the dead,” she told herself.

Paul was very ill. His mother lay in bed at nights with him; they could not afford a nurse. He grew worse, and the crisis approached. One night he tossed into consciousness in the ghastly, sickly feeling of dissolution, when all the cells in the body seem in intense irritability to be breaking down, and consciousness makes a last flare of struggle, like madness.

“I s’ll die, mother!” he cried, heaving for breath on the pillow.

She lifted him up, crying in a small voice:

“Oh, my son—my son!”

That brought him to. He realised her. His whole will rose up and arrested him. He put his head on her breast, and took ease of her for love.

“For some things,” said his aunt, “it was a good thing Paul was ill that Christmas. I believe it saved his mother.”

Paul was in bed for seven weeks. He got up white and fragile. His father had bought him a pot of scarlet and gold tulips. They used to flame in the window in the March sunshine as he sat on the sofa chattering to his mother. The two knitted together in perfect intimacy. Mrs. Morel’s life now rooted itself in Paul.

William had been a prophet. Mrs. Morel had a little present and a letter from Lily at Christmas. Mrs. Morel’s sister had a letter at the New Year.

“I was at a ball last night. Some delightful people were there, and I enjoyed myself thoroughly,” said the letter. “I had every dance—did not sit out one.”

Mrs. Morel never heard any more of her.

Morel and his wife were gentle with each other for some time after the death of their son. He would go into a kind of daze, staring wide-eyed and blank across the room. Then he got up suddenly and hurried out to the Three Spots, returning in his normal state. But never in his life would he go for a walk up Shepstone, past the office where his son had worked, and he always avoided the cemetery.

PART TWO

7

Lad-and-Girl Love

PAUL HAD been many times up to Willey Farm during the autumn. He was friends with the two youngest boys. Edgar the eldest, would not condescend at first. And Miriam also refused to be approached. She was afraid of being set at nought, as by her own brothers. The girl was romantic in her soul. Everywhere was a Walter Scott heroine being loved by men with helmets or with plumes in their caps.1 She herself was something of a princess turned into a swine-girl in her own imagination. And she was afraid lest this boy, who, nevertheless, looked something like a Walter Scott hero, who could paint and speak French, and knew what algebra meant, and who went by train to Nottingham every day, might consider her simply as the swine-girl, unable to perceive the princess beneath; so she held aloof.

Her great companion was her mother. They were both brown-eyed, and inclined to be mystical, such women as treasure religion inside them, breathe it in their nostrils, and see the whole of life in a mist thereof. So to Miriam, Christ and God made one great figure, which she loved tremblingly and passionately when a tremendous sunset burned out the western sky, and Ediths, and Lucys, and Rowenas, Brian de Bois Guilberts, Rob Roys, and Guy Mannerings, rustled the sunny leaves in the morning, or sat in her bedroom aloft, alone, when it snowed.2 That was life to her. For the rest, she drudged in the house, which work she would not have minded had not her clean red floor been mucked up immediately by the trampling farm-boots of her brothers. She madly wanted her little brother of four to let her swathe him and stifle him in her love; she went to church reverently, with bowed head, and quivered in anguish from the vulgarity of the other choir-girls and from the common-sounding voice of the curate; she fought with her brothers, whom she considered brutal louts; and she held not her father in too high esteem because he did not carry any mystical ideas cherished in his heart, but only wanted to have as easy a time as he could, and his meals when he was ready for them.

She hated her position as swine-girl. She wanted to be considered. She wanted to learn, thinking that if she could read, as Paul said he could read, “Colomba,” or the “Voyage autour de ma Chambre,” the world would have a different face for her