The White Peacock — Background and Themes
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The source record for The White Peacock — Background and Themes measures this digital text at 131,267 words, 9 hr 31 min estimated reading time, and 30 detected text sections.
The text analysis averages about 13.4 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Bildungsromans,” connecting these edition facts with the source record’s subject description.
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- Source metadata20 pts
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e past bearing, with his grand know-all way, and his heavy smartness—I can’t beat it. And the way mother humbles herself to him——!”
“It makes you wild,” said I.
“Wild!” she echoed, her voice vibrating with nervous passion. We walked on in silence, till she asked.
“Have you brought me those verses of yours?”
“No—I’m so sorry—I’ve forgotten them again. As a matter of fact, I’ve sent them away.”
“But you promised me.”
“You know what my promises are. I’m as irresponsible as a puff of wind.”
She frowned with impatience and her disappointment was greater than necessary. When I left her at the corner of the lane I felt a sting of her deep reproach in my mind. I always felt the reproach when she had gone.
I ran over the little bright brook that came from the weedy, bottom pond. The stepping-stones were white in the sun, and the water slid sleepily among them. One or two butterflies, indistinguishable against the blue sky, trifled from flower to flower and led me up the hill, across the field where the hot sunshine stood as in a bowl, and I was entering the caverns of the wood, where the oaks bowed over and saved us a grateful shade. Within, everything was so still and cool that my steps hung heavily along the path. The bracken held out arms to me, and the bosom of the wood was full of sweetness, but I journeyed on, spurred by the attacks of an army of flies which kept up a guerrilla warfare round my head till I had passed the black rhododendron bushes in the garden, where they left me, scenting no doubt Rebecca’s pots of vinegar and sugar.
The low red house, with its roof discoloured and sunken, dozed in sunlight, and slept profoundly in the shade thrown by the massive maples encroaching from the wood.
There was no one in the dining-room, but I could hear the whirr of a sewing-machine coming from the little study, a sound as of some great, vindictive insect buzzing about, now louder, now softer, now settling. Then came a jingling of four or five keys at the bottom of the keyboard of the drawing-room piano, continuing till the whole range had been covered in little leaps, as if some very fat frog had jumped from end to end.
“That must be mother dusting the drawing-room,” I thought. The unaccustomed sound of the old piano startled me. The vocal chords behind the green silk bosom,—you only discovered it was not a bronze silk bosom by poking a fold aside,—had become as thin and tuneless as a dried old woman’s. Age had yellowed the teeth of my mother’s little piano, and shrunken its spindle legs. Poor old thing, it could but screech in answer to Lettie’s fingers flying across it in scorn, so the prim, brown lips were always closed save to admit the duster.
Now, however, the little old maidish piano began to sing a tinkling Victorian melody, and I fancied it must be some demure little woman with curls like bunches of hops on either side of her face, who was touching it. The coy little tune teased me with old sensations, but my memory would give me no assistance. As I stood trying to fix my vague feelings, Rebecca came in to remove the cloth from the table.
“Who is playing, Beck?” I asked.
“Your mother, Cyril.”
“But she never plays. I thought she couldn’t.”
“Ah,” replied Rebecca, “you forget when you was a little thing sitting playing against her frock with the prayer-book, and she singing to you. _You_ can’t remember her when her curls was long like a piece of brown silk. _You_ can’t remember her when she used to play and sing, before Lettie came and your father was——”
Rebecca turned and left the room. I went and peeped in the drawing-room. Mother sat before the little brown piano, with her plump, rather stiff fingers moving across the keys, a faint smile on her lips. At that moment Lettie came flying past me, and flung her arms round mother’s neck, kissing her and saying:
“Oh, my Dear, fancy my Dear playing the piano! Oh, Little Woman, we never knew you could!”
“Nor can I,” replied mother laughing, disengaging herself. “I only wondered if I could just strum out this old tune; I learned it when I was quite a girl, on this piano. It was a cracked one then; the only one I had.”
“But play again, dearie, do play again. It was like the clinking of lustre glasses, and you look so quaint at the piano. Do play, my dear!” pleaded Lettie.
The narrator, perched on alder roots, watches “shadowy fish slide through the gloom of the mill-pond” and reflects on the valley’s aged stillness. This opening tableau—a young man observing, a friend interrupting with a lazy “Well, what is there to look at?”—immediately establishes the novel’s dual focus: a keen eye for natural detail and the social dynamics that ripple through the rural landscape. The friend, George, is a “young farmer, stoutly built, brown eyed,” whose indolent manner contrasts with the narrator’s more brooding sensibility.
From these first pages, Lawrence signals that the story will unfold through a consciousness attuned to mood and memory, not through rapid plot. The mill-pond, the monks, the “tumult of life which had once quickened the valley” all hint at a world layered with past and present, where human relationships are as still and charged as the water.
The Narrator as Observer
The first-person narrator, Cyril, is present in the opening scene but remains largely a watcher. He stands “perched on the alder roots” while George lies on the bank, calling it “all right for a doss.” Cyril’s reflective comment—“the place seemed old, brooding over its past”—is met with George’s indulgent smile. This dynamic recurs: Cyril notices, interprets, and reports, while others act or resist interpretation. The excerpts do not reveal Cyril’s full backstory or his relationship to the other characters beyond friendship, but his voice—lyrical, slightly detached—shapes every description. Readers should attend to what Cyril chooses to see and what he leaves unsaid, as his perspective colors the entire narrative.
Lettie’s Restlessness and the Love Triangle
Lettie emerges as a figure of tension. In one excerpt, she plays the piano “softly, languidly, aimlessly” while Leslie, her suitor, accuses her of sentimentalizing over “that milkman”—likely George. Leslie’s outburst—“You tantalising little——” and his slammed door—reveals a volatile courtship. Later, Lettie complains to her mother of being “buried in this dead little hole” and feeling “as if I might just as well never have lived at all.” Her mother’s dry reply—“Then I’d go to bed”—underscores a generational gap in understanding. The arrival of a motor-car, which Lettie hears and responds to with expectant stillness, suggests a pivot in her affections. The excerpts do not resolve the triangle, but they establish Lettie as a character torn between security and impulse.
The Weight of Place and Season
Lawrence’s descriptions root the emotional drama in a specific landscape. The opening pond is “gathered in the musing of old age,” with “thick-piled trees” and “weeds stood crowded and motionless.” Later, a garden scene in spring shows “trees were ‘uttering joyous leaves’” and “the japonica flamed on the wall.” These details are not mere backdrop; they mirror the characters’ moods. Lettie’s restlessness is set against the thrushes’ clamor and the cherry-blossom’s gentle swing. The mill itself, with its “thin stream falling through the mill-race,” murmurs of a lost “tumult of life.” Readers should note how often the natural world is personified or given agency—it is not passive setting but an active presence that comments on the human action.
Dialogue as a Tool of Indirection
Much of the tension in the excerpts is carried by what characters do not say. Lettie and Leslie’s exchange is a series of provocations and evasions: “What do you mean by it?” he demands; she replies with “What a worry you are!” and continues playing. When Lettie tells her mother she feels like doing “something desperate,” her mother responds, “Very well, then, do it, and have done.” The dialogue is clipped, loaded with subtext. George’s speech, too, is laconic—his “It’s all right for a doss” dismisses Cyril’s philosophizing. Lawrence uses these verbal sparrings to reveal power struggles and unspoken desires. The excerpts offer no interior monologue for Lettie or George; their motives must be inferred from tone and action, making the reader an active interpreter.
As a first novel, The White Peacock already displays Lawrence’s characteristic blend of sensuous nature writing and psychological tension. The excerpts offer only fragments of the full story—the love triangle, the narrator’s role, the outcome of Lettie’s choices remain unresolved. Readers should approach the text as a study in mood and relationship rather than a plot-driven narrative. Pay attention to the rhythm of the prose, the weight given to landscape, and the gaps in dialogue. The novel rewards those who read slowly, as its meaning lies as much in what is withheld as in what is said.
I’ve often thought the mill-pond stillness in The White Peacock carries a patience that reminds me of another solitary observer—the quiet exile in An American — Background and Themes. Both hold their breath, watching people choose poorly, and neither ever raises its voice. Just a hush, a shared knowing, like two old friends nodding across a library shelf.
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