Continuous as the Stars That Shine ...

Osterglocken (SA/2023)

 

"When all at once I saw a crowd / A host, of golden daffodils ..." 

 

I. 

 

Often known by its Latin name - Narcissus [1] - the daffodil was as highly regarded in the ancient world as it is within the modern era: Greek philosopher and floraphile Theophrastus, for example, often mentioned them in his botanical writings; as did the Roman author and naturalist Pliny the Elder. 

 

However, it was left to the 18th-century Swedish botanist Linnaeus to formally identify them as a genus in his Species Plantarum (1753), at which time there were only six known species, whereas now there are over fifty (although the exact number remains disputed) [2].   

 

And it was left to the British Romantic poets to really establish the cultural and symbolic importance of the narcissus in the modern imagination. For with the exception of the rose and the lily, no flower blossoms more within the pages of English literature than the daffodil; Wordsworth, Shelley, and Keats all wrote of the eternal joy that these flowers can bring.  

 

 

II. 

 

But surely everyone - not just William Wordsworth and the Welsh - loves to see daffodils flowering in the spring, don't they? 

 

At any rate, I love them: I love their bright golden colour and the manner in which a trumpet-shaped corona is surrounded by a six-pointed star formed by the tepals; and I love the fact they come up every year, regardless of external conditions, nodding in defiant affirmation of life.    

But my love of daffoldils is also a class thing; the common daffodil growing by the roadside and at the bottom of the garden has none of the ornamental superiority or cultivated pretension of the tulip (a bulb that is in my mind forever associated with the nouveaux riches in 17th-century Europe). 

 

 

III.

 

When I was a child - and neighbours still had front gardens, not driveways - I used to love stealing daffodils every Easter to give to my mother and I was touched that MLG should remember this and placed a single yellow flower in my mother's coffin prior to her funeral; she would have liked that [3]. 

 

And, of course, even without the personal context, such a gesture would have been entirely appropriate. For whilst daffodils often symbolise rebirth and resurrection, so too are they closely associated with death ...

 

The ancient Egyptians, for example, used to make decorative use of narcissi in their tombs, whilst the ancient Greeks considered these flowers sacred to both Persephone and Hades. Indeed, the former was said to be picking daffodils when she was abducted by the latter and taken to the Underworld.

 

The fact is, like many beautiful-looking things, daffodils are highly toxic, containing as they do the alkaloid poison lycorine - mostly in the bulb, but also in the stem and leaves - and if you ingest enough lycorine then death will follow a series of very unpleasant symptoms including acute abdominal pains, vomiting, diarrhea, trembling, convulsions and paralysis.  

 

So do make sure, dear reader, that you know your onions and never confuse these with daffodil bulbs ... 

    

 

Notes

 

[1] According to Greek myth, the beautiful-looking young man of this name - Νάρκισσος - rejected the romantic advances of others, preferring instead to gaze fixedly at his own reflection in a pool of water. After his death, it is said that a flower sprouted in the spot at which he spent his life sitting. 

      Interestingly, although the exact origin of the name is unknown, it is often linked etymologically to the Greek term from which we derive the English word narcotic (Narcissus was essentially intoxicated by his own beauty). 

      As for the word daffodil, this seems to be a corruption of asphodel, a flowering bulb to which the former is often compared.

 

[2] In 2006, the Royal Horticultural Society's International Daffodil Register and Classified List identified 87 species. But according to the World Checklist of Selected Plant Families produced in 2014, there are only 52 species (along with at least 60 hybrids). Whatever the correct figure might be, the fact is that many wild species have already become extinct and many others are increasingly under threat due to over-collection and the destruction of natural habitats.

 

[3] When my mother died last month, aged 96, she had been living with dementia for almost a decade and it might be noted in relation to our topic here that daffodils produce a number of alkaloids that have been used in traditional forms of healing and one of which - gelantamine - is exploited in the production of a modern medicinal drug used to treat cognitive decline in those with Alzheimer's.     

 

 

This post is for Maria.

 

 

Three Great Liars 3: Oscar Wilde

Portrait photo of Oscar Wilde 

by W. and D. Downey (1889)

I.

Ultimately, all studies of lying and great liars lead to Wilde and his observational essay published in Intentions (1891): 'The Decay of Lying' - a work many years ahead of its time ...

The essay is structured in the form of a Socratic dialogue between Vivian and Cyril and serves to promote Wilde's view that Aestheticism is superior to Realism. Vivian informs Cyril of an article he is writing which defends the former and blames the decline of modern literature upon the triumph of the latter, with the subsequent decay of lying as an art, a science, and a social pleasure.

According to Vivian, if the monstrous worship of facts is allowed to continue unabated, then all art is done for - and without art, life will have nothing to imitate. It is vital, therefore, that lying - defined as the telling of beautiful untrue things (and the proper aim of art) - be revived as soon as possible.   



II.

The dialogue opens with Cyril attempting to convince Vivian to leave his library and sit outside in order to enjoy the lovely afternoon. The latter is less than enthusiastic however and reveals himself to be the very opposite of a nature lover. For not only is nature imperfect in its design - "her curious crudities, her extraordinary monotony, her absolutely unfinished condition" - but it's also uncomfortable: "Grass is hard and dumpy and damp, and full of dreadful black insects."  

That's amusing, but the merits and disadvantages of nature are not my concern here: I'm interested, rather, in the fine lie as spoken by the true liar; i.e., a statement that requires no proof of any kind but is its own evidence. Such lies transcend the level of misrepresentation and are more than the base falsehoods and half-truths offered by politicians, lawyers, and journalists. Such lies belong to art - particularly to poetry, which, as Plato recognised, is not unconnected to lying:     

"'As one knows the poet by his fine music, so one can recognize the liar by his rich rhythmic utterance, and in neither case will the casual inspiration of the moment suffice. Here, as elsewhere, practice must precede perfection. But in modern days while the fashion of writing poetry has become far too common, and should, if possible, be discouraged, the fashion of lying has almost fallen into disrepute."

Today, continues Vivian, the young man who would have once developed into a gifted liar (and perhaps a magnificent novelist), now often falls into careless habits of accuracy or develops "a morbid and unhealthy faculty of truthtelling". Literature requires distinction, charm, beauty, and imaginative power; in other words, it rests upon the ability to tell stories; in a word, to lie.

The modern novel - realistic in form and subject matter - is all too horribly true; true to life and true to nature - but false to art and ultimately such works become not only vulgar, but boring. It was not always thus. But, today, facts are not merely dominant within history, but are "usurping the domain of Fancy, and have invaded the kingdom of Romance".

Fortunately, says Vivian, poets - with the exception of Wordsworth - have remained faithful to their high mission and are still "universally recognized as being absolutely unreliable". But, in every other domain and genre, the obsession with truth is dominant. If things are bad enough within European life and letters, they are even worse in the United States:

"The crude commercialism of America, its materialising spirit, its indifference to the poetical side of things, and its lack of imagination and of high unattainable ideals, are entirely due to that country having adopted for its national hero a man, who according to his own confession, was incapable of telling a lie, and it is not too much to say that the story of George Washington and the cherry tree has done more harm, and in a shorter space of time, than any other moral tale in the whole of literature."

Vivian, however, is far from despondent. In fact, he is extremely hopeful for the future and, in a crucial passage that ends with a profoundly Nietzschean remark (that I have italicised for emphasis), he says:

"That some change will take place before this century has drawn to its close we have no doubt whatsoever. Bored by the tedious and improving conversation of those who have neither the wit to exaggerate nor the genius to romance, tired of the intelligent person whose reminiscences are always based upon memory, whose statements are invariably limited by probability, and who is at any time liable to be corroborated by the merest Philistine who happens to be present, Society sooner or later must return to its lost leader, the cultured and fascinating liar. [...] Whatever was his name or race, he certainly was the true founder of social intercourse. For the aim of the liar is simply to charm, to delight, to give pleasure. He is the very basis of civilized society, and without him a dinner party [...] is as dull as a lecture at the Royal Society [...] Nor will he be welcomed by society alone. Art, breaking from the prisonhouse of realism, will run to greet him, and will kiss his false, beautiful lips, knowing that he alone is in possession of the great secret of all her manifestations, the secret that Truth is entirely and absolutely a matter of style [...]" 

Notes

Oscar Wilde, 'The Decay of Lying', Intentions, (1891). Click here to read online, courtesy of Project Gutenberg. This essay was a much revised version of an article that first appeared in a literary periodical in January 1889.

To read the first entry in this series of posts - on Nietzsche - click here.

To read the second entry, on Mark Twain, click here.

On the Romantic Conception of Childhood

Suffer little children and forbid them not - 

for theirs is the Kingdom of Heaven

I.

If there's one child in modern philosophy and literature who should have been aborted, it's Jean-Jacques Rousseau's fictional offspring Émile (1762). For this immaculate conception fatally shapes the ideal of childhood not just in the Romantic and Victorian period, but well into the twentieth century.

Indeed, in some quarters, there is still an ideal insistence on the essential moral superiority of an individual child over the collective corruption of adulthood. To grow up - I was recently informed - is to fall into complacent mediocrity, accepting of your own limitations and all the evils of the world (i.e. to grow up, is to give up).

Those who believe this - whether they know it or not - are giving credence to the opening li(n)e of Rousseau's book which asserts that each and every child is perfect at the point of their divine creation - Rousseau rejects the notion of Original Sin - but quickly degenerates within a social system designed to erode their natural goodness.   

According to Voltaire, when not fantasising about the noble savage, Rousseau likes to imagine himself as part-educator, part wet nurse to an infantalised humanity. 


II.

Thanks, then, to Rousseau and his novelistic treatise Émile, from around the middle of the 18th century many cultivated and otherwise perfectly intelligent people began to view childhood in a more sentimental light; i.e., as an authentic state of innocence and freedom.

The traditional idea - that children were born sinful and therefore required moral instruction and setting on the path to righteousness with discipline and punishment - was thrown out with the bath water. Perhaps, it was argued, what children really needed was love and affection. And perhaps they should be encouraged to express themselves and develop their healthy instincts and natural creativity.

If Rousseau was right, then, it was hoped, his method of education would preserve the special attributes of childhood and this would result in well-adjusted adults and model citizens.     


III.

Rousseau's ideas rapidly crossed the Channel - Émile was first published in English in 1763 - and disseminated by Romantic poets, including Blake and Wordsworth, who fully bought into the idea of childhood as something blessed. After all, hadn't Jesus told his disciples that in order to enter God's Kingdom they too had to become as children [Matthew 18: 1-5].

This new idealised version of childhood became (and remained) an immensely powerful myth; in all kinds of literature and art, the innocence and purity - and, yes, even the supposed wisdom - of the pre-pubescent was promoted as something that adults should cherish and learn from. Children, it was now thought, were not only our future, they were our salvation too - And a little child shall lead them!

But, of course, these weren't actual children - snot-nosed brats who like to pull the wings off flies - they were, rather, imaginative representations. Even artworks that appeared realistic were underpinned by cultural understandings of childhood and reflected the values and desires of the artist; usually male, usually upper-middle class, and with little knowledge of children living outside the nursery and no direct experience of what day-to-day childcare involved - Nanny takes care of all that.

IV.

By the mid-19th century, the so-called Cult of Childhood arguably reached its nauseating and slightly pervy peak. Lewis Carroll, for example, wasn't simply content to celebrate the childhood of Alice Liddell and her sisters in his writing (and nude photography), but liked to confess his longing to return to a state of infancy himself. A poem entitled 'Solitude' closes with the following lines:

I’d give all wealth that years have piled,
The slow result of Life’s decay,
To be once more a little child
For one bright summer-day.

Now, it's one thing to gaze upon the world with childlike wonder - and perhaps the struggle of maturity is to recover the seriousness of a child at play. But it's another thing for a man to actually want to be a child and give an obscene literal rendering to Christ's words. This, says Lawrence, is an extreme form of decadence; a sheer relaxation and letting go of all adult pride and responsibility. 


V.

When not dreaming of regression like Lewis Carroll, there were other men, with darker fantasies, conceiving of ways in which adolescence could be deferred and children kept in a state of eternal childhood. Thus it is that in some of the best-read and most-loved Victorian fantasies we discover a sinister tendency for child characters to die and thus, in this way, remain forever young.

So it is we arrive at a fatal conclusion: idealism ends in murder - for each man kills the thing he loves most. This is why child worship is a form of cruelty and abuse. Place a child on a pedestal, fetishise their virgin purity, and you'll soon find you've built a sacrificial altar ...

See: Jean-Jacques Rousseau, Emile: or On Education, trans. Allan Bloom, (Basic Books, 1979).

Floraphilia Redux (With Reference to the Case of Rupert Birkin)

Floraphilia 

YouTube (2009)

 

Flowering plants don't just grow in soil: they are also rooted in our hearts and blossom in our poetry; from Wordsworth's daffodils to Sylvia Plath's poppies. We love flowers and our love is like a red, red rose; just as the columbine is the emblem of our foolishness, the marsh-lily the symbol of our corruption and the narcissus conveys our conceit.

In language, as in art, we have formed an unnatural alliance with flowers and some, like Oscar Wilde, fervently hope that in the next life they might even become-flower - which is to say, beautiful but soulless. Here, I would like to examine this literary-erotic entanglement with flora and the manner in which we, like insects, become implicated in their sex games just as they are utilized in ours ...

What are flowers?

Flowers are the obscenely colourful sex organs of the flowering plant and they are what distinguishes angiosperms from other earlier forms of seed producing plant. Without flowers, an angiosperm would be just another gymnosperm: all leaf and naked of seed. Arguably, the same is true of people: they either blossom into full being like a bright red poppy, or they remain closed up within a mass of foliage and growing fat like a cabbage.

What is pollination?

Pollination is the process by which one plant receives the pollen from another: it is the botanical term for fucking. Some angiosperms are pollinated abiotically by the wind, some by water. And some rely upon small animals, such as bats or hummingbirds. But the majority, around 80%, exploit the labour of roughly 200,000 different types of insect. It is, if you like, a perfectly natural form of artificial insemination.

But insect pollination might better be viewed as a form of paid sex work, rather than erotic enslavement. Because when plants are fucked by insects the latter get something sweet in return for their services: nectar. However, this is not to say that the insects are entering into the relationship with full consent (whatever that might mean in the world of bugs and bees and cigarette trees) and most seem blissfully unaware that they are playing such a crucial role in plant reproduction.

Further, there are instances of male insects being sexually duped by a plant with sex organs that have evolved to look like the female of their species. The insect is attracted not by the pretty colours or the alluring scent of the flower, nor even the promise of a sugary drink, but by the prospect of being able to mate. The French philosophers Deleuze and Guattari discuss this in A Thousand Plateaus, with particular reference to the case of an orchid and a wasp. However, they argue that it should be understood in terms of becoming and not in the more conventional terms of mimesis, mimicry, lure, etc.

The question remains, however, what this aparallel evolution or game of becoming, has to do with us: how are we implicated in the sex life of flowers? The answer is hay fever. For what is the allergic reaction to pollen suffered by many millions of men, women and children other than a sexually transmitted condition? Every spring we are sexually pestered by flowering plants that promiscuously allow their sperm-producing cells to be carried by any passing breeze into the eyes, ears, nose and throat of any passing creature.

As with herpes, there is presently no cure for hay fever. However, an article in The New Scientist several years ago suggested that 'organic masturbation' with fruit and vegetables might alleviate the problem. It turned out to be an April Fool's Day joke. But, many a word spoken in jest ... The revenge of the flowers starts with a runny nose, but who's to say in what humiliating circumstances it might end?

Of course, not all plant-human penetration is non-consensual. Whilst no one wants a nose full of pollen, many men and women are happy to insert carrots, cucumbers, and courgettes into those places usually reserved for cocks, tongues, fingers, and toys. But just because a woman might choose to insert a banana into her vagina, it doesn’t necessarily mean that she is on the road to building a body without organs, or that she's had done with the judgement of God.

In D. H. Lawrence's novel, Women in Love, the central male protagonist, Rupert Birkin, is a confirmed floraphile, as this scene illustrates:

"He was happy in the wet hill-side, that was overgrown and obscure with bushes and flowers. He wanted to touch them all, to saturate himself with the touch of them all. He took off his clothes, and sat down naked among the primroses [...] then lying down and letting them touch his belly, his breasts. It was such a fine, cool, subtle touch all over him, he seemed to saturate himself with their contact.
      But they were too soft. He went through the long grass to a clump of young fir-trees [...] The soft sharp boughs beat upon him, as he moved in keen pangs against them, threw little cold showers of drops on his belly, and beat his loins with their clusters of soft-sharp needles. There was a thistle which pricked him vividly, but not too much, because all his movements were too discriminate and soft. To lie down and roll in the sticky, cool young hyacinths, to lie on one's belly and cover one's back with handfuls of fine wet grass, soft as a breath, soft and more delicate and more beautiful than the touch of any woman; and then to sting one's thigh against the living dark bristles of the fir-boughs; and then to feel the light whip of the hazel on one's shoulders, stinging, and then to clasp the silvery birch-trunk against one’s breast, its smoothness, its hardness, its vital knots and ridges - this was good, this was all very good, very satisfying. Nothing else would do, nothing else would satisfy, except this coolness and subtlety of vegetation travelling into one’s blood. How fortunate he was, that there was this lovely, subtle, responsive vegetation, waiting for him, as he waited for it; how fulfilled he was, how happy!"

Lawrence continues:

"Really, what a mistake he had made, thinking he wanted people, thinking he wanted a woman. He did not want a woman - not in the least. The leaves and the primroses and the trees, they were really lovely and cool and desirable, they really came into the blood and were added on to him. He was enrichened now immeasurably, and so glad.
      ... Why should he pretend to have anything to do with human beings at all? Here was his world, he wanted nobody and nothing but the lovely, subtle, responsive vegetation, and himself, his own living self.
      It was necessary to go back into the world. That was true. But that did not matter ... He knew now where he belonged. He knew where to plant himself, his seed: – along with the trees, in the folds of the delicious fresh growing leaves. This was his place, his marriage place. The world was extraneous."

It might be suggested that in this extraordinary scene Birkin is in the process of forming a rhizome between himself and the vegetal world, similar to that formed between the wasp and the orchid. It's a deterritorialization of sex from its traditional object and aim; a setting free of desire to roam and eventually reterritorialize on all kinds of new things, in all sorts of strange new ways. The great and intoxicating truth that Birkin demonstrates is that we can form loving relations not just with anyone - but anything and everything.

Admittedly, it's not love in the conventional and orthodox sense of the word, which is to say love that has been sanctioned by God and which involves the right persons doing the right things at the right time in the right place with the right organs - a model that is so restrictive and so reductive that it makes one want to immediately run outside and commit acts of erotic atrocity like Diogenes in the market place.

However, let it suffice for me to point out to those law-abiding individuals who think that love should circulate exclusively within a system of moral legislation, that were it not for Eve daring to consort with serpents and eat of whatever fruit she pleased, then none of us might have attained to carnal knowledge, or experienced the full range of earthly delights. Ultimately, love is tied to transgression and to crime - not to obedience or conformity with social convention.

In fact, one might argue that the highest forms of love are precisely those branded as paraphilias in which strange connections are sought out and one dreams of establishing an inhuman relationship with alien forces, or heterogeneous terms and territories. Quite clearly, Birkin is caught up in a process of becoming-plant via a series of perverse participations none of which involve imitation or identification. It's a question of extracting from his own sex the particles that best enter into proximity with those emitted by the plants and which produce within him a micro-florality.

If usually when we love we do so in order to seek out ourselves, that's almost certainly not the case here. For Birkin is not depositing his sperm amongst the foliage in the same way as he might come inside a woman and one suspects that he isn’t even that concerned with his own functional pleasure or the banality of orgasm. What really excites Birkin, even more than the delicious touch of the plants on his bare skin, is that he might enter into a new way of being and release the flows and forces and strange feelings presently overcoded by his humanity. Or, put more simply, that he might blossom and unfold into his own poppiness.

The problem with having a human being as a lover, is that their body often doesn’t serve to set anything free; rather, it gives impersonal desire personal expression and in this way it acts as a zone of containment, or a point of blockage - a dead end if you like, no matter how you choose to penetrate it. In other words, the anus is a cul-de-sac and, as Bataille reminds us, the vagina is a freshly dug grave.

There is, I admit, something utopian in this belief that we might discover via molecular-desire a new world in which we each contain an infinite number of impersonal selves and the anthropomorphic representation of sex is shattered once and for all: a future in which love will no longer mean boy-meets-girl, but boy becomes-girl, boy becomes-animal, boy becomes-plant, etc. But, even after the orgy, it surely remains true to say that perversions make happy.

This, however, is not to argue that the only way to form an intimate relation between yourself and the world of plants is to roll around naked like Birkin in the wet hill-sides, saturated with a mixture of pollen and semen. Nor does it mean having to masturbate with the contents of your vegetable drawer. For art also serves as a method of becoming and when Van Gogh paints sunflowers "he reveals, or achieves, the vivid relation between himself, as a man, and the sunflower, as sunflower". The canvas acts as a zone of proximity wherein something is exchanged between the two terms: the artist becomes-object, just as the object becomes pure line and colour.

This is the power of painting: it gives us the third thing, which, in this case, is a kind of human-flower hybrid that blossoms in the fourth dimension as a form of perfected relationship and becoming "where no Kodak can snap it". And, for Lawrence, our life hinges upon this relationship formed between ourselves and the world around us. Via an infinite number of different contacts we enter into the kingdom of bliss.

Alas, it’s not easy to come into touch in this way. To form a new relation with the world is invariably painful, if only because it involves the breaking of old connections and loyalties and this, as Lawrence reminds us, is never pleasant. But, nevertheless, we live in bright red splendour like the poppy via acts of infidelity and not by staying true to old attachments like a fat green cabbage forever stuck in the same old cabbage patch.

See:

D. H. Lawrence, Women in Love, ed. David Farmer, Lindeth Vasey and John Worthen, (Cambridge University Press, 1987), pp. 106-07.

D. H. Lawrence, 'Morality and the Novel', in Study of Thomas Hardy and Other Essays, ed. Bruce Steele, (Cambridge University Press, 1985), p. 171.

D. H. Lawrence, 'Art and Morality', in Study of Thomas Hardy and Other Essays, p. 168.

Note: A much longer version of this work was first presented at Treadwell's, London, on 19 June, 2012.

Executing Elephants Part III: The Case of Chunee (Death by Firing Squad)

Both cases of elephant execution I have discussed so far took place in the United States in the early part of the twentieth century; the case of Mary, in Tennessee, in 1916 and the case of Topsy, in New York, in 1903. But our third and final case takes us back to Regency London a century earlier.

This is the fascinating (but equally tragic) case of Chunee, a large but friendly Indian elephant who arrived in England in 1809 and who, after treading the boards in Covent Garden, found himself part of the famous and much-loved menagerie at Exeter Exchange on the Strand, established by Italian-born Stefano Polito. As we will see, the events surrounding Chunee's execution by firing squad in 1826, became something of a cause célèbre provoking a national outcry.   

One of the amazing tricks Chunee was trained to perform involved taking a sixpence from visitors to the menagerie with his powerful trunk, before gently returning it. Lord Byron, who visited in November 1813, was so impressed by this and so taken with the elephant's general demeanour that he expressed a wish that the seven ton beast might serve as his butler.

(Wordsworth was also charmed by Chunee, but it is not known if he too wanted to make him part of his household.)

Unfortunately, the good times entertaining poets and princes couldn't last forever and as he grew older Chunee grew increasingly aggressive. This was attributed to an annual paroxysm aggravated by a rotten tusk. Whatever the cause, on 26 February 1826, whilst taking his regular Sunday stroll along the Strand, Chunee suddenly rebelled and ran amok, killing one of his keepers.

Over the days that followed, Chunee - perhaps in a state of musth - became ever more violent and difficult to handle. Eventually, it was decided that he was simply too dangerous to keep. And so, on March 1st, his keeper was instructed to poison him. Chunee - enraged, but not stupid - refused to eat, however. Soldiers from nearby Somerset House were therefore summoned and instructed to shoot the troublesome elephant.

Kneeling down as commanded, Chunee was shot by 150 musket balls, but still refused to die. He was finally finished off like a brave beast in the bullring when someone plunged a sword into his mighty form. It was said that the sound of Chunee's agonised cries were louder and more alarming than all the soldiers' guns combined.      

Afterwards, the public were invited to pay a shilling to witness his body being butchered and then dissected by medical students from the Royal College of Surgeons. So, even in death, Chunee was the star of one last grisly show.

The disgraceful manner of Chunee's demise was widely publicised and widely criticised. Letters of protest were printed in The Times condemning not only the circumstances of his death, but the cruelty of his former living conditions too. Poems and plays were written in memory of the elephant and many illustrations of Chunee's last moments were printed in the popular press (rather bizarrely and insensitively alongside recipes for elephant stew).

The Exeter Exchange menagerie never quite recovered from the deluge of bad publicity and numbers of visitors fell sharply after Chunee's death. The other animals were eventually moved to Surrey Zoo in 1828 and the building was demolished the following year.

So, arguably, in a sense Chunee had the final (posthumous) laugh; if dead elephants can laugh that is.


Note

Part I of Executing Elephants: The Case of Mary (Death by Hanging), can be read by clicking here. 

And Part II: The Case of Topsy (Death by Electrocution), can be read by clicking here. 

D. H. Lawrence's Dendrophilia

DHL sitting under an olive tree in Italy (1926)

Lawrence is very fond of trees and there are many trees in his writings. In fact, at times, he feels there are too many trees crowding round and staring at him, interfering with his attempts to think about subjects other than trees (such as human babies and the complicated story of their unconscious life). 

The trees, he says, seem so much bigger and stronger in life than we are; so overwhelming in their silence and rather sinister arboreal presences. Lawrence writes, for example, of the magnificent cruelty or barbarous nature of the huge fir trees that grow in the Black Forest:

"It almost seems I can hear the slow, powerful sap drumming in their trunks. Great full-bodies trees, with strange tree-blood in them, soundlessly drumming."

He continues:

"Suppose you want to look a tree in the face? You can't. It hasn't got a face. You look at the strong body of a trunk; you look above you into the matted body-hair of twigs and boughs; you see the soft green tips. But there are no eyes to look into, you can't meet its gaze."

Thus it's pointless staring at a tree in an attempt to know it. All you can do is "sit among the roots and nestle against its strong trunk" in a form of insouciant tree worship and fantasise about becoming-tree, full of root-lust but completely mindless. 

If, at one time, he were frightened of the trees and felt them to be primeval enemies, now Lawrence says they are his "only shelter and strength" and that he is happy to lose himself amongst them and to be with them "in their silent, intent passion and great lust", feeding his soul with their non-human life and indomitable energy. He concludes this rather beautiful (and somewhat erotic) meditation on trees by saying:

"One of the few places that my soul will haunt, when I am dead, will be this. Among the trees here near Ebersteinburg ... I can't leave these trees. They have taken some of my soul."

But we should note, however, that Lawrence's trees - here, and most certainly in his poetry - are not simply natural phenomena; they are also ornamental figures of Gothic resistance forming part of an allegorical landscape that, as Amit Chaudhuri points out, "brings together the natural and the unnatural". 

Ultimately, Lawrence's thinking on trees (and flowers) owes more to Ruskin than to Wordsworth ...

Notes:

The quotations from Lawrence are from Chapter IV of Fantasia of the Unconscious, ed. Bruce Steele, (Cambridge University Press, 2004). pp. 85-88.

The quote from Amit Chaudhuri is from D. H. Lawrence and 'Difference', (Oxford University Press, 2003), p. 208.