TH E P A R A D O X I C A L F A L L : E T E R N A L R E C U R R E N C E I N D . H . L A W R E N C E ' S THE R A I N B O W EVELYN J. HINZ University of Manitoba Explaining the "essential theme" of his investigation, in his Preface to Cosmos and History, Mircea Eliade observed: "The chief difference between the man of the archaic and traditional societies and the man of modern societies with their strong imprint of Judaeo-Christianity lies in the fact that the former feels himself indissolubly connected with the Cosmos and the cosmic rhythms, whereas the latter insists that he is connected only with H istory."1 No literary work, perhaps, evidences so identical a theme as D.H. Lawrence's The Rain bow ; for not only does Lawrence contrast the cosmic orientation of man in the past with the historical orientation of modern man - as many modern writers tend to do - but he also directly associates the origins of historical thinking with the Judaeo-Christian tradition. Furthermore, just as archaic man, according to Eliade, regarded a sense of history as symptomatic of his fallen condition - as evidence of his limited point of view rather than as an irreversible curse which would thus be visited upon his descendants - so Lawrence explores the origin and nature of man's fall into history within a context which demonstrates eternal recurrence. The theme of The Rainbow is the Fall from a cosmic to an historical or egocentric point of view and correlatively from a cyclic to a linear and sequential concept of time; but in demonstrating that the historical and egocentric perspec tives are limited or fallen ones, Lawrence dramatizes that the cosmic and cyclic is the reality. Thus the Fall as Lawrence presents it is not the unique historical occurrence recorded in the Bible; rather the Judaeo-Christian tradition becomes for him the characterizing feature of the fallen world and the force responsible for its historical and ego-oriented character. The Fall he evokes as the prototype for The Rainbow is the mythic paradigm behind the Judaeo-Christian redac tion, just as the controlling symbol in the work is not the biblical rainbow, but the old natural mythological emblem. It is at the beginning of The Rainbow that Lawrence announces this paradoxi cal Fall as his theme, but the opening of the novel has been rendered problematic as a result of critical dissension over Lawrence's attitude toward the Brangwen men and women. Hence it will be best to return to the beginning after discover ing how Lawrence formulates his governing rationale in other episodes. The English Studies in Canada, iii, 4, Winter 1977 467 "Flood" chapter which appears in the middle of the work and which, as the title of the novel suggests, is thematically central as well, serves perfectly, especially since for some curious reason it is rarely analyzed. Very drunk, so drunk that he cannot walk "straight," Tom Brangwen leaves the "Angel" inn at eleven o'clock one night. Facing a rainstorm, he takes consolation in the fact that the situation is not new to him: " 'Oh, well,' he said cheerfully, 'it's rained on me before.' " 2 But in addition to personal experience, Brangwen also recognizes a precedent for this deluge, ironically, given the moral of the event, the biblical story of the flood: " 'There'll be no volcanoes after this. Hey, Jack, my beautiful slender feller, which of us is Noah? It seems as though the water works is bursted. Ducks and ayquatic fowl'll be king o' the castle at this rate - dove an' olive branch and all'" (p 241). Later, on the road home, the relentlessness of the storm provokes him to comment on the futility of his efforts to improve things: " 'It was a lot of use putting those ten loads of cinders on th' road. They'll be washed to kingdom-come if it doesn't alter'" (p 242). Again, however, he finds consolation. First, in the fact that he has a son who has succeeded...
Read full abstract