The Last Laugh — Reading Companion

(3 User reviews)   756
Lawrence, D. H. (David Herbert), 1885-1930 Project Gutenberg 2022 Not confirmed
Short stories; England -- Fiction; Paranormal fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

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Words 9,172
Reading time 40 min
Text sections 1

This digital edition of The Last Laugh — Reading Companion is described by source-level measurements including 9,172 words, 40 min estimated reading time, and 1 detected text section.

The text analysis averages about 12.5 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 “Short stories,” connecting these edition facts with the source record’s subject description.

D. H. Lawrence's story opens on a snowy Hampstead night with three friends parting, then follows a deaf woman's encounter with a mysterious laughing figure that upends her perceptions of love and self. The narrative shifts from sardonic dialogue to introspective musing, marked by a change in pace and voice.
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Editorial Edition Score 4.4/5

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Read the Text

There was a little snow on the ground, and the church clock had just struck midnight. Hampstead in the night of winter for once was looking pretty, with clean, white earth and lamps for moon, and dark sky above the lamps.

A confused little sound of voices, a gleam of hidden yellow light. And then the garden door of a tall, dark Georgian house suddenly opened, and three people confusedly emerged. A girl in a dark-blue coat and fur turban, very erect; a fellow with a little dispatch case, slouching; a thin man with a red beard, bareheaded, peering out of the gateway down the hill that swung in a curve downward toward London.

“Look at it! A new world!” cried the man in the beard ironically, as he stood on the step and peered out.

“No, Lorenzo! It’s only whitewash!” cried the young man in the overcoat. His voice was handsome, resonant, plangent, with a weary, sardonic touch.

As he turned back, his face was dark in shadow.

The girl with the erect, alert head, like a bird, turned back to the two men.

“What was that?” she asked, in her quick, quiet voice.

“Lorenzo says it’s a new world. I say it’s only whitewash,” cried the man in the street.

She stood still and lifted her woolly, gloved finger. She was deaf and was taking it in.

Yes, she had got it. She gave a quick, chuckling laugh, glanced very quickly at the man in the bowler hat, then back at the man in the stucco gateway, who was grinning like a satyr and waving good-by.

“Good-by, Lorenzo!” came the resonant, weary cry of the man in the bowler hat.

“Good-by!” came the sharp, night-bird call of the girl.

The green gate slammed, then the inner door. The two were alone in the street, save for the policeman at the corner. The road curved steeply downhill.

“You’d better mind how you _step_!” shouted the man in the bowler hat, leaning near the erect, sharp girl, and slouching in his walk. She paused a moment, to make sure what he had said.

“Don’t mind me, I’m quite all right. Mind yourself!” she said quickly. At that very moment he gave a wild lurch on the slippery snow, but managed to save himself from falling. She watched him, on tiptoes of alertness. His bowler hat bounced away in the thin snow. They were under a lamp near the curve. As he ducked for his hat he showed a bald spot, just like a tonsure, among his dark, thin, rather curly hair. And when he looked up at her, with his thick, black brows sardonically arched, and his rather hooked nose self-derisive, jamming his hat on again, he seemed like a satanic young priest. His face had beautiful lines, like a faun, and a doubtful, martyred expression. A sort of faun on the cross, with all the malice of the complication.

“Did you hurt yourself?” she asked, in her quick, cool, unemotional way.

“No!” he shouted derisively.

“Give me the machine, won’t you?” she said, holding out her woolly hand. “I believe I’m safer.”

“Do you _want_ it?” he shouted.

“Yes, I’m sure I’m safer.”

He handed her the little brown dispatch case, which was really a Marconi listening machine for her deafness. She marched erect as ever. He shoved his hands deep in his overcoat pockets and slouched along beside her, as if he wouldn’t make his legs firm. The road curved down in front of them, clean and pale with snow under the lamps. A motor car came churning up. A few dark figures slipped away into the dark recesses of the houses, like fishes among rocks above a sea bed of white sand. On the left was a tuft of trees sloping upward into the dark.

He kept looking around, pushing out his finely shaped chin and his hooked nose as if he were listening for something. He could still hear the motor car climbing on to the Heath. Below was the yellow, foul-smelling glare of the Hampstead tube station. On the right the trees.

The girl, with her alert, pink-and-white face, looked at him sharply, inquisitively. She had an odd, nymphlike inquisitiveness, sometimes like a bird, sometimes a squirrel, sometimes a rabbit; never quite like a woman. At last he stood still, as if he would go no farther. There was a curious, baffled grin on his smooth, cream-colored face.

“James,” he said loudly to her, leaning toward her ear. “Do you hear somebody _laughing_?”

“Laughing?” she retorted quickly. “Who’s laughing?”

“I don’t know. _Somebody!_” he shouted, showing his teeth at her in a very odd way.

“No, I hear nobody,” she announced.

The story begins with a precise, wintry Hampstead scene: snow on the ground, midnight church clock, and three figures emerging from a garden door. The dialogue is immediate and sardonic—Lorenzo calls the snow a 'new world,' while Marchbanks retorts it's 'only whitewash.' The narrative voice is sharp, with quick character sketches: the girl 'erect, alert head, like a bird,' Marchbanks 'slouching' with a 'handsome, resonant, plangent' voice. The opening moves at a brisk, observational pace, capturing the physical comedy of Marchbanks slipping on snow and losing his bowler hat, revealing a 'bald spot, just like a tonsure.'

This initial section establishes a tone of ironic detachment and social friction, with the deaf girl using a Marconi listening machine. The pace is brisk, driven by dialogue and physical detail.

From Dialogue to Interior Monologue

After the departure of Lorenzo, the narrative shifts dramatically. The external, dialogue-driven scene gives way to the deaf girl's extended interior monologue. The prose becomes looser, more repetitive, and introspective. She muses on the laughing man she glimpsed among holly bushes: 'Such laughter! He laughs longest who laughs last. He certainly will have the last laugh.' The repetition of 'absurd' and 'ridiculous' marks her self-questioning. The pace slows, dwelling on her thoughts about Marchbanks and her past 'determination to save him from himself.' This shift in voice—from clipped, ironic dialogue to flowing, self-reflective prose—creates a distinct change in narrative rhythm.

The Laugh as a Disruptive Force

The laughing man is not described in full; instead, his presence is conveyed through sound and effect. The girl hears 'a deep, laughing voice' when no one is visible. The laugh is linked to a 'curious smell of almond blossom' and a sense that the sky has 'crackled and rolled back, like an old skin.' Lawrence uses these sensory details to suggest a supernatural or transformative force. The girl's reaction is not fear but wonder: 'How wonderful of that man to come and laugh like that and make the sky crack.' The laugh disrupts her previous certainties about love and relationships, leading her to question 'the ridiculousness of being in love.' The narrative pace here is meditative, with short, breathless sentences mimicking her excitement.

Shifts in Temporal and Psychological Pace

The story's pacing is uneven, mirroring the protagonist's psychological state. Early scenes are tightly timed—midnight, snowy streets, a brief encounter. Later, time becomes elastic as she muses alone. The phrase 'she went off into a muse about Marchbanks' signals a drift into memory and speculation. The narrative jumps between present observation and past reflection, as when she recalls 'she and he were such friends. They had been friends like that for almost two years.' This temporal fluidity contrasts with the opening's linear, clock-driven action. The change in pace underscores her growing detachment from conventional time and social norms, culminating in her wish that the laughing man might 'just touch her.'

Readers should attend to how Lawrence uses the deaf girl's disability not as a limitation but as a filter that heightens other senses—smell, sight, and especially the quality of laughter. The narrative's shifts in pace and voice are not arbitrary; they trace a movement from social comedy to personal epiphany. The laughing figure remains ambiguous, never fully explained, which invites interpretation without resolution. This story rewards attention to its rhythmic changes and the way Lawrence lets a single, uncanny laugh unravel a character's worldview.

I’ve often thought about that deaf woman on Hampstead Heath, how Lawrence’s laughter unsettles her into seeing her own guarded heart. It reminds me of another book, Shaming the Speed Limit — Context and Discussion, which holds a similar quiet thread—how our hurried selves sometimes need a stranger’s oddity to pause, to listen past the noise. A kinship found between pages.

Emma Torres
3 weeks ago

John Clark
2 weeks ago

Noah Walker
1 month ago

5
5 out of 5 (3 User reviews )

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