*AStudyontheGermof"TheDarkGod"
inSonsand」 乙α ワers
AkikoYamada
【 要 旨 】
『息 子 と 恋 人 』 に お け る 「 黒 い 神 」の 萌 芽 に つ い て
『息 子 と恋 人 』 は 、 ロ レンスの 自伝的 な小説 で あ る と言 われて い るが、
自伝 そ の もの と は異 な っ て い る こ とを 先 ず 念 頭 に 入 れ て お か な け れ ば な ら な い 。 作 者 自身 が 手 紙 の 中 で 「 母 親 の 支 配 か ら逃 れ られ な い息 子 の 悲 劇 を 書 い た もの 」 と述 べ て い る こ とか ら、 研 究 者 の 中 に は この 小 説 の 主 題 は エ デ ィ プ ス ・コ ン プ レ ッ ク ス を 扱 っ た もの で あ る とい う説 を 唱 え る 者 が 少 な か らず い る。 そ して 、 この 前 提 に 立 っ て 論 ず る研 究 者 は 、 小 説 の 結 末 に 対 す る解 釈 が 、 ① 主 人 公 ポ ー ル は母 の 死 と共 に足 場 を失 っ て 人 生 に 迷 っ て し ま う、 とい う論 と、 ② ポ ー ル は 母 親 の 死 に よ っ て 新 た な 人 生 へ 向 か っ て 行 く、 とい う相 異 な る意 見 に分 か れ て い る。
しか し、 筆 者 は、 『 息 子 と恋 人 』 の主 題 は必 ず し もエ デ ィ プス ・コ ン プ レ ッ ク ス で は な くて 、 ロ レ ン ス の 「 黒 い 神 」 の 思 想 とキ リス ト教 の 思 想 の 対 立 が 、 男 と女 の 葛 藤 と して 表 れ て い る。 と捉 え る。 つ ま り、 彼 の 後 期 の 小 説 で あ る 『カ ンガ ル ー』や 『 鱗 羽 の 蛇 』で 顕 著 に な る 「 黒 い 神 」が 、 初 期 の 小 説 で あ る 『息 子 と恋 人 』 に お い て す で に か な り明 白 に表 され て
い る、 と考 え るの で あ る。 この よ う な読 み 方 は 今 ま で に な され た こ とは
こ︑}ノ
な い 。
「黒 い 神 」 は 、初 期 の 詩集 『ご らん 僕 達勝 ったん だ よ!』 の 「切断 」 とい う詩 に お い て 登 場 し、 そ れ は 異 教 の 神 で あ るケ ル トの ドル イ ド僧 の 信 奉 した 神 とな っ て い る。 ロ レ ン ス は 、 駆 け 落 ち した 人 妻 フ リー ダ を 自 分 の 元 に 留 め た い 一 心 か ら 「 黒 い 神 」へ 祈 っ て い るの で あ る。 この よ うに 、
「 黒 い神 」 は ロ レ ン ス の 愛 の 守 護 神 と して 初 登場 して い る。 この詩集 が書 か れ た 時 期 と同 じ頃 、 『息 子 と恋 人 』 は 書 か れ 、 この 小 説 の 完 成 に 当 っ て は フ リー ダ の 意 見 もか な り取 り込 ま れ て い る。 こ の よ う に ロ レ ン ス の愛 の経 歴 が 『 息 子 と恋 人 』 の 主 題 に は 大 き な影 響 を 与 え て い る。 こ の 小 説 に は 、 ロ レ ンス が 母 親 の 支 配 を 振 り切 っ て 一 人 前 の 男 性 と して 成 熟 して 行 く上 で 重 要 で あ っ た 女 性 との 関 わ り方 を主 題 と して お り、 性 愛 の 神 で あ る 「 黒 い神 」 が 、 母 親 の 信 奉 す る キ リス ト教 よ り も大 き な意 味 を 担 っ て い る もの と して 登 場 し出 した の で あ る。
こ の よ う な読 み 方 を す る と、 小 説 の 結 末 で は、 ポ ー ル は 母 親 の 支 配 か ら脱 して新 た な 人 生 へ と進 み 出 す 、 とい う見 方 が で き る の で あ る。
Introduction
SonsandLoversisusuallysaidtobeD.H.Lawrence'sauto‑
biographicalnovel.Itissurelytrue,butinsayingso,wehaveto noticeitisn'tanautobiography.Lawrencesaysinhisletterto EdwardGarnetdated19November1912asfollow:
五
Awomanofcharacterandrefinementsgoesintothe lowerclass,andhasnosatisfactioninherownlife.She hadapassionforherhusband,sothechildrenareborn ofpassion,andhaveheapsofvitality.Butashersons growupsheselectsthemaslovers‐firsttheeldest,then thesecond.Thesesonsareurgedintolifebytheir
AStudyontheGcrmor"TheDarkGod"in.Sonsrinc〃,ovens
reciprocalloveoftheirmother‐urgedonandon.But whentheycometomanhood,theycan'tlove,because
theirmotheristhestrongestpowerintheirlives,and holdsthem.
【...I Thesondecidestoleavehissoulinhismother'shands,
and,likehiselderbrother,goesforpassion.Hegets passion.Thenthesplitbeginstotellagain.Butalmost unconsciously,themotherrealizeswhatisthematter, andbeginstodie.Thesoncastsoff'hismistress,attends tohismotherdying.Heisleftintheendnakedof everything,withthedrifttowardsdeath.
【...】
Itisagreattragedy,andItellyouI'vewrittenagreat book.It'sthetragedyofthousandsofyoungmenin England‐itmaybeBunny'stragedy.Ithinkitwas Ruskin's,andmenlikehim.‐NowtellmeifIhaven't workedoutmytheme,likelife,butalwaysmytheme.
Readmynovel‐it'sagreatnovel.Ifyoucan'tseethe development‑whichisslowlikegrowth‐Ican.1}
Consideringthisletter,somecriticssaythatthethemeofSonsand LoversisPaul'ssufferingfromtheOedipuscomplex.A.B.Kuttner
andDanielA.WeisstakeFreudianreading,buttheirinterpretations aredifferentregardingtheendingofthenovel.Whileonesaysat theendofthenovelPaulisatalossbecauseofhismother'sdeath, theothersaysPaulaimsatanewlife.
InmaypaperIwouldliketosaythatthethemeofthenovelis notaltogethertheOedipuscomplex,butthatinSonsandLovers thereisaconflictbetweenwomenandmen,andthatitmeansthe germoftheconflictbetweentheoldChristianthoughtand Lawrence'snewGodwhichispersonificationofdarkness.Imean Lawrence'sworshipofdarknessinhisearlyworksisthegermofthe darkGod.ThedarkGodappearsearlyinLawrence'spoem
̀Mutilation'inLook!WeHaveComeThrough!Inthispoem
LawrencesingshowheshallsufferifFriedareturnstoherchildren
四
inEngland,leavinghimalone.AndhespeakstodarkGodstoretain hertofiim:
AndifIneverseeheragain?
Ithink,iftheytoldmeso
Icouldconvulsetheheavenswithmyhorror.
IthinkIcouldaltertheframeofthingsinmyagony.
IthinkIcouldbreaktheSystemwithmyheart.
Ithink,inmyconvulsion,theskieswouldbreak.
Shetoosuffers.
Butwhocouldcompelher,ifshechosemeagainstthem all?
Shehasnotchosenmefinally,shesuspendsherchoice.
Nightfolk,TuathaDeDanaan,darkGods,governher sleep,
Magnificentghostsofthedarkness,carryoffherdecision insleep,
Leavehernochoice,makeherlapseme‑ward,makeher, OhGodsofthelivingDarkness,powersofNighty Asseeninthequotation,"Nightfolk,TuathaDeDanaan,dark Gods/Magnificentghostsofthedarkness,"thedarkGodsarenot Christianbutpaganbecausetheyarèdark.'"TuathaDeDanaan"is Druids.BesidestheyhavesexualelementsbecauseLawrence summonsthemastheirloveguardiangods.SonsandLoverswas beingwrittenwhileLawrenceandFriedabegantoloveeachother, andthenovelwascompletedwithhercooperation.SoFriedahad mucheffectonthenovel.Thereforeweshouldthinkthatinspiteof Lawrence'sintention,anotherintentionlurkedinthenovel,andthat themeaningandpowerofdarknessweregreaterthanthoseof
Paul'smother.
LawrencethinksChristianGodaswhite.Itisantithesisofdark God.Inhispoem"TheRedWolf,"LawrencereferstothewhiteGod asChristianGod.InLook!WeHaveComeThrough!thejoyand
sufferingsoftheloveofLawrenceandFriedaaresung.Considering
AStudyontheGermof"TheDarkGod"inSonsandLovers
LawrencewaswritingSonsandLoversafterhemetFriedaandfell inloveher,too,thethoughtofthedarkGodhasagermatthistime andisthoughttohaveaninfluenceonthenovel.Inadditiontothe fact,inD.H.Lawrence:aPersonalRecord,JessieChamberssays thatwhenshereadSonsandLovers,itmadeherseehimas
philistineofphilistines3).Hercommentalsoshowsthatthedarkness prevailsthenovel.
Generallyspeaking,darknessisopposedtolight.Lightis affirmedasgood.Butontheotherhand,darknessasevilisbelieved tobeconqueredbylight.Generally,lightandGodasgoodis identified.ButitseemsthatLawrenceadvocatesthegoodof
darkness.Heattributesthecharacteristicsofaffirmativesexuality andspontaneitytodarkness,andcriticizeswesternChristian civilizationsymbolizedbylight.Lawrencepresentshumanbeings' desiretorulenaturebyartificiallightaswomen'sdomineering powerovermen.HedescribessuchtypeofwomenasMagnaMater.
Thethemeofhisworksissymbolicallydescribedastheconflict between .womenaslightanddarkmen.InhislaterworksLawrence advocates"thedarkGod,"whichdarkmenworship."Thedark God"hasbeendevelopedfromdarkmen.Thecharacteristicsofthe darkmenarethattheyarefromthelowerclassortheyareoutlaws orpagans.Theyareoppressedbythesociety,buttheycansave womenwhosufferfrombeingintheunfairconditionofChristian mechanicalworld.Forexample,thepeasantinTheSun,Romeroin ThePrincess,MellorsinLadyChatterlay'sLover,CountDionysin theLadybird,LillyinAaron'sRod,LewisinSt.Mowr,Ramonand CiprianointhePlumedSerpentaredarkmen.Thesecharactersare fightingtobringanewstandardoflivingintotheoldworld.
ChapterITheCharacteristicsofthedarkGod
InKangaroo,SomerswhorepresentsLawrence,refersto"the
darkGod"as"TheGreatGod,whoentersusfrombelow,notfrom
above"andsaysagainstKangaroo,whostatesChristianspiritual
love.Somerssays,"Heentersusnotthroughthespiritbutfromthe
lowerself,thephallicself,"andcontinues:
"Idon'tbelievethatloveistheoneandonlyexclusive
forceormysteryoflivinginspiration.Idon'tquitebelieve that.Thereissomethingelse."
【...】
"Why
,"hesaid,"itmeansanendofusandwhatwe are,inthefirstplace.Andthenare‑entryintousofthe greatGod,whoentersusfrombelow,notFromabove.
【...1
"Howdoyoumean
,entersusfrombelow?"hebarked.
"Notthroughspirit
.Entersusfromthelowerself,the darkself,thephallicself,ifyoulike."
"Entersusfromthephallicself?"snappedKangaroo
sharply.
"Sacredly
.Thegodyoucanneverseeorvisualize,who standsdarkonthethresholdofthephallicme.s4'
Asweseefromtheabovequotation,thecharacteristicsofthedark Godaresensual,phallic,barbaricandfearful.Itisagainstthe spiritual,thatis,ChristianGod.AndtoknowthedarkGodwemust castawayChristianGod.AndthedarkGodisforeverdark,
nameless,andthegreatlivingdarkness.Bythewords"greatliving darkness,"Lawrenceaffirmsthegreatnessofdarknessandherewe canunderstandtheoriginalityinhisworks.ThedarkGodcan'tbe seenbyphysicaleyesandcan'tbeheardbyphysicalears.While ChristianGodaimsatonlyHeaven,thedarkGodaimsbothHeaven andEarthassymbolizedbyQuetzalcoatlinThePlumedSerpent.
Quetzalcoatlisthecreaturewhichisaserpentandabirdunified.
Whileabirdfliesintheair,asnakecreepsontheearthordives
undertheearth.SoQuetzalcoatlisabeingwhichbalancesbetween
thespiritualwhichabirdsymbolizesandthephysicalwhicha
serpentsymbolizes.Thisisaunificationoftheparadoxicalas
Lawrence'sfamousoxymoron"thedarksun"shows.Lawrencetries
tosayinhismanyworksthatthoughwethinkthemindismore
importantthantheflesh,weshouldregardthefleshisimportantas
AStudyontheGermof"TheDarkGod"in5'oηsω1dゐoηers
wellasthemind.Hesaysinhisessay"TheCrown,"asfollows:
Weareenvelopedinthedarkness,likethelion:or liketheunicorn,envelopedinthelight.
【...】
Andthereisnorest,nocessation.Forwearetwo oppositeswhichexistbyvirtueofourinter‑opposition.
Removetheoppositionandthereiscollapse,asudden crumblingintouniversalnothingness.5)
Humanbeingsarecomposedbytheseparadoxicalelements.
ThisiswhyLawrenceisagainstChristiandoctrinewhichaimsat onlyHeaven.
Lawrencesoughttheharmonyofdarknessandlightthroughout hislife.InLawrencedarknessrepresentssensuallife(thatis,flesh andblood)asusuallyownedbymen,andLight(thatis,spiritualand mindful)aswomen,InlaterworksLawrencewritesaboutthedark menwhoarego‑betweensofthedarkGod,andwhotrytolead womenwhomtheylove.Inearlierworkshewritesaboutthemen whosufferfromdomineeringwomen,whoareusuallycleverand educatedandaspireforsocialhighstandardlife,andwhoareardent Christians.
AsinThePlumedSerpentandTheThesposser,thegermofthe darkGodcanbeseen,scinSonsandLoversHeappears,too.In
TheWhitePeacock,sexuallybeautifulandanimatingGeorgeand AnablearedegeneratedbywhitewomenLettieandLadyChristabel whoarespiritualandeducated.Theyhavetheelementsofdarkmen butwhitewomen'spoweroverthemarestronger.InTheTrespasser, theprotagonistSiegmundkillshimselfbecausehisloveHelenawho isalsoawhiteChristiandefeatshim.ButSiegmundhasagermof thedarkmanashisheartbeatingispileduponthewildroaring soundofwavesoftheseaandasHelenathinksheisbarbalic.And alsoshefeelsagreatbeingthroughhisheartbeatings.
0
Presentlyshelaidherheadonhisbreast,andremained so,watchingtheseaandlisteningtohisheart‑beats.The
throbwassostronganddeep.Itseemedtogothrough thewholeisland,andthewholeafternoon,andit fascinatedher:̀"
ChapterIIWalterMoreland"TheDarkGod"
AsLawrencesaysintheessay"TheCrown,"
paradoxicalnatureishisidealliving:
thebalanceofthe
Forthewombisfullofdarkness,andalsofloodedwith thestrangewhitelightofeternity.Andwe,thepeoplesof theworld,weareenclosedwithinthewombofourera, wearetherebegottenandconceived,butnotbrought forth.
【...]
Thedarkness,thisisavastinfinite,anorigin,aSource.
TheBeginning,thisisagreatsphereofdarkness,the wombwhereintheuniverseisbegotten.
Butthisuniverse,infinitedarknessconceivesofitsown opposite.Ifthereisuniverse,infinitedarkness,thenthere isuniversal,infiniteLight,fortherecannotexistaspecific infinitesavebyvirtueoftheoppositeandequivalent specificinfinite.Sothatiftherebeuniversal,infinite darknessinthebeginning,theremustbeuniversal, infinitelightintheend.Andthesearetworelative halves.'
九
Inthisquotation,thesymbolsofparadoxicalnaturesarementioned asthelionandtheunicorn.Inotherwordsthesetwoarelightand
darkness,dayandnight,spiritandflesh,mindandsensuality, womanandman,waterandfire,ChristianGodandpaganGods.
Andthesetwooppositesarealwaysfightingeachother.InSonsand Lovers,theopposites'fightsarealsoseeninmanycases,and
thereforeLawrencesaysthatthegermofthefightofdarknessand
lightexistsinhisfamousearliernovel.
AStudyontheGermof"1'heDarkGod"in5'oitsandhovers
ThefightbetweenthedarkGodandChristianGodisfirstly hintedatinthefightbetweenMr.MorelandMrsMorelasseenin thesentence,"Thepitywas,shewastoomuchhisopposite."8》(25) WalterMorelisacollier,soheworksintheunderworld,diggingup coalsallday.Hespendsmostofhistimeinthedarkness.Hisbody isdarkbecauseitiscoveredwithcoaldirt.Hehas"wavyblack hair"(17)and"vigorousblackbeard."(17)Hehasruddycheeksand
"redmoistmouth
."(17)Walter'sappearanceremindsusofMellorsin La吻(,hatterley"sLover.Heisadarkmanliterallyandsymbolically.
Walterhaspaganelements.Helikesalcoholverymuchwhichhis wifeabhors.Andhelovesdancewhichhiswifehates,too.Walter, whodrinkstoomuchandgivesviolencetohisfamily,remindsusof BacchusinGreekmythologywhichLawrenceadoressomuch throughhislife.Asfordance,itissaidtobeacommunicative activitybeyondwordscommunication.Philosophicallydancemeans theimpulseoflivingandunitestheparadoxicalbeingstogether,soul andflesh,visibleandinvisible,mortalandimmortal.Themeanings ofthedanceisthesamethatLawrenceseeks.Sodancingisvery importantcommunicativeshapeinhisworks.Walterwholoves dancingextremelythusseemstobeatypeLawrenceaffirms.Walter likesfestivalsandisgaywhenheisinagoodhumor.Helivesina sensualworld.Laughingsooftenandheartily,helovesajoyous world.Buthehasdemerits.Heisilliterate,weak‑mindedandcannot thinkorbearstrictrulessuchastemperance.Hecannotbeamodel towhomPaul,hisson,commitshimself.
MrsMorelisastern,high‑mindedandeducatedpuritan.She speakswithapurityofEnglishandMr.Morelspeaksdialect.His dialectremindsusofMellorswhospeaksdialecttoConnie.Mrs Morelstrivestomakeherhusbandmoralandreligious,butitis impossible.Shegraduallydespiseshimanddestroyshim.Turning fromherhusband,sheturnstoherchildren.
MrsMorelrepresentsatypeofVirginMary.Shehassadnessas hernature."Andlookingahead,theprospectofherlifemadeher feelasifshewereburiedalive."(14)Thewifetriestopressher puritannatureuponhersons,WilliamandPaul,especially.As Walterhasadarknaturemetaphorically,soMrsMorelhasawhite
八
one.Sheiswrappedinwhitelight:
Shewasapuritan,likeherfather,high‑minded,and reallystern.Thereforethedusky,goldensoftnessofthis man'ssensuousflameoflife,thatflowedfromoffhisflesh liketheflamefromacandle,notbaffledandgrippedinto incandescencebythoughtandspiritasherlifewas, seemedtohersomethingwonderful,beyondher.(18) Inthisquotation,twokindsoflight,namely,sensuousflameofa candleandincandescentlightofspirit,areseen.AndforLawrence, Mr.Morel'ssensuous,softflameofacandleismoreimportant.This letterwaswrittenonJanuary1913justbeforeSonsandLoverswere publishedMay1913:
Mygreatreligionisabeliefintheblood,theflesh,as beingwiserthantheintellect.Wecangowronginour minds.Butwhatourbloodfeelsandbelievesandsays,is alwaystrue.Theintellectisonlyabitandbridle.What doIcareaboutknowledge.AllIwantistoanswertomy blood,direct,withoutfribblinginterventionofmind,or moral,orwhatnot.Iconceiveaman'sbodyasakindof flame,likecandleflameforeveruprightandyetflowing:
andtheintellectisjustthelightthatisshedontothe thingsaround.'
七
Thisquotationabouttheflameofthecandlelightisjustthesame kindofMr.Morel'sbeing.
ThereisafamouspassageinwhichMrsMorelisshutoutofher
houseintothenightgardenbyherdrunkenhusband.Sheis
pregnantwithPaul.Thenshestands"asifinanimmensegulfof
whitelight."(34)Thiswhitelightcomesfromthelilies."Thetall
whitelilieswerereelinginthemoonlight....Theyseemedtobe
stretchinginthemoonlight.Sheputherhandsintoonewhite
bin....(34)Inthispassagethemoonlightandthewhiteliliesare
identified.Onesymbolofthemoonisamotherandthatofawhite
AStudyon吐heGermof̀̀TheDarkGo(1"inSonsα ηdhovers
lilyisVirginMary.ThusMrsMorelisseemedtocommitherselfto VirginMary.WhenPaulisborn,andsheisbleedingfromher foreheadbecauseofherhusband'sviolence,sheseemsnottohave ahusband.ShelooksvirginbecauseWalterslipsoutfromherlifeso completely.Herblooddropsintoson'shair.Atthisstageherson Paulseemstoinherithismother'ssorrowfullife.Heseemstosuffer fromhersorrowandagony,nevertoescapefromit.Butthenthe babyclencheshisfisttowardthesun:
Shethrusttheinfantforwardtothecrimson,throbbing sun,almostwithrelief.Shesawhimlifthislittlefist.(51)
"Crimson"meansscarlet
,bloodyredandthesunsetisn'twhite incandescentlight.ThescarletsunseemstopromisePaul's"blood andfleshlife"againstMrsMorel'sspiritual,sorrowfulChristianlife, eveninhisinfanthood.
ChapterIIIWilliamandtheWhiteLadies
MrsMorelloveshereldestsonWilliamasifhewereherlover.
Becauseshedespairsofherhusband,shegoestowardhereldest son.HerhusbandgetsangrywithWilliam,hatesandbullieshim, whichresultsinhismother'slovinghimmoreandmore.Herson alsoloveshermore.Thusthebondbetweenthemotherandherson
deepensmoreandmore.Theson'sfeelingtowardherisakinto sexualloveasseen"AlreadyWilliamwasalovertoher."(44)"Her"
meanshismother.Williamhasmarigoldwhitishhairwhichhis motherlovesverymuch,buthisfatherisjealousofthesonandcuts hisbeautifulhairunseemly.Themotherseesitandcriesbitterly.
Thegoldhairmeansthemother'sspiritualworld,thatis,Christian world.Ontheotherhand,thehusbandwhocutsitmeansthepagan world.
MrsMorel's"lover"Williamdoeseverythingforhismother:
六
Allthethingsthatmendo‐thedecentthings‐William
did.Hecouldrunlikethewind.Whenhewastwelvehe wonafirstprizeinarace:aninkstandofglass,shaped likeananvil.Itstoodproudlyonthedresser,andgave MrsMorelakeenpleasure.Theboyonlyranforher.He flewhomewithhisanvil,breathless,witha"Look, mother!"Thatwasthefirstrealtributetoherself.She tookitlikeaqueen.(70)
五
IntherelationshipbetweenMrsMorelandWilliam,themother isdepictedas"queen"or"lady."Thesewordsshowthatsheis presentedasakindofadomineeringwomanofmen.Butthereis onethingthemotherandthesondon'tagree.Itisdancing.William lovedancinglikehisfather,buthismotherhatesit.Inheropinion, dancingseemsimmoral,namely,pagan.
William'ssweetheartLilyisbeautifulbutempty‑headed.Andof courseMrsMorelabhorsLily.Paulreferstoherasawitch.Thusas Williamisgettingolder,hegoesagainsthismother'swishessecretly thoughhegetsgoodpositionsociallyandbecomesrich.̀Lily'isa nameofaflower.ButunlikeChristianwhitelilies,William's sweetheartpresentsthesensualworld,thoughthisisnotan affirmativepaganworldwhichLawrenceadvocates.Shepresents another・phaseofChristianworld.Sheisakindofprostitute.Shehas alwaystheBiblewithherbutdoesn'treadit.ButwhenWilliamgoes towardLily,weknowheisagainsthismother'sspirituality unconsciously.Lily'snicknameisGypwhichisshorteningofGypsy andthisnicknameshowsherpaganelementsomehowwhich Lawrencedoesn'taffirm.ButLilyandMrsMorelsharethepowerof domineeringothers.LilysucksWilliam'smoney,thatis,hisenergy.
Consequentlyhesuffersfromhismother'sandsweetheart'sbonds, anddiesbecauseofhisneck'sbruise.Theneckunitestheheadand thebody,sothisbruiseshowsthatWilliamseemstohavesuffered betweenthecrushofhismindandflesh.BasicallyMrsMorel'sstern Christianityistoblameforhisdeath.
When,athisbrother'sdeath,Paulgoestothecollierywherehis fatherworks,hesaysrepeatedlythathewantshisfather.Thisscene suggeststhathewantshisidealfather,namely,"darkman."
AStudyontheGermof"TheDarkGod"inSonsandLoners
ChapterIVPaulfightingagainsttheWhiteWorld MrsMorelandLilyarethewomenoflightlikeLettieandLady ChrystabelinTheWhitePeacock,orHelenainTheTrespasser,who destroymen.Andthereappearsanotherwomanwhoissospiritual, thereforeafflictsPaul.
WhenPaul,agedabout16,firstmeetsMiriam,aged14,sheisa dreaminggirl,longingtobeliketheheroinesofWalterScott'snovel.
Shewantstobealadyandsoshewantstobeeducated.But"ladies"
arenotfavoredbyLawrence'smainmalecharacters.Paulfeels Miriamishissoulandconscience,butasheisgettingolder,his fleshandbloodwantssensualpassionswhichshecannotgive.
BeforePaulmeetshisfirstlove,hissweetheartishismother.
SomecriticssaythatthethemeofSonsandLoversistheOedipus‑
complex.ButafterPaulmeetsMiriam,hetriestoescapefromhis mother'sconfinement.Hismotherbeginstobeanobstacletohis growth.AccordingtoCarlJung,themothersymbolshavetwo oppositemeanings.Oneisbenignandtheotherisdestructive.When Paulislittleandweak,hismotheriswarmandconsoling.Sheis benignandhasapositiverole.Butasheisgettingolder,herpower overhimbeginstobedangerous.Shewantstodominatehim.
MiriamisveryspirituallikehermotherMrs.LeiversandMrs Morel.Herfavoriteflowersarewhitewildroses.Andinapassage PaulthinksofherlikeVirginMary.AsPaulfeelsthatshetriesto absorbhissoulanddominatehim,hestrugglestoescapeher dominationthatisChristianspirituallove:
"MayIspeakofourold
,wornlove,thislasttime?It, too,ischanging,isitnot?Say,hasnotthebodyofthat
lovedied,andleftyouitsinvulnerablesoul?Yousee,I cangiveyouaspiritlove,Ihavegivenityouthislong, longtime;butnotembodiedpassion.See,youareanun.
IhavegivenyouwhatIwouldgiveaholynun‐asa mysticmonktoamysticnun.Surelyyouesteemitbest.
Yetyouregret‐no,haveregretted‐theother.Inallour
四
relationsnobodyenters.Idonottalktoyouthroughthe senses‐ratherthroughthespirit.Thatiswhywecannot loveinthecommonsense.(292)
Miriamlacksfleshandblood,andhetellsherthatsheisanun.He tellsClarathatwhenheandMiriamaretogethertheyonlytalk, especiallyabout"ChristianMystery,"whichhehatesnow.His naturehasdarknesswhichLawrenceaffirms.Lawrencedescribes eveningscenesandthesunsetscenesrepeatedlyinthenovel.Paul triestoteachthemeaningofdarknesstoMiriamwhenthesunset
firespinetrunksas"standing‑uppiecesoffireinthatdarkness."(183) Inthisscene,theGodisshownasredfireandbecauseitisinthe
eveninganddark,PaulfeelshisGodinthedarknesswhichdoesn't haveshape.Itlthisscenehecanhavecommunionwithcosmos.The pinetreelooksMellor'sguardiangodinLadyChatterley'sLoverand linkswithPanGod,whichisatypeofLawrence'sdarkGod.
AtlastMiriamgivesherbodytoPaulbuthethinksasifshe wereavictimtohim."Thereremainedafterwardsalwaysthesense offailureaciddeath."(334)HedecidestoleaveMiriamwhenhefeels shetreatshimasachildoffour.Buthethinksthathedoesn'twant anothermother.Thuswomen'sChristianlovehasadomineering powerovermenasthemother'sloveoverherchildren.
ChapterVPaulRecognizesDarknessthroughClara AsPaulisnotsatisfiedwithhisrelationshipwithMiriam,he becomesontermsofClara.Sheisamarriedwomanandaboutsix yearsolderthanhe.ShehelpsPaultobecomeanadultmanandhe canrecognizemuchofthegooddarkworld.Thereforedarkness acquiresapositiveandgoodmeaningthroughhisrelationshipwith Clara.Andhebeginstohatehismotherasseeninthequotation
"Thensometimeshehatedher
,andpulledherbondage.Hislife wantedtofreeitselfofher."(389)"Herbondage"meanshismother's bondage.
AtanearlierstagewithhisrelationshipwithClara,hecan
AS吐udyontheGermo「̀̀ThcDarkGod"inSo'is(172̀1〃 ルers
experiencetohavecommunionwithuniverse.Differentfrom Miriam'swhiteflowers,Clara'sareredflowerswhichsymbolize warmlivingflame,namely,fleshandblood.Thereforeatearlier stagesoftherelationshipbetweenPaulandClara,herbody(breasts, ac・msandnecketc.)isdepictedvividly.PaulmentionsClaraas"a blotofvermilionwalkingdownthestreet"whenshewearsscarlet,
red‑brickcarnations.Heaccomplishes"asortofbaptismoffirein passion"(362)withClara:
Miriamponderedthis.Shesawwhathewasseeking:a sortofbaptismoffireinpassion,itseemedtoher.She realizedthathewouldneverbesatisfiedt川hehadIC.
Perhapsitwasessentialtohim‐astosomementosow wildoats.Andafterwards,whenhewassatisfied,he wouldnotragewithrestlessnessanymore,butcould settledownandgivehislifeintoherhands.Wellthen,if hemustgo,lethimgoandhavehisfill‐somethingbig andintense,hecalledit.(362)
This"baptismoffire"iscontrastedwiththe"baptismofwater"
intheChristianritual.ButMiriamwhobelongstotheworldof"the baptismofwater"cannotexperience"thebaptismoffire"whichis anti‑Christian.ItmustbethroughClarathatPaulunderstandsit.
ThroughClarahecancometoknow"tremendouslivingflood"(398) indarkness,withgrassstems,thecryofpewitandthewheelofthe stars:
Andsoonthestrugglewentdownhissoul,andhe forgot.ButthereClarawasnotthereforhim,onlya woman,warm,somethinghelovedandalmost worshipped,thereinthedark.ButitwasnotClara.And shesubmittedtohim.Thenakedhungerandinevitability ofhislovingher,somethingstrongandblindand ruthlessnessinitsprimitiveness,madethehouralmost terribletoher.
L...】
Whatwasshe.Astrong,strange,wildlife,that breathedwithhisinthedarknessthroughthishour.It wasallsomuchbiggerthanthemselves,thathewas hushed.Theyhadmet,andincludedintheirmeetingin thethrustofthemarigoldgrassstems,thecryofthe pewit,thewheelofthestars.
【...̲...1 1twasforeachofthemaninitiationandasatisfaction.
Toknowtheirownnothingness,toknowthetremendous livingfloodwhichcarriedthemalways,gavethemrest withinthemselves.(397‑8)
InthisquotationwecanseeLawrence'slovereligion,asseenin LadyChatterley'sLoverorWomeninLove.Thedarknesswhich containsthemisbenignandcreativeandleadsPaultoanewworld moreorless.Sothisdarknesscanbethoughttobethegermofthe darkGod,too.Atthisstage,heisoftenreferrednotasPaulbutas Morel,whichmeansheisgrowingasamanofsurety.Heis
sheddinghisChristiannature.Butitisnotatrueoneyet.Itis becausehefeelshismothercontrolshimevenwhenhebecomes twenty‑fiveyearsold.BesideshefeelsClaraisdomineeringhimby hersexuality.ThusMrsMorel,Lily,MiriamandClaralackthe balancebetweenmindandbodywhichLawrencethinksthemost importantinourlife.
Conclusion
ItisnotuntilhismotherdiesthatPaulisreallyliberatedbyher domination.Andatlasthisbelovedmotherdies.Itishisagonybut atthesametimeitishisliberation.OnthedaywhenMrsMorel dies,Mr.Morelstartsforthecoalminewalkingonsnow:
AndinafewminutesPaulheardhisfather'sheavy
stepsgothuddingoverthedeadeningsnow.Miners
calledinthestreetsastheytrampedingangstowork.
AStudyontheGermo『̀̀TheDarkG(,d"in5̀川sα'1dLvhers
【...I Farawayoverthesnowsoundedthehootersofthe ironworks.Oneafteranothertheycrowedandboomed, somesmallandfaraway,somenear,theblowersofthe collieriesandtheotherworks.'Thentherewassilence.
【...】
Stillitwasdark.Perhapstherewasalightertinge.
Perhapsthesnowwasgrowingblue.Heheardacart clankingdownthestreet.Yes,itwasseveǹclock,andit wascomingalittlehitlight.Heheardsomepeople calling.Theworldwaswaking.Agray,deathlydawn creptoverthesnow.(441)
LawrencedescribessnowconcerningthedayswhenMrsMorelis dyinganddies.Inpresentquotationtheword"snow"isusedfive times.AsthefamoussceneinWomeninLovewhereGeralddies buriedundersnowinAustria,sohereMrsMoreldiesonasnowy day.InLawrence'sworks,snowsometimessymbolizesChristian mentalwhiteworld.Paul'srecognitionofthegooddarknesshas beguntoexchangehismother'sdeath,moreorless,whichmeansto himthedeathofChristianmoralworldinasense.Ontheother hand,herealizesthemeaningdarkness.Itgiveshimheeling:
Therealestthingwasthethickdarknessatnight.That seemedtohimwholeandcomprehensibleand
restful.(455)
Andagainattheendofthenovelthedarknessisshown:
Nowshewasgoneabroadintothenight,andhewas withherstill.Theyweretogether.Butyettherewashis body,hischestthatleanedagainstthestile,hishandson thewoodenbar.Theyseemedsomething.Wherewas he?‐onetinyuprightspeckofflesh,lessthananearof wheatlostinthefield.Hecouldnotbearit.Onevery sidetheimmensedarksilenceseemedpressinghim,so
0
tinyaspeck,intoextinct.Night,inwhicheverythingwas lost,wentreachingout,beyondstarsandsun.Starsand sun,afewbrightgrains,wentspinningroundf'orterror andholdingeachotherinembrace,thereinadarkness thatoutpassedthemallandleftthemtinyanddaunted.
Somuch,andhimself,infinitesimal,atthecorea nothingness,andyetnotnothingness.
"Mother!"hewhimpered
,"mother!"
Shewastheonlythingthatheldhimup,himself,amid allthis.Andshewasgone,intermingledherself!He wantedhertotouchhim,havehimalongsidewithher.
Butno,hewouldnotgivein.Turningsharply,he walkedtowardsthecity'sgoldphosphorescence.Hisfists wereshut,hismouthsetfast.Hewouldnottakethat direction,tothedarkness,tofollowher.Hewalked towardsfaintlyhumming,glowingtown,quickly.(464) AsImentionedbefore,mothersymbolshaveambivalentmeanings,
namely,positiveandnegativeones.1())Thedarknessherehas mother'snegativemeanings,death.Thoughasseeninthequotation, Paul'smindisinadangerouscondition,heshutshisfists.Fists meanhisfightingspirit.Thesefistsshowhehasbeenbornforthe secondtimebecauseheclenchedhisfistsforthefirsttimeasa baby."Thecity'sgoldphosphorescence"doesn'tmeanartificial
light,becausetheword"phosphorescence"isrelatedwiththedark worldasseeninhisessayonthelionandtheunicorn:
〇 九
Thelionrepresentsthedarkworld.Ontheonesidewe areindarkness,oureyesgleamphosphorescentlikecat's eyes.Andwiththesephosphorescentgleamingeyeswe lookacrossattheoppositepurebeast....theunicorn."'
Thegooddarknesswhichherealizesthroughhisrelationship withClarahelpshimtothinkhisbodyandhischestseemimportant.
Thisseemstobetheresurrectionofthebody,inasense.Through
AStudyontheGermof"TheDarkGod"inSoresaiul/,veers
SonsandLovers,theimageryofdarknessappearsrepeatedly.AsI mentioned,darknesshasambivalentmeanings.ButLawrence createditsoriginalthoughtthroughSonsandhoversbyadvocating thegoodnessofdarknesswhichcanchangetheoldworld.Thisnew thoughtgrowsinto"thedarkGod"inhislaterworks,andthegerm ofthedarkGodPaulhasrecognizedseemstohelphimtoliveinhis life.
AsfortherelationshipbetweenWord(mind)andFlesh(body), LawrencetellsiǹForeword'toSonsandLoversasfollows:
ButwhatisreallỳRose'isonlyinthatquivering, shimmeringfleshofflesh,whichisthesame,unchanged forever,aconstantstream,calledifyoulikeProtoplasm, theeternal,theunquestioned,theinfiniteofthèRose', theFlesh,theFather‐whichweremoreproperly,the Mother.(470)
LawrencethinksthatGodwhoistheFatherofSon(Christ)is FleshandhisSonisWord.SotheFatherisalsothoughttobeHis Mother.TheFatherwhoisfleshiseternal,infinite.Ontheother hand,Wordisfinite.SoFleshismoreessentialforeverything.This ideacanbeseeninSonsandLovers.WhenPaulpainting,he
teachesMiriamthat"theshimmeringprotoplasmintheleaves"(183) ismoreimportantthantheshapeofthethingwhichisfinite,as"The shapeisadeadcrust.Theshimmerisinside,really."(183)Thusf'or Lawrencetheinvisibleismoreimportantthanthevisible,andthe darkGodwhichisinside,invisibleandphallic(flesh),seemstolurk inthethemeofSonsandLovers.
〇 八
Notes
*'PhisistherevisionofthepaperwhichIpresentedatthegth internationalconferenceofD.H.LawrenceonJune30th,2003at KyotoGardenPalace.
1)JaynesT.Boultoned.,TheLettersofU.H.LaurrenceVvl.1(Cambridge U.P.:Cambridge,1979),p.477.
2)ViviandeSolaPintoandWarrenRobertsed.,7h2α)γ ηρ'e佗POα 麗qズ0.
H.LawrenceVol.1(Heinemann,London,19G4)p.213.
3)JessieChambers,̀D.H.Lawrence:aPersonalRecord,'(firstpublished in1935)inD.H.Lawrence:SonsandLovers,ACasebooked.by GaminiSalgado(Macmillan:LondonandBasingstoke,1969),p.46.
4)D.H.Lawrence,Kangarooed.byBruceSteel(CambridgeU.P.,1994), p.137.
D.H.Lawrence,SodsandLvversed.byHelenBarnandCarlBaron
(CambridgeU.P.:Cambridge,1992),p.25.(以 下 本 書 か ら の 引 用 は 、 全
て 引 用 の 末 尾 に 記 人)・ こ の 論 の 代 表 的 な も の と し てA.B.Kuttner,̀A
FreudianAppreciation'(Casebook,p.69.)が あ る 。
5)D.H.Lawrence,PhoenixIIed.byW.RobertsandH.T.Moore (Eleinemann,1968),pp.367‑368.
6)E.Mansfielded.,TheCα ηめrどdg2Edど εどoηoftheWorksofD.H.
Lawrence:The71・espasser(CambridgeU.P.,Cambridge,1981),p.45.
7)Phoenix11,pp.367‑368.
8)D.H.Lawrence,Sonsancthoversed.tryHelenBarnandCarlBaron
(CambridgeU.P.:Cambridge,1992),p.25.(以 下 本 書 か ら の 引 川 は 、 全
て 引 用 の 末 尾 に 記 入) 9)7'heLetters,Vol.1,p.503.
10)C.G.Jung,FourArchetypes(ArkPaperbooks,London:1972), pp.15‑6.
11)D.H.Lawrence,Phoenix11(Heinemann:London,1968),p.367.
