Complete Works. D. H. LawrenceЧитать онлайн книгу.
by-gone romances travelling farther into the dim distance. Were we not in the midst of the bewildering pageant of modern life, with all its confusion of bannerets and colours, with its infinite inter-weaving of sounds, the screech of the modern toys of haste striking like keen spray, the heavy boom of busy mankind gathering its bread, earnestly, forming the bed of all other sounds; and between these two the swiftness of songs, the triumphant tilt of the joy of life, the hoarse oboes of privation, the shuddering drums of tragedy, and the eternal scraping of the two deep-toned strings of despair?
We watched the taxi-cabs coursing with their noses down to the street, we watched the rocking hansoms, and the lumbering stateliness of buses. In the silent green cavern of the park we stood and listened to the surging of the ocean of life. We watched a girl with streaming hair go galloping down the Row, a dark man, laughing and showing his white teeth, galloping more heavily at her elbow. We saw a squad of life-guards enter the gates of the park, erect and glittering with silver and white and red. They came near to us, and we thrilled a little as we watched the muscles of their white smooth thighs answering the movement of the horses, and their cheeks and their chins bending with proud manliness to the rhythm of the march. We watched the exquisite rhythm of the body of men moving in scarlet and silver farther down the leafless avenue, like a slightly wavering spark of red life blown along. At the Marble Arch Corner we listened to a little socialist who was flaring fiercely under a plane tree. The hot stream of his words flowed over the old wounds that the knowledge of the unending miseries of the poor had given me, and I winced. For him the world was all East End, and all the East End was as a pool from which the waters are drained off, leaving the water-things to wrestle in the wet mud under the sun, till the whole of the city seems a heaving, shuddering struggle of black-mudded objects deprived of the elements of life. I felt a great terror of the little man, lest he should make me see all mud, as I had seen before. Then I felt a breathless pity for him, that his eyes should be always filled with mud, and never brightened. George listened intently to the speaker, very much moved by him.
At night, after the theatre, we saw the outcasts sleep in a rank under the Waterloo bridge, their heads to the wall, their feet lying out on the pavement: a long, black, ruffled heap at the foot of the wall. All the faces were covered but two, that of a peaked, pale little man, and that of a brutal woman. Over these two faces, floating like uneasy pale dreams on their obscurity, swept now and again the trailing light of the tramcars. We picked our way past the line of abandoned feet, shrinking from the sight of the thin bare ankles of a young man, from the draggled edge of the skirts of a bunched-up woman, from the pitiable sight of the men who had wrapped their legs in newspaper for a little warmth, and lay like worthless parcels. It was raining. Some men stood at the edge of the causeway fixed in dreary misery, finding no room to sleep. Outside, on a seat in the blackness and the rain, a woman sat sleeping, while the water trickled and hung heavily at the ends of her loosened strands of hair. Her hands were pushed in the bosom of her jacket. She lurched forward in her sleep, started, and one of her hands fell out of her bosom. She sank again to sleep. George gripped my arm.
“Give her something,” he whispered in panic. I was afraid. Then suddenly getting a florin from my pocket, I stiffened my nerves and slid it into her palm. Her hand was soft, and warm, and curled in sleep. She started violently, looking up at me, then down at her hand. I turned my face aside, terrified lest she should look in my eyes, and full of shame and grief I ran down the embankment to him. We hurried along under the plane trees in silence. The shining cars were drawing tall in the distance over Westminster Bridge, a fainter, yellow light running with them on the water below. The wet streets were spilled with golden liquor of light, and on the deep blackness of the river were the restless yellow slashes of the lamps.
Lettie and Leslie were staying up at Hampstead with a friend of the Tempests, one of the largest shareholders in the firm of Tempest, Wharton & Co. The Raphaels had a substantial house, and Lettie preferred to go to them rather than to an hotel, especially as she had brought with her her infant son, now ten months old, with his nurse. They invited George and me to dinner on the Friday evening. The party included Lettie’s host and hostess, and also a Scottish poetess, and an Irish musician, composer of songs and pianoforte rhapsodies.
Lettie wore a black lace dress in mourning for one of Leslie’s maternal aunts. This made her look older, otherwise there seemed to be no change in her. A subtle observer might have noticed a little hardness about her mouth, and disillusion hanging slightly on her eyes. She was, however, excited by the company in which she found herself, therefore she overflowed with clever speeches and rapid, brilliant observations. Certainly on such occasions she was admirable. The rest of the company formed, as it were, the orchestra which accompanied her.
George was exceedingly quiet. He spoke a few words now and then to Mrs Raphael, but on the whole he was altogether silent, listening.
“Really!” Lettie was saying, “I don’t see that one thing is worth doing any more than another. It’s like dessert: you are equally indifferent whether you have grapes, or pears, or pineapple.”
“Have you already dined so far?” sang the Scottish poetess in her musical, plaintive manner.
“The only thing worth doing is producing,” said Lettie. “Alas, that is what all the young folk are saying nowadays!” sighed the Irish musician.
“That is the only thing one finds any pleasure in-that is to say, any satisfaction,” continued Lettie, smiling, and turning to the two artists.
“Do you not think so?” she added.
“You do come to a point at last,” said the Scottish poetess, “when your work is a real source of satisfaction.”
“Do you write poetry then?” asked George of Lettie.
“I! Oh, dear no! I have tried strenuously to make up a Limerick for a competition, but in vain. So you see, I am a failure there. Did you know I have a son, though? — A marvellous little fellow, is he not, Leslie? — He is my work. I am a wonderful mother, am I not, Leslie?”
“Too devoted,” he replied.
“There!” she exclaimed in triumph —“When I have to sign my name and occupation in a visitor’s book, it will be, ‘— Mother’. I hope my business will flourish,” she concluded, smiling.
There was a touch of ironical brutality in her now. She was, at the bottom, quite sincere. Having reached that point in a woman’s career when most, perhaps all, of the things in life seem worthless and insipid, she had determined to put up with it, to ignore her own self, to empty her own potentialities into the vessel of another or others, and to live her life at secondhand. This peculiar abnegation of self is the resource of a woman for the escaping of the responsibilities of her own development. Like a nun, she puts over her living face a veil, as a sign that the woman no longer exists for herself: she is the servant of God, of some man, of her children, or maybe of some cause. As a servant, she is no longer responsible for her self, which would make her terrified and lonely. Service is light and easy. To be responsible for the good progress of one’s life is terrifying. It is the most insufferable form of loneliness, and the heaviest of responsibilities. So Lettie indulged her husband, but did not yield her independence to him; rather it was she who took much of the responsibility of him into her hands, and therefore he was so devoted to her. She had, however, now determined to abandon the charge of herself to serve her children. When the children grew up, either they would unconsciously fling her away, back upon herself again in bitterness and loneliness, or they would tenderly cherish her, chafing at her love-bonds occasionally.
George looked and listened to all the flutter of conversation, and said nothing. It seemed to him like so much unreasonable rustling of pieces of paper, of leaves of books, and so on. Later in the evening Lettie sang, no longer Italian folk songs, but the fragmentary utterances of Debussy and Strauss. These also to George were quite meaningless, and rather wearisome. It made him impatient to see her wasting herself upon them.
“Do you like those songs?” she asked in the frank, careless manner she affected.
“Not much,” he replied, ungraciously.
“Don’t you?” she exclaimed, adding with a smile, “Those are the most wonderful