On D. H. Lawrence's Fascination with Male Legs

Robyn H. Fitzpatrick: Male Legs 

robynart.com 

As David Ellis reminds us in a recent blog post, Lawrence was a great admirer of the male leg; particularly those legs that have a certain quick vitality, even if rather thin looking like his own. But he's not a fan of stocky, stupid looking legs, no matter how finely muscled; or knees that, in his view, lack meaning or sensuality.

Nor is Lawrence particularly keen on bare legs; his preference is for male legs clad in red trousers - or tight-fitting tartan trews in the case of Capt. Hepburn - and female legs wrapped in brightly coloured stockings.

Thus it is that one could easily imagine Lawrence offering a little travelling tip to a fellow passenger who happened to have his legs exposed: Try not to wear shorts. It's not all that attractive to look at ... Even if, unlike Larry David, he doesn't find naked, hairy male legs intrinsically grotesque.         

Indeed, one suspects that rather like the narrator of 'The Captain's Doll', Lawrence secretly thrilled at the "huge blond limbs of the savage Germans" parading around in their lederhosen and displaying their "bare, brown, powerful knees and thighs".   

And that, like Connie, he ultimately regarded legs as more important than unreal faces ...

Notes

David Ellis, 'Legs' (28 Oct 2018), can be found on dellis-author.co.uk: click here. 

Larry David, Curb Your Enthusiasm, S7/E4: 'The Hot Towel', (2009): click here. 

It might amuse readers to know that Larry also has a strong aversion to other male body parts, including testicles, which he regards as disgusting, hideous and rightly reviled. See Curb Your Enthusiasm, S8/E2: 'The Safe House', (2011): click here. Obviously, this testicular aversion is a very unLawrentian. Connie famously discovers the balls of her lover to be the primeval root of all that is lovely; full of a "strange heavy weight of mystery, that could lie soft and heavy in [her] hand!" See Lady Chatterley's Lover, Ch. XXII.   

D. H. Lawrence, 'The Captain's Doll', in The Fox, The Captain's Doll, The Ladybird, ed. Dieter Mehl, (Cambridge University Press, 1992), p. 122. 

D. H. Lawrence, Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1993), p. 254. 

Interestingly, one of the queer after-effects of Connie's affair with Mellors is that she becomes conscious of legs, including the thighs of her father. It strikes her, however, that most modern legs - of either sex - simply pranced around in leggy ordinariness without any significance, or were so daunted as to be "daunted out of existence". One can't help wondering, however, if this new awakening to legs isn't also a reaction to her husband's disability.

Orophobia (With Reference to the Case of Alexander Hepburn)

Casper David Friedrich: 

Der Wanderer über dem Nebelmeer (1818)

[Oder typischer romantischer Bullshit]

I don't like mountains and can never decide whether it's more depressing to be stuck at the foot of one, or atop the highest peak; the crushing claustrophobia of steep rock looming naked and inhuman, contra the radiant spiritual uplift of ice and snow - which is worse?

Either way, I suffer from a form of acute mountain sickness which has more to do with a philo-pathological disposition than with a lack of oxygen or trouble adjusting to altitude. I don't like being made to feel small and insignificant before what is ultimately just an elevation of the earth's surface, pushed up by tectonic activity (i.e., a large bump when all's said and done); but neither do I like submitting to Alpine ecstasy and being whooshed away into another world and another (higher) life and the promise of icy immortality.   

This is why I'm very sympathetic to the sceptical - some would say orophobic - reaction of Alexander Hepburn when he is taken by his German mistress, Hannele, to the popular Tyrolean resort of Kaprun, in order to experience the majesty of God's mountains.

Despite her strident insistence that the latter are wonderful and empowering, Hepburn soon expresses his disillusion and distaste. For, in his heart of hearts, he loathed the mountains, which seemed to him almost obscene in their unimaginably huge weight and size. As he tells Hannele, he is no mountain-topper or snow-bird, preferring to live as close as possible to sea-level at all times.

Lawrence writes:

"A dark flame suddenly went over his face.
     'Yes,' he said, 'I hate them, I hate them. I hate their snow and their affectation.'
     'Affectation!' she laughed. 'Oh! Even the mountains are affected for you, are they?'

     'Yes,' he said. 'Their loftiness and their uplift. I hate their uplift. I hate people prancing on mountain-tops and feeling exalted. I’d like to make them all stop up there, on their mountain-tops, and chew ice to fill their stomachs. I wouldn't let them down again, I wouldn't. I hate it all, I tell you; I hate it.'"

 Perhaps not surprisingly, Hannele is a little taken aback by this outburst:

"'You must be a little mad' she said superbly 'to talk like that about the mountains. They are so much bigger than you.'
     'No', he said. 'No! They are not.'

   'What!' she laughed aloud. 'The mountains are not bigger than you? But you are extraordinary.'

     'They are not bigger than me' he cried. 'Any more than you are bigger than me if you stand on a ladder. They are not bigger than me. They are less than me.'
      'Oh! Oh!' she cried in wonder and ridicule. 'The mountains are less than you.' 
      'Yes,' he cried, 'they are less.'"

Hannele mistakes this for megalomania, but, actually, it isn't that. It is, rather, a noble refusal to be intimidated by grandeur, be it divine or natural in origin, and a rejection of romantic idealism founded upon notions of transcendence and the sublime. In other words, Hepburn is attempting to curb his - and Hannele's - enthusiasm; something which I think a (pretty) good thing.

Indeed, for me, Lawrence is at his best not when indulging his penchant for theo-poetic speculation (sorry Catherine), but, rather, being sardonic and stubbornly down-to-earth; like one of those Jews of the wrong sort whom Hepburn encounters at his hotel; imparting a "wholesome breath of sanity, disillusion, unsentimentality to the excited Bergheil atmosphere".

Ultimately, as much as Lawrence wishes to make life seem glamorous and rich with cosmic significance, he doesn't want men and women to sprout wings of the spirit too often; nor pose as solitary superhuman beings on mountain summits, as if belonging to a glacial world sufficient unto itself and devoid of cabbages.

His great teaching, rather, is to climb down Pisgah and for man to affirm the horizontal limitations of his own flesh and mortality.  

Notes

See: D. H. Lawrence, 'The Captain's Doll' in The Fox, The Captain's Doll, The Ladybird, edited by Dieter Mehl, (Cambridge University Press, 2002), chapters XIV-XVIII. 

Note: The Captain's Doll (1923) can be read online as an eBook thanks to Project Gutenberg of Australia: click here.

See also the fascinating article by Catherine Brown, 'Climbing Down the Alpine Pisgah: Lawrence and the Alps', which explores Lawrence's relationship to the mountains in much more detail: click here. 

Dollification: The Cases of Bastian Schweinsteiger and Alexander Hepburn

Cover of the first US edition (1923) 

by Knud Merrild 

I: The Case of Bastian Schweinsteiger

There was an amusing story in the press a couple of years ago concerning the German footballer Bastian Schweinsteiger and his lawsuit against a Chinese toy company that had manufactured an action figure that bore an uncanny resemblance to him.

The fact that the doll also came dressed as a Nazi soldier and was named Bastian, pretty much obliged the midfielder to take legal action, even though a spokesman for the company brazenly attempted to deny the undeniable by insisting that any likeness was purely coincidental. He further explained that, to Chinese eyes, all Germans look alike ...!

I've no idea if the case went ahead, or if there was some kind of out-of-court settlement; one assumes the doll has been withdrawn from sale, but even that I don't know for certain. At the time, most people simply smiled at the story and then quickly forgot about it. But it always stuck with me. And that's because, as a reader of Lawrence, it reminds me of the case of Alexander Hepburn ... 


II: The Case of Alexander Hepburn

Written in 1921 and published two years later, The Captain's Doll is a short novel by D. H. Lawrence that tells the tale of an illicit love affair between an aristocratic German woman, Johanna zu Rassentlow (known as Hannele), and a Scottish army officer, Capt. Hepburn.

Thanks to the War, she has fallen on hard times and so has to work for a living making puppets and beautiful cushions of embroidered coloured wool. He, arguably, has been damaged in other ways by the years of bloody conflict and evolved his own idiosyncratic philosophy based on his love of the moon that he's keen to enact in his own life, without any further compromise and at whatever cost.

If the existence of a wife, Evangeline, is problematic to his future happiness and his relationship with Hannele, so too is the existence of a doll that the latter makes of him, complete with tight-fitting tartan trews. A doll which not only accurately captures his physical likeness, but seems to insult the integrity of his being; objectifying him and belittling him at the same time:

"It was a perfect portrait of an officer of a Scottish regiment, slender, delicately made, with a slight, elegant stoop of the shoulders and close-fitting tartan trousers. The face was beautifully modelled, and a wonderful portrait, dark-skinned, with a little, close-cut, dark moustache, and wide-open dark eyes, and that air of aloofness and perfect diffidence which marks an officer and a gentleman."

Personally, I'd love to be dollified and wouldn't find it in any way unseemly or humiliating, whoever made it and however it was costumed. But Hepburn reacts very differently, when he one day sees the toy version of himself standing in a shop window. He stood and stared at it, as if spellbound; so disgusted that he wouldn't enter the little art shop:

"Then, every day for a week did he walk down that little street and look at himself in the shop window. Yes, there he stood, with one hand in his pocket. And the figure had one hand in its pocket. There he stood, with his cap pulled rather low over his brow. And the figure had its cap pulled low over its brow. But, thank goodness, his own cap now was a civilian tweed. But there he stood, his head rather forward, gazing with fixed dark eyes. And himself in little, that wretched figure, stood there with its head rather forward, staring with fixed dark eyes. It was such a real little man that it fairly staggered him. The oftener he saw it, the more it staggered him. And the more he hated it. Yet it fascinated him, and he came again to look.
      And it was always there. A lonely little individual lounging there with one hand in its pocket, and nothing to do, among the bric-à-brac and the bibelots. Poor devil, stuck so incongruously in the world. And yet losing none of his masculinity.
      A male little devil, for all his forlornness. But such an air of isolation, or not-belonging. Yet taut and male, in his tartan trews. And what a situation to be in! - lounging with his back against a little Japanese lacquer cabinet, with a few old pots on his right hand and a tiresome brass ink-tray on his left, while pieces of not-very-nice filet lace hung their length up and down the background. Poor little devil: it was like a deliberate satire."

One wonders if Schweinsteiger also felt this way when seeing his doll for sale: disgusted, but fascinated; staggered, but spellbound ...? If so, then, as one commentator has noted, we can hardly begrudge him taking legal action.

Towards the end of the novella, Hepburn confronts Hannele on the issue of the doll when hiking in the mountains (which she loves, but which he hates for their snow and affectations). He suggests that she might marry him - but he doesn't want her love, for it was love from which the doll was born. She is understandably full of perplexed rage at the things he says to her; including his claim that the handcrafted effigy does him the greatest possible damage - even if he can't quite explain why:

"'I don't know. But there it is. It wasn't malicious. It was flattering, if you like. But it just sticks in me like a thorn: like a thorn. ... And you can say what you like, but any woman, today, no matter how much she loves her man - she could start any minute and make a doll of him. And the doll would be her hero: and her hero would be no more than her doll. ... If a woman loves you, she'll make a doll out of you. She'll never be satisfied till she's made your doll. And when she's got your doll, that's all she wants. And that's what love means. And so, I won't be loved. And I won't love. I won't have anybody loving me. It is an insult. I feel I've been insulted for forty years: by love, and the women who've loved me. I won't be loved. And I won't love. I'll be honoured and I'll be obeyed: or nothing.'"

Appalled by this line of thinking, Hannele dismisses Hepburn as a madman of conceit and impudence. Nevertheless, she agrees to accompany him to Africa, where he plans to help establish a farm and, when he's made a few more observations and established all the necessary facts, write a book on the moon. 

And so Hepburn promises to call for her in the morning, before pulling back quickly into the darkness ...

See: D. H. Lawrence, 'The Captain's Doll' in The Fox, The Captain's Doll, The Ladybird, edited by Dieter Mehl, (Cambridge University Press, 2002). 

Note: The Captain's Doll (1923) can be read online as an eBook thanks to Project Gutenberg of Australia: click here.