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D.H. LAWRENCE and FICTIONAL REPRESENTATIONS of BLOOD-CONSCIOUSNESS By

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D.H. LAWRENCE and FICTIONAL REPRESENTATIONS of BLOOD-CONSCIOUSNESS By D.H. LAWRENCE AND FICTIONAL REPRESENTATIONS OF BLOOD-CONSCIOUSNESS by LAYLA SALTER A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Department of English School of English, Drama and American and Canadian Studies College of Arts and Law The University of Birmingham August 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis is the first book length study dedicated to exploring D.H. Lawrence’s concept of blood-consciousness primarily alongside his fiction. Blood-consciousness will be identified as Lawrence’s individual philosophy of the unconscious which he developed throughout his life. Chapter One foregrounds what blood-consciousness is, and different aspects of this philosophy in order to establish the basis of the discussions that will follow in relation to Lawrence’s fiction. Chapter Two considers how Lawrence creates a new kind of character in The Rainbow through a blood-conscious flux which is likened to the theories of Henri Bergson. Chapter Three focuses upon the crisis of mental-consciousness in Women in Love, also incorporating the ideas of F.W.H. Myers. Chapter Four evaluates the portrayal of Mexican blood-consciousness in The Plumed Serpent. This involves identifying what the primitive means for Lawrence in a reading of Franz Fanon, and questioning to what extent blood-consciousness is a progressive term in the light of postcolonial studies. Chapter Five provides a reading of the blood-conscious marriage of ‘A Propos’ in correspondence with Lady Chatterley’s Lover. Finally, the Conclusion evaluates the difficulties Lawrence faced in envisioning blood-consciousness and putting it into language. Acknowledgements I would like to thank all my friends and family for their support throughout my time at the University of Birmingham. I am also very grateful to my supervisors Dr. Jan Campbell and Dr. Rex Ferguson, who have invested their time and expertise in this thesis. Contents Introduction 1 Chapter One - Defining Blood-Consciousness 30 The Birth of Blood-Consciousness 31 Blood-Consciousness and the Biological Psyche: Psychical or Physical? 39 The Non-Human Cosmos 50 The Natural World and Organicism 62 Chapter Two - The Rainbow: ‘Arched in their Blood’ 71 Turning Away from ‘the Old Stable Ego’ 73 Lawrentian Blood-Consciousness and Bergsonian Duration 82 Ursula’s ‘Forward-Travelling Movement’ and ‘Circles of Confinement’ 91 Chapter Three - Women in Love: England: ‘A Dying Body’ 103 The Crisis of Mental-Consciousness 105 F.W.H. Myers and an Immortal Spirit 120 Chapter Four - The Plumed Serpent: ‘The Blood is One Blood’ 136 Blood-Consciousness in Mexico 139 The Bodily Imaginary 156 The Construction of a Future 165 Chapter Five - Lady Chatterley’s Lover: A Blood-Conscious Marriage 177 ‘A Propos’ and the Need for a Blood-Conscious Marriage 179 Sir John Thomas and Lady Jane 195 ‘And then he Spoke in Good English’ 209 Conclusion 214 Bibliography 230 Abbreviations 1L - The Collected Letters of D.H. Lawrence - Vol 1(1979) 2L - The Collected Letters of D.H. Lawrence - Vol 2 (1981) 3L - The Collected Letters of D.H. Lawrence - Vol 3 (1984) 4L - The Collected Letters of D.H. Lawrence - Vol 4 (1987) 7L - The Collected Letters of D.H. Lawrence - Vol 7 (1993) A - Apocalypse (1931) ‘A Propos’ - ‘A Propos of Lady Chatterley’s Lover’ (1930) AR - Aaron’s Rod (1922) FU - Fantasia of the Unconscious (1922) K - Kangaroo (1923) LCL - Lady Chatterley’s Lover (1928) MM - Mornings in Mexico (1927) PO - The Prussian Officer and Other Stories (1914) PS - The Plumed Serpent (1926) PU - Psychoanalysis and the Unconscious (1921) R - The Rainbow (1915) SCAL - Studies in Classic American Literature (1923) SEP - Sketches of Etruscan Places (1932) SL - Sons and Lovers (1913) T - Twilight in Italy (1916) WL - Women in Love (1920) WRA - The Woman Who Rode Away (1928) INTRODUCTION In a letter to Ernest Collings in January 1913, Lawrence wrote ‘my great religion is a belief in the blood, the flesh, as being wiser than the intellect. We can go wrong in our minds. But what our blood feels and believes and says, is always true ... All I want to answer to is my blood’ (1L, p.503). This claim for the blood or blood- consciousness as Lawrence calls it elsewhere, is one that he made many times throughout his life in different literary forms. His most in-depth explorations of blood- consciousness arise in his critique of psychoanalysis in Psychoanalysis and the Unconscious (1921) and his text on child consciousness, Fantasia of the Unconscious (1922). In these works Lawrence urges his readers to recognise blood- consciousness as his own individual philosophy of the unconscious – a philosophy which he saw as confronting the theories of Sigmund Freud. The basis of Lawrence’s critique of Freud is highly significant to how blood- consciousness developed throughout Lawrence’s career. By placing impetus on the unconscious as part of the body’s spontaneous blood-flow, Lawrence challenged what he felt to be the topographical basis of Freud’s unconscious. The notion of the unconscious as a box of repressions locked away ‘unconfessed, unadmitted, potent, and usually destructive’ (PU, p.13) was highly repugnant to Lawrence, who instead identified that blood-consciousness is dependent upon vital centres and planes of the body. In Fantasia Lawrence denotes the circuit of energy that characterises blood-consciousness as a bodily-unconscious, rather than one that can be located in the mind. Lawrence describes the presence of: the great horizontal division of the egg-cell, resulting in four nuclei… [with] the horizontal division-wall [as] the diaphragm. The two upper nuclei are the two great nerve centres, the cardiac plexus and the thoracic ganglion. We have 1 again a sympathetic centre primal in activity and knowledge, and a corresponding voluntary centre. In the centre of the breast, the cardiac plexus acts as the great sympathetic mode of new dynamic activity, new dynamic consciousness. And near the spine, by the wall of the shoulders, the thoracic ganglion acts as the powerful voluntary centre of separateness and power, in the same vertical line as the lumbar ganglion, but horizontally so different. (FU, p.81) Chapter One will pay close attention to Lawrence’s articulation of such bodily- centres, stressing that descriptions of the blood-conscious body are always accompanied with references to its psychical energy. In Fantasia, Lawrence’s emphasis is less upon the biological components of tissue and organs of the body, and more upon his belief in a secret and unknown vitalism of human beings. The chapter entitled ‘Plexuses, Planes and So On’ (FU) suggests that a comprehensive understanding of the different centres is not necessary in order to understand the essential ideas behind blood-consciousness. Rather the central notion to grasp is that by proposing four, then eight mysterious ‘great nerve-centres’, Lawrence is attempting to convey the ability for ‘life [to] star[t] spontaneously into being’ (FU, p.152). This issue of spontaneity is a highly significant aspect of Lawrence’s critique of Freud, as Lawrence suggests that unconscious and conscious impulses are split between ‘the lower plane the sensual [and] the upper the spiritual’ (FU, p.88) of human beings. This image of the self being divided between blood-consciousness and the mental-conscious mind, forms the basis of much of Lawrence’s thinking on the unconscious. He came to believe that ‘instead of living from the spontaneous centres, we live from the head … We grind grind grind in our mental consciousness, till we are beside ourselves’ (FU, p.115). Lawrence possessed the basis of these ideas long before the publication of Fantasia in 1922, a claim supported by his 1913 letter to Collings in which he articulates frustration towards ‘the fribbling intervention 2 of [the] mind’ and the fact that human beings have become ‘so ridiculously mindful’ (1L, p.503). Lawrence would go on to express similar convictions in his 1915 letter to Bertrand Russell, this time in a more detailed expression of the nature of blood- consciousness: now I am convinced of what I believed when I was about twenty - that there is another seat of consciousness than the brain and the nerve system: there is a blood-consciousness which exists in us independently of the ordinary mental- consciousness, which depends on the eye as its source or connector. There is the blood-consciousness, with the sexual connection, holding the same relation as the eye, in seeing, holds to the mental consciousness. One lives, knows, and has one’s being in the blood, without any reference to nerves and brain. This is one half of life, belonging to the darkness. And the tragedy of this our life, and of your life, is that the mental and nerve consciousness exerts a tyranny over the blood-consciousness, and that your will has gone completely over to the mental consciousness, and is engaged in the destruction of your blood-being or blood-consciousness, the final liberating of the one, which is only death in result. (2L, p.470) This highly didactic letter affirms that at this point in his career, Lawrence already believed that the blood is the essential foundation of ‘one’s being’ (2L, p.470) leading him to prioritise intuitive life rather than mind-consciousness.
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