I.
I wasn't surprised to discover that Rupert Birkin owned a grey tabby cat. Is there anything more noble, after all, than a young male cat with long legs and a slim back?
What was surprising, however, was to discover that Birkin based his sexual politics and philosophical thinking on star equilibrium as much upon observations of Mino the cat as upon his (mis)reading of Nietzsche.
Thus, when watching Mino amorously interact with a stray she-cat that has wandered into the garden from the woods, Birkin can't help metaphysically musing on gender relations and the need for superfine stability, even if this requires cruelty and, ultimately, the submission of the female to the male ...
II.
"The young cat trotted lordly down the path, waving his tail. He was an ordinary tabby with white paws, a slender young gentleman. A crouching, fluffy, brownish-grey cat was stealing up the side of the fence. The Mino walked statelily up to her, with manly nonchalance. She crouched before him and pressed herself on the ground in humility, a fluffy soft outcast, looking up at him with wild eyes that were green and lovely as great jewels. He looked casually down on her. So she crept a few inches further, proceeding on her way to the back door, crouching in a wonderful soft, self-obliterating manner, and moving like a shadow.
He, going statlily on his slim legs, walked after her, then suddenly, for pure excess, he gave her a light cuff with his paw on the side of the face. She ran off a few steps, like a blown leaf along the ground, then crouched unobtrusively, in submissive, wild patience. The Mino pretended to take no notice of her. He blinked his eyes superbly at the landscape. In a minute she drew herself together and moved softly, a fleecy brown-grey shadow, a few paces forward. She began to quicken her pace, in a moment she would be gone like a dream, when the young grey lord sprang before her, and gave her a light handsome cuff. She subsided at once, submissively."
He, going statlily on his slim legs, walked after her, then suddenly, for pure excess, he gave her a light cuff with his paw on the side of the face. She ran off a few steps, like a blown leaf along the ground, then crouched unobtrusively, in submissive, wild patience. The Mino pretended to take no notice of her. He blinked his eyes superbly at the landscape. In a minute she drew herself together and moved softly, a fleecy brown-grey shadow, a few paces forward. She began to quicken her pace, in a moment she would be gone like a dream, when the young grey lord sprang before her, and gave her a light handsome cuff. She subsided at once, submissively."
"The eyes of the stray cat flared round for a moment, like great green fires staring at Birkin. Then she had rushed in a soft swift rush, half way down the garden. There she paused to look round. The Mino turned his face in pure superiority to his master, and slowly closed his eyes, standing in statuesque young perfection. The wild cat's round, green, wondering eyes were staring all the while like uncanny fires. Then again, like a shadow, she slid towards the kitchen.
In a lovely springing leap, like a wind, the Mino was upon her, and had boxed her twice, very definitely, with a white, delicate fist. She sank and slid back, unquestioning. He walked after her, and cuffed her once or twice, leisurely, with sudden little blows of his magic white paws."
III.
Ursula, who happens to be watching this alongside Birkin, is angry and upset at the male cat's use of violence to bully the female, as she perceives it. Birkin, amused by her indignation, tries to explain that this is a normal part of feline intimacy and, it's true of course, that feline sexual behaviour does involve a certain amount of unpleasantness (spraying, fighting, biting, etc.).*
Ursula, however, is unconvinced and continues to insist that Mino is a bully - like all males. This clearly irritates Birkin, who replies:
"'He is not a bully. He is only insisting to the poor stray that she shall acknowledge him as a sort of fate, her own fate: because you can see she is fluffy and promiscuous as the wind. I am with him entirely. He wants superfine stability."
Which, I suppose, is one way of putting it and one possible explanation. Though it could just be that Mino wants to penetrate the she-cat and that his male dignity and higher understanding are but fanciful notions belonging to Birkin. That's certainly what Ursula thinks: "'Oh it makes me so cross, this assumption of male superiority! And it is such a lie! One wouldn't mind if there were any justification for it.'"
Clearly, Birkin thinks there is some justification for it - and that it is neither a sadistic lust for cruelty nor a naked will to power, describing the latter as base and petty, even though, clearly, his reading of Nietzsche - like Lawrence's own - is a poor and selective one at best.
For Birkin, Mino's behaviour - and, presumably, male sexual behaviour in general - can best be thought of as a desire to impose upon female chaos masculine order and thus bring about a state of "transcendent and abiding rapport" between the sexes that benefits them both. Paradise is a state of pure equilibrium in which each party is a star balanced in conjunction.
And that, for Birkin, is what love is all about - fulfilment, not individual or personal freedom: "'Love is a direction which excludes all other directions. It's a freedom together, if you like." Ideal love and ideal freedom, he says, ultimately result in chaos and nihilism.
But, again, Ursula isn't having any of it: "'I don't trust you when you drag the stars in,' she said."
In a lovely springing leap, like a wind, the Mino was upon her, and had boxed her twice, very definitely, with a white, delicate fist. She sank and slid back, unquestioning. He walked after her, and cuffed her once or twice, leisurely, with sudden little blows of his magic white paws."
- D. H. Lawrence, Women in Love
III.
Ursula, who happens to be watching this alongside Birkin, is angry and upset at the male cat's use of violence to bully the female, as she perceives it. Birkin, amused by her indignation, tries to explain that this is a normal part of feline intimacy and, it's true of course, that feline sexual behaviour does involve a certain amount of unpleasantness (spraying, fighting, biting, etc.).*
Ursula, however, is unconvinced and continues to insist that Mino is a bully - like all males. This clearly irritates Birkin, who replies:
"'He is not a bully. He is only insisting to the poor stray that she shall acknowledge him as a sort of fate, her own fate: because you can see she is fluffy and promiscuous as the wind. I am with him entirely. He wants superfine stability."
Which, I suppose, is one way of putting it and one possible explanation. Though it could just be that Mino wants to penetrate the she-cat and that his male dignity and higher understanding are but fanciful notions belonging to Birkin. That's certainly what Ursula thinks: "'Oh it makes me so cross, this assumption of male superiority! And it is such a lie! One wouldn't mind if there were any justification for it.'"
Clearly, Birkin thinks there is some justification for it - and that it is neither a sadistic lust for cruelty nor a naked will to power, describing the latter as base and petty, even though, clearly, his reading of Nietzsche - like Lawrence's own - is a poor and selective one at best.
For Birkin, Mino's behaviour - and, presumably, male sexual behaviour in general - can best be thought of as a desire to impose upon female chaos masculine order and thus bring about a state of "transcendent and abiding rapport" between the sexes that benefits them both. Paradise is a state of pure equilibrium in which each party is a star balanced in conjunction.
And that, for Birkin, is what love is all about - fulfilment, not individual or personal freedom: "'Love is a direction which excludes all other directions. It's a freedom together, if you like." Ideal love and ideal freedom, he says, ultimately result in chaos and nihilism.
But, again, Ursula isn't having any of it: "'I don't trust you when you drag the stars in,' she said."
Notes
* Things probably aren't helped - speaking from the female cat's point of view - by the fact that the male has a barbed penis and that penetration therefore causes a certain amount of discomfort (although I'm not sure it's fair to describe the male cat's penis as a horrifying engine of pain, as one feminist commentator described it). Upon withdrawl, these keratinised penile spines rake the walls of the she-cats vagina, removing the semen of love rivals and helping to trigger ovulation.
See: D. H. Lawrence, Women in Love, ed. David Farmer, Lindeth Vasey and John Worthen, (Cambridge University Press, 1987), Ch. XIII, pp. 148-152.
See: D. H. Lawrence, Women in Love, ed. David Farmer, Lindeth Vasey and John Worthen, (Cambridge University Press, 1987), Ch. XIII, pp. 148-152.
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