I. Kastrationsangst
Castration anxiety is one of Freud's earliest psychoanalytic theories.
In brief, it's the conscious or unconscious - often overwhelming - fear of emasculation in both the literal and metaphorical sense, that originates between the ages of three and five years old (i.e. the so-called phallic stage of psychosexual development in the child), frequently continuing long into adulthood.
Castration anxiety is one of Freud's earliest psychoanalytic theories.
In brief, it's the conscious or unconscious - often overwhelming - fear of emasculation in both the literal and metaphorical sense, that originates between the ages of three and five years old (i.e. the so-called phallic stage of psychosexual development in the child), frequently continuing long into adulthood.
Freud suggests it's a universal male fear, tied to the Oedipus complex, though one rather suspects it's rooted in his own time and culture (parents in 19th century Europe would often threaten to punish their misbehaving sons by chopping it off - particularly if caught masturbating).
In a metaphorical sense, castration anxiety refers more to a feeling of being insignificant or powerless - socially and/or sexually - and which expands into an existential fear of death, conceived from the perspective of the ego as the ultimate act of emasculation resulting in a total loss of self.
II. The Case Of Oliver Mellors
Oliver Mellors - aka Lady Chatterley's Lover - clearly suffers from a form castration anxiety, as revealed, for example, in his astonishing rant to Connie about the shortcomings of his ex-wife Bertha. According to Mellors, Bertha would never simultaneously achieve orgasm with him, no matter how long he delayed his own climax:
"If I kept back half and hour, she'd keep back longer. And when I'd come and really finished, then she'd start on her own account, and I had to stop inside her till she brought herself off, wriggling and shouting ..."
If this was bad enough, gradually things got worse:
"She sort of got harder and harder to bring off, and she's sort of tear at me down there, as if it were a beak tearing at me. By God, you think a woman's soft down there, like a fig. But I tell you the old rampers have beaks between their legs, and they tear at you with it till you're sick."
Mellors is offering a variant of the classic vagina dentata myth in which a woman's cunt is said to be lined with sharp teeth - the implication being that coition was inherently dangerous to the male, as it might result in injury or emasculation (originally such tales were meant to be cautionary in nature and perhaps intended to discourage rape).
Camille Paglia argues that we should take these stories seriously and not consider them simply to be the product of sexist hallucination or misogynistic male fantasy. Like Simone de Beauvoir, she insists that the cunt is a dangerous place where insects and philosophers might easily lose their way.
The fact is, men enter the vagina in a state of phallic triumph, but invariably leave in a much diminished state. So maybe they are to some degree justified in their castration anxiety.
Mellors, however, isn't just concerned about being nipped and torn by a vaginal beak - he's also worried that modern industrial civilisation, built upon the power of capital, wants to castrate working-class men like himself, robbing them of their spunk and making mincemeat of the Old Adam.
Indeed, Mellors tells Connie that there's a global conspiracy on behalf of those in sexless authority to "cut off the world's cock" and they offer a cash incentive to those who help them achieve this: "a quid for every foreskin, two quid for each pair of balls."
Little wonder then, believing this as he does, that Mellors feels so threatened in his manhood and subscribes to a defianty phallocentric viewpoint.
Camille Paglia argues that we should take these stories seriously and not consider them simply to be the product of sexist hallucination or misogynistic male fantasy. Like Simone de Beauvoir, she insists that the cunt is a dangerous place where insects and philosophers might easily lose their way.
The fact is, men enter the vagina in a state of phallic triumph, but invariably leave in a much diminished state. So maybe they are to some degree justified in their castration anxiety.
Mellors, however, isn't just concerned about being nipped and torn by a vaginal beak - he's also worried that modern industrial civilisation, built upon the power of capital, wants to castrate working-class men like himself, robbing them of their spunk and making mincemeat of the Old Adam.
Indeed, Mellors tells Connie that there's a global conspiracy on behalf of those in sexless authority to "cut off the world's cock" and they offer a cash incentive to those who help them achieve this: "a quid for every foreskin, two quid for each pair of balls."
Little wonder then, believing this as he does, that Mellors feels so threatened in his manhood and subscribes to a defianty phallocentric viewpoint.
See: D. H. Lawrence, Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1993).
