And he stood and looked at her unmoved.
She strayed out, pallid and preyed-upon like a ghost, like one attacked by the tomb-influences which dog us.
And she was gone like a corpse, that has no presence, no connection.
He remained hard and vindictive.
Hermione came down to dinner strange and sepulchral, her eyes heavy and full of sepulchral darkness, strength.
She had put on a dress of stiff old greenish brocade, that fitted tight and made her look tall and rather terrible, ghastly.
In the gay light of the drawing-room she was uncanny and oppressive. But seated in the half-light of the diningroom, sitting stiffly before the shaded candles on the table, she seemed a power, a presence.
She listened and attended with a drugged attention.
The party was gay and extravagant in appearance, everybody had put on evening dress except Birkin and Joshua Mattheson.
The little Italian Contessa wore a dress of tissue, of orange and gold and black velvet in soft wide stripes, Gudrun was emerald green with strange net-work, Ursula was in yellow with dull silver veiling, Miss Bradley was of grey, crimson and jet, Fraulein Marz wore pale blue.
It gave Hermione a sudden convulsive sensation of pleasure, to see these rich colours under the candle-light.
She was aware of the talk going on, ceaselessly, Joshua's voice dominating; of the ceaseless pitter-patter of women's light laughter and responses; of the brilliant colours and the white table and the shadow above and below; and she seemed in a swoon of gratification, convulsed with pleasure and yet sick, like a REVENANT.
She took very little part in the conversation, yet she heard it all, it was all hers.
They all went together into the drawing-room, as if they were one family, easily, without any attention to ceremony.
Fraulein handed the coffee, everybody smoked cigarettes, or else long warden pipes of white clay, of which a sheaf was provided.
'Will you smoke?—cigarettes or pipe?' asked Fraulein prettily.
There was a circle of people, Sir Joshua with his eighteenth-century appearance, Gerald the amused, handsome young Englishman, Alexander tall and the handsome politician, democratic and lucid, Hermione strange like a long Cassandra, and the women lurid with colour, all dutifully smoking their long white pipes, and sitting in a half-moon in the comfortable, soft-lighted drawing-room, round the logs that flickered on the marble hearth.
The talk was very often political or sociological, and interesting, curiously anarchistic.
There was an accumulation of powerful force in the room, powerful and destructive.
Everything seemed to be thrown into the melting pot, and it seemed to Ursula they were all witches, helping the pot to bubble.
There was an elation and a satisfaction in it all, but it was cruelly exhausting for the new-comers, this ruthless mental pressure, this powerful, consuming, destructive mentality that emanated from Joshua and Hermione and Birkin and dominated the rest.
But a sickness, a fearful nausea gathered possession of Hermione.
There was a lull in the talk, as it was arrested by her unconscious but all-powerful will.
'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.
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 Rocchette,' said the Contessa at once.
'They are so languid,' said Ursula.
'The three witches from Macbeth,' suggested Fraulein 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.
The interplay 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.