By C. Burack
This booklet demonstrates how D.H. Lawrence's prophetic goals impelled him to create novels that may notably rework the attention of his readers. Charles Burack argues that Lawrence's significant novels, starting with The Rainbow , are dependent as non secular initiation rites that try and holiday down the reader's normative approach and to rouse new, numinous reviews of self and international. via cautious research of narrative constitution, literary approach, and sacred discourses, Burack exhibits that Lawrence attempts to begin the reader into his personal model of spiritual vitalism. in contrast to such a lot initiations that finish with strong affirmations, Lawrence's novels regularly finish with an try to subvert the formation of recent spiritual dogmas and to motivate sacred-erotic exploration.
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Extra resources for D.H. Lawrence's Language of Sacred Experience: The Transfiguration of the Reader
Clifford continues to crave anonymous attention because he cannot experience personal fulfillment. The narrator insinuates that Clifford’s craving for self-display has sexual origins: the erotic instinct that once sought to allure particular females has been transformed into a “blind, imperious instinct to become known . . to the vast amorphous world he did not himself know, and of which he was uneasily afraid” (21). It is as if his castration anxiety fuels a desire to be seen by many, rather than touched by one.
The revelation of his anxious self-consciousness destabilizes the impression that he is an infallible initiator of Connie or the reader. His insecurity and fallibility indicate to readers that the relationship is the real initiator. Both characters are initiated by and through the relationship. 8 In Chapter V, the reader is introduced to the sacred organic vocabulary through the narrator’s depiction of Mellors’s first meeting with Connie. By this point in the novel, Connie’s focalization is primary, so her experience of Mellors can be expected to have vicarious effects for the reader.
The psychonarrations of Clifford and Michaelis underscore their head-dominated consciousness, particularly their hypervisuality. This eye-centeredness is suggested 24 D. H. Vision metaphors are used to characterize Clifford’s perceptual and affective relations to the world. And since his “extraordinary and peculiar” powers of “observation” have “no actual contact” with the subject matter,“[i]t was as if the whole thing took place on an artificial earth” (16). His desire for human connection has been sublimated into a scopically structured interest in people: “He was remotely interested: but like a man looking down a microscope, or up a telescope” (16).