Today includes our final read of The Rainbow. Last week we delved into the controversial section called Shame about Ursula’s struggle to find fulfilment and her same-sex relationship with a teacher. At the end of the book, having failed to find her fulfilment in another Ursula has a vision of a rainbow towering over the Earth, promising a new dawn for humanity:

“She saw in the rainbow the earth’s new architecture, the old, brittle corruption of houses and factories swept away, the world built up in a living fabric of Truth, fitting to the over-arching heaven.”

This is a three-generation family saga, set in Nottinghamshire, starting in Victorian times and ending before fears of WW1 loomed. the narrative sprawls across a wide swath of years, leisurely routing its way through the rituals of marriages, motherhood, and ambivalent father-daughter bonds to eventually usher us into Ursula Brangwen’s vibrant inner world which serves as the site of a perennial dispute between indefatigable individualism and the urge to live up to societal expectations. This is a profoundly sensual, sexual book, but it’s not at all explicit: the most intimate encounters are described in terms of flowers and flames, rather than human anatomy. I was seduced and intoxicated by the surreal erotic lyricism that is often more poem than prose.

“The pure love came in sunbeams between them, when she was like a flower in the sun to him… feeling the radiance from the Almighty beat through him like a pulse, as he stood in the upright flame of praise, transmitting the pulse of Creation.”

Even though the sexual politics of Tom and Lydia and Will and Anna Brangwen’s marriages are flayed open and dissected with a psychoanalytic precision, it is not until heroine Ursula steps into the embrace of nubile adolescence that I was able to determine a common running theme of an existential tussle between the sexes for supremacy and control.

The men placed in her hands their own conscience, they said to her “Be my conscience-keeper, be the angel at the doorway guarding my outgoing and my incoming.” And the woman fulfilled her trust, the men rested implicitly in her, receiving her praise or her blame with pleasure or with anger, rebeling and storming, but never for a moment really escaping in their own souls from her prerogative.

That Lawrence chose to re-create the persisting friction between one’s individuality and the need to fit into some generic pre-ordained role set aside for one by society from a predominantly female perspective is evident from the discernible narrative focus on wonderfully humanized female characters. Today’s excerpt expands on Ursula search for self-knowledge, as she rejects the conventional role of womanhood:

But very shortly she found herself up against her mother. Her mother had, at this time, the power to irritate and madden the girl continuously. There were already seven children, yet Mrs. Brangwen was again with child, the ninth she had borne. One had died of diphtheria in infancy.

Even this fact of her mother’s pregnancy enraged the eldest girl. Mrs. Brangwen was so complacent, so utterly fulfilled in her breeding. She would not have the existence at all of anything but the immediate, physical, common things. Ursula inflamed in soul, was suffering all the anguish of youth’s reaching for some unknown ordeal, that it can’t grasp, can’t even distinguish or conceive. Maddened, she was fighting all the darkness she was up against. And part of this darkness was her mother. To limit, as her mother did, everything to the ring of physical considerations, and complacently to reject the reality of anything else, was horrible. Not a thing did Mrs. Brangwen care about, but the children, the house, and a little local gossip. And she would not be touched, she would let nothing else live near her. She went about, big with child, slovenly, easy, having a certain lax dignity, taking her own time, pleasing herself, always, always doing things for the children, and feeling that she thereby fulfilled the whole of womanhood.

This long trance of complacent child-bearing had kept her young and undeveloped. She was scarcely a day older than when Gudrun was born. All these years nothing had happened save the coming of the children, nothing had mattered but the bodies of her babies. As her children came into consciousness, as they began to suffer their own fulfilment, she cast them off. But she remained dominant in the house. Brangwen continued in a kind of rich drowse of physical heat, in connection with his wife. They were neither of them quite personal, quite defined as individuals, so much were they pervaded by the physical heat of breeding and rearing their young.

How Ursula resented it, how she fought against the close, physical, limited life of herded domesticity! Calm, placid, unshakeable as ever, Mrs. Brangwen went about in her dominance of physical maternity.

There were battles. Ursula would fight for things that mattered to her. She would have the children less rude and tyrannical, she would have a place in the house. But her mother pulled her down, pulled her down. With all the cunning instinct of a breeding animal, Mrs. Brangwen ridiculed and held cheap Ursula’s passions, her ideas, her pronunciations. Ursula would try to insist, in her own home, on the right of women to take equal place with men in the field of action and work.

“Ay,” said the mother, “there’s a good crop of stockings lying ripe for mending. Let that be your field of action.”

Ursula disliked mending stockings, and this retort maddened her. She hated her mother bitterly. After a few weeks of enforced domestic life, she had had enough of her home. The commonness, the triviality, the immediate meaninglessness of it all drove her to frenzy. She talked and stormed ideas, she corrected and nagged at the children, she turned her back in silent contempt on her breeding mother, who treated her with supercilious indifference, as if she were a pretentious child not to be taken seriously.

Brangwen was sometimes dragged into the trouble. He loved Ursula, therefore he always had a sense of shame, almost of betrayal, when he turned on her. So he turned fiercely and scathingly, and with a wholesale brutality that made Ursula go white, mute, and numb. Her feelings seemed to be becoming deadened in her, her temper hard and cold.

Brangwen himself was in one of his states or flux. After all these years, he began to see a loophole of freedom. For twenty years he had gone on at this office as a draughtsman, doing work in which he had no interest, because it seemed his allotted work. The growing up of his daughters, their developing rejection of old forms set him also free.

He was a man of ceaseless activity. Blindly, like a mole, he pushed his way out of the earth that covered him, working always away from the physical element in which his life was captured. Slowly, blindly, gropingly, with what initiative was left to him, he made his way towards individual expression and individual form.

At last, after twenty years, he came back to his woodcarving, almost to the point where he had left off his Adam and Eve panel, when he was courting. But now he had knowledge and skill without vision. He saw the puerility of his young conceptions, he saw the unreal world in which they had been conceived. He now had a new strength in his sense of reality. He felt as if he were real, as if he handled real things. He had worked for many years at Cossethay, building the organ for the church, restoring the woodwork, gradually coming to a knowledge of beauty in the plain labours. Now he wanted again to carve things that were utterances of himself.

But he could not quite hitch on—always he was too busy, too uncertain, confused. Wavering, he began to study modelling. To his surprise he found he could do it. Modelling in clay, in plaster, he produced beautiful reproductions, really beautiful. Then he set-to to make a head of Ursula, in high relief, in the Donatello manner. In his first passion, he got a beautiful suggestion of his desire. But the pitch of concentration would not come. With a little ash in his mouth he gave up. He continued to copy, or to make designs by selecting motives from classic stuff. He loved the Della Robbia and Donatello as he had loved Fra Angelico when he was a young man. His work had some of the freshness, the naïve alertness of the early Italians. But it was only reproduction.

Having reached his limit in modelling, he turned to painting. But he tried water-colour painting after the manner of any other amateur. He got his results but was not much interested. After one or two drawings of his beloved church, which had the same alertness as his modelling, he seemed to be incongruous with the modern atmospheric way of painting, so that his church tower stood up, really stood and asserted its standing, but was ashamed of its own lack of meaning, he turned away again.

He took up jewellery, read Benvenuto Cellini, pored over reproductions of ornament, and began to make pendants in silver and pearl and matrix. The first things he did, in his start of discovery, were really beautiful. Those later were more imitative. But, starting with his wife, he made a pendant each for all his womenfolk. Then he made rings and bracelets.

Then he took up beaten and chiselled metal work. When Ursula left school, he was making a silver bowl of lovely shape. How he delighted in it, almost lusted after it.

All this time his only connection with the real outer world was through his winter evening classes, which brought him into contact with state education. About all the rest, he was oblivious, and entirely indifferent—even about the war. The nation did not exist to him. He was in a private retreat of his own, that had neither nationality, nor any great adherent.