D. H. Lawrence’s Dionysian Vision and Antonin Artaud’s Cosmic Cruelty in The Lost Girl, St. Mawr, and The Plumed Serpent
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D. H. Lawrence’s post-war novels - The Lost Girl, St. Mawr, and The Plumed Serpent - have striking similarity with the central ideas of Antonin Artaud’s concepts of theatre of cruelty. Despite of noticeable differences, Lawrence and Artaud both share a considerable amount of common grounds; they were influenced by Nietzschean ideas. At the early part of the twentieth century, Lawrence, Artaud and German Expressionists were heavily influenced by Nietzsche’s philosophy. They strove to unveil the dynamic sense of the incomprehensible reality of fundamental life through the vast immensity of ‘cosmic cruelty’', in short, through Dionysian vision. Artaud’s ‘theatre of cruelty,’ German Expressionists’s works and Lawrence’s post-war novels can be regarded as innovative versions of Dionysian arts which are designed to achieve the artistic ‘realisation’ of Dionysian Reality. Lawrence, German Expressionists and Artaud hope to artistically express unconscious forces and desires; impulses, instincts and energies. This kind of Dionysian art can rediscover the enormous cruelty rooted in the fundamental life in itself. Furthermore, their artistic efforts intend to recreate the mysterious elements of ancient rituals and religious rites - the tragic vision of Dionysian cruelty. By this cosmic cruelty, Lawrence creates enormous spectacles of ritualistic human sacrifice in his post-war novels. But this uncanny cruelty of this human sacrifice doesn’t indicate a senseless bloodshed but symbolizes a destruction without which nothing can be created.
Abstract
D. H. Lawrence’s post-war novels - The Lost Girl, St. Mawr, and The Plumed Serpent - have striking similarity with the central ideas of Antonin Artaud’s concepts of theatre of cruelty. Despite of noticeable differences, Lawrence and Artaud both share a considerable amount of common grounds; they were influenced by Nietzschean ideas. At the early part of the twentieth century, Lawrence, Artaud and German Expressionists were heavily influenced by Nietzsche’s philosophy. They strove to unveil the dynamic sense of the incomprehensible reality of fundamental life through the vast immensity of ‘cosmic cruelty’', in short, through Dionysian vision. Artaud’s ‘theatre of cruelty,’ German Expressionists’s works and Lawrence’s post-war novels can be regarded as innovative versions of Dionysian arts which are designed to achieve the artistic ‘realisation’ of Dionysian Reality. Lawrence, German Expressionists and Artaud hope to artistically express unconscious forces and desires; impulses, instincts and energies. This kind of Dionysian art can rediscover the enormous cruelty rooted in the fundamental life in itself. Furthermore, their artistic efforts intend to recreate the mysterious elements of ancient rituals and religious rites - the tragic vision of Dionysian cruelty. By this cosmic cruelty, Lawrence creates enormous spectacles of ritualistic human sacrifice in his post-war novels. But this uncanny cruelty of this human sacrifice doesn’t indicate a senseless bloodshed but symbolizes a destruction without which nothing can be created.
참고문헌 (23)
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