『무지개』에서의 ‘빛’과 ‘어둠’
‘Light’ and ‘Darkness’ in The Rainbow
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This article elucidates the interrelation between 'light' and 'darkness' in The Rainbow in terms of its theme, the pursuit of true self and its fulfilment. Generally 'light' is associated with reason and consciousness; while 'darkness' with flesh, blood, and unconsciousness in Lawrence's novels. 'Light' and 'darkness' in The Rainbow, however, is not categorized through typical classification. 'Light' and darkness' have various implicit meaning in characters of each generation. Each of them has both positive and negative meaning. 'Darkness' means fulfilment of instinct. The 'darkness' of Tom, however, includes his inability to articulate what he instinctively feels. Will's dark subterranean self is vividly portrayed in self-mystification in Cathedral. The psychic domain indicated by the 'darkness' of Skrevensky is his sense of individuality as mechanical isolation without any connection with others, and his desire to be an unthinking part of a system. Ursula is wilful with respect to herself and has only partial access to her own feelings. It is indicated as her 'darkness'. The 'light' of Tom and Lydia is the adventure into the unknown. The 'light' of Anna is her wish to separate herself from the 'darkness' of Will who tries to absorb her. She longs for freedom from his emotional pressure and for a more individual life. Ursula's 'light' is her attempt to acquire fullness of self. Ursula's 'light', however, has also negative meaning such as 'daytime consciousness' to conceal her destructive self from herself. Ursula's final vision of rainbow is a covenant of new life. She gets it after she can have the capacity to see her 'darkness' in the context of the unknown. It is a dialogic synthesis of 'light' and 'darkness' through mutual complementarity. The polarity of 'light' and 'darkness' in The Rainbow is not binary dualism but a dynamic principle. It is an energizing process, not a choice.
Abstract
This article elucidates the interrelation between 'light' and 'darkness' in The Rainbow in terms of its theme, the pursuit of true self and its fulfilment. Generally 'light' is associated with reason and consciousness; while 'darkness' with flesh, blood, and unconsciousness in Lawrence's novels. 'Light' and 'darkness' in The Rainbow, however, is not categorized through typical classification. 'Light' and darkness' have various implicit meaning in characters of each generation. Each of them has both positive and negative meaning. 'Darkness' means fulfilment of instinct. The 'darkness' of Tom, however, includes his inability to articulate what he instinctively feels. Will's dark subterranean self is vividly portrayed in self-mystification in Cathedral. The psychic domain indicated by the 'darkness' of Skrevensky is his sense of individuality as mechanical isolation without any connection with others, and his desire to be an unthinking part of a system. Ursula is wilful with respect to herself and has only partial access to her own feelings. It is indicated as her 'darkness'. The 'light' of Tom and Lydia is the adventure into the unknown. The 'light' of Anna is her wish to separate herself from the 'darkness' of Will who tries to absorb her. She longs for freedom from his emotional pressure and for a more individual life. Ursula's 'light' is her attempt to acquire fullness of self. Ursula's 'light', however, has also negative meaning such as 'daytime consciousness' to conceal her destructive self from herself. Ursula's final vision of rainbow is a covenant of new life. She gets it after she can have the capacity to see her 'darkness' in the context of the unknown. It is a dialogic synthesis of 'light' and 'darkness' through mutual complementarity. The polarity of 'light' and 'darkness' in The Rainbow is not binary dualism but a dynamic principle. It is an energizing process, not a choice.
참고문헌 (9)
- Bell, Michael, "D. H. Lawrence: Language and Being" (1992), Cambridge UP
- Harrison, Andrew, "D. H. Lawrence's ‘Perfervid Futuristic Style’ and the Writing of the Body in The Rainbow in: Writing the Body in D. H. Lawrence: Essays on Language, Representation, and Sexuality" (2001), Greenwood
- Ingram, Allan, "The Language of D. H. Lawrence" (1990), St. Martin's Press
- Lawrence, D. H., "The Rainbow" (1964), Penguin
- Lawrence, D. H., "Fantasia of the Unconscious" (1975), Penguin
- Lawrence, D. H., "Apocalypse" (1975), Penguin
- Price, Martin, "Levels of Consciousness in: Modern Critical Views: D. H. Lawrence", pp.255~274 (1986), Chelsea House
- Stewart, Jack, "Lawrence and the Creative Process", Style, 37(2), pp.160~251 (2003)
- Yudhishtar, "Conflict in the Novels of D. H. Lawrence" (1969), Oliver & Boyd