Sons and Lovers (Barnes & Noble Classics - D. H. Lawrence [98]
“How?” said Annie. “A bell sounds the same whether it’s rung backwards or forwards.”
“But,” he said, “if you start with the deep bell and ring up to the high one—der—der—der—der—der—der—der—der!”
He ran up the scale. Everybody thought it clever. He thought so too. Then, waiting a minute, he continued the poem.
“Hm!” said Mrs. Morel curiously, when he finished. “But I wish everything that’s written weren’t so sad.”
“I canna see what they want drownin’ theirselves for,” said Morel.
There was a pause. Annie got up to clear the table.
Miriam rose to help with the pots.
“Let me help to wash up,” she said.
“Certainly not,” cried Annie. “You sit down again. There aren’t many.”
And Miriam, who could not be familiar and insist, sat down again to look at the book with Paul.
He was master of the party; his father was no good. And great tortures he suffered lest the tin box should be put out at Firsby instead of at Mablethorpe. And he wasn’t equal to getting a carriage. His bold little mother did that.
“Here!” she cried to a man. “Here!”
Paul and Annie got behind the rest, convulsed with shamed laughter.
“How much will it be to drive to Brook Cottage?” said Mrs. Morel.
“Two shillings.”
“Why, how far is it?”
“A good way.”
“I don’t believe it,” she said.
But she scrambled in. There were eight crowded in one old seaside carriage.
“You see,” said Mrs. Morel, “it’s only threepence each, and if it were a tram-car———”
They drove along. Each cottage they came to, Mrs. Morel cried:
“Is it this? Now, this is it!”
Everybody sat breathless. They drove past. There was a universal sigh.
“I’m thankful it wasn’t that brute,” said Mrs. Morel. “I was frightened.” They drove on and on.
At last they descended at a house that stood alone over the dyke by the highroad. There was wild excitement because they had to cross a little bridge to get into the front garden. But they loved the house that lay so solitary, with a sea-meadow on one side, and immense expanse of land patched in white barley, yellow oats, red wheat, and green root-crops, flat and stretching level to the sky.
Paul kept accounts. He and his mother ran the show. The total expenses—lodging, food, everything—was sixteen shillings a week per person. He and Leonard went bathing in the morning. Morel was wandering abroad quite early.
“You, Paul,” his mother called from the bedroom, “eat a piece of bread-and-butter.”
“All right,” he answered.
And when he got back he saw his mother presiding in state at the breakfast-table. The woman of the house was young. Her husband was blind, and she did laundry work. So Mrs. Morel always washed the pots in the kitchen and made the beds.
“But you said you’d have a real holiday,” said Paul, “and now you work.”
“Work!” she exclaimed. “What are you talking about!”
He loved to go with her across the fields to the village and the sea. She was afraid of the plank bridge, and he abused her for being a baby. On the whole he stuck to her as if he were her man.
Miriam did not get much of him, except, perhaps, when all the others went to the “Coons.”25 Coons were insufferably stupid to Miriam, so he thought they were to himself also, and he preached priggishly to Annie about the fatuity of listening to them. Yet he, too, knew all their songs, and sang them along the roads roisterously. And if he found himself listening, the stupidity pleased him very much. Yet to Annie he said:
“Such rot! there isn’t a grain of intelligence in it. Nobody with more gumption than a grasshopper could go and sit and listen.” And to Miriam he said, with much scorn of Annie and the others: “I suppose they’re at the ‘Coons.’ ”
It was queer to see Miriam singing coon songs. She had a straight chin that went in a perpendicular line from the lower lip to the turn. She always reminded Paul of some sad Botticelli angel when she sang,26 even when it was:
“Come down lover’s lane
For a walk with me, talk with me.” df
Only when he sketched, or at evening when the others were at the “Coons,” she had him to herself He talked to her endlessly about his love of horizontals: how they, the great levels of sky and land in Lincolnshire, meant to him the eternality of the will, just as the bowed Norman arches27 of the church, repeating themselves, meant the dogged leaping forward of the persistent human soul, on and on, nobody knows where; in contradiction to the perpendicular lines and to the Gothic arch, which, he said, leapt up at heaven and touched the ecstasy and lost itself in the divine.28 Himself, he said, was Norman, Miriam was Gothic. She bowed in consent even to that.