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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“Oh, look!” cried Anna. “Oh, look how adorable, the faces! Look at her.”
Brangwen looked unwillingly. This was the voice of the serpent in his Eden. She pointed him to a plump, sly, malicious little face carved in stone.
“He knew her, the man who carved her,” said Anna. “I’m sure she was his wife.”
“It isn’t a woman at all, it’s a man,” said Brangwen curtly.
“Do you think so?—No! That isn’t a man. That is no man’s face.”
Her voice sounded rather jeering. He laughed shortly, and went on. But she would not go forward with him. She loitered about the carvings. And he could not go forward without her. He waited impatient of this counteraction. She was spoiling his passionate intercourse with the cathedral. His brows began to gather.
“Oh, this is good!” she cried again. “Here is the same woman—look!—only he’s made her cross! Isn’t it lovely! Hasn’t he made her hideous to a degree?” She laughed with pleasure. “Didn’t he hate her? He must have been a nice man! Look at her—isn’t it awfully good—just like a shrewish woman. He must have enjoyed putting her in like that. He got his own back on her, didn’t he?”
“It’s a man’s face, no woman’s at all—a monk’s—clean shaven,” he said.
She laughed with a pouf! of laughter.
“You hate to think he put his wife in your cathedral, don’t you?” she mocked, with a tinkle of profane laughter. And she laughed with malicious triumph.
She had got free from the cathedral, she had even destroyed the passion he had. She was glad. He was bitterly angry. Strive as he would, he could not keep the cathedral wonderful to him. He was disillusioned. That which had been his absolute, containing all heaven and earth, was become to him as to her, a shapely heap of dead matter—but dead, dead.
His mouth was full of ash, his soul was furious. He hated her for having destroyed another of his vital illusions. Soon he would be stark, stark, without one place wherein to stand, without one belief in which to rest.
Yet somewhere in him he responded more deeply to the sly little face that knew better, than he had done before to the perfect surge of his cathedral.
Nevertheless for the time being his soul was wretched and homeless, and he could not bear to think of Anna’s ousting him from his beloved realities. He wanted his cathedral; he wanted to satisfy his blind passion. And he could not any more. Something intervened.
They went home again, both of them altered. She had some new reverence for that which he wanted, he felt that his cathedrals would never again be to him as they had been. Before, he had thought them absolute. But now he saw them crouching under the sky, with still the dark, mysterious world of reality inside, but as a world within a world, a sort of side show, whereas before they had been as a world to him within a chaos: a reality, an order, an absolute, within a meaningless confusion.
He had felt, before, that could he but go through the great door and look down the gloom towards the far-off, concluding wonder of the altar, that then, with the windows suspended around like tablets of jewels, emanating their own glory, then he had arrived. Here the satisfaction he had yearned after came near, towards this, the porch of the great Unknown, all reality gathered, and there, the altar was the mystic door, through which all and everything must move on to eternity.
But now, somehow, sadly and disillusioned, he realized that the doorway was no doorway. It was too narrow, it was false. Outside the cathedral were many flying spirits that could never be sifted through the jewelled gloom. He had lost his absolute.
He listened to the thrushes in the gardens and heard a note which the cathedrals did not include: something free and careless and joyous. He crossed a field that was all yellow with dandelions, on his way to work, and the bath of yellow glowing was something at once so sumptuous and so fresh, that he was glad he was away from his shadowy cathedral.
There was life outside the Church. There was much that the Church did not include. He thought of God, and of the whole blue rotunda of the day. That was something great and free. He thought of the ruins of the Grecian worship, and it seemed, a temple was never perfectly a temple, till it was ruined and mixed up with the winds and the sky and the herbs.
Still he loved the Church. As a symbol, he loved it. He tended it for what it tried to represent, rather than for that which it did represent. Still he loved it. The little church across his garden-wall drew him, he gave it loving attention. But he went to take charge of it, to preserve it. It was as an old, sacred thing to him. He looked after the stone and woodwork, mending the organ and restoring a piece of broken carving, repairing the church furniture. Later, he became choirmaster also.
His life was shifting its centre, becoming more superficial. He had failed to become really articulate, failed to find real expression. He had to continue in the old form. But in spirit, he was uncreated.
Anna was absorbed in the child now, she left her husband to take his own way. She was willing now to postpone all adventure into unknown realities. She had the child, her palpable and immediate future was the child. If her soul had found no utterance, her womb had.
The church that neighboured with his house became very intimate and dear to him. He cherished it, he had it entirely in his charge. If he could find no new activity, he would be happy cherishing the old, dear form of worship. He knew this little, whitewashed church. In its shadowy atmosphere he sank back into being. He liked to sink himself in its hush as
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