The Brangwen Family Saga: The Rainbow & Women in Love. D. H. Lawrence

afternoon, the pains began, Mrs. Brangwen was put to bed, the midwife came. Night fell, the shutters were closed, Brangwen came in to tea, to the loaf and the pewter teapot, the child, silent and quivering, playing with glass beads, the house, empty, it seemed, or exposed to the winter night, as if it had no walls.

      Sometimes there sounded, long and remote in the house, vibrating through everything, the moaning cry of a woman in labour. Brangwen, sitting downstairs, was divided. His lower, deeper self was with her, bound to her, suffering. But the big shell of his body remembered the sound of owls that used to fly round the farmstead when he was a boy. He was back in his youth, a boy, haunted by the sound of the owls, waking up his brother to speak to him. And his mind drifted away to the birds, their solemn, dignified faces, their flight so soft and broad-winged. And then to the birds his brother had shot, fluffy, dust-coloured, dead heaps of softness with faces absurdly asleep. It was a queer thing, a dead owl.

      He lifted his cup to his lips, he watched the child with the beads. But his mind was occupied with owls, and the atmosphere of his boyhood, with his brothers and sisters. Elsewhere, fundamental, he was with his wife in labour, the child was being brought forth out of their one flesh. He and she, one flesh, out of which life must be put forth. The rent was not in his body, but it was of his body. On her the blows fell, but the quiver ran through to him, to his last fibre. She must be torn asunder for life to come forth, yet still they were one flesh, and still, from further back, the life came out of him to her, and still he was the unbroken that has the broken rock in its arms, their flesh was one rock from which the life gushed, out of her who was smitten and rent, from him who quivered and yielded.

      He went upstairs to her. As he came to the bedside she spoke to him in Polish.

      “Is it very bad?” he asked.

      She looked at him, and oh, the weariness to her, of the effort to understand another language, the weariness of hearing him, attending to him, making out who he was, as he stood there fair-bearded and alien, looking at her. She knew something of him, of his eyes. But she could not grasp him. She closed her eyes.

      He turned away, white to the gills.

      “It’s not so very bad,” said the midwife.

      He knew he was a strain on his wife. He went downstairs.

      The child glanced up at him, frightened.

      “I want my mother,” she quavered.

      “Ay, but she’s badly,” he said mildly, unheeding.

      She looked at him with lost, frightened eyes.

      “Has she got a headache?”

      “No-she’s going to have a baby.”

      The child looked round. He was unaware of her. She was alone again in terror.

      “I want my mother,” came the cry of panic.

      “Let Tilly undress you,” he said. “You’re tired.”

      There was another silence. Again came the cry of labour.

      “I want my mother,” rang automatically from the wincing, panic-stricken child, that felt cut off and lost in a horror of desolation.

      Tilly came forward, her heart wrung.

      “Come an’ let me undress her then, pet-lamb,” she crooned. “You s’ll have your mother in th’ mornin’, don’t you fret, my duckie; never mind, angel.”

      But Anna stood upon the sofa, her back to the wall.

      “I want my mother,” she cried, her little face quivering, and the great tears of childish, utter anguish falling.

      “She’s poorly, my lamb, she’s poorly to-night, but she’ll be better by mornin’. Oh, don’t cry, don’t cry, love, she doesn’t want you to cry, precious little heart, no, she doesn’t.”

      Tilly took gently hold of the child’s skirts. Anna snatched back her dress, and cried, in a little hysteria:

      “No, you’re not to undress me-I want my mother,”-and her child’s face was running with grief and tears, her body shaken.

      “Oh, but let Tilly undress you. Let Tilly undress you, who loves you, don’t be wilful to-night. Mother’s poorly, she doesn’t want you to cry.”

      The child sobbed distractedly, she could not hear.

      “I want my mother,” she wept.

      “When you’re undressed, you s’ll go up to see your mother — when you’re undressed, pet, when you’ve let Tilly undress you, when you’re a little jewel in your nightie, love. Oh, don’t you cry, don’t you —”

      Brangwen sat stiff in his chair. He felt his brain going tighter. He crossed over the room, aware only of the maddening sobbing.

      “Don’t make a noise,” he said.

      And a new fear shook the child from the sound of his voice. She cried mechanically, her eyes looking watchful through her tears, in terror, alert to what might happen.

      “I want-my-mother,” quavered the sobbing, blind voice.

      A shiver of irritation went over the man’s limbs. It was the utter, persistent unreason, the maddening blindness of the voice and the crying.

      “You must come and be undressed,” he said, in a quiet voice that was thin with anger.

      And he reached his hand and grasped her. He felt her body catch in a convulsive sob. But he too was blind, and intent, irritated into mechanical action. He began to unfasten her little apron. She would have shrunk from him, but could not. So her small body remained in his grasp, while he fumbled at the little buttons and tapes, unthinking, intent, unaware of anything but the irritation of her. Her body was held taut and resistant, he pushed off the little dress and the petticoats, revealing the white arms. She kept stiff, overpowered, violated, he went on with his task. And all the while she sobbed, choking:

      “I want my mother.”

      He was unheedingly silent, his face stiff. The child was now incapable of understanding, she had become a little, mechanical thing of fixed will. She wept, her body convulsed, her voice repeating the same cry.

      “Eh, dear o’ me!” cried Tilly, becoming distracted herself. Brangwen, slow, clumsy, blind, intent, got off all the little garments, and stood the child naked in its shift upon the sofa.

      “Where’s her nightie?” he asked.

      Tilly brought it, and he put it on her. Anna did not move her limbs to his desire. He had to push them into place. She stood, with fixed, blind will, resistant, a small, convulsed, unchangeable thing weeping ever and repeating the same phrase. He lifted one foot after the other, pulled off slippers and socks. She was ready.

      “Do you want a drink?” he asked.

      She did not change. Unheeding, uncaring, she stood on the sofa, standing back, alone, her hands shut and half lifted, her face, all tears, raised and blind. And through the sobbing and choking came the broken:

      “I-want-my-mother.”

      “Do you want a drink?” he said again.

      There was no answer. He lifted the stiff, denying body between his hands. Its stiff blindness made a flash of rage go through him. He would like to break it.

      He set the child on his knee, and sat again in his chair beside the fire, the wet, sobbing, inarticulate noise going on near his ear, the child sitting stiff, not yielding to him or anything, not aware.

      A new degree of anger came over him. What did it all matter? What did it matter if the mother talked Polish and cried in labour, if this child were stiff with resistance, and crying? Why take it to heart? Let the mother cry in labour, let the child cry in resistance, since they would do so. Why should he fight against it, why resist? Let it be, if it were so. Let them be as they were, if they insisted.

      And in a daze he sat, offering no fight.