Into the Greenwood

Young Couple at the Bal de la Montagne Sainte-Geneviève, Paris, c. 1932

Context: Forster's first version of Maurice, finished in 1914, has a rather different ending than the final published version (no hotel scene, and no boathouse reunion). See here.

Forster's first draft for Maurice is, in my opinion, the rawest in terms of boldly displaying the love shared between Maurice and Alec. This version shows much more of Alec's emotion and tenderness, as well as of Maurice's sentiments and affection towards Alec. It is definitely not as subtle as the final version, with quite a few straightforward declarations of love.

Hence, I'm disappointed that Forster did not manage to integrate at least some of these 1914 texts into the final version: it would've made the love between Maurice and Alec much more pronounced and convincing, as well as made Alec a character with more depth and feelings.

Having read Forster's first draft for Maurice, I share below some of these moments between Maurice and Alec that are not in the final version (ordered on how lovely I think each moment is. Bolded texts are the highlights).

1. After running into Mr. Ducie in the museum and Maurice bursting out to Alec.

M: "I'd possibly have blown out my own brains."

A: "Why?" he asked, stopping dead.

M: "I should have known by that time that I loved you."

A: "You can't, sir, you couldn't."

M: "I love you, sir be damned."

A: "Maurice"—never before had the word been spoken—"you're an angel."

M: "I don't want to hear that."

A: "Maurice, Maurice" his voice failed also; he had once said the rest to a woman. "Maurice - what you've said I feel. Understand?"

M: "I think so, but I want to be sure. Remember those rose bushes in the other rain? - Look at me hard - That's right. That'll do. It's settled." (Maurice is referring to the moment when Alec ran in the rain across the rose bushes at Penge just to see Maurice's face.)

2. The conversation after Maurice refuses to stay the night with Alec—a scenario that only happens in the first draft in 1914. Be prepared for tears.

A: "Come just for a little to me."

M: "If I came it would be for ever."

A: "Ever's the best."

M: "Why, man, you sail Thursday."

Alec found no answer.

...: here's when Maurice explains in a long paragraph why they can't be together because of their class difference and the fact that they're both men. But in this long paragraph Maurice pretty much brings up wanting to marry Alec—"We can't have the particular thing we want (which is roughly speaking marriage) unless we sacrifice something else"

M: I thought from that letter of yours you might want me to come. But, Alec, come where to?"

A: "I'd know if you weren't a gentleman," Alec said. "We'd a' found work together as mates."

M: "Yes, and if you were a gentleman, I'd take you this minute to my home.

A: "I'd a' been what young Clive was to you, then."

M: "He's a saint and we aren't. Leave out him."

A: "I'd a' been yours till death, then." ("I would've been yours till death, then")

M: "Out there if you get a chance to marry, take it. That's what I wish.

A: "Maurice, what'll you do without me, dear? Have you no other friends?"

Maurice dared not look forward to his own future. He rushed on the parting.

M: "And if there's ever a child, I shan't ever have that, so remember me."

A: "I'll remember you, child or none. God bless you. O God bless you, and be with you if I can't."

3. Right after Maurice puts his hand on Alec's back in the museum

"Yes, awfully serious," remarked Maurice, and rested his hand on Alec's shoulder, so that the fingers touched the back of the neck, doing this merely because he knew that he loved Alec, that he loved him not as a second Dickie Barry, but deeply, tenderly, for his own sake, beneath weakness and vulgarity.

4. In the museum, Alec in pain and acting cute

[Alec] had bitten his lip, his eyes were red too; face and body were cramped with pain.

M: "Alec -"

A: "Alec am I?"

M: "I'm sorry I used that other name of yours."

A: "Don't speak to me," he growled, "let me go, you calling me Alec when I"

M: "Did you give me away then on purpose?"

A: "You're correct.

M: "Was it to get money - or only to do me harm?"

A: "I couldn't say."

M: "Come, let's get away where we can finish our talk."

A: "What? What do you say?"

M: "Come along, Alec."

A: "Do you call me that still?"

M: "Come away, man, don't break down for God's sake...." He took hold of [Alec's] arm. The touch was not reminiscent; it hinted at a relation to come.

A: "Oh but you must, I want it." Alec yielded.

5. Maurice at night thinking about Alec's letter

He tried to forget the treacherous letter, but it stole back to his mind, and he suffered most during moments in bed, when it masqueraded as a real love letter, and offered him the completeness that Clive enjoyed with Anne.

(This is brilliant writing because we, as readers, know that Alec's letter is a love letter, yet Maurice's "muddles" prevent him from seeing it as a love letter, and it is only at night, when he's craving Alec's presence, that he's able to allow himself to see the truth and succumb to his feelings for Alec.

Here, again, is also a suggestion of Maurice wanting to marry Alec, like how Clive married Anne)

6. One version of Maurice's and Alec's first night together

A: "Good evening - sir, said the low voice. Was you wanting something? Couldn't you sleep?" It was the gamekeeper.

On your rounds? gasped Maurice, trying to sound natural, and felt corduroys. Their touch disconcerted him. Whither was he tending from Clive into what companionship?

A: "Just wait till I've set down my gun - eh aren't you trembling?"

M: "So are you - ah don't."

A: "Don't you like that?"

M: "I don't know."

A: "Christ you're fussy. Don't you like me to touch you."

M: "That's you lad."

A: "Yes."

Source details and larger version.

Koloman Moser, Allegory of a Youth, ca. 1914