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“Salsie, won’t you play something?” said Hermione, breaking off completely. “Won’t somebody dance? Gudrun, you will dance, won’t you? I wish you would. Anche tu, Palestra, ballerai?—si, per piacere.ae You too, Ursula.”

Hermione rose and slowly pulled the gold-embroidered band that hung by the mantel, clinging to it for a moment, then releasing it suddenly. Like a priestess she looked, unconscious, sunk in a heavy half-trance.

A servant came, and soon reappeared with armfuls of silk robes and shawls and scarves, mostly oriental, things that Hermione, with her love for beautiful extravagant dress, had collected gradually.

“The three women will dance together,” she said.

“What shall it be?” asked Alexander, rising briskly.

“Vergini Delle Rocche,”af said the Contessa at once.

“They are so languid,” said Ursula.

“The three witches from Macbeth,” suggested Fräulein usefully. It was finally decided to do Naomi and Ruth and Orpah.‡ Ursula was Naomi, Gudrun was Ruth, the Contessa was Orpah. The idea was to make a little ballet, in the style of the Russian Ballet of Pavlova and Nijinsky.

The Contessa was ready first, Alexander went to the piano, a space was cleared. Orpah, in beautiful oriental clothes, began slowly to dance the death of her husband. Then Ruth came, and they wept together, and lamented, then Naomi came to comfort them. It was all done in dumb show, the women danced their emotion in gesture and motion. The little drama went on for a quarter of an hour.

Ursula was beautiful as Naomi. All her men were dead, it remained to her only to stand alone in indomitable assertion, demanding nothing. Ruth, woman-loving, loved her. Orpah, a vivid, sensational, subtle widow, would go back to the former life, a repetition. ag The inter-play between the women was real and rather frightening. It was strange to see how Gudrun clung with heavy, desperate passion to Ursula, yet smiled with subtle malevolence against her, how Ursula accepted silently, unable to provide any more either for herself or for the other, but dangerous and indomitable, refuting her grief.

Hermione loved to watch. She could see the Contessa’s rapid, stoat-like sensationalism, Gudrun’s ultimate but treacherous cleaving to the woman in her sister, Ursula’s dangerous helplessness, as if she were helplessly weighted, and unreleased.

“That was very beautiful,” everybody cried with one accord. But Hermione writhed in her soul, knowing what she could not know. She cried out for more dancing, and it was her will that set the Contessa and Birkin moving mockingly in Malbrouk.ah

Gerald was excited by the desperate cleaving of Gudrun to Naomi. The essence of that female, subterranean recklessness and mockery penetrated his blood. He could not forget Gudrun’s lifted, offered, cleaving, reckless, yet withal mocking weight. And Birkin, watching like a hermit crab from its hole, had seen the brilliant frustration and helplessness of Ursula. She was rich, full of dangerous power. She was like a strange, unconscious bud of powerful womanhood. He was unconsciously drawn to her. She was his future.

Alexander played some Hungarian music, and they all danced, seized by the spirit. Gerald was marvellously exhilarated at finding himself in motion, moving towards Gudrun, dancing with feet that could not yet escape from the waltz and the two-step, but feeling his force stir along his limbs and his body, out of captivity. He did not know yet how to dance their convulsive, rag-time sort of dancing, but he knew how to begin. Birkin, when he could get free from the weight of the people present, whom he disliked, danced rapidly and with a real gaiety. And how Hermione hated him for this irresponsible gaiety.

“Now I see,” cried the Contessa excitedly, watching his purely gay motion, which he had all to himself. “Mr. Birkin, he is a changer.”

Hermione looked at her slowly, and shuddered, knowing that only a foreigner could have seen and have said this.

“Cosa vuol’dire,