The Project Gutenberg eBook of Sun by D.H. Lawrence.

She herself was sceptical of the sun, but she permitted herself to be carried away, with her child, and a nurse, and her mother, over the sea.

The ship sailed at midnight. And for two hours her husband stayed with her, while the child was put to bed, and the passengers came on board. It was a black night, the Hudson swayed with heavy blackness, shaken over with spilled dribbles of light. She leaned on the rail, and looking down thought: This is the sea; it is deeper than one imagines, and fuller of memories. At that moment the sea seemed to heave like the serpent of chaos that has lived for ever.

"These partings are no good, you know," her husband was saying, at her side. "They're no good. I don't like them."

His tone was full of apprehension, misgiving, and there was a certain note of clinging to the last straw of hope.

She remembered how bitterly they had wanted to get away from one another, he and she. The emotion of parting gave a slight tug at her emotions, but only caused the iron that had gone into her soul to gore deeper.

So, they looked at their sleeping son, and the father's eyes were wet. But it is not the wetting of the eyes which counts, it is the deep iron rhythm of habit, the year-long, life-long habits; the deep-set stroke of power.

And in their two lives, the stroke of power was hostile, his and hers. Like two engines running at variance, they shattered one another.

And she thought to herself: For him it is All ashore ! For me it is Out to sea !

Well, he waved his hanky on the midnight dreariness of the pier, as the boat inched away; one among a crowd. One among a crowd! C'est ça !

The ferry-boats, like great dishes piled with rows of lights, were still slanting across the Hudson. That black mouth must be the Lackawanna Station.

The ship ebbed on, the Hudson seemed interminable. But at last they were round the bend, and there was the poor harvest of lights, at the Battery. Liberty flung up her torch in a tantrum. There was the wash of the sea.

And though the Atlantic was grey as lava, she did come at last into the sun. Even she had a house above the bluest of seas, with a vast garden, or vineyard, all vines and olives dropping steeply, terrace after terrace, to the strip of coast-plain; and the garden full of secret places, deep groves of lemon far down in the cleft of earth, and hidden, pure green reservoirs of water; then a spring issuing out of a little cavern, where the old Sicules had drunk before the Greeks came; and a grey goat bleating, stabled in an ancient tomb, with all the niches empty. There was the scent of mimosa, and beyond, the snow of the volcano.

She saw it all, and in a measure it was soothing. But it was all external. She didn't really care about it. She was herself, just the same, with all her anger and frustration inside her, and her incapacity to feel anything real. The child irritated her, and preyed on her peace of mind. She felt so horribly, ghastly responsible for him: as if she must be responsible for every breath he drew. And that was torture to her, to the child, and to everybody else concerned.

"You know, Juliet, the doctor told you to lie in the sun, without your clothes. Why don't you?" said her mother.

The sea went white—and then invisible. Pouring rain fell. It was cold, in the house built for the sun.

Again a morning when the sun lifted himself naked and molten, sparkling over the sea's rim. The house faced south-west, Juliet lay in her bed and watched him rise, it was as if she had never seen the sun rise before. She had never seen the naked sun stand up pure upon the sea-line, shaking the night off himself.

So the desire sprang secretly in her, to go naked in the sun. She cherished her desire like a secret.

But she wanted to go away from the house—away from people. And it is not easy, in a country where every olive tree has eyes, and every slope is seen from afar, to go hidden.

But she found a place: a rocky bluff, shoved out to the sea and sun and overgrown with large cactus, the flat-leaved cactus called prickly pear. Out of this blue-grey knoll of cactus rose one cypress tree, with a pallid, thick trunk, and a tip that leaned over, flexible, up in the blue. It stood like a guardian looking to sea; or a low, silvery candle whose huge flame was darkness against light: earth sending up her proud tongue of gloom.

Juliet sat down by the cypress tree, and took off her clothes. The contorted cactus made a forest, hideous yet fascinating, about her. She sat and offered her bosom to the sun, sighing, even now, with a certain hard pain, against the cruelty of having to give herself.

But the sun marched in blue heaven and sent down his rays as he went. She felt the soft air of the sea on her breasts, that seemed as if they would never ripen. But she hardly felt the sun. Fruits that would wither and not mature, her breasts.

Soon, however, she felt the sun inside them, warmer than ever love had been, warmer than milk or the hands of her baby. At last, at last her breasts were like long white grapes in the hot sun.

She slid off all her clothes and lay naked in the sun, and as she lay she looked up through her fingers at the central sun, his blue pulsing roundness, whose outer edges streamed brilliance. Pulsing with marvellous blue, and olive, and streaming white fire from his edges, the sun! He faced down to her with his look of blue fire, and enveloped her breasts and her face, her throat, her tired belly, her knees, her thighs and her feet.

She lay with shut eyes, the colour of rosy flame through her lids. It was too much. She reached and put leaves over her eyes. Then she lay again, like a long white gourd in the sun, that must ripen to gold.

She could feel the sun penetrating even into her bones; nay, further, even into her emotions and her thoughts. The dark tensions of her emotion began to give way, the cold dark clots of her thoughts began to dissolve. She was beginning to feel warm right through. Turning over, she let her shoulders dissolve in the sun, her loins, the backs of her thighs, even her heels. And she lay half stunned with wonder at the thing that was happening to her. Her weary, chilled heart was melting, and in melting, evaporating.

When she was dressed again she lay once more and looked up at the cypress tree, whose crest, a flexible filament, fell this way and that in the breeze. Meanwhile, she was conscious of the great sun roaming in heaven.

So, dazed, she went home, only half-seeing, sun-blinded and sun-dazed. And her blindness was like a richness to her, and her dim, warm, heavy half-consciousness was like wealth.

"Mummy! Mummy!" her child came running towards her, calling in that peculiar bird-like little anguish of want, always wanting her. She was surprised that her drowsed heart for once felt none of the anxious love-anguish in return. She caught the child up in her arms, but she thought: He should not be such a lump! If he were in the sun, he would spring up.

She resented, rather, his little hands clutching at her, especially her neck. She pulled her throat away. She did not want to be touched. She put the child gently down.

And there and then she took off his clothes and set him naked on the warm terrace.

He was frightened and wanted to cry. But she, in the warm indolence of her body, and the complete indifference of her heart, rolled him an orange across the red tiles, and with his soft, unformed little body he toddled after it. Then immediately he had it, he dropped it because it felt strange against his flesh. And he looked back at her, querulous, wrinkling his face to cry, frightened because he was stark.

"Bring me the orange," she said, amazed at her own deep indifference to his trepidation. "Bring Mummy the orange.

"He shall not grow up like his father," she said to herself. "Like a worm that the sun has never seen."

She had had the child so much on her mind, in a torment of responsibility, as if, having borne him, she had to answer for his whole existence. Even if his nose were running, it had been repulsive and a goad in her vitals, as if she must say to herself: Look at the thing you brought forth!

Now a change took place. She was no longer vitally interested in the child, she took the strain of her anxiety and her will from off him. And he thrived all the more for it.

She was thinking inside herself, of the sun in his splendour, and her mating with him. Her life was now a whole ritual. She lay always awake, before dawn, watching for the grey to colour to pale gold, to know if clouds lay on the sea's edge. Her joy was when he rose all molten in his nakedness, and threw off blue-white fire, into the tender heaven.

But sometimes he came ruddy, like a big, shy creature. And sometimes slow and crimson red, with a look of anger, slowly pushing and shouldering. Sometimes again she could not see him, only the level cloud threw down gold and scarlet from above, as he moved behind the wall.

She was fortunate. Weeks went by, and though the dawn was sometimes clouded, and afternoon was sometimes grey, never a day passed sunless, and most days, winter though it was, streamed radiant. The thin little wild crocuses came up mauve and striped, the wild narcissi hung their winter stars.

Every day she went down to the cypress tree, among the cactus grove on the knoll with yellowish cliffs at the foot. She was wiser and subtler now, wearing only a dove-grey wrapper, and sandals. So that in an instant, in any hidden niche, she was naked to the sun. And the moment she was covered again she was grey and invisible.

Every day, in the morning towards noon, she lay at the foot of the powerful, silver-pawed cypress tree, while the sun rode jovial in heaven. By now she knew the sun in every thread of her body, there was not a cold shadow left. And her heart, that anxious, straining heart, had disappeared altogether, like a flower that falls in the sun, and leaves only a ripe seed-case.

She knew the sun in heaven, blue-molten with his white fire edges, throwing off fire. And though he shone on all the world, when she lay unclothed he focussed on her. It was one of the wonders of the sun, he could shine on a million people and still be the radiant, splendid, unique sun, focussed on her alone.

With her knowledge of the sun, and her conviction that the sun knew her, in the cosmic carnal sense of the word, came over her a feeling of detachment from people, and a certain contempt for human beings altogether. They were so un-elemental, so unsunned. They were so like graveyard worms.

Even the peasants passing up the rocky, ancient little road with their donkeys, sun-blackened as they were, were not sunned right through. There was a little soft white core of fear, like a snail in a shell, where the soul of the man cowered in fear of death, and in fear of the natural blaze of life. He dared not quite emerge: always innerly cowed. All men were like that.

With her indifference to people, to men, she was not now so cautious about being unseen. She had told Marinina, who went shopping for her in the village, that the doctor had ordered sun-baths. Let that suffice.

Marinina was a woman over sixty, tall, thin, erect, with curling dark grey hair, and dark grey eyes that had the shrewdness of thousands of years in them, with the laugh that underlies all long experience. Tragedy is lack of experience.

"It must be beautiful to go unclothed in the sun," said Marinina, with a shrewd laugh in her eyes, as she looked keenly at the other woman. Juliet's fair, bobbed hair curled in a little cloud at her temple. Marinina was a woman of Magna Græcia, and had far memories. She looked again at Juliet. "But you have to be beautiful yourself, if you're not going to give offence to the sun? Isn't it so?" she added, with that queer, breathless little laugh of the women of the past.

But beautiful or not, she felt that, by the sun she was appreciated. Which is the same.

When, out of the sun at noon, sometimes she stole down over the rocks and past the cliff-edge, down to the deep gully where the lemons hung in cool eternal shadow; and in the silence slipped off her wrapper to wash herself quickly at one of the deep, clear green basins, she would notice, in the bare green twilight under the lemon leaves, that all her body was rosy, rosy and turning to gold. She was like another person. She was another person.

So she remembered that the Greeks had said, a white, unsunned body was fishy and unhealthy.

And she would rub a little olive oil in her skin, and wander a moment in the dark underworld of the lemons, balancing a lemon flower in her navel, laughing to herself. There was just a chance some peasant might see her. But if he did he would be more afraid of her than she of him. She knew the white core of fear in the clothed bodies of men.

She knew it even in her little son. How he mistrusted her, now that she laughed at him, with the sun in her face! She insisted on his toddling naked in the sunshine, every day. And now his little body was pink too, his blond hair was pushed thick from his brow, his cheeks had a pomegranate scarlet, in the delicate gold of the sunny skin. He was bonny and healthy, and the servants, loving his red and gold and blue, called him an angel from heaven.

But he mistrusted his mother: she laughed at him. And she saw in his wide blue eyes, under the little frown, that centre of fear, misgiving, which she believed was at the centre of all male eyes, now. She called it fear of the sun.

"He fears the sun," she would say to herself, looking down into the eyes of the child.

And as she watched him toddling, swaying, tumbling in the sunshine, making his little, bird-like noises, she saw that he held himself tight and hidden from the sun, inside himself. His spirit was like a snail in a shell, in a damp, cold crevice inside himself. It made her think of his father. She wished she could make him come forth, break out in a gesture of recklessness and salutation.

She determined to take him with her, down to the cypress tree among the cactus. She would have to watch him, because of the thorns. But surely in that place he would come forth from that little shell, deep inside him. That little civilised tension would disappear off his brow.

She spread a rug for him and sat him down. Then she slid off her wrapper and lay down herself, watching a hawk high in the blue, and the tip of the cypress hanging over.

The boy played with stones on the rug. When he got up to toddle away, she sat up too. He turned and looked at her. Almost, from his blue eyes, it was the challenging, warm look of the true male. And he was handsome, with the scarlet in the golden blond of his skin. He was not really white. His skin was gold-dusky.

"Thorns!" re-echoed the child, in a birdy chirp, still looking at her over his shoulder, like some naked cherub in a picture, doubtful.

He staggered in his little sandals over the stones, pulling at the dry wild mint. She was quick as a serpent, leaping to him, when he was going to fall against the prickles. It surprised even herself. "What a wild cat I am, really!" she said to herself.

And if there was a cloudy day, with the tramontana blowing, so that she could not go down, the child would chirp incessantly: "Cypress tree! Cypress tree!"

It was not just taking sunbaths. It was much more than that. Something deep inside her unfolded and relaxed, and she was given. By some mysterious power inside her, deeper than her known consciousness and will, she was put into connection with the sun, and the stream flowed of itself, from her womb. She herself, her conscious self, was secondary, a secondary person, almost an onlooker. The true Juliet was this dark flow from her deep body to the sun.

She had always been mistress of herself, aware of what she was doing, and held tense for her own power. Now she felt inside her quite another sort of power, something greater than herself, flowing by itself. Now she was vague, but she had a power beyond herself.

III

The end of February was suddenly very hot. Almond blossom was falling like pink snow, in the touch of the smallest breeze. The mauve, silky little anemones were out, the asphodels tall in bud, and the sea was cornflower blue.

Juliet had ceased to trouble about anything. Now, most of the day, she and the child were naked in the sun, and it was all she wanted. Sometimes she went down to the sea to bathe: often she wandered in the gullies where the sun shone in, and she was out of sight. Sometimes she saw a peasant with an ass, and he saw her. But she went so simply and quietly with her child; and the fame of the sun's healing power, for the soul as well as for the body, had already spread among the people; so that there was no excitement.

The child and she were now both tanned with a rosy-golden tan, all over. "I am another being!" she said to herself, as she looked at her red-gold breasts and thighs.

The child too was another creature, with a peculiar quiet, sun-darkened absorption. Now he played by himself in silence, and she hardly need notice him. He seemed no longer to know, when he was alone.

There was not a breeze, and the sea was ultramarine. She sat by the great silver paw of the cypress tree, drowsed in the sun, but her breasts alert, full of sap. She was becoming aware that an activity was rousing in her, an activity which would carry her into a new way of life. Still she did not want to be aware. She knew well enough the vast cold apparatus of civilisation, so difficult to evade.

The child had gone a few yards down the rocky path, round the great sprawling of a cactus. She had seen him, a real gold-brown infant of the winds, with burnt gold hair and red cheeks, collecting the speckled pitcher-flowers and laying them in rows. He could balance now, and was quick for his own emergencies, like an absorbed young animal playing silent.

Suddenly she heard him speaking: Look Mummy ! Mummy look ! A note in his bird-like voice made her lean forward sharply. Her heart stood still. He was looking over his naked little shoulder at her, and pointing with a loose little hand at a snake which had reared itself up a yard away from him, and was opening its mouth so that its forked, soft tongue flickered black like a shadow, uttering a short hiss.

He looked at her, his wide blue eyes uncertain whether to be afraid or not. Some stillness of the sun in her reassured him.

The snake had sunk down, and was reaching away from the coils in which it had been basking asleep, and slowly was easing its long, gold-brown body into the rocks, with slow curves. The boy turned and watched it in silence. Then he said:—

He still watched the slow, easing length as the creature drew itself apathetic out of sight.

He came and sat with his plump, naked little body on her naked lap, and she smoothed his burnt, bright hair. She said nothing, feeling that everything was passed. The curious soothing power of the sun filled her, filled the whole place like a charm, and the snake was part of the place, along with her and the child.

Another day, in the dry stone wall of one of the olive terraces, she saw a black snake horizontally creeping.

"Ah, the black snakes, no! But the yellow ones, yes! If the yellow ones bite you, you die. But they frighten me, they frighten me, even the black ones, when I see one."

Juliet still went to the cypress tree with the child. But she always looked carefully round before she sat down, examining everywhere where the child might go. Then she would lie and turn to the sun again, her tanned, pear-shaped breasts pointing up. She would take no thought for the morrow. She refused to think outside her garden, and she could not write letters. She would tell the nurse to write.

It was March, and the sun was growing very powerful. In the hot hours she would lie in the shade of the trees, or she would even go down to the depths of the cool lemon grove. The child ran in the distance, like a young animal absorbed in life.

One day she was sitting in the sun on the steep slope of the gully, having bathed in one of the great tanks. Below, under the lemons, the child was wading among the yellow oxalis flowers of the shadow, gathering fallen lemons, passing with his tanned little body into flecks of light, moving all dappled.

Suddenly, high over the land's edge, against the full-lit pale blue sky, Marinina appeared, a black cloth tied round her head, calling quietly: " Signora ! Signora Julietta !"

Juliet faced round, standing up. Marinina paused a moment, seeing the naked woman standing alert, her sun-faded fair hair in a little cloud. Then the swift old woman came on down the slant of the steep track.

She stood a few steps, erect, in front of the sun-coloured woman, and eyed her shrewdly.

"But how beautiful you are, you!" she said coolly, almost cynically. "There is your husband."

The old woman gave a shrewd bark of a little laugh, the mockery of the women of the past.

"He was following me," she said. "But he will not have found the path." And she gave another little bark of a laugh.

The paths were all grown high with grass and flowers and nepitella, till they were like bird-trails in an eternally wild place. Strange, the vivid wildness of the old places of civilisation, a wildness that is not gaunt.

"Let him come here? Now?" asked Marinina, her laughing, smoke-grey eyes looking with mockery into Juliet's. Then she gave a little jerk of her shoulders.

She opened her mouth in a laugh of noiseless joy. Then she pointed down to the child, who was heaping lemons against his little chest. "Look how beautiful the child is! That, certainly, will please him, poor thing. Then I'll bring him."

The old woman scrambled rapidly up the track again. Maurice was standing grey-faced, in his grey felt hat and his dark grey suit, at a loss among the vine terraces. He looked pathetically out of place, in that resplendent sunshine and the grace of the old Greek world; like a blot of ink on the pale, sun-glowing slope.

And swiftly she led the way, striding with a rapid stride, making her way through the grasses. Suddenly she stopped on the brow of the slope. The tops of the lemon trees were dark, away below.

"You, you go down here," she said to him, and he thanked her, looking up at her swiftly.

He was a man of forty, clean-shaven, grey faced, very quiet and really shy. He managed his own business carefully, without startling success, but efficiently. And he confided in nobody. The old woman of Magna Græcia saw him at a glance: he is good, she said to herself, but not a man, poor thing.

And again he said "Thank you! Thank you!" without a twinkle, and stepped carefully into the track. Marinina lifted her chin with a joyful wickedness. Then she strode off towards the house.

Maurice was watching his step, through the tangle of Mediterranean herbage, so he did not catch sight of his wife till he came round a little bend, quite near her. She was standing erect and nude by the jutting rock, glistening with the sun and with warm life. Her breasts seemed to be lifting up, alert, to listen, her thighs looked brown and fleet. Her glance on him, as he came like ink on blotting-paper, was swift and nervous.

Maurice, poor fellow, hesitated, and glanced away from her. He turned his face aside.

He advanced with his face averted, shooting further glances at her, as she stood with the peculiar satiny gleam of the sun on her tanned skin. Somehow she did not seem so terribly naked. It was the golden-rose tan of the sun that clothed her.

"Hello, Maurice!" she said, hanging back from him. "I wasn't expecting you so soon."

"Well!" he said, "er—this is splendid, splendid! You are—er—splendid! Where is the boy?"

"There he is," she said, pointing down to where a naked urchin in the deep shade was piling fallen lemons together.

"Ah, yes! there he is! So there's the little man! Fine!" he said. He really was thrilled in his suppressed, nervous soul. "Hello, Johnny!" he called, and it sounded rather feeble. "Hello, Johnny!"

"I guess we'll go down to him," said Juliet, as she turned and went striding down the path. Her husband followed, watching the rosy, fleet-looking lifting and sinking of her quick hips, as she swayed a little in the socket of her waist. He was dazed with admiration, but also, at a deadly loss. What should he do with himself? He was utterly out of the picture, in his dark grey suit and pale grey hat, and his grey, monastic face of a shy business man.

"He looks all right, doesn't he?" said Juliet, as they came through the deep sea of yellow-flowering oxalis, under the lemon trees.

"Ah!—yes! yes! Splendid! Splendid!—Hello, Johnny! Do you know Daddy? Do you know Daddy, Johnny?"

The infant came and put a lemon in each of his father's open hands. Then he stood back to look.

"Take a coat off! Daddy take a coat off!" said the boy, squirming debonair away from the cloth.

He took off his coat and laid it carefully aside, then again took his son in his arms. The naked woman looked down at the naked infant in the arms of the man in his shirt sleeves. The boy had pulled off the father's hat, and Juliet looked at the sleek, black-and-grey hair of her husband, not a hair out of place. And utterly, utterly indoors. She was silent for a long time, while the father talked to the child, who was fond of his Daddy.

"Yes!—I can stay for a month. I think I can manage a month," he hesitated. Then he ventured a complicated, shy peep at her, and hid his face again.

She looked down at him, her alert breasts lifted with a sigh, as if a breeze of impatience shook them.

"I can't go back," she said slowly. "I can't go back on this sun. If you can't come here——"

She ended on an open note. He glanced at her again and again, furtively, but with growing admiration and lessening confusion.

"No!" he said. "This kind of thing suits you. You are splendid! No, I don't think you can go back."

He was thinking of her in the New York flat, pale, silent, oppressing him terribly. He was the soul of gentle timidity, in his human relations, and her silent, awful hostility after the baby was born, had frightened him deeply. Because he had realised she couldn't help it. Women were like that. Their feelings took a reverse direction, even against their own selves, and it was awful—awful! Awful, awful to live in the house with a woman like that, whose feelings were reversed even against herself! He had felt himself ground down under the millstone of her helpless enmity. She had ground even herself down to the quick, and the child as well. No, anything rather than that.

"I? Oh, I!—I can carry an the business; and—er—come over here for the holidays—as long as you like to stay. You stay as long as you wish." He looked, a long time down at the earth, then glanced up at her with a touch of supplication in his uneasy eyes.

"And I can: do anything I like?" She looked him straight in the eyes, challenging. And he was powerless against her rosy, wind-hardened nakedness.

"Er—yes!—I suppose so! So long as you don't make yourself unhappy—or the boy."

Again he looked up at her with, a complicated, uneasy appeal—thinking of the child; but hoping for himself.

There was a pause. The bells of the village were hastily clanging mid-day. That meant lunch.

She slipped into her grey crepe kimono, and fastened a broad green sash round her waist. Then she slipped a little blue shirt over the boy's head, and they went up to the house.

At table she watched her husband, his grey city face, hie fixed, black-grey hair, his very precise table manners, and his extreme moderation in eating and drinking. Sometimes he glanced at her, furtively, from under his black lashes. He had the gold-grey eyes of an animal that has been caught young, and reared completely in captivity.

They went on to the balcony for coffee. Below, beyond, on the next podere across the steep little gully, a peasant and his wife were sitting under an almond tree, near the green wheat, eating their mid-day meal from a little white cloth spread on the ground. There was a huge piece of bread, and glasses with dark wine.

Juliet put her husband with his back to this picture: she set facing. Because, the moment she and Maurice had come out on the balcony, the peasant had glanced up.

She knew him, in the distance, perfectly. He was a rather fat, very broad fellow of about thirty-five, and he chewed large mouthfuls of bread. His wife was stiff and dark faced, handsome, sombre. They had no children. So much Juliet had learned.

The peasant worked a great deal alone, on the opposite podere. His clothes were always very clean and cared-for, white trousers and a coloured shirt, and an old straw hat. Both he and his wife had that air of quiet superiority which belongs to individuals, not to a class.

His attraction was in his vitality, the peculiar quick energy which gave a charm to his movements, stout and broad as he was. In the early days before she took to the sun, Juliet had met him suddenly, among the rocks, when she had scrambled over to the next podere. He had been aware of her before she saw him, so that when she did look up, he took off his hat, gazing at her with shyness and pride, from his big blue eyes. His face was broad, sunburnt, he had a cropped brown moustache and thick brown eyebrows, nearly as thick as his moustache, meeting under his low, wide brow.

"Surely!" he replied, with that peculiar hot haste which characterised his movement. "My padrone would wish you to walk wherever you like on his land."

And he pressed back his head in the quick, vivid shy generosity of his nature. She had gone on quickly. But instantly she had recognised the violent generosity of his blood, and the equally violent farouche shyness.

Since then she had seen him in the distance every day, and she came to realise that he was one who lived a good deal to himself, like a quick animal, and that his wife loved him intensely, with a jealousy that was almost hate; because, probably, he wanted to give himself still, still further, beyond where she could take him.

One day, when a group of peasants sat under a tree, she had seen him dancing quick and gay with a child—his wife watching darkly.

Gradually Juliet and he had become intimate, across the distance. They were aware of one another. She knew, in the morning, the moment he arrived with his ass. And the moment she went out on to the balcony he turned to look. But they never saluted. Yet she missed him when he did not come to work on the podere.

Once, in the hot morning when she had been walking naked, deep in the gully between the two estates, she had come upon him, as he was bending down, with his powerful shoulders, picking up wood to pile on his motionless, waiting donkey. He saw her as he lifted his flushed face, and she was backing away. A flame went over his eyes, and a flame flew over her body, melting her bones. But she backed away behind the bushes, silently, and retreated whence she had come. And she wondered a little resentfully over the silence in which he could work, hidden in the bushy places. He had that wild animal faculty.

Since then there had been a definite pain of consciousness in the body of each of them, though neither would admit it, and they gave no sign of recognition. But the man's wife was instinctively aware.

And Juliet had thought: Why shouldn't I meet this man for an hour, and bear his child? Why should I have to identify my life with a man's life? Why not meet him for an hour, as long as the desire lasts, and no more? There is already the spark between us.

But she had never made any sign. And now she saw him looking up, from where he sat by the white cloth, opposite his black-clad wife, looking up at Maurice. The wife turned and looked too, saturnine.

And Juliet felt a grudge come over her. She would have to bear Maurice's child again. She had seen it in her husband's eyes. And she knew it from his answer, when she spoke to him.

"Why—er—yes! Yes, I should like to, while I'm here—I suppose it's quite private?"

There was a gleam in his eyes, a desperate kind of courage of his desire, and a glance at the alert lifting of her breasts in her wrapper. In his way, he was a man, too, he faced the world and was not entirely quenched in his male courage. He would dare to walk in the sun, even ridiculously.

But he smelled of the world, and all its fetters and its mongrel cowering. He was branded with the brand that is not a hallmark.

Ripe now, and brown-rosy all over with the sun, and with a heart like a fallen rose, she had wanted to go down to the hot, shy peasant and bear his child. Her sentiments had fallen like petals. She had seen the flushed blood in the burnt face, and the flame in the southern blue eyes, and the answer in her had been a gush of fire. He would have been a procreative sun-bath to her, and she wanted it.

Nevertheless, her next child would be Maurice's. The fatal chain of continuity would cause it.

*** END OF THE PROJECT GUTENBERG EBOOK SUN ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate .

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org .

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

The Project Gutenberg eBook of Sun

SUN

BY

D. H. LAWRENCE

E. ARCHER

68, RED LION STREET, LONDON, W.C.1.

September , 1926.

CONTENTS

SUN

I

II

III

IV

V

THE FULL PROJECT GUTENBERG LICENSE