And Miriam also refused to be approached. She was afraid of being set at nought, as by her own brothers. The girl was romantic in her soul. Everywhere was a Walter Scott heroine being loved by men with helmets or with plumes in their caps. She herself was something of a princess turned into a swine-girl in her own imagination. And she was afraid lest this boy, who, nevertheless, looked something like a Walter Scott hero, who could paint and speak French, and knew what algebra meant, and who went by train to Nottingham every day, might consider her simply as the swine-girl, unable to perceive the princess beneath; so she held aloof.
Miriam is portrayed as a romantic character struggling with her self-image and social fears. She hesitates to interact with a boy who resembles a hero from a Walter Scott novel because she fears he might see her as merely a swine-girl instead of recognizing her true potential and nobility as a princess in her own mind. This inner conflict causes her to withdraw, highlighting her insecurities and the gap between her aspirations and reality.
Her reluctance to engage with the boy underscores the theme of unrequited love and self-worth. Despite her romantic ideals and yearning for a grander existence, Miriam's anxieties prevent her from connecting with someone who might appreciate her true self. The juxtaposition of her dreams and her perceived social status creates a poignant exploration of identity and the struggles of young love in D.H. Lawrence's narrative.
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Race of Cain, ascend to heaven, And cast God down upon the earth!
