The Rainbow by D. H. Lawrence (novels for beginners .txt) 📕
Description
The Rainbow is an epic tale spanning three generations of Brangwens, a family of farmers living in Nottinghamshire around the time of the Industrial Revolution. The tale begins with Tom Brangwen, the very epitome of a rural English farmer leading the old way of life. We follow him as a youth easing in to the rhythm of rural existence. He soon falls in love with Lydia, a Polish immigrant he had hired as a housekeeper, and despite their vast cultural differences, the two marry. Their relationship is, in a word, satisfactory: the two face a language and culture barrier that prevents their minds from ever truly meeting, but they learn to be more or less content with their place in society and in raising their children.
Lydia’s child by her first marriage, Anna, becomes the focus of the next part of the novel. She was born in England, and has a fiery and demanding temperament. She falls in love with Will, a nephew of Tom, and the two begin a rocky and difficult marriage. Will, a craftsman and not a farmer, is self-absorbed, and wants nothing more than for them to live their lives only for each other. But Anna wants to strike out in the world and become a part of society. The two must reconcile their clashing personalities and desires as they raise their many children.
The oldest of their children, Ursula, becomes the focus of the last third—and perhaps most famous—part of the novel. Ursula is a deeply sensual being born in to the Victorian era, a time restrained in morality but exploding in energy and possibility, now worlds away from her grandfather Tom Brangwen’s quiet, traditional farming life. She leads a life unimaginable to her rural ancestors: indulging in travel abroad, waiting for marriage and pursuing her physical desires, and even taking on a career—a concept both new and frightening to her family, who are just a generation removed from the era when a woman’s life was led at home. Her unhappiness with the contradiction in this new unbridled way of living and the strict social mores of the era becomes the main theme of this last part of the book.
The entire novel takes a frank approach to sexuality and physical desire, with sex portrayed unashamedly as a natural, powerful, pleasurable, and desirable force in relationships. In fact Ursula’s story is the most famous part of the novel not just because of her unrestrained physicality and lust, but because she also experiments with a candidly-realized homosexual affair with one of her teachers. This unheard-of treatment of deeply taboo topics was poorly received by Lawrence’s Edwardian contemporaries, and the book quickly became the subject of an obscenity trial that resulted in over 1,000 copies being burned and the book being banned in the U.K. for eleven years.
Though its charged portrayal of sexuality is what the book is remembered for, sexuality is only one of the themes Lawrence treats. The novel stands solidly on its rich description of both rural and city life, its wide-angled view of change over generations, and its exploration of hope for the human spirit in societies that heave not gently but quickly and violently into new eras.
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- Author: D. H. Lawrence
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As the house began to teem with rushing, half-naked clean children, one of the parents rose, either the mother, easy and slatternly, with her thick, dark hair loosely coiled and slipping over one ear, or the father, warm and comfortable, with ruffled black hair and shirt unbuttoned at the neck.
Then the girls upstairs heard the continual:
“Now then, Billy, what are you up to?” in the father’s strong, vibrating voice: or the mother’s dignified:
“I have said, Cassie, I will not have it.”
It was amazing how the father’s voice could ring out like a gong, without his being in the least moved, and how the mother could speak like a queen holding an audience, though her blouse was sticking out all round and her hair was not fastened up and the children were yelling a pandemonium.
Gradually breakfast was produced, and the elder girls came down into the babel, whilst half-naked children flitted round like the wrong ends of cherubs, as Gudrun said, watching the bare little legs and the chubby tails appearing and disappearing.
Gradually the young ones were captured, and nightdresses finally removed, ready for the clean Sunday shirt. But before the Sunday shirt was slipped over the fleecy head, away darted the naked body, to wallow in the sheepskin which formed the parlour rug, whilst the mother walked after, protesting sharply, holding the shirt like a noose, and the father’s bronze voice rang out, and the naked child wallowing on its back in the deep sheepskin announced gleefully:
“I’m bading in the sea, mother.”
“Why should I walk after you with your shirt?” said the mother. “Get up now.”
“I’m bading in the sea, mother,” repeated the wallowing, naked figure.
“We say ‘bathing,’ not ‘bading,’ ” said the mother, with her strange, indifferent dignity. “I am waiting here with your shirt.”
At length shirts were on, and stockings were paired, and little trousers buttoned and little petticoats tied behind. The besetting cowardice of the family was its shirking of the garter question.
“Where are your garters, Cassie?”
“I don’t know.”
“Well, look for them.”
But not one of the elder Brangwens would really face the situation. After Cassie had grovelled under all the furniture and blacked up all her Sunday cleanliness, to the infinite grief of everybody, the garter was forgotten in the new washing of the young face and hands.
Later, Ursula would be indignant to see Miss Cassie marching into church from Sunday school with her stocking sluthered down to her ankle, and a grubby knee showing.
“It’s disgraceful!” cried Ursula at dinner. “People will think we’re pigs, and the children are never washed.”
“Never mind what people think,” said the mother superbly. “I see that the child is bathed properly, and if I satisfy myself I satisfy everybody. She can’t keep her stocking up and no garter, and it isn’t the child’s fault she was let to go without one.”
The garter trouble continued in varying degrees, but till each child wore long skirts or long trousers, it was not removed.
On this day of decorum, the Brangwen family went to church by the highroad, making a detour outside all the garden-hedge, rather than climb the wall into the churchyard. There was no law of this, from the parents. The children themselves were the wardens of the Sabbath decency, very jealous and instant with each other.
It came to be, gradually, that after church on Sundays the house was really something of a sanctuary, with peace breathing like a strange bird alighted in the rooms. Indoors, only reading and tale-telling and quiet pursuits, such as drawing, were allowed. Out of doors, all playing was to be carried on unobtrusively. If there were noise, yelling or shouting, then some fierce spirit woke up in the father and the elder children, so that the younger were subdued, afraid of being excommunicated.
The children themselves preserved the Sabbath. If Ursula in her vanity sang:
“Il était un’ bergère
Et ron-ron-ron petit patapon,”
Theresa was sure to cry:
“That’s not a Sunday song, our Ursula.”
“You don’t know,” replied Ursula, superior. Nevertheless, she wavered. And her song faded down before she came to the end.
Because, though she did not know it, her Sunday was very precious to her. She found herself in a strange, undefined place, where her spirit could wander in dreams, unassailed.
The white-robed spirit of Christ passed between olive trees. It was a vision, not a reality. And she herself partook of the visionary being. There was the voice in the night calling, “Samuel, Samuel!” And still the voice called in the night. But not this night, nor last night, but in the unfathomed night of Sunday, of the Sabbath silence.
There was Sin, the serpent, in whom was also wisdom. There was Judas with the money and the kiss.
But there was no actual Sin. If Ursula slapped Theresa across the face, even on a Sunday, that was not Sin, the everlasting. It was misbehaviour. If Billy played truant from Sunday school, he was bad, he was wicked, but he was not a Sinner.
Sin was absolute and everlasting: wickedness and badness were temporary and relative. When Billy, catching up the local jargon, called Cassie a “sinner,” everybody detested him. Yet when there came to the Marsh a flippetty-floppetty foxhound puppy, he was mischievously christened “Sinner.”
The Brangwens shrank from applying their religion to their own immediate actions. They wanted the sense of the eternal and immortal, not a list of rules for everyday conduct. Therefore they were badly-behaved children, headstrong and arrogant, though their feelings were generous. They had, moreover—intolerable to their ordinary neighbours—a proud gesture, that did not fit with the jealous idea of the democratic
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