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DH LAWRENCE in TAOS, NEW MEXICO By D. H. LAWRENCE IN TAOS, NEW MEXICO by DAVID JAMES LEMASTER, B.A. A THESIS IN ENGLISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Accepted December, 1991 ACKNOWLEDGEMENTS I would like to thank Dr. Richard Weaver of the Theater Arts department for serving on my committee and helping me complete the project and the one act play. I would like to extend a special thanks to Dr. Leon Higdon for his guidance, encouragement, and assistance throughout the project. It was Dr. Higdon's personality and teaching ability which first attracted me to graduate school, and his academic support has been the essential element in the completion of my graduate degree. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS . ii PREFACE . I I I I I I I . iv CHAPTER I. INTRODUCTION ... ' . 1 II. MABEL DODGE LURAN: AN INTIMATE MEMORY ..... 12 III. FRIEDA: THE QUEEN-BEE ............. 36 IV. THE LITERARY WORK . 66 V. CONCLUSION . .106 VI. LAWRENCE: A ONE ACT PLAY . 118 BIBLIOGRAPHY . • • • 13 6 iii PREFACE This thesis has been assembled in two separate sections. The first five chapters of the work are an academic treatment of the years which D. H. Lawrence spent in Taos, New Mexico. At the conclusion of the research is a one act play which focuses on the time period. The play is designed to be played by one actor, and it is a dramatic presentation based on Lawrence's experience. The play has not been produced at the time of publication, but there are possibilities of production in the near future. iv CHAPTER I INTRODUCTION In the introductory paragraph to Lady Chatterley's Lover, D. H. Lawrence writes: Ours is essentially a tragic age, so we can refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new little habitats, to have new little hopes. It is rather hard work: there is now no smooth road into the future: but we go round, or scramble over the obstacles. We've got to live, no matter how many skies have fallen. (1) These words are an outstanding example of Lawrence's own philosophy. Throughout the Laurentian cannon, Lorenzo referred to himself in terms of sterility and frustration. The age in which Lawrence lived was tragic for the writer because of the restiveness in which the society functioned, and because of the conversion of society to a modern age. Reaction to Lawrence's world view angered the author, and Lawrence himself became a Clifford Chatterley. Stripped of what he considered to be a lifegiving force by the harsh judgment of the society, Lawrence believed himself to be separated from the life which he found most precious. Lawrence sought an openness in life in order to build upon the ruins of modern society. Lawrence's lifelong quests for understanding and self-actualization were culminated in his idea of Rananim, and the fact that Lawrence never found the perfect peace which he sought is devastating to his world view. 1 2' When studying D. H. Lawrence, it is important not to become bogged down in the vast amount of information which has been collected on both his life and his works. Lawrence gains much importance in the literary scheme because of the amount of work and personal material which he left behind, and he is worthy of study not only because he produced the classics Sons and Lovers and Women in Love, but also because he provided his readers with a large number of revisions and rough drafts. Lawrence gave us three drafts of Lady Chatterley's Lover, and he thus allowed his readers to see how he went about the creative process. He wrote large volumes of poetry and prose, a number of plays and numerous novels, and in all cases he allowed his own life and ideas to flow into what he wrote. Studying Lawrence allows the literary scholar to observe the mind of a controversial genius, and by observing historical events and looking at biographical accounts of Lawrence's life, one can begin to understand how the writer functioned and what his motivations actually were. A principle moment in Lawrence's life came when he and Frieda went to Taos, New Mexico, in search of Rananim. In her autobiography, Not I, But the Wind, Frieda explains that "Katherine <Mansfield> and Lawrence and Murry had invented a place, a wonderful place where we were all going to live in complete bliss; Rananim it was called. By the hour we 3 could talk Rananim" (79). This Rananim seems to have taken the place of any kind of religious heaven or afterlife for Lawrence, and although he did not subscribe to Christianity, his Rananim is an idealic paradise where he could have a free and open society, and in which he and his artist friends could produce their work without worrying about restrictions. He traveled across the world in search of such a place, and when Mabel Dodge Luhan invited the Lawrences to Taos, New Mexico, and the new world, it appeared as if Lawrence had finally found the location of his Eden. Unfortunately, the love triangle between Lawrence, Frieda, and Habel made it impossible for Lawrence to be happy, and the situation at Taos quickly disintegrated from the long anticipated Rananim into a very unpleasant situation which hampered Lawrence's creativity. The works produced during the years in Taos are worthy of study because they are parallels of what was happening in Lawrence's life. Although Lawrence believed he could find an idealic place where he would be able to write in peace, Taos, New Mexico, became a trap where the domestic situation caused him great grief. Habel's desire to control Lawrence caused him to react to her dominance with near violence. Biographer Jeffrey Meyers writes that Lawrence vented his anger toward Habel by basing characters in his work on her personality. The most obvious of the characteristics of Mabel are inherent in the personality of Kate in The Plumed Serpent, and Lawrence created a character which possessed Mabel's attributes as a kind of psychotherapy for himself in order to deal with the relationship. Meyers reports that Lawrence used Mabel in a number of works. He argues that Kate in The Plumed Serpent is based on Lorenzo's perceptions of Mabel's marriage to Tony. Lawrence did not abandon Mabel's character after he finished with Kate, because "in St. Mawr (1925), Lawrence portrays her as Mrs. Witt, who exemplifies the radical problem in Lawrence's willful women'' (288). Meyers goes on to explain that Lawrence also based the main character in "The Woman Who Rode Away" on Mabel: "In this apocalyptic story about the end of the old order, the woman experiences a rebirth through new awareness and a return to an original state of primitive purity" (288). It is this desire to return to the "state of primitive purity'' which became the main theme of Lawrence's work during the years in and around New Mexico, and his exploration of rebirth themes became intwined with the primitive ritual inherent in the New World. Lawrence used the short stories and novels of the Taos period in order to encourage his readers to explore the primitive beliefs. Meyers finally concludes that Lawrence's personal biases got in his way, and in the case of "The Woman Who Rode Away,'' Lawrence destroys his credibility because of "the woman's cruel fate 5 (which reflects Lawrence's desire to kill Mabel) and her worship of death (an expression of Mabel's malign will) do not seem a convincing way to cure the ills of modern civilization" (288). Lawrence's desire to cure civilization dominates his ideas, and his anger towards those around him prevents him from being able to come into touch with his own emotions. Lawrence's anger interferes with his style and abilities, and therefore it is impossible for him to communicate effectively or formulate his prophecies for a new world order. The work completed at Taos is often considered quite mediocre, and Lawrence became carried away with the images and ideas inherent in the aboriginal religion which he was attempting to describe in The Plumed Serpent. The bias towards characters like Kate was obvious, and Lawrence had a great deal of trouble in separating himself from the emotion of the acts themselves. The Plumed Serpent is filled with a great deal of human sacrifice and aboriginal ritual, and critics often cite it as an example of Lawrence being out of control. The other short stories written during the Taos years are all based on the same kinds of ideas, and each one addresses some kind of ritualistic theme. Lawrence's Taos work may, therefore, be considered a reaction to life as Lawrence saw it at the time. 6 It is highly important to look at the work and the historical record together in order to understand what motivated Lawrence and what caused him to address the issues of the aboriginal culture. Lawrence's quest to find Rananim inspired him, and the gradual but constant shedding away of the idealistic state of Rananim stripped him of much inspiration. He approached the years at Taos with great optimism and hope, but he returned to Europe in defeat. The Lawrences took two different trips to Taos, the first coming in 1917, and the second two years later. The first trip was based around the idea of writing a New Mexican novel with Mabel as the main character, but as the conflict between Lawrence and Mabel grew the plan deteriorated.
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