“Yet the lovely cloud of green and summer lustre is within” (30)
A Polarized Flow, like love.
It is all a most artificial business of living according to prescription, keeping every impulse strangled, and ending where it begins, in materialism pure and simple.
- D.H. Lawrence, The Symbolic Meaning: Studies in Classic American Literature (55)
Vincent Scully mentioned this D.H. Lawrence book in one of his essays on architecture. Perhaps my interests have some collecting force that draw me to and around Lawrence, but I find that he is referenced again and again in other books that I read. Here in The Symbolic Meaning is a group of essays on American Literature. Poe, Melville, Hawthorne, and Whitman are among the writers that Lawrence cites to discuss his theory of the American writer.
Only art-utterance reveals the whole truth of a people. And the American art-speech reveals what the American plain speech almost deliberately conceals.[…] And this, again, is one of the outstanding qualities of American literature: that deliberate ideas of the man veil, conceal, obscure that which the artist has to reveal. (18)
Lawrence hits hard on all of his most passionate philosophies and it’s interesting to read the introduction which seeks to untangle the different and sometimes opposing versions of each essay. It would seem that unlike many writers, when Lawrence revised he wholesale re-wrote - sometimes to ill effect. Lawrence was a unique thinker better left in his primary voice, as E. M. Foster so eloquently stated:
Lawrence “was both a preacher and a poet, and some people, myself included, do not sympathize with the preaching. Yet I feel that without the preaching the poetry could not exist. With some writers one can disentangle the two, with him they are inseparable.” (8)
While there are some 2013 politically incorrect moments, Lawrence is so forward at heart that he is easily forgiven. His essay on Fenimore Cooper’s Leatherstocking Novels (Last of the Mohicans, et all) is wonderful, perfectly describing what I loved about those books; his essay on the symbolism of the sea to American writers such as Melville is perceptive and fascinating; his appreciation for women, as discussed in the Hawthorne essay regarding The Scarlett Letter, as whole female humans is quite beyond the reach of most people still, depressingly, to this day.
In the old days, when women turned in her terrible recoil, she became Astarte, the Syria Dea, Aphrodite Syriaca, the Scarlett Woman. To-day, in her recoil the Scarlet Woman becomes the Sister of Mercy. She cannot help it. She must, in her upper mind, keep true to the old faith that man has given her, the belief in love and self-sacrifice. To this she is, as it where, hypnotized or condemned. (132)
His humorous yet heartfelt remonstrations against the “great Greek-Christian will-to-knowledge” that result in such American respectables as the “admirable little monster of a Franklin,” (Yes, Benjamin) are what I love about his writing. When he states that the “modern virtue is a machine-principle,” we can only lament that things are far worse now. But he foresaw that.
Now, after two thousand years, having established our knowledge and even our experience all in one sort, a halfness, we find ourselves in a prison. We reach the condition when we are so imprisoned in the cul de sac of our mutilated psyche that we are in the first stages of that madness and self-destruction into which the ancients fell when they were imprisoned and driven mad within the cul de sac of the sensual body. Quos vult perdere Jupiter, dementat prius. (71)
That Latin bit basically means- those that Jupiter (God) wishes to destroy, he first drives mad. And this is Lawrence’s point- which he never ceases to fit into whatever it is he is talking or writing about. He sees a duality and a disconnect. Where the pagans of old veered toward sensuality, the modern man veers towards knowledge. Both extremes are equally destructive.
Whereas there is a “magnificence of futurity flooding the heart,” in a liberated and appeased soul, the psychic toll to future generations when we cut ourselves off from one half of our soul is tragic.
What is the use to me if a man sacrifice and murder his living desires for me, only to return in death and demand the sacrifice again of me, tenfold? What is the use of a mother’s sacrificing herself for her children if after death her unappeased soul shall perforce return upon the child and exact from it all the fulfillment that should have been attained in the living flesh, and was not? (73)
Lawrence, of course, explores these esoteric themes in his novels to poignant and moving effect. If his deeply held passion for life was sometimes equaled by his profound disgust in his fellow man, there was at least a true commitment to finding our way back to the life force with a fervency of gratitude and communion. His work was influential to all serious thinkers and the artistically sensitive of his age and beyond. He believed in the vibrancy of life, not the stagnant extremes of the idea and the ideal which disturbed the “natural reciprocity and natural circuits” of the “breath of life.”
KNOWING and BEING are opposites, antagonistic states. The more you know, exactly, the less you are. The more you are, in being, the less you know.
This is the great cross of man, his dualism. The blood-self, and the nerve-brain self.
Knowing, then, is the slow death of being. Man has his epochs of being , and his epochs of knowing. It will always be a great oscillation. The goal is to know how not-to-know. (178)
Other books by or about D.H.Lawrence:
Women in Love - Fog of Love
Lady Chatterley’s Lover - Love’s Lambency
Sons and Lovers Part 1 - Kicking Against the Pricks
Sons and Lovers Part 2 - Flickering Sanity
Apocalypse - Start With The Sun
Lawrence, An Unprofessional Study by Anaïs Nin - On Impulse
*”A polarized flow, like love” from the essay Dana’s Two Years Before The Mast (181)