By Attilio Frajese
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Gudrun looked at Ursula, almost with resentment, as if brought to bay. ‘I haven’t thought about him: l’ve refrained,’ she said coldly. ‘Yes,’ wavered Ursula, and the conversation was really at an end. The sisters found themselves confronted by a void, a terrifying chasm, as if they had looked over the edge. They worked on in silence for some time. Gudrun’s cheek was ﬂushed with repressed emotion. She resented its having been called into being. ’ she asked at length, in a voice that was too casual.
Rowing back across the lake together in what is now deep twilight they hear a commotion. Two people are drowning. Gerald orders for all lights to be put out and dives into the dark water to look for the drowning pair. Gudrun waits, after a few moments Gerald surfaces from the water and grabs the boat. And we have this: He was not like a man for her, he was an incarnation, a great phase of life. She saw him press the water out of his face, and look at the bandage on his hand. And she knew it was all no good, and that she would never go beyond him, he was the ﬁnal approximation of life to her.
Most of all, the word suggests, if only because of its passive form, some responsibility on society’s part for having pushed the alienated person out. It thus makes society at once an attractive place to be (nobody wants to be pushed out), but cruel. Not only is this not evident in the English (Gudrun never expresses her desire to be part of the family, nor complains about being excluded), but these connotations obscure the spatial simplicity of the metaphor Lawrence is setting up for the novel’s conﬂicts.