The Spooky Art (43 page)
It is a modest example, but then it is a modest act and Constance Chatterley is exhausted with the emotional costs of her previous world. Since she and her new lover will make other kinds of love later, the prosecutor will have cause enough to be
further enraged, but the example can show how the tone of Lawrence’s prose is poisoned by the acids of inappropriate comment. “Mellors concedes one kiss on the navel and then gets to business.” Indeed! Take off your business suit, Comrade Millett.
But it is hardly the time for a recess. We will want to look at another exhibit. The quoted lines up for indictment are from
Women in Love:
Having begun by informing Ursula he will not love her, as he is interested in going beyond love to “something much more impersonal and harder,” he goes on to state his terms: “I’ve seen plenty of women, I’m sick of seeing them. I want a woman I don’t see
…
I don’t want your good looks, and I don’t want your womanly feelings, and I don’t want your thoughts nor opinions nor your ideas.” The “new” relationship, while posing as an affirmation of the primal unconscious sexual being, to adopt Lawrence’s jargon, is in effect a denial of personality in the woman.
Or is it a denial of personality in Lawrence? Witness how our literary commissar will void the strength of Lawrence’s style by cutting off our acquaintance with the marrow of his sensibility, the air of his senses. For Lawrence is always alert to the quiet ringing of the ether, the quick retreat of a mood, the awe of the thought about to be said, then left unsaid, then said after all. But his remarks cannot be chopped out of their setting. A bruised apple at the foot of a tree is another reality from a bruised apple in the frigidaire.
There was silence for some moments.
“No,” he said. “It isn’t that. Only—if we are going to make a relationship, even of friendship, there must be something final and irrevocable about it.”
There was a clang of mistrust and almost anger in his voice. She did not answer. Her heart was too much contracted. She could not have spoken.
Seeing she was not going to reply, he continued, almost bitterly, giving himself away:
“I can’t say it is love I have to offer—and it isn’t love I want. It is something much more impersonal and harder—and rarer.”
There was a silence, out of which she said:
“You mean you don’t love me?”
She suffered furiously, saying that.
“Yes, if you like to put it like that. Though perhaps that isn’t true. I don’t know. At any rate, I don’t feel the emotion of love for you—no, and I don’t want to. Because it gives out in the last issues.
…”
How different is all this from “going beyond love to ‘something much more impersonal and harder,’ ” how much in fact we have the feeling they are in love.
“If there is no love, what is there?” she cried, almost jeering.
“Something,” he said, looking at her, battling with his soul, with all his might.
“What?”
He was silent for a long time, unable to be in communication with her while she was in this state of opposition.
“There is,” he said, in a voice of pure abstraction, “a final me which is stark and impersonal and beyond responsibility. So there is a final you, and it is there I would want to meet you—not in the emotional, loving plane—but there beyond, where there is no speech and no terms of agreement. There we are two stark, unknown beings, two utterly strange creatures, I would want to approach you, and you me. And there could be no obligation, because there is no standard for action there, because no understanding has been reaped from that plane. It is quite inhuman—so there can be no calling to book, in any form whatsoever—because one is outside the pale of all that is accepted, and nothing known applies. One can only follow the impulse, taking that which lies in front, and responsible for nothing, asking for nothing, giving nothing, only each taking according to the primal desire.”
Ursula listened to this speech, her mind dumb and almost senseless, what he said was so unexpected and so untoward.
“It is just purely selfish,” she said.
“If it is pure, yes. But it isn’t selfish at all. Because I don’t know what I want of you. I deliver
myself
over to the unknown, in coming to you, I am without reserves or defenses, stripped entirely, into the unknown. Only there needs the pledge between us, that we will both cast off everything, cast off ourselves even, and cease to be, so that that which is perfectly ourselves can take place in us.”
As we shall soon see, Lawrence will go further than this, he will come to believe that a woman must submit completely, bet
on it. Yet in that book where such submission takes place, in
The Plumed Serpent
, where Kate Leslie has her most profound sex with a man who insists on remaining a stranger and an Indian, the moral emerges that he wants her by the end, wants Kate Leslie just so deeply as she desires him. Lawrence’s point, which he refines over and over, is that the deepest messages of sex cannot be heard by taking a stance on the side of the bank, announcing one is in love, and then proceeding to fish in the waters of love with a creel full of ego. No, he is saying again and again, people can win at love only when they are ready to lose everything they bring to it of ego, position, or identity—love is more stern than war—and men and women can survive only if they reach the depths of their own sex down within themselves. They have to deliver themselves “over to the unknown.” No more existential statement of love exists, for it is a way of saying we do not know how the love will turn out. What message more odious to the technologist? So Millett will accuse him endlessly of patriarchal male-dominated sex. But the domination of men over women was only a way station on the line of Lawrence’s ideas—what he started to say early and ended saying late was that sex could heal, sex was the only nostrum which could heal, all other medicines were part of the lung-scarring smoke of factories and healed nothing, were poison, but sex could heal only when one was without “reserves or defenses.” And so men and women received what they deserved of one another. Since Women’s Lib has presented itself with the clear difficulty of giving modern woman a full hard efficient ego, Lawrence’s ideas could not be more directly in the way. Still, it is painful to think that, quickly as men are losing any sense of fair play, women—if Millett can model for her sex—are utterly without it. Maybe Millett is not so much Molotov as Vishinsky. What a foul exhibit must now be displayed!
Passive as she is, Connie fares better than the heroine of
The Plumed Serpent,
from whom Lawrentian man, Don Cipriano, deliberately withdraws as she nears orgasm, in a calculated and sadistic denial of her pleasure:
By a swift dark instinct, Cipriano drew away from this in her. When, in their love, it came back on her, the seething electric female ecstasy, which knows such spasms of delirium,
he recoiled from her.… By a dark and powerful instinct he drew away from her as soon as this desire rose again in her, for the white ecstasy of frictional satisfaction, the throes of Aphrodite of the foam. She could see that to him, it was repulsive. He just removed himself, dark and unchangeable, away from her.
The passage restored will be of interest to any jury looking for further evidence on the virtues or deterrents of the clitoral come:
She realised, almost with wonder, the death in her of the Aphrodite of the foam: the seething, frictional, ecstatic Aphrodite. By a swift dark instinct, Cipriano drew away from this in her. When, in their love, it came back on her, the seething electric female ecstasy, which knows such spasms of delirium, he recoiled from her. It was what she used to call her “satisfaction.” She had loved Joachim for this, that again, and again, and again he could give her this orgiastic “satisfaction,” in spasms that made her cry aloud.
But Cipriano would not. By a dark and powerful instinct he drew away from her as soon as this desire rose again in her, for the white ecstasy of fictional satisfaction, the throes of Aphrodite of the foam. She could see that to him, it was repulsive. He just removed himself, dark and unchangeable, away from her.
And she, as she lay, would realise the worthlessness of this foam-effervescence, its strange externality to her. It seemed to come upon her from without, not from within. And succeeding the first moment of disappointment, when this sort of “satisfaction” was denied her, came the knowledge that she did not really want it, that it was really nauseous to her.
And he, in his dark, hot silence, would bring her back to the new, soft, heavy, hot flow, when she was like a fountain gushing noiseless and with urgent softness from the volcanic deeps. Then she was open to him soft and hot, yet gushing with a noiseless soft power. And there was no such thing as conscious “satisfaction.” What happened was dark and untellable. So different from the friction which flares out in circles of phosphorescent ecstasy, to the last wild spasm which utters the involuntary cry, like a death-cry, the final love-cry. This she had known, and known to the end, with Joachim. And now this too was removed from her. What she had with Cipriano was curiously beyond her knowing: so deep and hot and flowing,
as it were subterranean. She had to yield before it. She could not grip it into one final spasm of white ecstasy which was like sheer knowing.
And as it was in the love-act, so it was with him. She could not
know
him. When she tried to know him, something went slack in her, and she had to leave off. She had to let be. She had to leave him, dark and hot and potent, along with the things that
are,
but are not known. The presence. And the stranger. This he was always to her.
Yes, sex was the presence of grace and the introduction of the stranger into oneself. That was the only medicine for the lividities of the will. So Lawrence would preach, but he was a man in torture. If Millett had wished to get around Lawrence in the easiest way for the advance of the Liberation, she would have done better to have built a monument to him and a bridge over his work rather than making the mean calculation she could bury him by meretricious quotation. For Lawrence is an inspiration, but few can do more than respect him on the fly (the way a Soviet official might duck into an Orthodox church to smell the incense). The world has been technologized and technologized twice again in the years since his death; the citizens are technologized as well. Who will go looking for the “new, soft, heavy, hot flow,” or the “urgent softness from the volcanic deeps” when the air of cities smells of lava and the mood of the streets is like the bowels turned inside out? What he was asking for had been too hard for him; it is more than hard for us—his life was, yes, a torture, and we draw back in fear, for we would not know how to try to burn by such a light.
Yet he was a man more beautiful perhaps than we can guess, and it is worth the attempt to try to perceive the logic of his life, for he illumines the passion to be masculine as no other writer, he reminds us of the beauty of desiring to be a man, for he was not much of a man himself, a son despised by his father, beloved by his mother, a boy and young man and prematurely aging writer with the soul of a beautiful woman. It is not only that no other man writes so well about women, but indeed is there a woman who can? Useless for Millett to answer that here is a case of one man commending another man for his ability to understand women—what a vain and pompous assumption, she will hasten to jeer, but such words will be the ground meat of a dull cow. The confidence is that some of Lawrence’s passages
have a ring—perhaps it is an echo of that great bell which may toll whenever the literary miracle occurs and a writer sets down words to resonate with that sense of peace and proportion it is tempting to call truth. Yet whoever believes that such a leap is not possible across the gap, that a man cannot write of a woman’s soul, or a white man of a black man, does not believe in literature itself. So, yes, Lawrence understood women as they had never been understood before, understood them with all the tortured fever of a man who had the soul of a beautiful, imperious, and passionate woman, yet was locked into the body of a middling male physique, not physically strong, of reasonable good looks, a pleasant to somewhat seedy-looking man, no stud. What a nightmare to balance that soul! to take the man in himself, locked from youth into every need for profound female companionship, a man almost wholly oriented toward the company of women, and attempt to go out into the world of men, indeed even dominate the world of men so that he might find balance. For his mind was possessed of that intolerable masculine pressure to command which develops in sons outrageously beloved by their mothers—to be the equal of a woman at twelve or six or any early age which reaches equilibrium between the will of the son and the will of the mother, strong love to strong love, is all but to guarantee the making of a future tyrant, for the sense of where to find one’s inner health has been generated by the early years of that equilibrium—its substitute will not be easy to create in maturity. What can then be large enough to serve as proper balance to a man who was equal to a strong woman in emotional confidence at the age of eight? Hitlers develop out of such balance derived from imbalance, and great generals and great novelists (for what is a novelist but a general who sends his troops across fields of paper?).
So we must conceive then of Lawrence arrogant with mother love and therefore possessed of a mind which did not believe any man on earth had a mind more important than his own. What a responsibility then to bring his message to the world, unique message which might yet save the world! We must conceive of that ego equal already to the will of a strong woman while he was still a child—what long steps had it taken since within the skull! He needed an extraordinary woman for a mate, and he had the luck to find his Frieda. She was an aristocrat and he was a miner’s son, she was large and beautiful, she was passionate,
and he stole her away from her husband and children—they could set out together to win the world and educate it into ways to live, do that, do all of that out of the exuberance of finding one another.