A reason for desire : the relationship between sensuality and self-actualisation in D. H. Lawrence’s ‘The rainbow’ and ‘Women in love’

Abstract

Amidst the battle between reason and passion, ironically, this essay is a reasoning of desire’s effect on the soul and entire being. Heretofore, the question of sexual desire has conflicted many the artists, authors, critics and theorists of a spectacularly imposing gaping spectrum of time – as much as the search for the “ideal” and “self” has intrigued a never-ending quest which seems to be immune to moribundity. Indeed, it might surprise some, to learn of the profound bond between one’s sensual nature and the potential individuation of the self, - and many art forms and art works are a testament to how sexual transgression, as extreme, unconventional, perverse, and tabooed as it might be, might surprisingly lead to a spiritual salvation that allows the individual to become truly and wholly self-fulfilled; to experience an epiphanic encounter with one’s essence; to finally truly Be. Art proves the possibility of transitioning from tormenting desire, to an actualisation of the self. D. H. Lawrence embodies the journey towards self-discovery – as exhibited in Ursula in The Rainbow and Women in Love, who embraces the fall, in order to rise again, and realise the true meaning of her being. Hence, a thriving autonomous self would have only been possible thanks to this embarkment onto the world of eroticism, as dangerous as it is. This saving grace (that is, the newly-acquired selfhood) purges the act of desire from any residue of error or immorality. Hence, in this essay of justification, I shall be presenting an analysis of the symbols and characterisation in Lawrence’s literature, as understood within a psychoanalytical perspective in light of the theoretical efforts of the renowned Carl Jung and his contemporary Toni Wolff, and of D. H Lawrence himself, amongst others.