Register Office wedding,
after which Frieda bestowed an earlier-wedding ring on Katherine
(who wore it to her grave). A regular matter the four discussed
was Lawrence's developing plan to flee from England and establish
a community of like-minded souls - his 'Rananim' - in America, or
almost anywhere else than England. Needless to say, Katherine's
colonial interests lay in the opposite direction - '[
] I felt
very antagonistic to the whole affair,' she noted in her Journal.9
On the literary front, Lawrence's mind was transforming The Sisters
- the Italian fragment that became The Rainbow and Women
in Love - into his next literary project, in which Katherine
and Murry were to play not-inconsiderable parts. An incident from
Christmas 1914 provided some literary fodder. Katherine, Murry,
Koteliansky, the artist Mark Gertler, Lawrence, and Frieda were
all staying at Gilbert Cannan's windmill cottage in Buckinghamshire,
when someone suggested putting on an improvised play. Things got
out of hand - the gathering was so inebriated that they were unable
to carve the Christmas pig - and the play descended towards a bacchanalia,
with Katherine flirting outrageously with Gertler. This incident
gave Lawrence the episode in Women in Love, where Gudrun
goes off with the artist Loerke.10
The friendship continued into 1915, though October was a bad month
for both Lawrence and Katherine. His new novel The Rainbow
was suppressed, and Katherine's younger brother Leslie was blown
up in France. Yet in 1916 the relationship between the Lawrences
and the Murrys initially flourished, while Lawrence was writing
Women in Love and (unbeknown to them) basing part of the
characters of Gudrun Brangwen and Gerald Crich on Katherine and
Murry. The previous year Katherine and Murry had met the 'the Blooms
Berries' (as Katherine called them) and had been enjoying the attractions
and divertissements of Lady Ottoline Morrell's bucolic salon at
Garsington. But in October 1916 the increasingly-impoverished Lawrences
(Sons and Lovers was not a commercial success) were obliged
to retreat to Cornwall, where Katherine and Murry soon joined them
at Higher Tregerthen, in what Lawrence (now that he was prevented
by the military authorities from going to America) hoped would be
an interim way-station on the road to Rananim.
Yet the ménage a quatre at Higher Tregerthen did not prove
a happy one. Frieda was pining for the children she had left behind,
while Lawrence seemed to prefer the company of a local farm boy
to that of Frieda (when the two weren't throwing pots and pans at
each other).11 As well, Lawrence was pursuing his new-found interest
in 'dark gods', which took the form of fostering a 'blood-brotherhood'
with Murry (to the disapproval of Katherine). To add to the general
atmosphere of stress and anxiety, the Lawrences were under surveillance
by the military, who thought that Frieda might be signalling to
German submarines in the Bristol Channel. Lawrence, too, was being
harassed by the army, which was keen for him 'to do his bit'. Finally,
it was all too much for Katherine, and she and Murry decamped to
a less-remote cottage on the other side of Cornwall (where there
were 'less rocks').12
Nevertheless, her belief
in Lawrence was unshaken. In August 1916, when she overheard in
the Cafe Royal a group of people deriding his recently-published
book of poems Amores, she went up to them and snatched the book
away, before stomping out - an incident Lawrence put into Women
in Love in the chapter 'Gudrun in the Pompadour'.
The last time Lawrence and Katherine saw each other in theflesh
was in October 1918, after the Murrys had taken a house in Hampstead,
only to find that the Lawrences were
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already ensconced nearby.
When Gertler told Katherine the Lawrences were 'just around the
corner', she confided to Ottoline her fear that quarrels would once
more break out between Lawrence and Murry. 'Every time the bell
goes I hear Frieda's 'Well Katherina - here we are! And I turn cold
with horror.' 13 Yet a few days later Katherine also reported to
Ottoline that Lawrence had been 'running in and out all week'.
The following year Katherine's chronic tubercular condition worsened,
and she once more attempted to find relief in Italy. Lawrence and
Frieda themselves went abroad in late 1919. But there was to be
no meeting with Katherine. A low-point in their relationship came
a few months later when Katherine apparently received a letter from
Lawrence, who was on Capri. (We only have Murry's - somewhat suspect
- word for what it might originally have said.) He quotes Katherine:
'Lawrence sent me a letter today. He spat in my face and threw filth
at me and said: 'I loathe you. You revolt festering in your consumption
[...]. You are a loathsome reptile - I hope you will die.'14
Notwithstanding that, Katherine and Lawrence once more healed their
fractured relationship, and on 20 January 1922 she noted in her
Journal: 'I suppose it is the effect of isolation that I
can truly say I think of de la Mare, Tchehov, Kotelianksy, Tomlinson,
Lawrence, Orage, every day. They are part of my life
.' 15
She also wrote to Murry, just before ending up at Gurdjieff's 'clinic'
at Fountainebleu, saying, 'Yes, I care for Lawrence. I have thought
of writing to him and trying to arrange a meeting after I leave
Paris - suggesting I join them until the spring'. 16 But this was
not to be, and Katherine died at the clinic on 9 January 1923.
Yet for Lawrence, those
five eventful years - 1913-1918 - had been highly creative ones.
Much of the time he was composing and polishing what were to become
his two major novels, The Rainbow and Women in Love.
And it was with these novels that he began to encounter problems
when using actual people - his friends and acquaintances - as character-models
for his 'fiction'. That Lawrence based his novels on real people
and actual events is widely recognised (as his childhood friend,
George Neville, for one, confirmed 17). His main patron of the time,
Lady Ottoline Morrell, was especially angry over her portrayal as
Hermione Roddice in Women in Love 18. Her husband Philip
threatened to sue, as did another 'model', Philip Heseltine, whom
Lawrence depicted as Halliday in the same novel. Thenceforth, however,
Lawrence was more scrupulous with his various methods of camouflage.
The method he mainly
used was combining parts of one or more other real people to construct
a composite fictional character. In Women in Love, for example,
Gudrun is not a full portrait of Katherine, but rather an amalgam
made up of some of her characteristics and portraying her in episodes
based on actual events (such as the Cafe Royale incident). He also
portrayed aspects of Katherine in several short stories, such as
Smile, and more particularly in the guise of Anabel in his 1920
play Touch and Go - alongside Gerald, who is clearly a composite
depiction of Murry.19 Though these representations of elements of
Katherine's personality have been acknowledged by others, there
is a depiction of Katherine in another Lawrence novel that, I believe,
has not been previously identified.
When I first read The
Lost Girl 20 some years ago I was struck by the name Lawrence
had given the 'Red Indian' troupe of performers in the novel - the
Natcha-Kee-Tawara. To my antipodean ear, the name ' Lawrence had
given the 'Red Indian' troupe of performers in the novel - the Natcha-Kee-Tawara.
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