'Twas the 3rd (5th among fictions) monograph I've read about Lawrence, and 'tis truly a coincidence that the moment I'm writin' this review now, an April night but one year ago, was also the starting moment when I set about making my essay about Lawrence's previous work for this one -- 'The Rainbow', on his Christian emotions manifested by that.
Perhaps I won't be in fond of the characters in his novels since their brimmin' ebullience: it seems that they're always inflamed, grasped by their moods, even to fester on us (maybe Ursula is really an exception: she's the sole heroine able to self-restrain across this work and 'Rainbow'). When scrutinising, we do feel many a scab clinging to our skin is rudely scratched time after time, with nails without disinfection conquered our flesh. Fruity hyperboles and narrative delays cause this sensuous experience of reading, just as the cover of the Chinese translation (Nanking, 1999), an impasto interieur. We can almost draw out an enthusiastic narrator flushing with shame, tellin' his stories at mysterious and annoying speeds (esp Chapter XIX). (On the issue of this kind of narrator's paranoia, see also Wayne C. Booth's 'The Rhetoric of Fiction,' chpt iii, sec 2; chpt v, sec 4; rep 24/04/21, 24)
'Cos the original notes lost, I can only organise the messy impressions as follows:
Sophisticated nighty writin' (夜紛い) ought to be Lawrence's marking sphere of his fantastic style -- akin to Katherine Mansfield but still too aggressive. Let's take Chapter XIV as an example: reddish lamps with designs of crabs and seaweeds, Gudrun emerges as a otherworldly purified somnus, 'a marvellous somnus!' Some auras about thanatos lead the tranquil nights towards a horror hidden, just like Mansfield's 'the Garden-Party': someone's drowned, others in a shady masquerade, thus none lives.
The motif discussed above can be also found in Lawrence's finely depicting in characters' eyes -- their irises' colours: Minette Darrington, Julius Halliday, and one of our heroes who faded at last: Gerald Crich, whose eyes are deeply blued even to be ultimately dark. Lawrence established his new religion about love (a Freudian one) as well as death through his impressionism arts as mentioned above and also the transforming of the Bible. We can catch various Christian archetypes especially on the two men: Birkin and Gerald, for example, Birkin as 'a grain of mustard seed' from Matthew 17: 20, or Chapter XX, the campaign of two nudities, is more perspicuity wherein the narrator's individual preach is being represented. The two above combined perfectly in the chapters front as some fetishism of histoire naturelle, such as the arguments occurred in Ursula's classroom. Ms Ursula should be underlined more when we're reading.
Besides, some miscellaneous details deserve markin': The hidden plot line of homosexuality? Sparks which may be the metaphorical destinies of the two couples? And Ma Crich's words in front of the deathbed of the old Crich in Chapter XXIV? Some irony between Julius Halliday's first name and Caesar? All should be comprehended by the text herself born by that DHL. His language is totally sophisticated, even to the extent similar to Mr Mishima's (三島由紀夫様), the employment of FID is fully ripen and goes so far as to be symphonic, givin' birth to a poetic prose, for example, FID in 'ababa' mode (a=Gerald, b=Gudrun) in Chapter XXVIII.
The issue of 'Mansfield as the prototype of Gudrun' can be found in the biography of her by Antony Alpers, while I'm still in doubt as I only seek out the linkings at the beginnin' where Gudrun is introduced and Chapter XXX, where she debates fiercely with Herr Loerke on fine arts. Maybe Chapter XXVIII, where she shows her contradiction between self-hurtin' and self-pathetic.
To be short, Lawrence's religion just puts us beyond the history in monochrome; then we're just as his Ursula, a girl with this shattered world.
本棚登録 : 
感想 : 
