him. He was aware of this, and filled with demon-satisfaction that his motion held good for two. He held her in the hollow of his will, and she was soft, secret, invisible in her stirring there.

They crowded five of them into the taxi-cab. Halliday lurched in first, and dropped into his seat against the other window. Then the Pussum took her place, and Gerald sat next to her. They heard the young Russian giving orders to the driver, then they were all seated in the dark, crowded close together, Halliday groaning and leaning out of the window. They felt the swift, muffled motion of the car.

The Pussum sat near to Gerald, and she seemed to become soft, subtly to infuse herself into his bones, as if she were passing into him in a black, electric flow. Her being suffused into his veins like a magnetic darkness, and concentrated at the base of his spine like a fearful source of power. Meanwhile her voice sounded out reedy and nonchalant, as she talked indifferently with Birkin and with Maxim. Between her and Gerald was this silence and this black, electric comprehension in the darkness. Then she found his hand, and grasped it in her own firm, small clasp. It was so utterly dark, and yet such a naked statement, that rapid vibrations ran through his blood and over his brain, he was no longer responsible. Still her voice rang on like a bell, tinged with a tone of mockery. And as she swung her head, her fine mane of hair just swept his face, and all his nerves were on fire, as with a subtle friction of electricity. But the great centre of his force held steady, a magnificent pride to him, at the base of his spine.

They arrived at a large block of buildings, went up in a lift, and presently a door was being opened for them by a Hindu. Gerald looked in surprise, wondering if he were a gentleman, one of the Hindus down from Oxford, perhaps. But no, he was the man-servant.

'Make tea, Hasan,' said Halliday.

'There is a room for me?' said Birkin.

To both of which questions the man grinned, and murmured.

He made Gerald uncertain, because, being tall and slender and reticent, he looked like a gentleman.

'Who is your servant?' he asked of Halliday. 'He looks a swell.'

'Oh yes—that's because he's dressed in another man's clothes. He's anything but a swell, really. We found him in the road, starving. So I took him here, and another man gave him clothes. He's anything but what he seems to be—his only advantage is that he can't speak English and can't understand it, so he's perfectly safe.'

'He's very dirty,' said the young Russian swiftly and silently.

Directly, the man appeared in the doorway.

'What is it?' said Halliday.

The Hindu grinned, and murmured shyly:

'Want to speak to master.'

Gerald watched curiously. The fellow in the doorway was goodlooking and clean-limbed, his bearing was calm, he looked elegant, aristocratic. Yet he was half a savage, grinning foolishly. Halliday went out into the corridor to speak with him.

'What?' they heard his voice. 'What? What do you say? Tell me again. What? Want money? Want MORE money? But what do you want money for?' There was the confused sound of the Hindu's talking, then Halliday appeared in the room, smiling also foolishly, and saying:

'He says he wants money to buy underclothing. Can anybody lend me a shilling? Oh thanks, a shilling will do to buy all the underclothes he wants.' He took the money from Gerald and went out into the passage again, where they heard him saying, 'You can't want more money, you had three and six yesterday. You mustn't ask for any more. Bring the tea in quickly.'

Gerald looked round the room. It was an ordinary London sitting-room in a flat, evidently taken furnished, rather common and ugly. But there were several negro statues, wood-carvings from West Africa, strange and disturbing, the carved negroes looked almost like the foetus of a human being. One was a woman sitting naked in a strange posture, and looking tortured, her abdomen stuck out. The young Russian explained that she was sitting in child-birth, clutching the ends of the band that hung from her neck, one in each hand, so that she could bear down, and help labour. The strange, transfixed, rudimentary face of the woman again reminded Gerald of a foetus, it was also rather wonderful, conveying the suggestion of the extreme of physical sensation, beyond the limits of mental consciousness.

'Aren't they rather obscene?' he asked, disapproving.

'I don't know,' murmured the other rapidly. 'I have never defined the obscene. I think they are very good.'

Gerald turned away. There were one or two new pictures in the room, in the Futurist manner; there was a large piano. And these, with some ordinary London lodging-house furniture of the better sort, completed the whole.

The Pussum had taken off her hat and coat, and was seated on the sofa. She was evidently quite at home in the house, but uncertain, suspended. She did not quite know her position. Her alliance for the time being was with Gerald, and she did not know how far this was admitted by any of the men. She was considering how she should carry off the situation. She was determined to have her experience. Now, at this eleventh hour, she was not to be baulked. Her face was flushed as with battle, her eye was brooding but inevitable.

The man came in with tea and a bottle of Kummel. He set the tray on a little table before the couch.

'Pussum,' said Halliday, 'pour out the tea.'

She did not move.

'Won't you do it?' Halliday repeated, in a state of nervous apprehension.

'I've not come back here as it was before,' she said. 'I only came because the others wanted me to, not for your sake.'

'My dear Pussum, you know you are your own mistress. I don't want you to do anything but use the flat for your own convenience—you know it, I've told you so many times.'

She did not reply, but silently, reservedly reached for the tea-pot. They all sat round and drank tea. Gerald could feel the electric connection between him and her so strongly, as she sat there quiet and withheld, that another set of conditions altogether had come to pass. Her silence and her immutability perplexed him. HOW was he going to come to her? And yet he felt it quite inevitable. He trusted completely to the current that held them. His perplexity was only superficial, new conditions reigned, the old were surpassed; here one did as one was possessed to do, no matter what it was.

Birkin rose. It was nearly one o'clock.

'I'm going to bed,' he said. 'Gerald, I'll ring you up in the morning at your place or you ring me up here.'

'Right,' said Gerald, and Birkin went out.

When he was well gone, Halliday said in a stimulated voice, to Gerald:

'I say, won't you stay here—oh do!'

'You can't put everybody up,' said Gerald.

'Oh but I can, perfectly—there are three more beds besides mine—do stay, won't you. Everything is quite ready—there is always somebody here—I always put people up—I love having the house crowded.'

'But there are only two rooms,' said the Pussum, in a cold, hostile voice, 'now Rupert's here.'

'I know there are only two rooms,' said Halliday, in his odd, high way of speaking. 'But what does that matter?'

He was smiling rather foolishly, and he spoke eagerly, with an insinuating determination.

'Julius and I will share one room,' said the Russian in his discreet, precise voice. Halliday and he were friends since Eton.

'It's very simple,' said Gerald, rising and pressing back his arms, stretching himself. Then he went again to look at one of the pictures. Every one of his limbs was turgid with electric force, and his back was tense like a tiger's, with slumbering fire. He was very proud.

The Pussum rose. She gave a black look at Halliday, black and deadly, which brought the rather foolishly pleased smile to that young man's face. Then she went out of the room, with a cold good-night to them all generally.

There was a brief interval, they heard a door close, then Maxim said, in his refined voice:

'That's all right.'

He looked significantly at Gerald, and said again, with a silent nod:

'That's all right—you're all right.'

Gerald looked at the smooth, ruddy, comely face, and at the strange, significant eyes, and it seemed as if the voice of the young Russian, so small and perfect, sounded in the blood rather than in the air.

'I'M all right then,' said Gerald.

'Yes! Yes! You're all right,' said the Russian.

Halliday continued to smile, and to say nothing.

Suddenly the Pussum appeared again in the door, her small, childish face looking sullen and vindictive.

'I know you want to catch me out,' came her cold, rather resonant voice. 'But I don't care, I don't care how much you catch me out.'

She turned and was gone again. She had been wearing a loose dressing-gown of purple silk, tied round her waist. She looked so small and childish and vulnerable, almost pitiful. And yet the black looks of her eyes made Gerald feel drowned in some potent darkness that almost frightened him.

The men lit another cigarette and talked casually.



CHAPTER VII.

FETISH

In the morning Gerald woke late. He had slept heavily. Pussum was still asleep, sleeping childishly and pathetically. There was something small and curled up and defenceless about her, that roused an unsatisfied flame of passion in the young man's blood, a devouring avid pity. He looked at her again. But it would be too cruel to wake her. He subdued himself, and went away.

Hearing voices coming from the sitting-room, Halliday talking to Libidnikov, he went to the door and glanced in. He had on a silk wrap of a beautiful bluish colour, with an amethyst hem.

To his surprise he saw the two young men by the fire, stark naked. Halliday looked up, rather pleased.

'Good-morning,' he said. 'Oh—did you want towels?' And stark naked he went out into the hall, striding a strange, white figure between the unliving furniture. He came back with the towels, and took his former position, crouching seated before the fire on the fender.

'Don't you love to feel the fire on your skin?' he said.

'It IS rather pleasant,' said Gerald.

'How perfectly splendid it must be to be in a climate where one could do without clothing altogether,' said Halliday.

'Yes,' said Gerald, 'if there weren't so many things that sting and bite.'

'That's a disadvantage,' murmured Maxim.

Gerald looked at him, and with a slight revulsion saw the human animal, golden skinned and bare, somehow humiliating. Halliday was different. He had a rather heavy, slack, broken beauty, white and firm. He was like a Christ in a Pieta. The animal was not there at all, only the heavy, broken beauty. And Gerald realised how Halliday's eyes were beautiful too, so blue and warm and confused, broken also in their expression. The fireglow fell on his heavy, rather bowed shoulders, he sat slackly crouched on the fender, his face was uplifted, weak, perhaps slightly disintegrate, and yet with a moving beauty of its own.

'Of course,' said Maxim, 'you've been in hot countries where the people go about naked.'

'Oh really!' exclaimed Halliday. 'Where?'

'South America—Amazon,' said Gerald.

'Oh but how perfectly splendid! It's one of the things I want most to do—to live from day to day without EVER putting on any sort of clothing whatever. If I could do that, I should feel I had lived.'

'But why?' said Gerald. 'I can't see that it makes so much difference.'

'Oh, I think it would be perfectly splendid. I'm sure life would be entirely another thing—entirely different, and perfectly wonderful.'

'But why?' asked Gerald. 'Why should it?'

'Oh—one would FEEL things instead of merely looking at them. I should feel the air move against me, and feel the things I touched, instead of having only to look at them. I'm sure life is all wrong because it has become much too visual—we can neither hear nor feel nor understand, we can only see. I'm sure that is entirely wrong.'

'Yes, that is true, that is true,' said the Russian.

Gerald glanced at him, and saw him, his suave, golden coloured body with the black hair growing fine and freely, like tendrils, and his limbs like smooth plant-stems. He was so healthy and well-made, why did he make one ashamed, why did one feel repelled? Why should Gerald even dislike it, why did it seem to him to detract from his own dignity. Was that all a human being amounted to? So uninspired! thought Gerald.

Birkin suddenly appeared in the doorway, in white pyjamas and wet hair, and a towel over his arm. He was aloof and white, and somehow evanescent.

'There's the bath-room now, if you want it,' he said generally, and was going away again, when Gerald called:

'I say, Rupert!'

'What?' The single white figure appeared again, a presence in the room.

'What do you think of that figure there? I want to know,' Gerald asked.

Birkin, white and strangely ghostly, went over to the carved figure of the negro woman in labour. Her nude, protuberant body crouched in a strange, clutching posture, her hands gripping the ends of the band, above her breast.

'It is art,' said Birkin.

'Very beautiful, it's very beautiful,' said the Russian.

They all drew near to look. Gerald looked at the group of men, the Russian golden and like a water-plant, Halliday tall and heavily, brokenly beautiful, Birkin very white and indefinite, not to be assigned, as he looked closely at the carven woman. Strangely elated, Gerald also lifted his eyes to the face of the wooden figure. And his heart contracted.

He saw vividly with his spirit the grey, forward-stretching face of the negro woman, African and tense, abstracted in utter physical stress. It was a terrible face, void, peaked, abstracted almost into meaninglessness by the weight of sensation beneath. He saw the Pussum in it. As in a dream, he knew her.

'Why is it art?' Gerald asked, shocked, resentful.

'It conveys a complete truth,' said Birkin. 'It contains the whole truth of that state, whatever you feel about it.'

'But you can't call it HIGH art,' said Gerald.

'High! There are centuries and hundreds of centuries of development in a straight line, behind that carving; it is an awful pitch of culture, of a definite sort.'

'What culture?' Gerald asked, in opposition. He hated the sheer African thing.

'Pure culture in sensation, culture in the physical consciousness, really ultimate PHYSICAL consciousness, mindless, utterly sensual. It is so sensual as to be final, supreme.'

But Gerald resented it. He wanted to keep certain illusions, certain ideas like clothing.

'You like the wrong things, Rupert,' he said, 'things against yourself.'

'Oh, I know, this isn't everything,' Birkin replied, moving away.

When Gerald went back to his room from the bath, he also carried his clothes. He was so conventional at home, that when he was really away, and on the loose, as now, he enjoyed nothing so much as full outrageousness. So he strode with his blue silk wrap over his arm and felt defiant.

The Pussum lay in her bed, motionless, her round, dark eyes like black, unhappy pools. He could only see the black, bottomless pools of her eyes. Perhaps she suffered. The sensation of her inchoate suffering roused the old sharp flame in him, a mordant pity, a passion almost of cruelty.

'You are awake now,' he said to her.

'What time is it?' came her muted voice.

She seemed to flow back, almost like liquid, from his approach, to sink helplessly away from him. Her inchoate look of a violated slave, whose fulfilment lies in her further and further violation, made his nerves quiver with acutely desirable sensation. After all, his was the only will, she was the passive substance of his will. He tingled with the subtle, biting sensation. And then he knew, he must go away from her, there must be pure separation between them.

It was a quiet and ordinary breakfast, the four men all looking very clean and bathed. Gerald and the Russian were both correct and COMME IL FAUT in appearance and manner, Birkin was gaunt and sick, and looked a failure in his attempt to be a properly dressed man, like Gerald and Maxim. Halliday wore tweeds and a green flannel shirt, and a rag of a tie, which was just right for him. The Hindu brought in a great deal of soft toast, and looked exactly the same as he had looked the night before, statically the same.

At the end of the breakfast the Pussum appeared, in a purple silk wrap with a shimmering sash. She had recovered herself somewhat, but was mute and lifeless still. It was a torment to her when anybody spoke to her. Her face was like a small, fine mask, sinister too, masked with unwilling suffering. It was almost midday. Gerald rose and went away to his business, glad to get out. But he had not finished. He was coming back again at evening, they were all dining together, and he had booked seats for the party, excepting Birkin, at a music-hall.

At night they came back to the flat very late again, again flushed with drink. Again the man-servant—who invariably disappeared between the hours of ten and twelve at night—came in silently and inscrutably with tea, bending in a slow, strange, leopard-like fashion to put the tray softly on the table. His face was immutable, aristocratic-looking, tinged slightly with grey under the skin; he was young and good-looking. But Birkin felt a slight sickness, looking at him, and feeling the slight greyness as an ash or a corruption, in the aristocratic inscrutability of expression a nauseating, bestial stupidity.

Again they talked cordially and rousedly together. But already a certain friability was coming over the party, Birkin was mad with irritation, Halliday was turning in an insane hatred against Gerald, the Pussum was becoming hard and cold, like a flint knife, and Halliday was laying himself out to her. And her intention, ultimately, was to capture Halliday, to have complete power over him.

In the morning they all stalked and lounged about again. But Gerald could feel a strange hostility to himself, in the air. It roused his obstinacy, and he stood up against it. He hung on for two more days. The result was a nasty and insane scene with Halliday on the fourth evening. Halliday turned with absurd animosity upon Gerald, in the cafe. There was a row. Gerald was on the point of knocking-in Halliday's face; when he was filled with sudden disgust and indifference, and he went away, leaving Halliday in a foolish state of gloating triumph, the Pussum hard and established, and Maxim standing clear. Birkin was absent, he had gone out of town again.

Gerald was piqued because he had left without giving the Pussum money. It was true, she did not care whether he gave her money or not, and he knew it. But she would have been glad of ten pounds, and he would have been VERY glad to give them to her. Now he felt in a false position. He went away chewing his lips to get at the ends of his short clipped moustache. He knew the Pussum was merely glad to be rid of him. She had got her Halliday whom she wanted. She wanted him completely in her power. Then she would marry him. She wanted to marry him. She had set her will on marrying Halliday. She never wanted to hear of Gerald again; unless, perhaps, she were in difficulty; because after all, Gerald was what she called a man, and these others, Halliday, Libidnikov, Birkin, the whole Bohemian set, they were only half men. But it was half men she could deal with. She felt sure of herself with them. The real men, like Gerald, put her in her place too much.

Still, she respected Gerald, she really respected him. She had managed to get his address, so that she could appeal to him in time of distress. She knew he wanted to give her money. She would perhaps write to him on that inevitable rainy day.



CHAPTER VIII.

BREADALBY

Breadalby was a Georgian house with Corinthian pillars, standing among the softer, greener hills of Derbyshire, not far from Cromford. In front, it looked over a lawn, over a few trees, down to a string of fish-ponds in the hollow of the silent park. At the back were trees, among which were to be found the stables, and the big kitchen garden, behind which was a wood.

It was a very quiet place, some miles from the high-road, back from the Derwent Valley, outside the show scenery. Silent and forsaken, the golden stucco showed between the trees, the house-front looked down the park, unchanged and unchanging.

Of late, however, Hermione had lived a good deal at the house. She had turned away from London, away from Oxford, towards the silence of the country. Her father was mostly absent, abroad, she was either alone in the house, with her visitors, of whom there were always several, or she had with her her brother, a bachelor, and a Liberal member of Parliament. He always came down when the House was not sitting, seemed always to be present in Breadalby, although he was most conscientious in his attendance to duty.

The summer was just coming in when Ursula and Gudrun went to stay the second time with Hermione. Coming along in the car, after they had entered the park, they looked across the dip, where the fish-ponds lay in silence, at the pillared front of the house, sunny and small like an English drawing of the old school, on the brow of the green hill, against the trees. There were small figures on the green lawn, women in lavender and yellow moving to the shade of the enormous, beautifully balanced cedar tree.

'Isn't it complete!' said Gudrun. 'It is as final as an old aquatint.' She spoke with some resentment in her voice, as if she were captivated unwillingly, as if she must admire against her will.

'Do you love it?' asked Ursula.

'I don't LOVE it, but in its way, I think it is quite complete.'

The motor-car ran down the hill and up again in one breath, and they were curving to the side door. A parlour-maid appeared, and then Hermione, coming forward with her pale face lifted, and her hands outstretched, advancing straight to the new-comers, her voice singing:

'Here you are—I'm so glad to see you—' she kissed Gudrun—'so glad to see you—' she kissed Ursula and remained with her arm round her. 'Are you very tired?'

'Not at all tired,' said Ursula.

'Are you tired, Gudrun?'

'Not at all, thanks,' said Gudrun.

'No—' drawled Hermione. And she stood and looked at them. The two girls were embarrassed because she would not move into the house, but must have her little scene of welcome there on the path. The servants waited.

'Come in,' said Hermione at last, having fully taken in the pair of them. Gudrun was the more beautiful and attractive, she had decided again, Ursula was more physical, more womanly. She admired Gudrun's dress more. It was of green poplin, with a loose coat above it, of broad, dark-green and dark-brown stripes. The hat was of a pale, greenish straw, the colour of new hay, and it had a plaited ribbon of black and orange, the stockings were dark green, the shoes black. It was a good get-up, at once fashionable and individual. Ursula, in dark blue, was more ordinary, though she also looked well.

Hermione herself wore a dress of prune-coloured silk, with coral beads and coral coloured stockings. But her dress was both shabby and soiled, even rather dirty.

'You would like to see your rooms now, wouldn't you! Yes. We will go up now, shall we?'

Ursula was glad when she could be left alone in her room. Hermione lingered so long, made such a stress on one. She stood so near to one, pressing herself near upon one, in a way that was most embarrassing and oppressive. She seemed to hinder one's workings.

Lunch was served on the lawn, under the great tree, whose thick, blackish boughs came down close to the grass. There were present a young Italian woman, slight and fashionable, a young, athletic-looking Miss Bradley, a learned, dry Baronet of fifty, who was always making witticisms and laughing at them heartily in a harsh, horse-laugh, there was Rupert Birkin, and then a woman secretary, a Fraulein Marz, young and slim and pretty.

The food was very good, that was one thing. Gudrun, critical of everything, gave it her full approval. Ursula loved the situation, the white table by the cedar tree, the scent of new sunshine, the little vision of the leafy park, with far-off deer feeding peacefully. There seemed a magic circle drawn about the place, shutting out the present, enclosing the delightful, precious past, trees and deer and silence, like a dream.

But in spirit she was unhappy. The talk went on like a rattle of small artillery, always slightly sententious, with a sententiousness that was only emphasised by the continual crackling of a witticism, the continual spatter of verbal jest, designed to give a tone of flippancy to a stream of conversation that was all critical and general, a canal of conversation rather than a stream.

The attitude was mental and very wearying. Only the elderly sociologist, whose mental fibre was so tough as to be insentient, seemed to be thoroughly happy. Birkin was down in the mouth. Hermione appeared, with amazing persistence, to wish to ridicule him and make him look ignominious in the eyes of everybody. And it was surprising how she seemed to succeed, how helpless he seemed against her. He looked completely insignificant. Ursula and Gudrun, both very unused, were mostly silent, listening to the slow, rhapsodic sing-song of Hermione, or the verbal sallies of Sir Joshua, or the prattle of Fraulein, or the responses of the other two women.

Luncheon was over, coffee was brought out on the grass, the party left the table and sat about in lounge chairs, in the shade or in the sunshine as they wished. Fraulein departed into the house, Hermione took up her embroidery, the little Contessa took a book, Miss Bradley was weaving a basket out of fine grass, and there they all were on the lawn in the early summer afternoon, working leisurely and spattering with half-intellectual, deliberate talk.

Suddenly there was the sound of the brakes and the shutting off of a motor-car.

'There's Salsie!' sang Hermione, in her slow, amusing sing-song. And laying down her work, she rose slowly, and slowly passed over the lawn, round the bushes, out of sight.

'Who is it?' asked Gudrun.

'Mr Roddice—Miss Roddice's brother—at least, I suppose it's he,' said Sir Joshua.

'Salsie, yes, it is her brother,' said the little Contessa, lifting her head for a moment from her book, and speaking as if to give information, in her slightly deepened, guttural English.

They all waited. And then round the bushes came the tall form of Alexander Roddice, striding romantically like a Meredith hero who remembers Disraeli. He was cordial with everybody, he was at once a host, with an easy, offhand hospitality that he had learned for Hermione's friends. He had just come down from London, from the House. At once the atmosphere of the House of Commons made itself felt over the lawn: the Home Secretary had said such and such a thing, and he, Roddice, on the other hand, thought such and such a thing, and had said so-and-so to the PM.

Now Hermione came round the bushes with Gerald Crich. He had come along with Alexander. Gerald was presented to everybody, was kept by Hermione for a few moments in full view, then he was led away, still by Hermione. He was evidently her guest of the moment.

There had been a split in the Cabinet; the minister for Education had resigned owing to adverse criticism. This started a conversation on education.

'Of course,' said Hermione, lifting her face like a rhapsodist, 'there CAN be no reason, no EXCUSE for education, except the joy and beauty of knowledge in itself.' She seemed to rumble and ruminate with subterranean thoughts for a minute, then she proceeded: 'Vocational education ISN'T education, it is the close of education.'

Gerald, on the brink of discussion, sniffed the air with delight and prepared for action.

'Not necessarily,' he said. 'But isn't education really like gymnastics, isn't the end of education the production of a well-trained, vigorous, energetic mind?'

'Just as athletics produce a healthy body, ready for anything,' cried Miss Bradley, in hearty accord.

Gudrun looked at her in silent loathing.

'Well—' rumbled Hermione, 'I don't know. To me the pleasure of knowing is so great, so WONDERFUL—nothing has meant so much to me in all life, as certain knowledge—no, I am sure—nothing.'

'What knowledge, for example, Hermione?' asked Alexander.

Hermione lifted her face and rumbled—

'M—m—m—I don't know . . . But one thing was the stars, when I really understood something about the stars. One feels so UPLIFTED, so UNBOUNDED . . .'

Birkin looked at her in a white fury.

'What do you want to feel unbounded for?' he said sarcastically. 'You don't want to BE unbounded.'

Hermione recoiled in offence.

'Yes, but one does have that limitless feeling,' said Gerald. 'It's like getting on top of the mountain and seeing the Pacific.'

'Silent upon a peak in Dariayn,' murmured the Italian, lifting her face for a moment from her book.

'Not necessarily in Dariayn,' said Gerald, while Ursula began to laugh.

Hermione waited for the dust to settle, and then she said, untouched:

'Yes, it is the greatest thing in life—to KNOW. It is really to be happy, to be FREE.'

'Knowledge is, of course, liberty,' said Mattheson.

'In compressed tabloids,' said Birkin, looking at the dry, stiff little body of the Baronet. Immediately Gudrun saw the famous sociologist as a flat bottle, containing tabloids of compressed liberty. That pleased her. Sir Joshua was labelled and placed forever in her mind.

'What does that mean, Rupert?' sang Hermione, in a calm snub.

'You can only have knowledge, strictly,' he replied, 'of things concluded, in the past. It's like bottling the liberty of last summer in the bottled gooseberries.'

'CAN one have knowledge only of the past?' asked the Baronet, pointedly. 'Could we call our knowledge of the laws of gravitation for instance, knowledge of the past?'

'Yes,' said Birkin.

'There is a most beautiful thing in my book,' suddenly piped the little Italian woman. 'It says the man came to the door and threw his eyes down the street.'

There was a general laugh in the company. Miss Bradley went and looked over the shoulder of the Contessa.

'See!' said the Contessa.

'Bazarov came to the door and threw his eyes hurriedly down the street,' she read.

Again there was a loud laugh, the most startling of which was the Baronet's, which rattled out like a clatter of falling stones.

'What is the book?' asked Alexander, promptly.

'Fathers and Sons, by Turgenev,' said the little foreigner, pronouncing every syllable distinctly. She looked at the cover, to verify herself.

'An old American edition,' said Birkin.

'Ha!—of course—translated from the French,' said Alexander, with a fine declamatory voice. 'Bazarov ouvra la porte et jeta les yeux dans la rue.'

He looked brightly round the company.

'I wonder what the "hurriedly" was,' said Ursula.

They all began to guess.

And then, to the amazement of everybody, the maid came hurrying with a large tea-tray. The afternoon had passed so swiftly.

After tea, they were all gathered for a walk.

'Would you like to come for a walk?' said Hermione to each of them, one by one. And they all said yes, feeling somehow like prisoners marshalled for exercise. Birkin only refused.

'Will you come for a walk, Rupert?'

'No, Hermione.'

'But are you SURE?'

'Quite sure.' There was a second's hesitation.

'And why not?' sang Hermione's question. It made her blood run sharp, to be thwarted in even so trifling a matter. She intended them all to walk with her in the park.

'Because I don't like trooping off in a gang,' he said.

Her voice rumbled in her throat for a moment. Then she said, with a curious stray calm:

'Then we'll leave a little boy behind, if he's sulky.'

And she looked really gay, while she insulted him. But it merely made him stiff.

She trailed off to the rest of the company, only turning to wave her handkerchief to him, and to chuckle with laughter, singing out:

'Good-bye, good-bye, little boy.'

'Good-bye, impudent hag,' he said to himself.

They all went through the park. Hermione wanted to show them the wild daffodils on a little slope. 'This way, this way,' sang her leisurely voice at intervals. And they had all to come this way. The daffodils were pretty, but who could see them? Ursula was stiff all over with resentment by this time, resentment of the whole atmosphere. Gudrun, mocking and objective, watched and registered everything.

They looked at the shy deer, and Hermione talked to the stag, as if he too were a boy she wanted to wheedle and fondle. He was male, so she must exert some kind of power over him. They trailed home by the fish-ponds, and Hermione told them about the quarrel of two male swans, who had striven for the love of the one lady. She chuckled and laughed as she told how the ousted lover had sat with his head buried under his wing, on the gravel.

When they arrived back at the house, Hermione stood on the lawn and sang out, in a strange, small, high voice that carried very far:

'Rupert! Rupert!' The first syllable was high and slow, the second dropped down. 'Roo-o-opert.'

But there was no answer. A maid appeared.

'Where is Mr Birkin, Alice?' asked the mild straying voice of Hermione. But under the straying voice, what a persistent, almost insane WILL!

'I think he's in his room, madam.'

'Is he?'

Hermione went slowly up the stairs, along the corridor, singing out in her high, small call:

'Ru-oo-pert! Ru-oo pert!'

She came to his door, and tapped, still crying: 'Roo-pert.'

'Yes,' sounded his voice at last.

'What are you doing?'

The question was mild and curious.

There was no answer. Then he opened the door.

'We've come back,' said Hermione. 'The daffodils are SO beautiful.'

'Yes,' he said, 'I've seen them.'

She looked at him with her long, slow, impassive look, along her cheeks.

'Have you?' she echoed. And she remained looking at him. She was stimulated above all things by this conflict with him, when he was like a sulky boy, helpless, and she had him safe at Breadalby. But underneath she knew the split was coming, and her hatred of him was subconscious and intense.

'What were you doing?' she reiterated, in her mild, indifferent tone. He did not answer, and she made her way, almost unconsciously into his room. He had taken a Chinese drawing of geese from the boudoir, and was copying it, with much skill and vividness.

'You are copying the drawing,' she said, standing near the table, and looking down at his work. 'Yes. How beautifully you do it! You like it very much, don't you?'

'It's a marvellous drawing,' he said.

'Is it? I'm so glad you like it, because I've always been fond of it. The Chinese Ambassador gave it me.'

'I know,' he said.

'But why do you copy it?' she asked, casual and sing-song. 'Why not do something original?'

'I want to know it,' he replied. 'One gets more of China, copying this picture, than reading all the books.'

'And what do you get?'

She was at once roused, she laid as it were violent hands on him, to extract his secrets from him. She MUST know. It was a dreadful tyranny, an obsession in her, to know all he knew. For some time he was silent, hating to answer her. Then, compelled, he began:

'I know what centres they live from—what they perceive and feel—the hot, stinging centrality of a goose in the flux of cold water and mud—the curious bitter stinging heat of a goose's blood, entering their own blood like an inoculation of corruptive fire—fire of the cold-burning mud—the lotus mystery.'

Hermione looked at him along her narrow, pallid cheeks. Her eyes were strange and drugged, heavy under their heavy, drooping lids. Her thin bosom shrugged convulsively. He stared back at her, devilish and unchanging. With another strange, sick convulsion, she turned away, as if she were sick, could feel dissolution setting-in in her body. For with her mind she was unable to attend to his words, he caught her, as it were, beneath all her defences, and destroyed her with some insidious occult potency.

'Yes,' she said, as if she did not know what she were saying. 'Yes,' and she swallowed, and tried to regain her mind. But she could not, she was witless, decentralised. Use all her will as she might, she could not recover. She suffered the ghastliness of dissolution, broken and gone in a horrible corruption. And he stood and looked at her unmoved. She strayed out, pallid and preyed-upon like a ghost, like one attacked by the tomb-influences which dog us. And she was gone like a corpse, that has no presence, no connection. He remained hard and vindictive.

Hermione came down to dinner strange and sepulchral, her eyes heavy and full of sepulchral darkness, strength. She had put on a dress of stiff old greenish brocade, that fitted tight and made her look tall and rather terrible, ghastly. In the gay light of the drawing-room she was uncanny and oppressive. But seated in the half-light of the diningroom, sitting stiffly before the shaded candles on the table, she seemed a power, a presence. She listened and attended with a drugged attention.

The party was gay and extravagant in appearance, everybody had put on evening dress except Birkin and Joshua Mattheson. The little Italian Contessa wore a dress of tissue, of orange and gold and black velvet in soft wide stripes, Gudrun was emerald green with strange net-work, Ursula was in yellow with dull silver veiling, Miss Bradley was of grey, crimson and jet, Fraulein Marz wore pale blue. It gave Hermione a sudden convulsive sensation of pleasure, to see these rich colours under the candle-light. She was aware of the talk going on, ceaselessly, Joshua's voice dominating; of the ceaseless pitter-patter of women's light laughter and responses; of the brilliant colours and the white table and the shadow above and below; and she seemed in a swoon of gratification, convulsed with pleasure and yet sick, like a REVENANT. She took very little part in the conversation, yet she heard it all, it was all hers.

They all went together into the drawing-room, as if they were one family, easily, without any attention to ceremony. Fraulein handed the coffee, everybody smoked cigarettes, or else long warden pipes of white clay, of which a sheaf was provided.

'Will you smoke?—cigarettes or pipe?' asked Fraulein prettily. There was a circle of people, Sir Joshua with his eighteenth-century appearance, Gerald the amused, handsome young Englishman, Alexander tall and the handsome politician, democratic and lucid, Hermione strange like a long Cassandra, and the women lurid with colour, all dutifully smoking their long white pipes, and sitting in a half-moon in the comfortable, soft-lighted drawing-room, round the logs that flickered on the marble hearth.

The talk was very often political or sociological, and interesting, curiously anarchistic. There was an accumulation of powerful force in the room, powerful and destructive. Everything seemed to be thrown into the melting pot, and it seemed to Ursula they were all witches, helping the pot to bubble. There was an elation and a satisfaction in it all, but it was cruelly exhausting for the new-comers, this ruthless mental pressure, this powerful, consuming, destructive mentality that emanated from Joshua and Hermione and Birkin and dominated the rest.

But a sickness, a fearful nausea gathered possession of Hermione. There was a lull in the talk, as it was arrested by her unconscious but all-powerful will.

'Salsie, won't you play something?' said Hermione, breaking off completely. 'Won't somebody dance? Gudrun, you will dance, won't you? I wish you would. Anche tu, Palestra, ballerai?—si, per piacere. You too, Ursula.'

Hermione rose and slowly pulled the gold-embroidered band that hung by the mantel, clinging to it for a moment, then releasing it suddenly. Like a priestess she looked, unconscious, sunk in a heavy half-trance.

A servant came, and soon reappeared with armfuls of silk robes and shawls and scarves, mostly oriental, things that Hermione, with her love for beautiful extravagant dress, had collected gradually.

'The three women will dance together,' she said.

'What shall it be?' asked Alexander, rising briskly.

'Vergini Delle Rocchette,' said the Contessa at once.

'They are so languid,' said Ursula.

'The three witches from Macbeth,' suggested Fraulein usefully. It was finally decided to do Naomi and Ruth and Orpah. Ursula was Naomi, Gudrun was Ruth, the Contessa was Orpah. The idea was to make a little ballet, in the style of the Russian Ballet of Pavlova and Nijinsky.

The Contessa was ready first, Alexander went to the piano, a space was cleared. Orpah, in beautiful oriental clothes, began slowly to dance the death of her husband. Then Ruth came, and they wept together, and lamented, then Naomi came to comfort them. It was all done in dumb show, the women danced their emotion in gesture and motion. The little drama went on for a quarter of an hour.

Ursula was beautiful as Naomi. All her men were dead, it remained to her only to stand alone in indomitable assertion, demanding nothing. Ruth, woman-loving, loved her. Orpah, a vivid, sensational, subtle widow, would go back to the former life, a repetition. The interplay between the women was real and rather frightening. It was strange to see how Gudrun clung with heavy, desperate passion to Ursula, yet smiled with subtle malevolence against her, how Ursula accepted silently, unable to provide any more either for herself or for the other, but dangerous and indomitable, refuting her grief.

Hermione loved to watch. She could see the Contessa's rapid, stoat-like sensationalism, Gudrun's ultimate but treacherous cleaving to the woman in her sister, Ursula's dangerous helplessness, as if she were helplessly weighted, and unreleased.

'That was very beautiful,' everybody cried with one accord. But Hermione writhed in her soul, knowing what she could not know. She cried out for more dancing, and it was her will that set the Contessa and Birkin moving mockingly in Malbrouk.

Gerald was excited by the desperate cleaving of Gudrun to Naomi. The essence of that female, subterranean recklessness and mockery penetrated his blood. He could not forget Gudrun's lifted, offered, cleaving, reckless, yet withal mocking weight. And Birkin, watching like a hermit crab from its hole, had seen the brilliant frustration and helplessness of Ursula. She was rich, full of dangerous power. She was like a strange unconscious bud of powerful womanhood. He was unconsciously drawn to her. She was his future.

Alexander played some Hungarian music, and they all danced, seized by the spirit. Gerald was marvellously exhilarated at finding himself in motion, moving towards Gudrun, dancing with feet that could not yet escape from the waltz and the two-step, but feeling his force stir along his limbs and his body, out of captivity. He did not know yet how to dance their convulsive, rag-time sort of dancing, but he knew how to begin. Birkin, when he could get free from the weight of the people present, whom he disliked, danced rapidly and with a real gaiety. And how Hermione hated him for this irresponsible gaiety.

'Now I see,' cried the Contessa excitedly, watching his purely gay motion, which he had all to himself. 'Mr Birkin, he is a changer.'

Hermione looked at her slowly, and shuddered, knowing that only a foreigner could have seen and have said this.

'Cosa vuol'dire, Palestra?' she asked, sing-song.

'Look,' said the Contessa, in Italian. 'He is not a man, he is a chameleon, a creature of change.'

'He is not a man, he is treacherous, not one of us,' said itself over in Hermione's consciousness. And her soul writhed in the black subjugation to him, because of his power to escape, to exist, other than she did, because he was not consistent, not a man, less than a man. She hated him in a despair that shattered her and broke her down, so that she suffered sheer dissolution like a corpse, and was unconscious of everything save the horrible sickness of dissolution that was taking place within her, body and soul.

The house being full, Gerald was given the smaller room, really the dressing-room, communicating with Birkin's bedroom. When they all took their candles and mounted the stairs, where the lamps were burning subduedly, Hermione captured Ursula and brought her into her own bedroom, to talk to her. A sort of constraint came over Ursula in the big, strange bedroom. Hermione seemed to be bearing down on her, awful and inchoate, making some appeal. They were looking at some Indian silk shirts, gorgeous and sensual in themselves, their shape, their almost corrupt gorgeousness. And Hermione came near, and her bosom writhed, and Ursula was for a moment blank with panic. And for a moment Hermione's haggard eyes saw the fear on the face of the other, there was again a sort of crash, a crashing down. And Ursula picked up a shirt of rich red and blue silk, made for a young princess of fourteen, and was crying mechanically:

'Isn't it wonderful—who would dare to put those two strong colours together—'

Then Hermione's maid entered silently and Ursula, overcome with dread, escaped, carried away by powerful impulse.

Birkin went straight to bed. He was feeling happy, and sleepy. Since he had danced he was happy. But Gerald would talk to him. Gerald, in evening dress, sat on Birkin's bed when the other lay down, and must talk.

'Who are those two Brangwens?' Gerald asked.

'They live in Beldover.'

'In Beldover! Who are they then?'

'Teachers in the Grammar School.'

There was a pause.

'They are!' exclaimed Gerald at length. 'I thought I had seen them before.'

'It disappoints you?' said Birkin.

'Disappoints me! No—but how is it Hermione has them here?'

'She knew Gudrun in London—that's the younger one, the one with the darker hair—she's an artist—does sculpture and modelling.'

'She's not a teacher in the Grammar School, then—only the other?'

'Both—Gudrun art mistress, Ursula a class mistress.'

'And what's the father?'

'Handicraft instructor in the schools.'

'Really!'

'Class-barriers are breaking down!'

Gerald was always uneasy under the slightly jeering tone of the other.

'That their father is handicraft instructor in a school! What does it matter to me?'

Birkin laughed. Gerald looked at his face, as it lay there laughing and bitter and indifferent on the pillow, and he could not go away.

'I don't suppose you will see very much more of Gudrun, at least. She is a restless bird, she'll be gone in a week or two,' said Birkin.

'Where will she go?'

'London, Paris, Rome—heaven knows. I always expect her to sheer off to Damascus or San Francisco; she's a bird of paradise. God knows what she's got to do with Beldover. It goes by contraries, like dreams.'

Gerald pondered for a few moments.

'How do you know her so well?' he asked.

'I knew her in London,' he replied, 'in the Algernon Strange set. She'll know about Pussum and Libidnikov and the rest—even if she doesn't know them personally. She was never quite that set—more conventional, in a way. I've known her for two years, I suppose.'

'And she makes money, apart from her teaching?' asked Gerald.

'Some—irregularly. She can sell her models. She has a certain reclame.'

'How much for?'

'A guinea, ten guineas.'

'And are they good? What are they?'

'I think sometimes they are marvellously good. That is hers, those two wagtails in Hermione's boudoir—you've seen them—they are carved in wood and painted.'

'I thought it was savage carving again.'

'No, hers. That's what they are—animals and birds, sometimes odd small people in everyday dress, really rather wonderful when they come off. They have a sort of funniness that is quite unconscious and subtle.'

'She might be a well-known artist one day?' mused Gerald.

'She might. But I think she won't. She drops her art if anything else catches her. Her contrariness prevents her taking it seriously—she must never be too serious, she feels she might give herself away. And she won't give herself away—she's always on the defensive. That's what I can't stand about her type. By the way, how did things go off with Pussum after I left you? I haven't heard anything.'

'Oh, rather disgusting. Halliday turned objectionable, and I only just saved myself from jumping in his stomach, in a real old-fashioned row.'

Birkin was silent.

'Of course,' he said, 'Julius is somewhat insane. On the one hand he's had religious mania, and on the other, he is fascinated by obscenity. Either he is a pure servant, washing the feet of Christ, or else he is making obscene drawings of Jesus—action and reaction—and between the two, nothing. He is really insane. He wants a pure lily, another girl, with a baby face, on the one hand, and on the other, he MUST have the Pussum, just to defile himself with her.'

'That's what I can't make out,' said Gerald. 'Does he love her, the Pussum, or doesn't he?'

'He neither does nor doesn't. She is the harlot, the actual harlot of adultery to him. And he's got a craving to throw himself into the filth of her. Then he gets up and calls on the name of the lily of purity, the baby-faced girl, and so enjoys himself all round. It's the old story—action and reaction, and nothing between.'

'I don't know,' said Gerald, after a pause, 'that he does insult the Pussum so very much. She strikes me as being rather foul.'

'But I thought you liked her,' exclaimed Birkin. 'I always felt fond of her. I never had anything to do with her, personally, that's true.'

'I liked her all right, for a couple of days,' said Gerald. 'But a week of her would have turned me over. There's a certain smell about the skin of those women, that in the end is sickening beyond words—even if you like it at first.'

'I know,' said Birkin. Then he added, rather fretfully, 'But go to bed, Gerald. God knows what time it is.'

Gerald looked at his watch, and at length rose off the bed, and went to his room. But he returned in a few minutes, in his shirt.

'One thing,' he said, seating himself on the bed again. 'We finished up rather stormily, and I never had time to give her anything.'

'Money?' said Birkin. 'She'll get what she wants from Halliday or from one of her acquaintances.'

'But then,' said Gerald, 'I'd rather give her her dues and settle the account.'

'She doesn't care.'

'No, perhaps not. But one feels the account is left open, and one would rather it were closed.'

'Would you?' said Birkin. He was looking at the white legs of Gerald, as the latter sat on the side of the bed in his shirt. They were white-skinned, full, muscular legs, handsome and decided. Yet they moved Birkin with a sort of pathos, tenderness, as if they were childish.

'I think I'd rather close the account,' said Gerald, repeating himself vaguely.

'It doesn't matter one way or another,' said Birkin.

'You always say it doesn't matter,' said Gerald, a little puzzled, looking down at the face of the other man affectionately.

'Neither does it,' said Birkin.

'But she was a decent sort, really—'

'Render unto Caesarina the things that are Caesarina's,' said Birkin, turning aside. It seemed to him Gerald was talking for the sake of talking. 'Go away, it wearies me—it's too late at night,' he said.

'I wish you'd tell me something that DID matter,' said Gerald, looking down all the time at the face of the other man, waiting for something. But Birkin turned his face aside.

'All right then, go to sleep,' said Gerald, and he laid his hand affectionately on the other man's shoulder, and went away.

In the morning when Gerald awoke and heard Birkin move, he called out: 'I still think I ought to give the Pussum ten pounds.'

'Oh God!' said Birkin, 'don't be so matter-of-fact. Close the account in your own soul, if you like. It is there you can't close it.'