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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Instantly, it was only a silly lamb in the glass again. And dark, violent hatred of her husband swept up in her. What was he doing, sitting there gleaming, carried away, soulful?
She shifted sharply, she knocked him as she pretended to pick up her glove, she groped among his feet.
He came to, rather bewildered, exposed. Anybody but her would have pitied him. She wanted to rend him. He did not know what was amiss, what he had been doing.
As they sat at dinner, in their cottage, he was dazed by the chill of antagonism from her. She did not know why she was so angry. But she was incensed.
“Why do you never listen to the sermon?” she asked, seething with hostility and violation.
“I do,” he said.
“You don’t—you don’t hear a single word.”
He retired into himself, to enjoy his own sensation. There was something subterranean about him, as if he had an underworld refuge. The young girl hated to be in the house with him when he was like this.
After dinner, he retired into the parlour, continuing in the same state of abstraction, which was a burden intolerable to her. Then he went to the bookshelf and took down books to look at, that she had scarcely glanced over.
He sat absorbed over a book on the illuminations in old missals, and then over a book on paintings in churches: Italian, English, French and German. He had, when he was sixteen, discovered a Roman Catholic bookshop where he could find such things.
He turned the leaves in absorption, absorbed in looking, not thinking. He was like a man whose eyes were in his chest, she said of him later.
She came to look at the things with him. Half they fascinated her. She was puzzled, interested, and antagonistic.
It was when she came to pictures of the Pietà that she burst out.
“I do think they’re loathsome,” she cried.
“What?” he said, surprised, abstracted.
“Those bodies with slits in them, posing to be worshipped.”
“You see, it means the Sacraments, the Bread,” he said slowly.
“Does it,” she cried. “Then it’s worse. I don’t want to see your chest slit, nor to eat your dead body, even if you offer it to me. Can’t you see it’s horrible?”
“It isn’t me, it’s Christ.”
“What if it is, it’s you! And it’s horrible, you wallowing in your own dead body, and thinking of eating it in the Sacrament.”
“You’ve to take it for what it means.”
“It means your human body put up to be slit and killed and then worshipped—what else?”
They lapsed into silence. His soul grew angry and aloof.
“And I think that Lamb in Church,” she said, “is the biggest joke in the parish—”
She burst into a “Pouf” of ridiculing laughter.
“It might be, to those that see nothing in it,” he said. “You know it’s the symbol of Christ, of His innocence and sacrifice.”
“Whatever it means, it’s a lamb,” she said. “And I like lambs too much to treat them as if they had to mean something. As for the Christmas-tree flag—no—”
And again she poufed with mockery.
“It’s because you don’t know anything,” he said violently, harshly. “Laugh at what you know, not at what you don’t know.”
“What don’t I know?”
“What things mean.”
“And what does it mean?”
He was reluctant to answer her. He found it difficult.
“What does it mean?” she insisted.
“It means the triumph of the Resurrection.”
She hesitated, baffled, a fear came upon her. What were these things? Something dark and powerful seemed to extend before her. Was it wonderful after all?
But no—she refused it.
“Whatever it may pretend to mean, what it is is a silly absurd toy-lamb with a Christmas-tree flag ledged on its paw—and if it wants to mean anything else, it must look different from that.”
He was in a state of violent irritation against her. Partly he was ashamed of his love for these things; he hid his passion for them. He was ashamed of the ecstasy into which he could throw himself with these symbols. And for a few moments he hated the lamb and the mystic pictures of the Eucharist, with a violent, ashy hatred. His fire was put out, she had thrown cold water on it. The whole thing was distasteful to him, his mouth was full of ashes. He went out cold with corpse-like anger, leaving her alone. He hated her. He walked through the white snow, under a sky of lead.
And she wept again, in bitter recurrence of the previous gloom. But her heart was easy—oh, much more easy.
She was quite willing to make it up with him when he came home again. He was black and surly, but abated. She had broken a little of something in him. And at length he was glad to forfeit from his soul all his symbols, to have her making love to him. He loved it when she put her head on his knee, and he had not asked her to or wanted her to, he loved her when she put her arms round him and made bold love to him, and he did not make love to her. He felt a strong blood in his limbs again.
And she loved the intent, far look of his eyes when they rested on her: intent, yet far, not near, not with her. And she wanted to bring them near. She wanted his eyes to come to hers, to know her. And they would not. They remained intent, and far, and proud, like a hawk’s naive and inhuman as a hawk’s. So she loved him and caressed him and roused him like a hawk, till he was keen and instant, but without tenderness. He came to her fierce and hard, like a hawk striking and taking her. He was no mystic any more, she was his aim and object, his prey. And she was carried off, and he was
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