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'The Virgin and the Gipsy' - DH Lawrence

Outline and explore the tensions of the novel as they are represented by the language of the novel .

By Christine Gilbert

Tensions, which are integral to 'The Virgin and the Gipsy' are expressed through the characters, the settings and the events, and further reinforced through the use of language which accentuates the sets of conflicting ideas portrayed by the narrator's position as third person onlooker. We are not, however, left to judge for ourselves which view is preferable, because our perceptions are shaped by the strength and force of the narrator's opinions, which underlie all the language of the novel.
The tension between youth and age establishes the sense of conflict present in the text, and appears to be the foundation for other, more implicit tensions of the novel. It is Yvette and the Mater who represent both extremes of age, and therefore this conflict is conveyed predominantly through these two characters. Yvette is a young woman, who is full of life, and desires freedom, whereas the Mater is an old woman who is at the end of life, and likes control. The other characters perhaps form different compromises on the scale in-between. Lawrence was greatly interested in this conflict, and the diction of his narrator affects our judgement as readers by almost telling us what to think and feel. While Yvette is described as "Tall, slender, fresh-faced", the Mater is "physically vulgar", with a "stout, short, forward-bulging body". Our responses here are dictated for us, which is very typical of the novel as a whole - it is difficult to like or respect a character who is described with what turns out to be persistent revulsion. Yvette's "fresh-faced" appearance seems to imply an issue of age, of which the conclusions of the narrator seem to be that the Mater, particularly due to her age, is repulsive and gluttonous, whereas Yvette's youth is delicate and prosperous. These tensions in the language concerning the young and the old, are essentially based on the antinomy of freshness and stagnance, which is evident in both the descriptions of the characters, and the settings. The Mater is depicted as "some awful idol of old flesh", and is said to have bred "unfresh, stagnant men". Such language evokes a sense of rot and decay, whereas the girls have "fresh, sensitive faces", forming a dramatic contrast. They would much rather be outdoors than in the rectory, which was "never fresh", as opposed to the moorlands, where the girls love to go.
Yvette and Lucille are described as "rivals" to the Mater, illustrating the extent of this conflict concerning age. Perhaps it is the impulsiveness and unpredictability of their youth which poses a threat to the old woman. In chapter eight, we are given an insight into the narrator's underlying thoughts, when, through the use of dramatic statement, he refers to Yvette and "the agedness and the wisdom of the young, which always overleaps the agedness and the wisdom of the old, or elderly". Youth is deemed superior to age, which we are constantly reminded of through the figurative language. The feeling is, therefore, that age is stifling youth. and preventing it from the freedom needed in order for it to flourish.
Although we cannot necessarily be sure the opinions portrayed are Lawrence's own, his narrative illustrates the opposing views, ideas and priorities between such different generations. We can see this during the solving of crossword puzzles in chapter two, when Yvette opens a window in the Rectory lounge. The Mater speaks of "A draught to give us all our death", to which Yvette retorts: "Not a draught at all". "A breath of fresh air." This contrast demonstrates the extent of difference which several decades can generate. The implications here may involve their preferred lifestyles: the Mater is apparently content to be closed in, and therefore, in a sense, oblivious to the "rank outer world". She is not in favour of change, and sees anything new or unfamiliar as a threat to her status. Yvette, on the other hand, feels trapped and claustrophobic in the old-fashioned religious cycle she is forced to be a part of. To her, the opening of a window is an action of revolt, and also signifies the free and natural lifestyle she dreams of belonging to.
The toad analogy in chapter two, concerning the Mater, is fairly typical of the author. Describing her in these terms not only reinforces the issue of age through the way in which the toad has been in the same place, and doing the same things, "year after year, for generations", but also the Mater's vulgarity. Such vivid imagery encourages us to think of her as a slimy and grotesque creature. The idea of the old toad gluttonously swallowing every bee as it "launched into the air of spring", portrays the Mater's enormous disregard for youth, which may have stemmed from a jealousy she refuses to admit to, and so instead, attempts to destroy the factors which are of a threat to her. Spring often signifies life and beauty, which the stubborn creature is unwilling to allow the bees to experience.
Animal imagery is also noticeably exploited by the narrator, as a means of illustrating the tension between what is referred to as the "Free-born" and "Base-born". We can understand the `Free-born' characters to be Cynthia, the Gipsies, and the Eastwoods, and the `Base-born' characters to be the Saywells, and the boys of Papplewick such as Leo and Gerry. Yvette is positioned indecisively in-between:
"She wanted to be safe under the temple roof. Yet she enjoyed chipping fragments off the supporting
pillars."
Yvette has contempt for both the Rector********************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************************ith "lions and tigers", the Rector is referred to as "dog-like", showing characteristics of a "mongrel". The wild animals which are represented by Cynthia, are born free into the wild, and live off their instincts in their natural surroundings. They are very strong and powerful, as well as dangerous. The Rector, however, is a tame and domesticated animal, which is unnatural, and also reinforces the idea of denial of natural instincts. The `Free-born' characters are the ones who follow their own instincts, and allow themselves the freedom to take risks, whereas `Base-born' suggests stability, as though in a mould they are unwilling or afraid to break. The repetition of "cornered rat", used to describe the Rector also helps to highlight this tension: he is stuck, and terrified by the threat of more powerful creatures. During the argument concerning the Eastwoods, the Rector ironically describes Yvette as a "stray dog". Although intended as an insult, we begin to see Yvette's `Free-born' nature, which suggests that, in contrast to her father, she is naturally true to her instincts, as her mother proved to be. Again, by giving his point of view, and adopting the point of view of certain characters, the narrator is able to shape our opinions as readers, and determine our reactions.
The narrator's opinion seems to be that fulfilment can be reached through following your heart, which is what both Cynthia and Mrs Fawcett have done. They have disregarded the conventions and expectations of society by sacrificing a stable lifestyle which they are not satisfied with, in order to find happiness. The fact that they have left their children in order to seek fulfilment shows the extent of the discontent they were previously experiencing. The narrator's admiration for such an enormous gamble is apparent in his descriptions of Cynthia as "a great glow, a flow of life, like a swift and dangerous sun in the home". The warmth, the life-force, and the happiness she brings to the girls cannot be found anywhere in the Rectory, but beneath this lies a constant hint of danger, which Yvette seems to be aware of.
Cynthia is, however, representative of life, and also, in a sense, youth, as the two tend to be related in the novel. She is described by the narrator as "the white snow-flower, like a porcelain wreath", which conveys beauty and fragility, like a child. It could, therefore, be seen that some of the factors for reaching fulfilment, from her point of view, are youthfulness, excitement, and unpredictability: none of which qualities the Saywells represent. They instead, are described as "the life unbelievers", a phrase depicting age, and destructiveness. Here, the use of religion in the novel becomes significant. Through the Saywells, the narrator illustrates the problems he evidently believes religion to be the cause of, such as the sense of denial of nature and natural instincts, which is particularly relevant, as this itself forms a tension with the Gipsy lifestyle.
From what we have learned of the narrator's views and opinions, it is a safe assumption that the language used to describe both the Rectory and Papplewick will be cold and contemptuous. To assume, therefore, that the other places, particularly the countryside such as Tansy Moor and Bosnall Head, will depict freedom and life, is almost to be expected, but looking more closely at Lawrence's diction, this is not quite the case, although the tensions are still apparent.
The absolute repulsion and hatred Yvette feels for the Rectory itself is reinforced in every description of it, so that we, as readers, can form no alternative opinion. The idea of stagnation and rot is extremely powerful:
"it seems to smell from the centre to every two-legged inmate".
The smell seems to bear connotations of decay from within, and the idea that the inhabitants of the Rectory are "two-legged inmates", may be inviting us to choose whether this refers to a zoo, a prison, or a lunatic asylum - all three are places in which living, feeling creatures are locked up against their will, with very little means of escape, and are denied their natural lifestyles. As with the descriptions of age, the author's use of powerful, negative and evocative language - particularly adjectives, such as "sordid"; "dank"; "repulsive", and "unclean" force a sense of revulsion in the reader which is impossible to dismiss.
Papplewick, on the other hand, seems to be described more with pity than hatred:
"comparatively lonely, almost lost, the life in it stony and dour".
It is as though the natural elements of it have been smothered and denied by people such as the Saywells, and it has become unchangeable and lifeless as a reflection of its inhabitants. The repetition of the hard, stony coldness of Papplewick is also portrayed in the moorlands, which illustrates to us the reality that, although, in the narrator's opinion, nature and a natural lifestyle is preferable, it is in no way perfect or idyllic. The depiction of power, freedom, and excitement which cannot be found in the language used to describe Papplewick is present, but while the colour of green has replaced grey, it is a "dull, heavy green", which seems to carry a sense of disappointment, that this is not how nature should be.
Yvette's `Free-born' nature is further reinforced through the very definite ideas she represents concerning what she really wants. Strong, passionate emotions are illustrated, which drive forth her constant search for fulfilment:
"I should like to fall violently in love".
The absolute intensity of her desire suggests Yvette is not willing to even try to control her feelings, but wants to be overwhelmed with this powerful emotion. When the situation arises, however, Yvette does resist temptation, bringing forth the conflict between passion and control, which Lawrence had an interest in. He also had a belief in the possibility of personal fulfilment through sexual relations, which he seems to explore through Yvette's character, and the tension between the boys of Papplewick, such as Leo and Gerry, and the Gipsy man.
Leo's movements possess "forced elegance", and his manner is of "effeminate discretion". These are false and unnatural, implying that his primitive `male' or `manly' instincts are being denied, and prevented from dominating as it is believed they should. The repetition of "loose", when describing the Gipsy's movements, suggests a smooth, natural elegance, as he is not forced to conform to the falseness of civilisation:
"Being of a race that exists only to be harrying the outskirts of our society".
This is the narrator's view, which seems to bear admiration for the lifestyle of the Gipsy, seen to be desirable, in the sense that it is detached from the limitations of `society'. Adjectives such as "delicately", which the author chose to include, illustrate that primitive or natural does not necessarily mean aggressive or brutal. It instead shows a sensitivity which the other boys lack. Leo's proposal to Yvette is deemed "perfectly silly!". Again, this illustrates her naiveté, having never expected it, but also her definite pursuit of fulfilment. She seems unwilling to compromise her passionate beliefs, for a `convenience' marriage, which was the social convention of the time. The idea of `settling down' is not an option for Yvette, she is not prepared to `settle' for anything:
"She did not want to mate with a house-dog".
This tameness appears to be Yvette's view of all civilised and conventional men, which the narrator believes to be unnatural and predictable. Yvette instead, wants danger, excitement and passion, which is the appeal of the Gipsy.
The predatory qualities of the Gipsy form a tension with the "house-dog" qualities of all the other men she has met. The repetition of "pure" and "purity" bears the implication that society, as a means of control, can become the source of destruction and contamination in people, and suggests the Gipsy is natural, or true to his nature, whereas Leo is false, and denies his dominant `manly' characteristics, causing him to become timid and controlled like a domesticated animal. The Gipsy's eyes are "dark", and "watchful", and he has a "quiet, noiseless clean-cut presence". Such instinctive stealth and observation is typical of wild animals - particularly predators, as opposed to the restrained actions of tame pets.
Another issue in the novel is that of power and domination, concerning the tension between male and female. In the Rectory, it is the Mater who has control over the weak and pitiful men. She is described as "the pivot of the family", which suggests the Rectory revolves around her, as she holds the highest rank, as is evident in her title. The power she possesses has been obtained through deception and greed, which is inhumane and unnatural:
"through the weakness of the unfresh, stagnant men she had bred, she kept her power".
This abuse of her position reflects the characteristics we have been led to believe she has, and she is depicted as the source of the sterile decay in the Rectory, which is so repulsive to Yvette. The Rector is a pathetic character, who hides from the outside world like a vulnerable child: "under the shelter of the Mater". He has been supplanted as head of the family by a gluttonous old woman, and has himself become a powerless man who is dependent on his repulsive mother.
In contrast, the Gipsy man makes full use of the power of his malehood, and is in control of the women in his "clan". His primitive nature tells him he is the dominant one, and therefore the superior one. When we are first introduced to him, he drives a cart, leaving the old woman to keep pace with him on foot whilst carrying a "pack" on her back. Neither of these extremes are praised by the narrator, although more contempt is shown towards the Rector. He instead, seems to believe it is love which should dominate where both partners have a power over each other.
It is the Eastwoods who appear to have found this mutual balance, through their disregard for status, and social conventions, resulting in happiness and fulfilment. Despite their obvious physical differences, the Eastwoods seem to have found a degree of harmony, which is perhaps Yvette's ideal. The language concerning the Eastwoods reflects the love they share, and contains no tension, which brings youth and life into their lives:
"He looked down at her quite kindly, like the sun on ice".
The emotion in the Major's eyes metaphorically melts the Jewess, and fills her with a sense of warmth. This is, perhaps, the narrator's portrayal of absolute true love and fulfilment, which can be reached if you follow your heart as the Jewess has done.
It can be seen therefore, that the powerful use of diction reinforces the tensions, which are integral to the novel, and shape our opinions of characters and the ideas they represent, based on the narrator's views. It is the imagery especially, which has a strong impact on us, and evokes powerful emotions which enable us to form vivid pictures in our minds, which further affect our judgement.