見えない戦争 : 第一次世界大戦とロレンス(<特集>異文化とジェンダー)

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The general purpose of this paper (based on a lecture) is to introduce theperspective of 'the invisible War', what went on in the world behind and at adeeper psychological level than the actual warfare. More specifically, this is anattempt to cast a new light on Women in Love, Lawrence's novel written duringthe War, by focusing on the half-hidden reference to the poems of the trench-war and the implicit images of the War, violence, and madness, which arescattered behind the story of love, family life, industry, socialization, educationand art. Ninety years after the First World War, by contemplating on the graves, thephotographs, and the poems of the War, we can now observe what lay behindthe actual violence and deaths. Even between the gun-fires, poets like Sassoonand Owen wrote about the futility and horror of the trench-war. A movingphotograph, taken by a British soldier, registers the enemy soldier, dead but stillsitting by the flooded trench as if alive, and the back of another Britishphotographer just walking away from the sight. A grave-stone with theinscription, 'shot at dawn', tells the resistance of the dead soldier's familyagainst the inhumanity and forgetfulness of the world. The monuments for thedead, erected by those who survived, also tell the stories of disillusion in thecivilization which had once promised wealth and a better world but ended inthe sense of loss. Not only the War-poems but other literatures written around the War represent the fatal spirit. Lawrence never fought in the War, partly for his physical condition, but his poverty and isolation during the War caused him to fight the bitter war of martyrdom in England. His German wife made people suspect him for a spy. The banning of his previous novel, The Rainbow, killed almost all his hope for publication. What could a man like him do, with the eyes to see what other people did not see in the world during the War, yet deprived of any means of making himself heard? The couple, living close to the Zennor cliff in Cornwall, were joined by J. M. Murry and Katherine Mansfield who suffered nervous-breakdown after her dear brother died in France. One of his short stories, England, My England, more directly represents Lawrence's sense of his ineffectuality, distance and fate of death along with others, while registering the death of his Morris-like medievalism and romantic farming in the Anglo-Saxon nature. With an attentive ear, we also hear in Women in Love the words of the War-poets 'walking in the dark' and in 'mud', and even the regretful voice of Kaiser during the War : 'I did not want it to be like this.'
2005-03-31

著者

平井雅子
神戸女学院大学

見えない戦争 : 第一次世界大戦とロレンス(<特集>異文化とジェンダー)

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