St Mawr edition by D H Lawrence Literature Fiction eBooks
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St Mawr edition by D H Lawrence Literature Fiction eBooks
I love D.H. Lawrence's style and although I have read some of his other works, The Man Who Died continues to be my favorite. It is succinct, unusual, and captivating.Product details
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St Mawr edition by D H Lawrence Literature Fiction eBooks Reviews
There's a need for writers to gain a measure of life's seasoning in order to have something relevant to say. This is not to claim that younger writers don't have a perspective on life worth sharing - but it does imply that life experiences of the young tend to pander to the superficial level of understanding, rarely allowing readers to experience anything of life beyond said young writer's ego.
Literature is at its basis an educational device - one in which a story is told in a way allowing readers to identify with life at multiple levels. Such experience in literature is almost always an isolated, discrete one - a specific person or incident. This is for good reason limiting literary experience keeps the reader from being overwhelmed by life's panorama.
But...and here my point leaves most younger writers in the dust...a story told skillfully enough to be considered literature will lead the reader to experience the deeper significance of the story, and this almost always leads to something we might call a word-driven mystical experience.
I don't think I'm being too high-flown here - literature at its best should be a meme for something religious folks call spiritual experience. And this experience is essentially a unifying one - an experience that makes all discrete experiences seem part of some (tangible or intangible) whole.
D.H. Lawrence wrote The Man Who Died late in his altogether-too-short life. Writers, particularly those with the poetic bent Lawrence displays in his work, seem to be able somehow to divine the future, and perhaps this book was his way of peering into his own after-life.
His story is one of Jesus of Nazareth, the central icon of Christianity, and I should digress for a moment Lawrence seems to have two writerly urges here.
First, he takes a rather incomplete story - Biblical depictions are vague on details regarding Jesus' death, his burial and his rising after three days (How, exactly, was he buried? Where was the cave? How was the large stone rolled into the cave's entrance? What transpired, other than what Biblical scripture depicts, inside and outside the cave, during the three days? How did Jesus feel upon rising was he physically tired, psychologically wan?). Such gaps, whether you consider them of history or myth, are irresistible to writers, and Lawrence surely felt drawn to fill these gaps in his own way. His strategy was to treat Jesus as more of a human than a sainted personality. He depicts Jesus in this story as a man living within a plausibly human context - something that clearly went (and goes) against the grain of the prevailing Christian mythos.
And second, he surely wondered if I'm to portray Jesus as a human here, how must I treat his divine side? Lawrence's plan was to have Jesus travel to Egypt and to meet a priestess of Isis - the goddess of Egypt's Old Kingdom.
Why Isis? There are parallels with the treatment of Jesus at the end of his life with the story of Osiris
This Egyptian god was, according to prevailing myth, stuffed into a box by his brother Set, the box thrown into the Nile. Osiris' wife, Isis, recovered the box and brought Osiris back to life via a certain spell. Thus, Osiris became the Egyptian god of the afterlife, or of resurrection (coincidentally, the Egyptian religious cults were resurrectionist, not reincarnationist, as is Christianity).
Lawrence's writing, beyond the scandalous histrionics gathered about his stories, was essentially about resolving sexual polarities in human culture, i.e., how do - or can - we humans resolve our need for and emotional attachments to those of the opposite sex? In keeping with this bent, Lawrence brings Jesus - who remains in something of an emotional funk following his crucifixion and is still physically ailing - into a liaison with this priestess of Isis.
Something about the priestess' physicality seems to salve Jesus' wounds, and he goes on as a man - a wanderer - ever in search of peace as a human.
This story, then, has to do with treating Jesus as a single, human entity, then implying mythic connections with an Egyptian god of similar traits, and leading the reader to some deeper sense of meaning regarding this fictionalized portrayal. In so doing, Lawrence hoped, I think, to have the reader understand something of the divine in human experience, no matter how tragic.
Commentaries on this story depict Jesus' human afterlife as viewing humanity's collective state of mind as one in deep need of psychological and emotional healing, as ego-driven, as desperate to reconcile individual needs with collective needs.
Part of the genius Lawrence displays here is in treating these dichotomy-driven emotional states, not through didactics, but purely through a sweetly told story.
Not truly novels, St. Mawr and The Man Who Died seem to be experimental works in which D. H. Lawrence continues to explore the themes found throughout his longer fiction--the emasculation and dehumanization of men, the power and inscrutability of nature, the cynicism of post-war England, the difficulties in relationships and sex, and the potential of reinvention and resurrection.
Young Lou Witt, married, dispirited, weary, and bored, finds in the stallion St. Mawr the vitality the men around her lack. Although "some inscrutable bond held them together . . . a strange vibration of the nerves rather than of the blood," Lou's marriage to Rico enervates her. The relationship soon becomes Platonic, "a marriage, but without sex." The vital animal element of marriage "was shattering and exhausting, they shrank from it."
When Lou touches St. Mawr, she finds him "[s]o slippery with vivid, hot life!" His "alive, alert intensity" fires her emotions, which she realizes had died in the post-war era of facile friendships and fun. St. Mawr "seemed to look at her out of another world."
With her purchase of the stallion, Lou's perspective alters; "she could not believe the world she lived in." Although unreachable and unknowable, St. Mawr is more real to her than her husband, his friends, and even his apparent new love interest. For Lou, "all the people she knew, seemed so entirely contained within their cardboard, let's-be-happy world." Rico becomes almost a caricature of a man, imitating his father's officiousness and righteous indignation without feeling them. Lawrence describes Rico's meticulous attention to his appearance in detail ". . . he dressed himself most carefully in white riding-breeches and a shirt of purple silk crepe, with a flowing black tie spotted red like a ladybird, and black riding-boots." While Rico is decorative and transparent, St. Mawr is vital and mysterious.
Lawrence uses long swathes of St. Mawr to philosophize, often directly or through the Welsh groom, Lewis, who says, "But a man's mind is always full of things." St. Mawr has no plot, and the stallion himself disappears from the narrative before Lou decides to "escape achievement" in the desert of New Mexico.
In New Mexico, Lawrence finds the "wild tussle" of life, which is missing from the long-civilized England, where everything is fenced in and where "the labourers could no longer afford even a glass of beer in the evenings, since the Glorious War." The displaced New England housewife who precedes Lou, seeing beauty in the desert first, then struggle, may represent Lawrence's own perspective and evolution during his stay there.
The Man Who Died begins with a peasant's acquisition of a cock--perhaps the one that crows three times before Peter realizes his three denials of Christ. Like the cock, the man who died (or, more accurately, didn't die and therefore didn't rise again) is tied "body, soul, and spirit" by "that string," his commitment to mankind to die and to be resurrected. "The doom of death was a shadow compared to the raging destiny of life, the determined surge of life."
Having survived his promised destiny, the man who died again renounces his godhood to become a man, this time permanently and with no agenda. His near death drives him to seek life, but not the "greed of giving" or the "little, greedy life of the body . . . he knew that virginity is a form of greed . . . he had risen for the woman, or women, who knew the greater life of the body, not greedy to give, not greedy to take . . ."
In his new situation, "the presence of people made him lonely." He believes he has fulfilled his mission and is beyond it "My way is my own alone . . . I am alone within my own skin, which is the walls of all my domain."
Also alone is the virgin priestess of the temple of Isis, patiently awaiting the return of Osiris. Like Lou and many other female characters in Lawrence, she senses the superficial sexual appeal of men, but even to the great Anthony, "the very flower of her womb was cool, was almost cold, like a bud in the shadow of frost, for all the flooding of his sunshine." An old philosopher tells her, "Rare women wait for the re-born man" and that the lotus responds to "one of these rare, invisible suns that have been killed and shine no more," dismissing Anthony as one of the "golden brief day-suns of show."
The consummation of the relationship between the virgin god and the virgin priestess, in a temple surrounded outside by suspicious, vindictive slaves, is beautiful and moving. "It was the deep, interfolded warmth, warmth living and penetrable, the woman, the heart of the rose!" Instead of being a mere part of the "little life of the body," sex (and procreation) becomes a deeply spiritual experience, "the marvellous piercing transcendence of desire."
In both St. Mawr and The Man Who Died, Lawrence is rarely subtle or restrained, covering pages with repetitious expositions of his favorite themes, sometimes reveling too much in the variety of expression. In spite of their flaws, both works are inventive, imaginative, and stirring. For anyone who is familiar with Lawrence primarily though his more well-known novels and stories, these two works are worth a read.
St. Mawr & The Man Who DiedI bought this book in order to share Lawrence's vision of the Christian tale with a friend. It brings together universal resurrection imagery from diverse traditions in the moving, incendiary provocative intensity Lawrence is noted for.
great
I love D.H. Lawrence's style and although I have read some of his other works, The Man Who Died continues to be my favorite. It is succinct, unusual, and captivating.
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