On the Ball with D. H. Lawrence

D. H. Lawrence: Spring (c. January 1929)

watercolour (30 x 22.5 cm)

 

 

I. 

 

John Worthen's short piece in the latest Journal of D. H. Lawrence Studies [1] concerning Lawrence's time as a pupil-teacher in Eastwood, is interesting for the revelation that the latter liked nothing better than to arrange an informal kickabout in the school playground during the lunch break, using bricks - and perhaps even jumpers - for goal posts. 

 

Although it seems Lawrence did not himself participate as a player, he was happy to act as a referee and so clearly understood the rules of the beautiful game - just like any other working-class lad at the time - even if there is no evidence (so far) to suggest he supported a local team [2].

 

Knowing this allows us to look at the above painting - Spring (1929) - with fresh eyes; perhaps Lawrence was not merely painting some local youths in the lovely French seaside resort of Bandol celebrating the scoring of a goal during a soccer match, but also fondly recalling the passion with which his own pupils at the Albert Street School would play the game ...

 

 

II.  

 

Funny enough, this picture by Lawrence is one that Keith Sagar seems to particularly loathe:

 

"Spring is supposed to be a painting of some boys in Bandol playing football, but by removing the blue shirts they wore in the first version of the painting, leaving them wearing nothing but boots, and by having all but one of them engage in activities which, whether homoerotic or not, have certainly nothing to do with the ball, he produces a ludicrous painting." [3]

 

The problem, however, is that whilst Sagar was a great Lawrence scholar, he was not, alas, a very good art critic and he misses the opportunity to recognise Lawrence's importance as a painter [4]. There is, I would suggest, a very special violence - and, indeed, a very special beauty - that emerges from his canvases as part of an art of sensation.

 

Lawrence does not wish to reduce his figures to the level of optical cliché; he is not trying to capture a likeness! Nor is he simply revealing and celebrating the flesh, he is rather pushing it in the direction of deformation and disfiguration (anatomical fidelity is no more an issue for Lawrence than it was for Cézanne).  

And so, returning to Spring ... 

 

Expecting and wanting to see an actual game of football, Sagar is irritated by the fact that Lawrence provides sensation rather than spectacle and that he is as uninterested in the score-line, the colour of the kits, or the intricacies of the offside rule, as the boys who play for the joy felt by healthy young bodies exerting themselves, the love of team mates, the ecstasy of celebration, etc. 

 

Spring demonstrates Lawrence's appreciation of the fact that football - and, indeed, sport in general - expresses and liberates certain vital forces and flows.   

 

 

Notes

 

[1] See John Worthen, 'D. H. Lawrence as Games Organiser and Football Referee', Journal of D. H. Lawrence Studies, Volume 6, Number 3, ed. Susan Reid  (D. H. Lawrence Society, 2023), pp. 11-16.    

[2] Lawrence might have supported Notts County; the oldest professional football club in the world, formed in 1862; or Nottingham Forest, formed three years later; or Derby County, formed in 1884, and one of the twelve founding members of the Football League in 1888.

 

[3] Keith Sagar, Introduction to D. H. Lawrence's Paintings, (Chaucer Press, 2003), p. 68.

[4] What I mean by this is that Sagar thinks it sufficient to carefully establish the connections between Lawrence's life, writing, and painting, thereby framing the pictures in a bio-literary context. But in simply substituting snippets of biographical detail, personal anecdote, and literary criticism for a genuine analysis of Lawrence's paintings - i.e., one that is written in the terms appropriate to a discussion of a practice primarily concerned with colour and line - Sagar produces a somewhat pointless commentary which not only betrays his own ignorance of the plastic arts, but also his ultimate lack of confidence in Lawrence’s ability to draw.

On Initiating Youth into the Democracy of Touch

Some youths playing football as imagined by D. H. Lawrence 

in a water colour entitled Spring (1929)

 

 

When D. H. Lawrence writes of the inspiration of touch, he is clearly thinking of how desire invests the lives of adult men and women, involving as it does, amongst other things, "the touch of hands and breasts, the touch of the whole body to body, and the interpenetration of passionate love" [1].

 

Nevertheless, this former school teacher was vitally interested in the education of the young and would doubtless have wanted to see children and adolescents initiated (or groomed) into his phallic-utopian new order, so that from an early age they too might learn to substantiate the mystery of touch and form a direct relationship with all things. 

 

The fact that children and adolescents are often denied intimacy with one another is something that also concerned the French author Michel Tournier. Like Lawrence, he argued that youngsters should be allowed (and, indeed, encouraged to experience) physical contact with the bodies of others and that our primary human need is for touch. 

 

Before eyebrows could be raised, however, and accusations begin to fly, Tournier quickly added:

 

"When I speak of physical contact, I mean of course something far more vast and more primitive than erotic games and sexual relations, which are merely a special case." [2]

 

Tournier was also keen to counter those who think that by giving children toys or pet animals to play with we can conveniently sublimate their desire for the forming of close physical and emotional bonds:

 

"Everyone likes to say that young children like to play with dolls and teddy bears, and sometimes they are permitted to play with small animals. It is also commonly said, however, that dogs like bones. The truth is that dogs gnaw on bones when they have nothing else, but you can take my word for it, they would prefer a good cut of steak or a nice veal cutlet. As for children, it is quite simply a dreadful thing that we toss them dolls and animals in order to assuage their need for a warm, living body. Of course sailors on long voyages sometimes avail themselves of inflatable rubber females, and lonely shepherds in the mountains have been known to mount a lamb or goat. But children are neither sailors nor shepherds and do not lack for human company. Their distress is the invention of a fiercely anti-physical society, of a mutilating, castrating culture, and there is no question that many character disorders, violent outbursts, and cases of juvenile drug addiction are consequences of the physical desert into which the child and adolescent are customarily banished in our society." [3]

 

 

Notes

 

[1] D. H. Lawrence, Version 2 of Lady Chatterley's Lover, in The First and Second Lady Chatterley Novels, ed. Dieter Mehl and Christa Jansohn, (Cambridge University Press, 1999), p. 323. 

 

[2] Michel Tournier, The Wind Spirit, trans. Albert Goldhammer, (Collins, 1989), p. 15.

[3] Ibid., pp. 16-17. 

 

 

A Brief Midwinter Reflection

Thank fuck it's the solstice this weekend and the promise of a returning sun; have the mornings ever been so dark as this year? I don't remember them so. But maybe it's an age thing; I appreciate now why so many pensioners like to spend winter in the south, if they can afford to do so.

Of course, despite the December solstice being a cosmic and psychological turning point, it's still a terribly long wait for spring and the warmer days when love becomes possible anew. For as Irigaray points out, whilst a god can enter the world midwinter, it's too early, too cold, and too dark to really rejoice.

Winter undoubtedly has it's own special beauty and rhythm, but it's spring - "when the heavens and the earth unite" - that is the "most wonderful and divine season"; a time of flowers and birdsong that "resonates in a deep silence [...] beyond any word".      

The solstice is a time when, briefly, the sun stands still; but in the spring everything leaps forward - even the clocks! 

See: Luce Irigaray, Through Vegetal Being, (Columbia University Press, 2016), pp. 36 and 37.