Complete Works of D.H. Lawrence

by D. H. Lawrence

  But whether woman yielded or not, he would keep the mastery of his own soul and conscience and actions. He would never yield himself up to her judgment again. He would hold himself forever beyond her jurisdiction.

  Henceforth, life single, not life double.

  He looked at the sky, and thanked the universe for the blessedness of being alone in the universe. To be alone, to be oneself, not to be driven or violated into something which is not oneself, surely it is better than anything. He thought of Lottie, and knew how much more truly herself she was when she was alone, with no man to distort her. And he was thankful for the division between them. Such scenes as the last were too horrible and unreal.

  As for future unions, too soon to think about it. Let there be clean and pure division first, perfected singleness. That is the only way to final, living unison: through sheer, finished singleness.

  CHAPTER XII. NOVARA

  Having no job for the autumn, Aaron fidgetted in London. He played at some concerts and some private shows. He was one of an odd quartette, for example, which went to play to Lady Artemis Hooper, when she lay in bed after her famous escapade of falling through the window of her taxi-cab. Aaron had that curious knack, which belongs to some people, of getting into the swim without knowing he was doing it. Lady Artemis thought his flute lovely, and had him again to play for her. Aaron looked at her and she at him. She, as she reclined there in bed in a sort of half-light, well made-up, smoking her cigarettes and talking in a rather raucous voice, making her slightly rasping witty comments to the other men in the room — of course there were other men, the audience — was a shock to the flautist. This was the bride of the moment! Curious how raucous her voice sounded out of the cigarette smoke. Yet he liked her — the reckless note of the modern, social freebooter. In himself was a touch of the same quality.

  “Do you love playing?” she asked him.

  “Yes,” he said, with that shadow of irony which seemed like a smile on his face.

  “Live for it, so to speak,” she said.

  “I make my living by it,” he said.

  “But that’s not really how you take it?” she said. He eyed her. She watched him over her cigarette. It was a personal moment.

  “I don’t think about it,” he said.

  “I’m sure you don’t. You wouldn’t be so good if you did. You’re awfully lucky, you know, to be able to pour yourself down your flute.”

  “You think I go down easy?” he laughed.

  “Ah!” she replied, flicking her cigarette broadcast. “That’s the point. What should you say, Jimmy?” she turned to one of the men. He screwed his eyeglass nervously and stiffened himself to look at her.

  “I — I shouldn’t like to say, off-hand,” came the small-voiced, self-conscious answer. And Jimmy bridled himself and glanced at Aaron.

  “Do you find it a tight squeeze, then?” she said, turning to Aaron once more.

  “No, I can’t say that,” he answered. “What of me goes down goes down easy enough. It’s what doesn’t go down.”

  “And how much is that?” she asked, eying him.

  “A good bit, maybe,” he said.

  “Slops over, so to speak,” she retorted sarcastically. “And which do you enjoy more, trickling down your flute or slopping over on to the lap of Mother Earth — of Miss, more probably!”

  “Depends,” he said.

  Having got him a few steps too far upon the personal ground, she left him to get off by himself.

  So he found London got on his nerves. He felt it rubbed him the wrong way. He was flattered, of course, by his own success — and felt at the same time irritated by it. This state of mind was by no means acceptable. Wherever he was he liked to be given, tacitly, the first place — or a place among the first. Among the musical people he frequented, he found himself on a callow kind of equality with everybody, even the stars and aristocrats, at one moment, and a backstairs outsider the next. It was all just as the moment demanded. There was a certain excitement in slithering up and down the social scale, one minute chatting in a personal tete-a-tete with the most famous, or notorious, of the society beauties: and the next walking in the rain, with his flute in a bag, to his grubby lodging in Bloomsbury. Only the excitement roused all the savage sarcasm that lay at the bottom of his soul, and which burned there like an unhealthy bile.

  Therefore he determined to clear out — to disappear. He had a letter from Lilly, from Novara. Lilly was drifting about. Aaron wrote to Novara, and asked if he should come to Italy, having no money to speak of. “Come if you want to. Bring your flute. And if you’ve no money, put on a good suit of clothes and a big black hat, and play outside the best cafe in any Italian town, and you’ll collect enough to get on with.”

  It was a sporting chance. Aaron packed his bag and got a passport, and wrote to Lilly to say he would join him, as invited, at Sir William Franks’. He hoped Lilly’s answer would arrive before he left London. But it didn’t.

  Therefore behold our hero alighting at Novara, two hours late, on a wet, dark evening. He hoped Lilly would be there: but nobody. With some slight dismay he faced the big, crowded station. The stream of people carried him automatically through the barrier, a porter having seized his bag, and volleyed various unintelligible questions at him. Aaron understood not one word. So he just wandered after the blue blouse of the porter.

  The porter deposited the bag on the steps of the station front, fired off more questions and gesticulated into the half-illuminated space of darkness outside the station. Aaron decided it meant a cab, so he nodded and said “Yes.” But there were no cabs. So once more the blue-bloused porter slung the big bag and the little bag on the strap over his shoulder, and they plunged into the night, towards some lights and a sort of theatre place.

  One carriage stood there in the rain — yes, and it was free.

  “Keb? Yes — orright — sir. Whe’to? Where you go? Sir William Franks? Yes, I know. Long way go — go long way. Sir William Franks.”

  The cabman spattered his few words of English. Aaron gave the porter an English shilling. The porter let the coin lie in the middle of his palm, as if it were a live beetle, and darted to the light of the carriage to examine the beast, exclaiming volubly. The cabman, wild with interest, peered down from the box into the palm of the porter, and carried on an impassioned dialogue. Aaron stood with one foot on the step.

  “What you give — he? One franc?” asked the driver.

  “A shilling,” said Aaron.

  “One sheeling. Yes. I know that. One sheeling English” — and the driver went off into impassioned exclamations in Torinese. The porter, still muttering and holding his hand as if the coin might sting him, filtered away.

  “Orright. He know — sheeling — orright. English moneys, eh? Yes, he know. You get up, sir.”

  And away went Aaron, under the hood of the carriage, clattering down the wide darkness of Novara, over a bridge apparently, past huge rain-wet statues, and through more rainy, half-lit streets.

  They stopped at last outside a sort of park wall with trees above. The big gates were just beyond.

  “Sir William Franks — there.” In a mixture of Italian and English the driver told Aaron to get down and ring the bell on the right. Aaron got down and in the darkness was able to read the name on the plate.

  “How much?” said Aaron to the driver.

  “Ten franc,” said the fat driver.

  But it was his turn now to screw down and scrutinise the pink ten-shilling note. He waved it in his hand.

  “Not good, eh? Not good moneys?”

  “Yes,” said Aaron, rather indignantly. “Good English money. Ten shillings. Better than ten francs, a good deal. Better — better — ”

  “Good — you say? Ten sheeling — ” The driver muttered and muttered, as if dissatisfied. But as a matter of fact he stowed the note in his waistcoat pocket with considerable satisfaction, looked at Aaron curiously, and drove away.

  Aaron stood there in the dark o
utside the big gates, and wished himself somewhere else. However, he rang the bell. There was a huge barking of dogs on the other side. Presently a light switched on, and a woman, followed by a man, appeared cautiously, in the half-opened doorway.

  “Sir William Franks?” said Aaron.

  “Si, signore.”

  And Aaron stepped with his two bags inside the gate. Huge dogs jumped round. He stood in the darkness under the trees at the foot of the park. The woman fastened the gate — Aaron saw a door — and through an uncurtained window a man writing at a desk — rather like the clerk in an hotel office. He was going with his two bags to the open door, when the woman stopped him, and began talking to him in Italian. It was evident he must not go on. So he put down the bags. The man stood a few yards away, watchfully.

  Aaron looked down at the woman and tried to make out something of what she was saying, but could not. The dogs still barked spasmodically, drops fell from the tall, dark trees that rose overhead.

  “Is Mr. Lilly here? Mr. Lilly?” he asked.

  “Signor Lillee. No, Signore — ”

  And off the woman went in Italian. But it was evident Lilly was not at the house. Aaron wished more than ever he had not come, but had gone to an hotel.

  He made out that the woman was asking him for his name — ”Meester — ? Meester — ?” she kept saying, with a note of interrogation.

  “Sisson. Mr. Sisson,” said Aaron, who was becoming impatient. And he found a visiting card to give her. She seemed appeased — said something about telephone — and left him standing.

  The rain had ceased, but big drops were shaken from the dark, high trees. Through the uncurtained window he saw the man at the desk reach the telephone. There was a long pause. At length the woman came back and motioned to him to go up — up the drive which curved and disappeared under the dark trees.

  “Go up there?” said Aaron, pointing.

  That was evidently the intention. So he picked up his bags and strode forward, from out of the circle of electric light, up the curved drive in the darkness. It was a steep incline. He saw trees and the grass slopes. There was a tang of snow in the air.

  Suddenly, up ahead, a brilliant light switched on. He continued uphill through the trees along the path, towards it, and at length, emerged at the foot of a great flight of steps, above which was a wide glass entrance, and an Italian manservant in white gloves hovering as if on the brink.

  Aaron emerged from the drive and climbed the steps. The manservant came down two steps and took the little bag. Then he ushered Aaron and the big bag into a large, pillared hall, with thick Turkish carpet on the floor, and handsome appointments. It was spacious, comfortable and warm; but somewhat pretentious; rather like the imposing hall into which the heroine suddenly enters on the film.

  Aaron dropped his heavy bag, with relief, and stood there, hat in hand, in his damp overcoat in the circle of light, looking vaguely at the yellow marble pillars, the gilded arches above, the shadowy distances and the great stairs. The butler disappeared — reappeared in another moment — and through an open doorway came the host. Sir William was a small, clean old man with a thin, white beard and a courtly deportment, wearing a black velvet dinner jacket faced with purple silk.

  “How do you do, Mr. Sisson. You come straight from England?”

  Sir William held out his hand courteously and benevolently, smiling an old man’s smile of hospitality.

  “Mr. Lilly has gone away?” said Aaron.

  “Yes. He left us several days ago.”

  Aaron hesitated.

  “You didn’t expect me, then?”

  “Yes, oh, yes. Yes, oh, yes. Very glad to see you — well, now, come in and have some dinner — ”

  At this moment Lady Franks appeared — short, rather plump, but erect and definite, in a black silk dress and pearls round her throat.

  “How do you do? We are just at dinner,” she said. “You haven’t eaten? No — well, then — would you like a bath now, or — ?”

  It was evident the Franks had dispensed much hospitality: much of it charitable. Aaron felt it.

  “No,” he said. “I’ll wash my hands and come straight in, shall I?”

  “Yes, perhaps that would be better — ”

  “I’m afraid I am a nuisance.”

  “Not at all — Beppe — ” and she gave instructions in Italian.

  Another footman appeared, and took the big bag. Aaron took the little one this time. They climbed the broad, turning stairs, crossed another handsome lounge, gilt and ormolu and yellow silk chairs and scattered copies of The Graphic or of Country Life, then they disappeared through a doorway into a much narrower flight of stairs. Man can so rarely keep it up all the way, the grandeur.

  Two black and white chamber-maids appeared. Aaron found himself in a blue silk bedroom, and a footman unstrapping his bag, which he did not want unstrapped. Next minute he was beckoned and allured by the Italian servants down the corridor, and presented to the handsome, spacious bathroom, which was warm and creamy-coloured and glittering with massive silver and mysterious with up-to-date conveniences. There he was left to his own devices, and felt like a small boy finding out how it works. For even the mere turning on of the taps was a problem in silver mechanics.

  In spite of all the splendours and the elaborated convenience, he washed himself in good hot water, and wished he were having a bath, chiefly because of the wardrobe of marvellous Turkish towels. Then he clicked his way back to his bedroom, changed his shirt and combed his hair in the blue silk bedroom with the Greuze picture, and felt a little dim and superficial surprise. He had fallen into country house parties before, but never into quite such a plushy sense of riches. He felt he ought to have his breath taken away. But alas, the cinema has taken our breath away so often, investing us in all the splendours of the splendidest American millionaire, or all the heroics and marvels of the Somme or the North Pole, that life has now no magnate richer than we, no hero nobler than we have been, on the film. Connu! Connu! Everything life has to offer is known to us, couldn’t be known better, from the film.

  So Aaron tied his tie in front of a big Venice mirror, and nothing was a surprise to him. He found a footman hovering to escort him to the dining-room — a real Italian footman, uneasy because milady’s dinner was unsettled. He entered the rather small dining-room, and saw the people at table.

  He was told various names: bowed to a young, slim woman with big blue eyes and dark hair like a photograph, then to a smaller rather colourless young woman with a large nose: then to a stout, rubicund, bald colonel, and to a tall, thin, Oxford-looking major with a black patch over his eye — both these men in khaki: finally to a good-looking, well-nourished young man in a dinner-jacket, and he sat down to his soup, on his hostess’ left hand. The colonel sat on her right, and was confidential. Little Sir William, with his hair and his beard white like spun glass, his manner very courteous and animated, the purple facings of his velvet jacket very impressive, sat at the far end of the table jesting with the ladies and showing his teeth in an old man’s smile, a little bit affected, but pleasant, wishing everybody to be happy.

  Aaron ate his soup, trying to catch up. Milady’s own confidential Italian butler, fidelity itself, hovered quivering near, spiritually helping the newcomer to catch up. Two nice little entree dishes, specially prepared for Aaron to take the place of the bygone fish and vol au-vents of the proper dinner, testified to the courtesy and charity of his hostess.

  Well, eating rapidly, he had more or less caught up by the time the sweets came. So he swallowed a glass of wine and looked round. His hostess with her pearls, and her diamond star in her grey hair, was speaking of Lilly and then of music to him.

  “I hear you are a musician. That’s what I should have been if I had had my way.”

  “What instrument?” asked Aaron.

  “Oh, the piano. Yours is the flute, Mr. Lilly says. I think the flute can be so attractive. But I feel, of course you have more range with the piano. I
love the piano — and orchestra.”

  At that moment, the colonel and hostess-duties distracted her. But she came back in snatches. She was a woman who reminded him a little of Queen Victoria; so assured in her own room, a large part of her attention always given to the successful issue of her duties, the remainder at the disposal of her guests. It was an old-fashioned, not unpleasant feeling: like retrospect. But she had beautiful, big, smooth emeralds and sapphires on her fingers. Money! What a curious thing it is! Aaron noticed the deference of all the guests at table: a touch of obsequiousness: before the money! And the host and hostess accepted the deference, nay, expected it, as their due. Yet both Sir William and Lady Franks knew that it was only money and success. They had both a certain afterthought, knowing dimly that the game was but a game, and that they were the helpless leaders in the game. They had a certain basic ordinariness which prevented their making any great hits, and which kept them disillusioned all the while. They remembered their poor and insignificant days.

  “And I hear you were playing in the orchestra at Covent Garden. We came back from London last week. I enjoyed Beecham’s operas so much.”

  “Which do you like best?” said Aaron.

  “Oh, the Russian. I think Ivan. It is such fine music.”

  “I find Ivan artificial.”

  “Do you? Oh, I don’t think so. No, I don’t think you can say that.”

  Aaron wondered at her assurance. She seemed to put him just a tiny bit in his place, even in an opinion on music. Money gave her that right, too. Curious — the only authority left. And he deferred to her opinion: that is, to her money. He did it almost deliberately. Yes — what did he believe in, besides money? What does any man? He looked at the black patch over the major’s eye. What had he given his eye for? — the nation’s money. Well, and very necessary, too; otherwise we might be where the wretched Austrians are. Instead of which — how smooth his hostess’ sapphires!