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The Description of the Indiansʼ Longing for Identity in D. H. Lawrenceʼs the Plumed Serpent and His Other Mexican Writings

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The Description of the Indiansʼ Longing for Identity in D. H. Lawrenceʼs the Plumed Serpent and His Other Mexican Writings The Description of the Indiansʼ Longing for Identity in D. H. Lawrenceʼs The Plumed Serpent and His Other Mexican Writings OYAMA Miyo Key words: D. H. Lawrence, Mexican stories, otherness, aggression, duality In the process, however, in order to intensify the 1．Introduction extreme situation of the heroines, exposed to the The Indiansʼ lives are depicted in terms of their alteration in their circumstances, it was inevitable that extremely powerful energy and drive for aggression in D. Lawrence should sometimes shape the Indians as a cluster H. Lawrenceʼs The Plumed Serpent (1926)1, when they of intimidating others. And there is an important point envelop and terrify Kate Leslie, a woman who came to underlying this way of creating and grouping the Indians Mexico from England, with their hostility. Kate is as a symbolic image of otherness. It produces an incorrect shocked in the early days when she arrives in the country, impression that the characters do not have individuality observing the Indians, who have a fierce and destructive by blurring their respective emotions.3 As a result, some power which glorifies death, enjoy appalling scenes en critics simplistically assume that Lawrence is racist, masse. Along with PS, Lawrence wrote a series of stories pointing out that the Indiansʼ violence and inhumane which have similar settings in which the white women characteristics are emphatically described as barbarous and the Indians contact each other.2 Although at first the and horrific. Jeffrey Meyers claims that the way Lawrence heroines feel strong repulsion, they gradually become illustrates the Mexicans as eccentric and barbarous fascinated by the Mexicansʼ peculiar ethnicity and their implies that he looks down on them as inferior, quoting a view of life and death. As a consequence of this devotion, passage from the text of PS to show this: “Kateʼs the women experience the interception of their bond emotional regression [of gradually becoming insensible with the European world which they belonged to and are to the savageness] emphasizes Lawrenceʼs appalling lack obliged to abandon their egos which were attached to of concern for the human dignity of ʻthe black savage modern values and intelligence. The plots are based on massʼ: the peons ʻcarry huge weights, without seeming Lawrenceʼs criticism of the supremacy of intelligence, ever to think they are heavy. Almost as if they liked to and Christianity and Western-centrism which have feel a huge weight crushing on their iron spinesʼ (p. developed upon it. Therefore, he attempted to dismantle 243)” (Meyers 72). Meyers thinks that the way in which the modern Western peopleʼs identity through the Lawrence expresses the propensities of the Indians encounter with primitive religion or ethnic “others” in belittles their racial traits and insults their dignity. Yet we the postcolonial context. should register from the text that Lawrence affirmatively depicts this apparently unpleasant way of living, which 1 The title of the novel is hereafter abbreviated as PS. confirms their lives by hurting themselves, as an essential 2 Three short stories, “The Woman Who Rode Away” characteristic of the Indians which has existed since long (1924), “The Princess” (1924), and “None of That!” (1927), are referred to in this essay. St. Mawr (1925), a long short story 3 For example, “In Lawrenceʼs work, indigenous characters which has a theme in common with these stories in that rarely receive individual recognition. Generally, Lawrence refers Mexican men appear in it, is an exception since it can be said to all Indians collectively as ʻcolumns of dark blood,ʼ (47) who that the white heroine gets more obsessed with the vitality of a possess an ʻunconscious, heavy, reptilian indifferenceʼ (151)” horse rather than human beings. (Swarthout 133). [ 21 ] (255) 22 (256) OYAMA Miyo before colonization. This matter will be discussed in a Kate on behalf of his people in more than a close later section of this essay. competition: it does not engender a confrontation of Moreover, whereas Kate suffers from the conflict of human and animal but nothing less than one of fellow being unable to completely abandon her old ego and human beings. It is evident that the aggressiveness of the accept her new one, there is no description of a similar Indians is not merely irrational but expresses a longing experience on the part of the Indians, who take pains to for identity which involves deep pathos. deal with their egos in order to step toward Kate who Studying the text closely, it becomes clear that represents the white people. In addition, the unfathom- Lawrence is highly conscious of the inner conflict of the ableness of the character of Don Cipriano, a general who Indiansʼ lives as individuals, as well as of Kateʼs. And it is a genuine Indian, encourages the wrong impression. means that he did not attach too much value to letting He is implanted with the image of a non-individual Western women abandon their egos, and was equally being which sometimes even suggests the aura of a dark conscious of the Indiansʼ egos. In this essay, I will and savage male Pan rather than a human being. This has develop the argument that the Indians are depicted as led to one study even declaring that “originally, there was human beings who strongly possess ego in terms of their no ego to abandon for Cipriano” (Yoshimura 66-7; my aggressiveness, and that the depiction of their longing for translation). identity has taken a more concrete shape in PS compared However, these preceding studies present nothing but to Lawrenceʼs other Mexican writings. superficial views and represent significant misunder- standings. For instance, taking a closer look at the 2．The Lively Description of the Indiansʼ description of Ciprianoʼs self-consciousness towards Aggression and Destructiveness Kate, it is obvious that he is always sensitively aware of how he and the Mexicans are seen by her. Cipriano asks Kate is frightened of the Indiansʼ challenging will, Kate whether “Youmean we aren ʼt real people, we have involving both reverence and animosity, which suddenly nothing of our own, except killing and death,” and surges inside them and turns upon her in everyday life. It resists her intention with his challenging will “in an is demonstrated by the acts of Juana and her daughters, animal way” (40). Carrie Rohman comments that who are an indigent family who live in the Indian village “Lawrence represents the unspeakable confrontation of Sayula, and whom Kate depends on for food and with animality as Kateʼs fear of cannibalistic incorpora- lodging while staying in Mexico. Kateʼs impression of tion by the Mexican ʻotherʼ, which is figured as an Juana when they first meet is expressed as follows: animal other throughout the novel” (Rohman 216-7). However, the expression “animal way” in the text does Juana was obstinate and reckless: she had not been not encourage us to read it in terms of the dichotomy of treated very well by the world. And there was a the human versus animal which Rohman presumes as a touch of bottom-dog insolence about her. fundamental ideology of difference.4 Lawrenceʼs use of But also, sudden touches of passionate warmth seemingly discriminative words, which describe the and the peculiar selfless generosity of the natives. Indiansʼ way of living, should paradoxically warn us that […] they are attributable to a Western subjective attitude of As yet, however, […] Kate felt that the cry: Niña supposing that the “uncivilized” peoples are less than ―Child! by which she was addressed, held in it a human. Ciprianoʼs attitude displays his human desire for slight note of malevolent mockery. (110) life which strives to confront that of Kate ̶ that is, the white peopleʼs way of judging things. Far from Juana looks at Kate with envious admiration as a deprecating his own ethnicity, he violently asserts it to Goddess of the alien race. She devotedly takes care of Kate and looks curiously at her white skin like that of the 4 See Judith Rudermanʼs discussion of Lawrenceʼs positive and respectful use of the concept of the “otherness” which supports Holy Mother and eyes which resemble the sun. “healthy relationships” (Ruderman 4) between man and However, whenever she half-mockingly praises her woman or white person and racial other. mistress to the skies, Kate realizes that she harbours a The Description of the Indiansʼ Longing for Identity in D. H. Lawrenceʼs The Plumed Serpent and His Other Mexican Writings (257) 23 humorous attitude of contempt toward a deformity the Europeans who put on elegant and clean airs. which has a different appearance and came from a In accordance with the Mexican sociological theory different world. Kate catches this sign in Juanaʼs slick which has marginalized women, Keiichi Okano positions and wicked look and the persistent yell of “Niña! Niña!”. Juana as a “woman who is compelled to live a self- The word Niña is both an honorific name for a mistress defensive and nasty life” and he claims that she “insults and involves an implication of a condescending form of Kate and shows an attitude of kicking her out” (Okano address to a young girl. As this indicates, the Indiansʼ 526; my translation). However, as the following passage compulsive aggression is an exceptional energy which is shows, we can read Juanaʼs positive desire or craving for fraught with duality, darting toward opposite directions.5 Kate and her effort to change it to an energy of life, and Lawrence has exerted his strength to vividly depict the therefore Okanoʼs interpretation of Juana as wishing to women of different racesʼ struggle for supremacy. expel Kate is unconvincing. It can be inferred that her Benefitting as domestic servants, Juana and her family aggression is not a mere servile feeling or fervent enjoy steeping themselves in a modern life which Kate antagonism toward white people.
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