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Women in Love: a Text Bridging the Gap Between Past and Present

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Women in Love: a Text Bridging the Gap Between Past and Present International Journal of Humanities and Management Sciences (IJHMS) Volume 3, Issue 6 (2015) ISSN 2320–4044 (Online) Women in Love: a Text Bridging the Gap between Past and Present Cyrine Kortas Hence, characters such as Birkin, Gerald, Gudrun, and Ursula Abstract—In the world of science and theory, a are not to be viewed as simplistically realistic figures, they are mythological reading of Women in Love by D. H. Lawrence cosmological characters endowed with cosmic roles. While asserts the openness of the novel to different readings and Gerald and Gudrun stand for the road of destruction, Birkin interpretations that do complement one another. The fictional and Ursula aspire to overcome death, emotional annihilation, world of Women in Love serves as a reflection of the author’s and human cruelty. Amid chaos and anarchy, their love inscription into modernity as a falling world in the aftermath emerges as a token of hope and a torch of light for a better of the First World War. To portray such a chaotic world, future that arises from the ashes of the falling world of Lawrence interestingly resorts to various versions of the myth Beldover. This present essay aims at exploring the existing of the fall, where mythical actions frame the characters’ connections between Norse myth of the fall and a post-war actions in a modern society. As boundaries between past and Britain. present erode, the novel holds an intrinsically constructive objective of rebuilding the world. It is through a Norse II. NORSE MYTHOLOGY mythical reading of the novel that I intend to highlight the Searching for meaning amid chaos, Lawrence resorted to openness of the text to different interpretations in search for mythology. The “mythic” journey of Lawrence takes us back reality and truth in a falling world after the war. to a cosmic understanding of love and a consciousness of the body that restores hope and faith in humanity, lost in war Keywords—war, reality and truth, Nose mythology, days. His “thought-adventure” recalls the gods’ battle to mythological reading. restore harmony among the nine realms. Feeling an “infinite repulsion”, resulting from the turbulent years of war that I. INTRODUCTION pulled Britain into a vicious circle of disillusionment and OMEN in Love is an endlessly galvanizing modern text hatred, Lawrence was suffering from “a devouring nostalgia” that bears its author’s critique of his modern and (Lawrence 103), as the human values were taken over by the Windustrial world on the edge of war. Though there is no two evils of industrialization and intellectualism. To recreate clear and direct reference to war, expect Ursula’s recollection such fallen world, he envisions Beldover, which recalls his of Kaiser’s 1915 declaration: “Ich habe es nicht gewollt,” “I own hometown. didn’t want it” (Women in Love 479), the devastating In the wretchedly mining world of Beldover rise the tragic consequences of the war are reported through the main and nihilistic love affairs of the main characters. “It is like a characters’ struggle for life and love. Actually, the novel country in an underworld,” says Gudrun, repulsed yet traces two important relationships that spring from the fascinated. “The people are all ghouls, and everything is constraints of the era, molded by the general mood of ghostly. Everything is a ghoulish replica of the real world . frustration and agony. While early critics tend to see all soiled, everything sordid. It is like being mad, Ursula” Lawrence’s work as a purely sensational text that aims at (Women in Love 10). Gudrun’s words reveal the true nature exploring and defining good love relationships (Murry 713), a of both characters and novel. Though claimed to be a new reading reveals what lingers beneath the simplistic realistic fiction, Women in Love proves to be a mythological understanding of love that turns to be a cosmic power rather text in which the protagonists are gigantic creatures that than a simply sexual act. Apart from physical love, then, the sparkle out of a past legend. It is the legend of the apocalypse novel tells about a Laurentian discomfort with the modern in which the characters head to their withering and tragic and industrial world of the Twentieth-century Britain. He down fall as they prove unable to change their fate in a war- develops therefore a cosmological myth that replaces the like context. It is a war of wills and desires. Proving to be intellectual and mechanic formulae of his time. Such more than a mere celebration of love, the novel necessitates a theorization finds echo in his Fantasia of the Unconscious, in further reading that accentuates its mythological implications. a chapter entitled ‘Cosmological,” where he states that To evoke the nihilistic mood of modernity and the violence “living, incorporate individuals” make up the universe (150). of the industrial age, Lawrence explores Norse mythology. Such use proves to be purposefully important answering T. S. Cyrine Kortas is PhD Student, English Literature at the faculty of Arts Eliot’s assertion that: and Humanities, Sousse, Tunisia. 439 International Journal of Humanities and Management Sciences (IJHMS) Volume 3, Issue 6 (2015) ISSN 2320–4044 (Online) It is simply a way of controlling, of ordering, of rising feeling is that of hatred. Hence, the novel can be said to giving shape and be a celebration of love as a healing power to the agonizing significance to the immense panorama of and collapsing Beldover that stands as a microcosm for a futility and anarchy which falling world in which the characters strive to survive. To accentuate tragedy, Lawrence reinvented the past through his is ethnology, and The Golden Bough have revision of the Norse myth of the fall. Actually, the choice of concurred to make possible the Germanic mythology was not a random selection as it can what was impossible even a few years ago. be justified by the nature of these legends intensifying chaos Instead of narrative method and annihilation. we may now use the mythical method. It is . a step toward making the III. SETTING modern world possible for art. (4) In tune with Norse mythology, Lawrence chooses Beldover as an “amorphous ugliness,” full of “ugly, meaningless The use of mythology is not simply for aesthetic reasons as people”. He carries on “a country in an underworld,” whose the modern world resists presentation, as suggested by Eliot, inhabitants lost all humanities” (Women in Love 11-2). Such it is also an insight into the tragedy of the modern man. description corresponds to Muspellsheim, the land of ice and Being a representative of such era, Gerald Crish stands for snow in Nordic myth. Before proceeding, I believe it is the tragic hero of modernity as he portrays its paradoxes. important to understand Norse mythology. The latter stands Though Birkin and Ursula represent hope and love, it is for the glorious stories of various deities, legendary heroes, Gerald who matters the most in the novel despite his eventual and natural beings that flourished during the pagan period of destruction amid the freezing Alps. Though he is associated the North Germanic tribes. These stories are collected in with death and violence as in the mare scene which he leaves Prose Edda, according to which, the universe is composed of bleeding, he fascinates Gudrun, who finds him appallingly three parts: Niflheim (Northern frontiers), Ginnungagap (the attractive. Though he is a brilliant entrepreneur who infinite space), and Muspellsheim (the land of ice and snow) revolutionizes the mines and expands his father’s wealth, he (Davidson7). The cosmos is the result of these realms coming kills his own brother. Briefly, the split in Gerald’s character together with the melt of heat and snow. Thus, the gods as can be explained by the various dichotomies governing the well as the giants, and humans were created, lived and work, namely that of ego versus society and body versus connected in separate nine realms united, however, like the mind, all of which intensify the characters’ tragedy in a branches of one holy tree. The Giants were soon destroyed by modern world. Therefore, actions in the novel develop in such the gods, who created Middle Earth for the humans, a straightforward manner that precipitates Gerald’s downfall: represented by Askar, the man, and Embla, the woman, to “This was the moment when death was uplifted, and there worship them. Interestingly however; the gods were brought was no escape,” cries out Gerald as the moment of his to an ultimate fight that announced the apocalypse: “the day inevitable doom looms with the assertion “. he knew he of the great battle between the gods and the powers of evil,” was murdered” (Women in Love 706). With his eventual (Davidson 11) is also known as “Ragnarok,” the perishment death, Gerald succumbs into the sins of his world, referred to of the gods: through the heaps of cold and shivering snow. In an earlier scene in the novel, Birkin comments on his world’s sins: . there shall come that winter which is called the Awful Winter: Humanity is a huge aggregate lie, and a huge lie is less than a small in that time snow shall drive from all quarters; frosts shall be great truth. Humanity is less, far less than the individual because the indi- then and winds sharp; there shall be no virtue in the sun. Those winters dual may sometimes be capable of truth, and humanity is a tree of shall proceed three in succession, and summer between; but first shall lies. And they say that love is the greatest thing: they persist in saying come three other winters, such that over all the world there shall be this, the foul liars, and just look at what they do! .
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