The Dark Secret and the Coccygeal Continuum, 1918–1920: From Oedipus to Debasement to Maturity in The Lost Girl
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Until his impotence in the final years of his life, Lawrence sustains a deep sexual connection to Frieda, and in less angry and more clarifying moments he implicitly acknowledges the ebb-and-flow in the tides of any marriage, including his own. He realizes that to the degree that a marriage is “alive” it is subject to patterns of adjustment and accommodation, calling the institution “a tremendous life-state, a state of being, a state of creative existence.” While Lawrence often bemoans the unwillingness of Frieda to accede to his notions of male primacy, it is certainly his wife who helps him overcome the most damaging remnants of the oedipal scarring from his mother. For him the true unconscious is not the static repository of insurmountable repression and neurosis, but a pristine energy source that facilitates movement to maturity in a man that then will be further tested, challenged, and augmented in marriage. In The Lost Girl Alvina and Ciccio will illustrate aspects of this progressive pattern through a discomforting but purgative continuum of coccygeal darkness that concludes with the growth and transcendence engrained in their unlikely union. It remains a “continuum” because it functions not as a static state of easy compromise; their courtship and marriage reflect a struggle toward instinctual understanding that remains at the center of Lawrentian ideology. This productive forward movement in The Lost Girl finally will reside amid the isolated mountains of Italy, in Alvina and not Ciccio, and such ironic reversal of the usual patriarchal bias inherent in Lawrence’s view of gender roles in a marriage must stand as graphic evidence of his oft-quoted insistence to trust the tale and not the artist. A “dark secret” embedded in this subversive novel remains a testament to Lawrence’s depiction of both the intimacies of his emotional state and the brilliance of his visionary art.
Abstract
Until his impotence in the final years of his life, Lawrence sustains a deep sexual connection to Frieda, and in less angry and more clarifying moments he implicitly acknowledges the ebb-and-flow in the tides of any marriage, including his own. He realizes that to the degree that a marriage is “alive” it is subject to patterns of adjustment and accommodation, calling the institution “a tremendous life-state, a state of being, a state of creative existence.” While Lawrence often bemoans the unwillingness of Frieda to accede to his notions of male primacy, it is certainly his wife who helps him overcome the most damaging remnants of the oedipal scarring from his mother. For him the true unconscious is not the static repository of insurmountable repression and neurosis, but a pristine energy source that facilitates movement to maturity in a man that then will be further tested, challenged, and augmented in marriage. In The Lost Girl Alvina and Ciccio will illustrate aspects of this progressive pattern through a discomforting but purgative continuum of coccygeal darkness that concludes with the growth and transcendence engrained in their unlikely union. It remains a “continuum” because it functions not as a static state of easy compromise; their courtship and marriage reflect a struggle toward instinctual understanding that remains at the center of Lawrentian ideology. This productive forward movement in The Lost Girl finally will reside amid the isolated mountains of Italy, in Alvina and not Ciccio, and such ironic reversal of the usual patriarchal bias inherent in Lawrence’s view of gender roles in a marriage must stand as graphic evidence of his oft-quoted insistence to trust the tale and not the artist. A “dark secret” embedded in this subversive novel remains a testament to Lawrence’s depiction of both the intimacies of his emotional state and the brilliance of his visionary art.
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