The Collected Short Stories
of
D. H. Lawrence
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MOTHER AND DAUGHTER
Virginia Bodoin had a good job: she was head of a department in a certain government office, held a responsible position, and earned, to imitate Balzac and be precise about it, seven hundred and fifty pounds a year. That is already something. Rachel Bodoin, her mother, had an income of about six hundred a year, on which she had lived in the capitals of Europe since the effacement of a never very important husband.
Now, after some years of virtual separation and "freedom", mother and daughter once more thought of settling down. They had become, in course of time, more like a married couple than mother and daughter. They knew one another very well indeed, and each was a little "nervous" of the other. They had lived together and parted several times. Virginia was now thirty, and she didn't look like marrying. For four years she had been as good as married to Henry Lubbock, a rather spoilt young man who was musical. Then Henry let her down: for two reasons. He couldn't stand her mother. Her mother couldn't stand him. And anybody whom Mrs Bodoin could not stand she managed to sit on, disastrously. So Henry had writhed horribly, feeling his mother-in-law sitting on him tight, and Virginia, after all, in a helpless sort of family loyalty, sitting alongside her mother. Virginia didn't really want to sit on Henry. But when her mother egged her on, she couldn't help it. For ultimately, her mother had power over her; a strange female power, nothing to do with parental authority. Virginia had long thrown parental authority to the winds. But her mother had another, much subtler form of domination, female and thrilling, so that when Rachel said: Let's squash him! Virginia had to rush wickedly and gleefully to the sport. And Henry knew quite well when he was being squashed. So that was one of his reasons for going back on Vinny.--He called her Vinny, to the superlative disgust of Mrs Bodoin, who always corrected him: My daughter Virginia--
The second reason was, again to be Balzacian, that Virginia hadn't a sou of her own. Henry had a sorry two hundred and fifty. Virginia, at the age of twenty-four, was already earning four hundred and fifty. But she was earning them. Whereas Henry managed to earn about twelve pounds per annum, by his precious music. He had realized that he would find it hard to earn more. So that marrying, except with a wife who could keep him, was rather out of the question. Vinny would inherit her mother's money. But then Mrs Bodoin had the health and muscular equipment of the Sphinx. She would live forever, seeking whom she might devour, and devouring him. Henry lived with Vinny for two years, in the married sense of the words: and Vinny felt they were married, minus a mere ceremony. But Vinny had her mother always in the background; often as far back as Paris or Biarritz, but still, within letter reach. And she never realized the funny little grin that came on her own elvish face when her mother, even in a letter, spread her skirts and calmly sat on Henry. She never realized that in spirit she promptly and mischievously sat on him too: she could no more have helped it than the tide can help turning to the moon. And she did not dream that he felt it, and was utterly mortified in his masculine vanity. Women, very often, hypnotize one another, and then, hypnotized, they proceed gently to wring the neck of the man they think they are loving with all their hearts. Then they call it utter perversity on his part, that he doesn't like having his neck wrung. They think he is repudiating a heart-felt love. For they are hypnotized. Women hypnotize one another, without knowing it.
In the end, Henry backed out. He saw himself being simply reduced to nothingness by two women, an old witch with muscles like the Sphinx, and a young, spell-bound witch, lavish, elvish and weak, who utterly spoilt him but who ate his marrow.
Rachel would write from Paris: My dear Virginia, as I had a windfall in the way of an investment, I am sharing it with you. You will find enclosed my cheque for twenty pounds. No doubt you will be needing it to buy Henry a suit of clothes, since the spring is apparently come, and the sunlight may be tempted to show him up for what he is worth. I don't want my daughter going around with what is presumably a street-corner musician, but please pay the tailor's bill yourself, or you may have to do it over again later.--Henry got a suit of clothes, but it was as good as a shirt of Nessus, eating him away with subtle poison.
So he backed out. He didn't jump out, or bolt, or carve his way out at the sword's point. He sort of faded out, distributing his departure over a year or more. He was fond of Vinny, and he could hardly do without her, and he was sorry for her. But at length he couldn't see her apart from her mother. She was a young, weak, spendthrift witch, accomplice of her tough-clawed witch of a mother.
Henry made other alliances, got a good hold on elsewhere, and gradually extricated himself. He saved his life, but he had lost, he felt, a good deal of his youth and marrow. He tended now to go fat, a little puffy, somewhat insignificant. And he had been handsome and striking-looking.
The two witches howled when he was lost to them. Poor Virginia was really half crazy, she didn't know what to do with herself. She had a violent recoil from her mother. Mrs Bodoin was filled with furious contempt for her daughter: that she should let such a hooked fish slip out of her hands! that she should allow such a person to turn her down!--"I don't quite see my daughter seduced and thrown over by a sponging individual such as Henry Lubbock," she wrote. "But if it has happened, I suppose it is somebody's fault--"
There was a mutual recoil, which lasted nearly five years. But the spell was not broken. Mrs Bodoin's mind never left her daughter, and Virginia was ceaselessly aware of her mother, somewhere in the universe. They wrote, and met at intervals, but they kept apart in recoil.
The spell, however, was between them, and gradually it worked. They felt more friendly. Mrs Bodoin came to London. She stayed in the same quiet hotel with her daughter: Virginia had had two rooms in an hotel for the past three years. And, at last, they thought of taking an apartment together.
Virginia was now over thirty. She was still thin and odd and elvish, with a very slight and piquant cast in one of her brown eyes, and she still had her odd, twisted smile, and her slow, rather deep-toned voice, that caressed a man like the stroking of subtle finger-tips. Her hair was still a natural tangle of curls, a bit dishevelled. She still dressed with a natural elegance which tended to go wrong and a tiny bit sluttish. She still might have a hole in her expensive and perfectly new stockings, and still she might have to take off her shoes in the drawing-room, if she came to tea, and sit there in her stockinged-feet. True, she had elegant feet: she was altogether elegantly shaped. But it wasn't that. It was neither coquetry nor vanity. It was simply that, after having gone to a good shoemaker and paid five guineas for a pair of perfectly simple and natural shoes, made to her feet, the said shoes would hurt her excruciatingly, when she had walked half a mile in them, and she would simply have to take them off, even if she sat on the kerb to do it. It was a fatality. There was a touch of the gamin in her very feet, a certain sluttishness that wouldn't let them stay properly in nice proper shoes. She practically always wore her mother's old shoes.--Of course I go through life in mother's old shoes. If she died and left me without a supply, I suppose I should have to go in a bathchair, she would say, with her odd twisted little grin. She was so elegant, and yet a slut. It was her charm, really.
&nb
sp; Just the opposite of her mother. They could wear each other's shoes and each other's clothes, which seemed remarkable, for Mrs Bodoin seemed so much the bigger of the two. But Virginia's shoulders were broad, if she was thin, she had a strong frame, even when she looked a frail rag.
Mrs Bodoin was one of those women of sixty or so, with a terrible inward energy and a violent sort of vitality. But she managed to hide it. She sat with perfect repose, and folded hands. One thought: What a calm woman! Just as one may look at the snowy summit of a quiescent volcano, in the evening light, and think: What peace!
It was a strange muscular energy which possessed Mrs Bodoin, as it possesses, curiously enough, many women over fifty, and is usually distasteful in its manifestations. Perhaps it accounts for the lassitude of the young.
But Mrs Bodoin recognized the bad taste in her energetic coevals, so she cultivated repose. Her very way of pronouncing the word, in two syllables: re-pose, making the second syllable run on into the twilight, showed how much suppressed energy she had. Faced with the problem of iron-grey hair and black eyebrows, she was too clever to try dyeing herself back into youth. She studied her face, her whole figure, and decided that it was positive. There was no denying it. There was no wispiness, no hollowness, no limp frail blossom-on-a-bending-stalk about her. Her figure, though not stout, was full, strong, and cambré. Her face had an aristocratic arched nose, aristocratic, who-the-devil-are-you grey eyes, and cheeks rather long but also rather full. Nothing appealing or youthfully skittish here.
Like an independent woman, she used her wits, and decided most emphatically not to be either youthful or skittish or appealing. She would keep her dignity, for she was fond of it. She was positive. She liked to be positive. She was used to her positivity. So she would just be positive.
She turned to the positive period; to the eighteenth century, to Voltaire, to Ninon de l'Enclos and the Pompadour, to Madame la Duchesse and Monsieur le Marquis. She decided that she was not much in the line of la Pompadour or la Duchesse, but almost exactly in the line of Monsieur le Marquis. And she was right. With hair silvering to white, brushed back clean from her positive brow and temples, cut short, but sticking out a little behind, with her rather full, pink face and thin black eyebrows plucked to two fine, superficial crescents, her arching nose and her rather full insolent eyes she was perfectly eighteenth-century, the early half. That she was Monsieur le Marquis rather than Madame la Marquise made her really modern.
Her appearance was perfect. She wore delicate combinations of grey and pink, maybe with a darkening iron-grey touch, and her jewels were of soft old coloured paste. Her bearing was a sort of alert repose, very calm, but very assured. There was, to use a vulgarism, no getting past her.
She had a couple of thousand pounds she could lay hands on. Virginia, of course, was always in debt. But, after all, Virginia was not to be sniffed at. She made seven hundred and fifty a year.
Virginia was oddly clever, and not clever. She didn't really know anything, because anything and everything was interesting to her for the moment, and she picked it up at once. She picked up languages with extraordinary ease, she was fluent in a fortnight. This helped her enormously with her job. She could prattle away with heads of industry, let them come from where they liked. But she didn't know any language, not even her own. She picked things up in her sleep, so to speak, without knowing anything about them.
And this made her popular with men. With all her curious facility, they didn't feel small in front of her, because she was like an instrument. She had to be prompted. Some man had to set her in motion, and then she worked, really cleverly. She could collect the most valuable information. She was very useful. She worked with men, spent most of her time with men, her friends were practically all men. She didn't feel easy with women.
Yet she had no lover, nobody seemed eager to marry her, nobody seemed eager to come close to her at all. Mrs Bodoin said: I'm afraid Virginia is a one-man woman. I am a one-man woman. So was my mother, and so was my grandmother. Virginia's father was the only man in my life, the only one. And I'm afraid Virginia is the same, tenacious. Unfortunately, the man was what he was, and her life is just left there.
Henry had said, in the past, that Mrs Bodoin wasn't a one-man woman, she was a no-man woman, and that if she could have had her way, everything male would have been wiped off the face of the earth, and only the female element left.
However, Mrs Bodoin thought that it was now time to make a move. So she and Virginia took a quite handsome apartment in one of the old Bloomsbury Squares, fitted it up and furnished it with extreme care, and with some quite lovely things, got in a very good man, an Austrian, to cook, and they set up married life together, mother and daughter.
At first it was rather thrilling. The two reception-rooms, looking down on the dirty old trees of the square garden, were of splendid proportions, and each with three great windows coming down low, almost to the level of the knees. The chimney-piece was late eighteenth-century. Mrs Bodoin furnished the rooms with a gentle suggestion of Louis Seize merged with Empire, without keeping to any particular style. But she had, saved from her own home, a really remarkable Aubusson carpet. It looked almost new, as if it had been woven two years ago, and was startling, yet somehow rather splendid, as it spread its rose-red borders and wonderful florid array of silver-grey and gold-grey roses, lilies and gorgeous swans and trumpeting volutes away over the floor. Very aesthetic people found it rather loud, they preferred the worn, dim yellowish Aubusson in the big bedroom. But Mrs Bodoin loved her drawing-room carpet. It was positive, but it was not vulgar. It had a certain grand air in its floridity. She felt it gave her a proper footing. And it behaved very well with her painted cabinets and grey-and-gold brocade chairs and big Chinese vases, which she liked to fill with big flowers: single Chinese peonies, big roses, great tulips, orange lilies. The dim room of London, with all its atmospheric colour, would stand the big, free, fisticuffing flowers.
Virginia, for the first time in her life, had the pleasure of making a home. She was again entirely under her mother's spell, and swept away, thrilled to her marrow. She had had no idea that her mother had got such treasures as the carpets and painted cabinets and brocade chairs up her sleeve: many of them the débris of the Fitzpatrick home in Ireland, Mrs Bodoin being a Fitzpatrick. Almost like a child, like a bride, Virginia threw herself into the business of fixing up the rooms. "Of course, Virginia, I consider this is your apartment," said Mrs Bodoin. "I am nothing but your dame de compagnie, and shall carry out your wishes entirely, if you will only express them."
Of course Virginia expressed a few, but not many. She introduced some wild pictures bought from impecunious artists whom she patronized. Mrs Bodoin thought the pictures positive about the wrong things, but as far as possible, she let them stay: looking on them as the necessary element of modern ugliness. But by that element of modern ugliness, wilfully so, it was easy to see the things that Virginia had introduced into the apartment.
Perhaps nothing goes to the head like setting up house. You can get drunk on it. You feel you are creating something. Nowadays it is no longer the "home", the domestic nest. It is "my rooms", or "my house", the great garment which reveals and clothes "my personality". Mrs Bodoin, deliberately scheming for Virginia, kept moderately cool over it, but even she was thrilled to the marrow, and of an intensity and ferocity with the decorators and furnishers, astonishing. But Virginia was just all the time tipsy with it, as if she had touched some magic button on the grey wall of life, and with an Open Sesame! her lovely and coloured rooms had begun to assemble out of fairyland. It was far more vivid and wonderful to her than if she had inherited a duchy.
The mother and daughter, the mother in a sort of faded russet crimson and the daughter in silver, began to entertain. They had, of course, mostly men. It filled Mrs Bodoin with a sort of savage impatience to entertain women. Besides, most of Virginia's acquaintances were men. So there were dinners and well-arranged evenings.
It we
nt well, but something was missing. Mrs Bodoin wanted to be gracious, so she held herself rather back. She stayed a little distant, was calm, reposed, eighteenth-century, and determined to be a foil to the clever and slightly-elvish Virginia. It was a pose, and alas, it stopped something. She was very nice with the men, no matter what her contempt of them. But the men were uneasy with her: afraid.
What they all felt, all the men guests, was that for them, nothing really happened. Everything that happened was between mother and daughter. All the flow was between mother and daughter. A subtle, hypnotic spell encompassed the two women, and try as they might, the men were shut out. More than one young man, a little dazzled, began to fall in love with Virginia. But it was impossible. Not only was he shut out, he was, in some way, annihilated. The spontaneity was killed in his bosom. While the two women sat, brilliant and rather wonderful, in magnetic connection at opposite ends of the table, like two witches, a double Circe turning the men not into swine--the men would have liked that well enough--but into lumps.
It was tragic. Because Mrs Bodoin wanted Virginia to fall in love and marry. She really wanted it, and she attributed Virginia's lack of forthcoming to the delinquent Henry. She never realized the hypnotic spell, which of course encompassed her as well as Virginia, and made men just an impossibility to both women, mother and daughter alike.
At this time, Mrs Bodoin hid her humour. She had a really marvellous faculty of humorous imitation. She could imitate the Irish servants from her old home, or the American women who called on her, or the modern lady-like young men, the asphodels, as she called them: "Of course you know the asphodel is a kind of onion! Oh yes, just an over-bred onion": who wanted, with their murmuring voices and peeping under their brows, to make her feel very small and very bourgeois. She could imitate them all with a humour that was really touched with genius. But it was devastating. It demolished the objects of her humour so absolutely, smashed them to bits with a ruthless hammer, pounded them to nothing so terribly, that it frightened people, particularly men. It frightened men off.