Out of the very air comes a sense of danger, a queer, bristling feeling of uncanny danger. Something has happened. Something has happened which has not yet eventuated. The old spell of the old world has broken, and the old, bristling, savage spirit has set in... Back, back to the savage polarity of Tartary, and away from the polarity of civilised Christian Europe. This, it seems to me, has already happened. And it is a happening of far more profound import than any actual event. It is the father of the next phase of events. And the feeling never relaxes. As you travel up the Rhine valley, still the same latent sense of danger, of silence, of suspension. Not that the people are actually planning or plotting or preparing. I don't believe it for a minute. But something has happened to the human soul, beyond all help. The human soul recoiling now from unison, and making itself strong elsewhere. The ancient spirit of prehistoric Germany coming back, at the end of history.
English writer and poet (1885–1930)
David Herbert Lawrence (11 September 1885 – 2 March 1930) was an English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence. His collected works, among other things, represent an extended reflection upon the dehumanising effects of modernity and industrialisation. In them, some of the issues Lawrence explores are emotional health, vitality, spontaneity and instinct.
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Sex is the balance of male and female in the universe, the attraction, the repulsion, the transit of neutrality, the new attraction, the new repulsion, always different, always new. The long neuter spell of Lent, when the blood is low, and the delight of the Easter kiss, the sexual revel of spring, the passion of midsummer, the slow recoil, revolt, and grief of autumn, greyness again, then the sharp stimulus of winter of the long nights. Sex goes through the rhythm of the year, in man and woman, ceaselessly changing: the rhythm of the sun in his relation to the earth. Oh, what a catastrophe for man when he cut himself off from the rhythm of the year, from his unison with the sun and the earth. Oh, what a catastrophe, what a maiming of love when it was a personal, merely personal feeling, taken away from the rising and the setting of the sun, and cut off from the magic connection of the solstice and the equinox! This is what is the matter with us. We are bleeding at the roots, because we are cut off from the earth and sun and stars, and love is a grinning mockery, because, poor blossom, we plucked it from its stem on the tree of Life, and expected it to keep on blooming in our civilised vase on the table.
Marriage is the clue to human life, but there is no marriage apart from the wheeling sun and the nodding earth, from the straying of the planets and the magnificance of the fixed stars. Is not a man different, utterly different, at dawn from what he is at sunset? And a woman too? And does not the changing harmony and discord of their variation make the secret music of life?
Augustine said that God created the universe new every day: and to the living, emotional soul, this is true. Every dawn dawns upon an entirely new universe, every Easter lights up an entirely new glory of a new world opening in utterly new flower. And the soul of man and the soul of woman is new in the same way, with the infinite delight of life and the ever-newness of life. So a man and a woman are new to one another throughout a life-time, in the rhythm of marriage that matches the rhythm of the year.
I am not a mechanism, an assembly of various sections. And it is not because the mechanism is working wrongly, that I am ill. I am ill because of wounds to the soul, to the deep emotional self and the wounds to the soul take a long, long time, only time can help and patience, and a certain difficult repentance long, difficult repentance, realization of life’s mistake, and the freeing oneself from the endless repetition of the mistake which mankind at large has chosen to sanctify.