Chapter 13 Chapter 10 The Myth of Women in the Writings of Five Writers

Chapter 10 The Myth of Women in the Writings of Five Writers In support of the analysis which has been made above of the myth of the woman as it is presented in the prevailing view, the particular and mixed forms which have been employed in certain writers will be considered below.For example, Monttrand, D. H. Lawrence, Claudel Breton, and Stendhal seem to me to be typical in their attitudes to women. 1. Monttrand or disgusting bread Men have always adopted Pythagoras' theory of the opposition of good and evil as their own tradition, and Monttrand belongs to this long tradition.Following Nietzsche, he insisted that only languid times celebrate the "eternal woman," and that heroic men should rise up against the "great mother."The expert on heroism threatened to disempower women.For women are night, chaos and conditioned beings.When talking about Mrs. Tolstoy in the book "Beyond Women", he yelled: "These turbulent shadows are nothing but pure women." The stupidity and vileness of men today.In order to promote that literati lack logic, are stubborn and ignorant, and have no ability to grasp reality, people often refer to their instincts, intuitions and mysterious premonitions.That they are in fact neither observers nor psychologists; neither observe things nor comprehend living beings; Anything for a man can only damage him.For Monttreau, the formidable enemy is first and foremost the mother.In an early published work, "Exile," he describes a mother who thwarts her son's engagement; In both "The Single Man" and "The Sand Girls", mothers are portrayed as unfortunate characters.The mother's sin is to seal her son forever in her dark body; she destroys him in order to keep him all to herself, and thus fill the barren emptiness of the earth's being.She is the saddest teacher, stifling the child's life, dragging him back, driving him far from the summit he set his mind to climb, and finally becoming stupid and mean.

The above complaints are not baseless.But it is evident from the many obvious accusations Monttrein hurls at women like his mother that what he loathes about her is the fact of his birth.He believed he was God, and he wanted to be God; just because he was a male, a 'superior man', because he was Montrand. A will forged in trained muscles, not fatuous flesh slaughtered by life and death; he held his mother responsible for this perishable, fragile, accidental, and self-denying body. In Burning In the book "The More Woman", Montrand said: "The only fatal thing about Achilles was the pedal that his mother pinched. "He has always been unwilling to accept the various conditions that people should live in the world. What he is proud of is always running away from adventures in fear, not facing the free existence that is implicated in this world with flesh and blood; Rejecting this involvement, he at the same time asserted his right to affirm his freedom; unattached, ungrounded, he fancied himself to be a supremely self-sufficient subjective being; He seeks refuge in the usual procedure: not to rise above his roots, but to denigrate it.

For Monttreau, too, the mistress is as ominous as the mother; she prevents the man from resurrecting his inner god.The destiny of woman, he declares, is immediate existence; he lives by feeling, trapped in a finite existence, she has a desire to exist, and wishes to confine man to the same poverty.He doesn't feel his impulse to transcend, she doesn't have a sense of sublime, she loves her lover because he likes his weakness rather than his tenacity, appreciates his suffering rather than his happiness, she wants to disarm him, make him not Happy, in the hope of convincing him that he was not so unlucky as proved.He eluded her by overtaking her; but she knew how to change his size so as to keep him under control.Because she needs him, she is not self-sufficient, but a parasite.In this "book, through the eyes of Dominique, Montrand shows the women of Lazila "wandering on the arms of their lovers, they are so weak that they are like giant snails in human skin". In his view, except for women Athletes, women are imperfect, they are born weak and slavish, they cannot master the world, so they try to possess a lover, or better yet a husband. Monttreau could not use the myth of the "mantis", but he Expressing its content: for a woman, love is to swallow, to grab while pretending to give, he quotes Mrs. Tolstoy's cry: "I live for him, I live for him, and I ask him to do the same." Treat me like I treat him. ’ At the same time he paints the dangers of this lovely indignation; he finds a terrible truth in the dictum of Eclexiatis: ‘Better is a man who curses you than a woman who blesses you. He bows! Witness Mashal Muotti's Experience Day: "My man becomes half a man as soon as he gets married." Marriage, he thought, was extremely inauspicious to a "superior man." You can imagine what pretensions such as "Mrs. The prestige of a masculine man, in a word, destroys the meaningful solitude of the hero; he "needs not to be beaten in his thinking." I have already said that Monttrand chose a freedom without objects; that is to say, he Prefers illusory autonomy to real freedom to act in the world; his disengagement from responsibility is to resist woman; she is heavy and unbearable." A man is held by the arm of the woman he loves, so that he cannot hold his head high. Walking, which itself is an obvious symbol”; “I was full of enthusiasm, she poured cold water on me.I was wading, and she grabbed my arm and dragged me overboard." Min Since she is just poor and empty, since her logic is hallucination, how can she have so much power? Montrand does not explain. He just said arrogantly: "A lion has every reason to be afraid of mosquitoes. "The answer is clear: it is, of course, easy to imagine yourself supreme when you are alone, to think you are strong and powerful when you are careful to avoid any burden. Montrand chose the easy path; but he seeks a shortcut. The king in the Parsifer says: "The crowns we place on our heads are only crowns worth wearing. "It is a principle of convenience! Montrand keeps his crown low, and wears a purple robe; but any stranger can see at a glance that his crown is made of painted paper, just as Andersen The king in the picture, he is naked. It is much easier to wade in the imagination than to drive hard on the road. The reason why the lion of Monttrand avoids the mosquito of the woman is because he is afraid of the reality. test.

If Monttreau really debunks the myth of the eternal femininity, it is only to congratulate him on his achievement: it is by negating femininity that we help woman assume the place of man.But, as we have seen, he does not destroy the idol: he turns it into a monster.He also believed in the vague and fundamental nature of woman; he, like Aristotle and St. Thomas, believed that woman should be defined negatively; A fate to which a woman must submit without the power to reverse it.Every woman who dares to evade this fate places herself at the bottom of the human scale: such a woman can neither be a man nor be a woman; she is only a caricature, a false show.It doesn't really make her both a body and a self-awareness: while it suits Montrand, a Platonist, he seems to think that only the feminine and masculine ideals have reality; mere existence.He coldly judges those "hares" who dare to pretend to be autonomous subjects, dare to think and act.In his portrait of André Harquebo, he tries to demonstrate that any woman who tries to be the main character turns herself into a bumbling puppet.Andrea is mediocre, vulgar, undressable, even dirty, with suspicious fingernails and wrists: what little culture there is in her is enough to kill her femininity.Admitting Toth tells us she has knowledge, Montrand convinces us that everything about her in the book says she is stupid.Coututos confesses that he sympathizes with her, but Monttrand writes that she is disgusting.Thus, through this clever subterfuge, the folly of the female intellectuals is revealed, and at last an ingenious deception succeeds, which perverts in women whatever masculinity they may acquire.

Monttreau is tempted to make an exception for female athletes; through independent physical training, they can win a spirit, a soul.Yet it was easy enough to pull them off the top; Monttreau deftly left behind the female kilometer winner he sang so passionately about, because he had no doubts that she was seductive, and he wished to forgive her for her depravity.Dominique didn’t keep her high position on the very summit that Alban called her up to; she fell in love with him: “She who had been full of energy is now bleeding, smelling of sweat, panting and coughing slightly. ’ After feeling disgusted, Alban drove her away.One may show respect for a woman whose sensual nature has been stifled by physical training, but the existence of autonomy in a woman's body is a very repulsive thing; His consciousness was abominable from that moment on.The only thing suitable for a woman is to be pure flesh.Montrand praises the attitude of the Orientals: as an object of admiration, the weaker of the two sexes has a place in the world, she is of course humble, but she is also worthy; , she could only find confirmation in this joy.The ideal woman is utterly stupid and utterly submissive; she is always and everywhere ready to accept a man, never to make demands on him.This is the kind of woman that Alban admired at his convenience, "Duce, she is so cute and silly, the more she is swayed, the more stupid she becomes, and when she loses love, she...becomes listless and hides." Leave her, and she'll get a little tougher again." The same goes for the petite Arab Latiga, a quiet slut who tamely accepts pleasure and money.One can imagine the same thing about the "slut" I met on a Spanish train: "She had such an infatuated look that I longed for her the moment I saw her." The author explained: "The annoying thing about women is that they A claim to reason; and to make them expand their animality, they are reminiscent of Superman."

Monttrand, however, was not at all the Sultan of the Orient; first of all, he lacked the exuberant carnal desires.He was far from unreservedly taking pleasure in the "slut"; he was listless and not very clean.Costos tells us that boys' hair smells better and more strongly than women's hair; sometimes when seeing Solanj's "almost disgusting fragrance and a nervous body with a loose muscle like ash" , he experiences disgust.He dreams of a more deserving hug, a hug between people who are well suited to each other, and the sweetness in a hug comes from the strength that has been overcome.Orientals were erotic and thus established sensual reciprocal relations between lovers: this is evident in the fervent supplications of the Song of Songs, in the stories of the Romans, and in the countless Arabic poems in praise of the beloved.There are bad women, of course; but there are also lovable women into whose arms lecherous men confidently throw themselves, without feeling subservient.Therefore, Monttreau's hero is always in defense: "In the relationship between a good man and a woman, the only acceptable way is to take and not give." Moments of aggression and grandeur; he avoids moments of excitement, for he fears that he, too, is found to be sweating, his heart beating, "smelling of sweat"; who would risk smelling his sweat, touching his wet sweat Woolen cloth?His empty body exists for no one, because there is no one before him; he is alone consciousness, pure being, evident, supreme; if for his own consciousness there is joy, and he does not Failure to notice it will give someone the upper hand.He speaks with satisfaction of the joy he gives, but keeps silent about the joy he receives, for receiving is a form of dependence. "What I ask for from a woman is to give her happiness." Warm and vivid sexual pleasure often means the compatibility of the two parties: he doesn't tolerate anyone, he only likes the dominance of me alone.He seeks spiritual rather than carnal satisfaction from women.

He seeks above all to satisfy a pride in performance, without risk.In the presence of women, "a man feels as if he were confronted with an ox or a horse that he is about to grab, both of which make him feel indecisive and eager to try."It is seen as reckless to do the opposite of what other men are trying to do; they will interfere with the attempt, making unwelcome guidance and decisions that are purely outside the box.However, it is naturally more reliable to deal with cattle or horses according to one's own judgment.The same is true with women: if the chosen woman is a good fit, a man will still feel alone despite her presence. "I don't care about falling in love in an equal relationship, because I'm looking for immature women." This trite statement doesn't explain much.Why did Monttreau want naive women but not women who could rival him?He would be more honest if he declared that he had no woman to match him; rather, he didn't want to have one, because a woman who matched him would threaten him.In Olympic competition, he admired the stern competition and scrupulous relative positions of the games; but he himself failed to learn from them.Later, in his writings and in his life, his heroines, like himself, eschew real competition altogether: they must deal with animals, landscapes, children, and childlike women, never with his rivals .In spite of Montrand's later zeal for a movement of extreme purity, he accepted only women as mistresses, for whom his cowardly pride had nothing to fear in the way of judgment; the women he chose were all "passive and delicate" , are childish, stupid, and can be bought with money.He systematically avoids giving them adult minds, and at any sign of this he flees in terror; object of life, she would not be regarded as a subject; nor would her point of view be seriously considered.Monttreau's hero embraces an ethic of self-importance and convenience: he values ​​it only in relation to himself.His absorption by woman, or his attachment to her, does not make her happy, but his own: as the absolute inferior, the very existence of woman serves as a foil to the fundamental and unbreakable superiority of man.

Douce's stupidity just makes Alban "to some extent reconstruct the feeling of demigods marrying gooses in ancient myths".Lo and behold, he turned into a giant lion when Kostos groped for Ramu: "As soon as they sat together, he put his hand on the girl's lap (through the dress) and pressed his hand against her. The private parts are like a lion tearing its prey with its claws." In the darkness of the movie theater, many men are quietly doing this commonplace job, which is what Toss called "the primitive posture of a great lord." ".If lovers and husbands, like him, have a sense of the sublime, they will experience these great changes in a cheap object in the act of caressing before intercourse. "He smelled the woman's face blankly, tearing apart the self between his paws like a lion, stopped twice, and licked it."

The narcissist's pride is not merely the male's pleasure in the woman who belongs to him; she becomes his excuse to experiment freely with his feelings, as there is always no danger in firing a gun into the air.One night, Katos even took the pain for fun, until he had had enough of it before attacking a chicken leg.Few people allow themselves such fantasies.There are other joys, some stately, some subtle.Humility, for example, Costos responds modestly to letters from certain women, and sometimes he even incurs a certain pain for it.He wrote a pedantic letter to an ambitious country girl, at the end of which he wrote: "I doubt you can read my letter, but it would not be a bad idea for me to come down to your level." Good thing." He often pleases himself by making a woman in his image: "I want you to be like my scarf...,... I didn't raise you to my level, because you are different from me." He also created some pleasant memories of Jinglan to please himself.And most of all, when he sleeps with a woman, he feels excited about his giving.For he is the giver of joy, peace, tenderness, strength, and pleasure, and he comes laden with riches to squander.He owes nothing to his mistresses, and he often pays them for this.Even if there is a relationship without payment, the woman is a one-sided debtor, because he takes something and she gives nothing.So, on the day of his unvirginity, it was perfectly normal to send her to the dressing room; even if a woman was delicate and sweet, it was strange to see a man go to such lengths for her.He was born a man, she was destined to be a vessel for injection.Costos' arrogance is so faithfully modeled on the common man that it is difficult to see how he differs from an uneducated traveling salesman.

It was a woman's first duty to submit to his generous demands; and he paled with rage when he fancied that Solamum did not appreciate his caresses.If he cared for Radija it was because she beamed with joy when he came to her.Then he feels at once satisfied that he is a carnivorous beast and a noble prince.What is puzzling is that if a woman who is possessed and completely conquered is just a wretch, without a sense of autonomy, but only a dull body, where does the impulse to possess and conquer her come from?Why do you waste so much time on these empty women after being admitted to Toss?These contradictions show that there is nothing to be proud of but vanity.

For the strong, the generous, and the bossy, the finer pleasure is to pity the less fortunate.Costus often develops brotherly care and sympathy for the humble, and has "pity for women".What could be more touching than a tough guy suddenly softening his heart?As he bent over the sick animals—that is, the women—he fancied himself the sublime statue of Urbinal.He even likes to see female athletes lose, get hurt, run down; as for the other women, he wants them to be as defenseless as possible.Their menstruation disgusted him too, and he let us know that "he liked to be with women on the days when he knew they were menstruating." If the promise was not fulfilled.He promised to help An Deli and promised to marry Suo Lanmu.When pity is not from the heart, all promises are vanity: has he no right to contradict himself?He is making the rules of the game he is playing, and he is his only opponent. It was not enough for a woman to be crippled and pathetic, and Monttreau wanted her to be humiliated.He even thinks that the conflict between desire and contempt is a moving drama: "Oh, how tragic is the longing for what one despises! . It's like striking a match -- that's what we do with women. There's really no tragedy in the film, unless you look at it from the point of view of the match -- an insignificant one. As for the matchmaker, he's careful so that it doesn't burn Finger, it is obvious that this action fascinates him. If "desire for what he despises" had not made him happy, then he would not systematically refuse to desire what he admired. If so, Alban would not have pushed Domi away. Nick, but "in love on an equal footing"; at the same time, he does not have so much contempt for what he desires. All in all, a young, good-looking, passionate and honest Spanish dancer. After all, it is difficult to see what is contemptible. Is she despised because she is poor, lowly, and uneducated? I am afraid that all these are indeed defects in the eyes of Montrand. However, in principle, he firstly because of She is a woman and despises her. He says quite truthfully that it is not the mystery of women that makes a man dream, but the dream of a man creates that mystery. He puts into this object what he subjectively desires: not because of women He despises them because he often despises them. He feels that the higher the position he occupies, the greater the gap between women and him. This also explains the lack of property and refinement in the mistresses he chooses for his leading men.For the great writer Costos, he provided a sexually anguished and bored old provincial girl, and a vulgar, selfish, far-right, lower-middle-class woman.This is simply measuring an excellent character with a very crude scale. The result of this self-defeating procedure is that he feels very small.But that's okay, Costos believes he's great.The slightest weakness of a woman is enough to feed his vanity. There is a passage in "Girls" that is particularly meaningful. Before going to bed with Kao Toss, Solanj is getting ready for bed. "She had to go to the bathroom, and Costos remembered a mare he had ridden once, and it was strong and clean, and whenever he was on her back, she never peed or panted." It seemed. It's just a peeing thing, but it speaks to a distaste for the flesh (we're reminded of Swift: Celia defecates), a desire to treat a woman like a domestic animal, and strip her of any autonomy.However, I was very unhappy to be admitted to Toss, but at this moment I forgot that he also had to shit and pee.At the same time, while he loathes a woman who sweats and smells, he excludes the secrets of his own body: his clean spirit is supported by muscles and genitals.In "The Fountain of Desire", Montrand declared: "Contempt is nobler than longing"; in "The Captain of Santiago", Ovaro shouted: "Disgust is my bread." What an excuse for contempt when you are satisfied with yourself!From the fact that he thinks and judges alone, he feels that he is fundamentally different from the other person he accuses, and cleanses himself without paying the price of the mistakes he accuses others of.With what fury Montrand had vented his contempt for the world all his life!Calling them stupid is enough to make him feel smart; calling them cowardly is enough to make him feel brave.In the early days of the Nazi occupation of France, he mingled with a group of drunkards who scorned his defeated countrymen; he was neither French nor defeated, he was above all.He agreed indirectly that he, Monttrand, could only blame and did nothing more than the others to prevent failure; he was not even willing to be an officer in the army.However, he immediately began to reproach with fury.If he pretends to be sorry for his disgust, it is in order to feel it more genuinely, and to enjoy it all the more.In fact he thinks he finds so much convenience in such matters that he seeks in every possible way to push women into wretchedness.He entertained himself by seducing Miss Lu with money or jewels: if they accepted these malicious gifts, he was very happy.For fun, play sadistic games with Andrea, not make her suffer, but watch her self-mutilate.He provokes Solange to infanticide; she accepts his arrangement, and so enrolls in Toth's lust: in an impulse of contempt, she takes possession of the future infanticide. The key to understanding this attitude is in his parable of the caterpillar: whatever its hidden intentions, the parable is still meaningful.Montrand amused himself by urinating on some caterpillars by letting some of them go and killing others; he generously gave the caterpillars a chance with ridiculous sympathy for the struggle for life; He is fascinated.If there were no caterpillars, this piss would be nothing more than a excrement; now it is an instrument of life or death; in the presence of wriggling insects, the man who loosens the bladder understands that God's tyrannical loneliness will not take revenge threat.So, in dealing with the money woman, the man on the height of the scaffold is now cruel, now merciful, now just, now romping, he gives, takes, creates pleasure, shows mercy, rages, he does only as he pleases , He is aloof, freewheeling and arrogant.And these practices are just practices or nothing.They will be purposefully singled out, their weaknesses will be accommodated, they will be treated like beasts so stubbornly that they finally accept their place.Whites in Louisiana and Georgia appreciate negro petty theft and petty lying in the same way: they derive security from the privileged status conferred by their color; And so were treated worse.Likewise, in the concentration camps, the baseness of human nature is fully exposed: the master race finds proof in this baseness that they are the essence of the superhuman. To judge the legitimacy of Monttreau's attitude towards men of letters, it is best to examine his ethics carefully.For in the end we must know in what name women are blamed, according to his point of view.His attitude does not explain it in terms of its positive counterpart; it expresses only his own existential choices.In fact, the hero chose fear.The desire to dominate is within the consciousness of every human being; but the right action can only be taken if one takes a personal risk.Superiority is never a gift, because reduce a man to his subjectivity and he is nothing.Hierarchy can only be established when it matches the actions and careers of men; merit must be proven again and again."A man has power only over that which he is ready to risk," said Montrand, "but he never risked himself among his equals.Because he dares not be against human nature, he excludes it.In "The Crashed Queen," says the king, "These people, are an infuriating hindrance." The trouble is, they debunk the lie of the so-called paradise that this vain man has created around him.Therefore they must be negated.It is worth noting that Monttreau did not write just one piece about man-on-man conflict; peaceful coexistence is a very vivid drama, but Monttreau was not involved in it.His hero is always in front of animals, children, women, and landscapes; he is the captive of his own desires (like the Queen in "Parcifer") or personal demands (like "The Captain of Santiago"), but without any People support him.Alban in the novel does not even have comrades, and Alban, who despised Prinet while he was alive, is only agitated when he looks down at his dead body.Monttreau's work, like his life, contains only one consciousness. All emotion then disappears from this universe.If there is only one subject, there can be no relationship between subjects.Love is a joke; it is contemptible not because it assumes the name of friendship, but because "friendship is empty."All human solidarity is arrogantly denied.A hero is not made, he is not limited by time and space: "I can't find any obvious reason why I must be more interested in the current world than the events of a certain year and month in the past." It has become something worthwhile: "To be honest, major events have never been important to me. I like these events only because of the glimmer of light they left me when I experienced them... What is the future? Let it go." Action is impossible: "Because you have no confidence in anything in the world, you can't play with enthusiasm, energy, and courage!" That is to say, all transcendence is forbidden.Monttreau admits this.Love and friendship are trifles, and contempt hinders action.He did not believe in art for art's sake, nor in God.Only limited pleasures remain, and in 1925 he exclaimed: "My only ambition has been to use my reason better than others." He also said: "In short, what do I want? Calm and poetry.” In 1941 he said: “As for me, who accuses others, what have I done these twenty years? They have been like a dream that pleases me. Among the things I'm interested in: literally breathing with energy!" Good.Is it not precisely because he is immersed in the limited existence in which women are trapped?What lofty goal and what noble desire was Monttreau trying to achieve in his opposition to the love possessed by mothers and lovers?He's also looking to "possess"; when it starts to "breathe with vigor," plenty of women will be able to point him out.Didn't he know that the sensuality of a woman is as strong as that of a man?If the two sexes are ranked according to this standard of evaluation, women may be higher than men.To be honest, Monttreau's inconsistency in this respect is astonishing.In the name of 'alternativeness' he declares that since nothing has value, everything is equal; he accepts everything, he embraces one and all, when his great spirit makes the family He was happy when his mother was scared.And he was the one who demanded an "investigation" into the censorship of films and news during the German occupation.The thighs of an American girl make him sick; the strength of a bull turns him on: every man is to his liking.Each has re-established "Paradise" in his own pattern; and in the name of what value does the would-be alcoholic swear in disgust at the drunkenness of others?Because they are different from him?Does morality depend entirely on him alone? He might reply unequivocally that it is not important to have fun, but it must be done properly.Entertainment should be the other side of restraint, and lechers may feel that he is also saint and hero material.Many women are good at juxtaposing their entertainment with the noble image they have made for themselves.Why do we have to believe that Monttreau's narcissistic dreams are more valuable than theirs? We are indeed talking about dreams.Monttreau's deceitful words—sublime, holy, heroic—are all nonsense, because he denies them any objective meaning.He dared not risk his superiority among men; to get drunk on strong drink, he withdrew to the clouds: the Deng family must be supreme.He shut himself up in a castle in the air: mirrors reflected his image repeatedly, so he believed he was worthy of fame; but he was only a solitary, his own prisoner.He thought he was free, but he had sold his freedom for his own gain; he fashioned his Monttrand statue according to specifications borrowed from the Urbinal statue factory.Alban drives Dominique away because he sees himself in the mirror, and he finds that enslavement expressed in his demented face.A man is only truly a fool in the eyes of others.Proud Alban subordinates his feelings to a collective consciousness he despises.Monttreau's freedom is a gesture, not a real existence.Action is impossible for him because he has no aim, and he consoles himself with affectation: he is a buffoon.The women were looking for a suitable mate, they advised him, and he took the leading role, crowned with laurels and dressed in purple.But it all happened on his private stage; once in public, in broad daylight, our comedian can no longer see clearly, cannot stand, he is dazzled and falls over.考上托斯在猛一清醒之际叫道：“在女人身上得到的种种'胜利'，到头来多么滑稽！”一点不错。蒙特朗向我们提供的价值和成就全都是可悲的滑稽表演。使他陶醉的高尚行动也都是装腔作势，根本不是真正的承诺：他被皮列格里奴斯的自杀、帕西法的厚颜无耻和在即将送命的决斗之前与其对手共用一把伞的日本绅士所感动。他还宣称，“敌人及其应发表的观点并非那么重要”民这句话说在lpel年自有其弦外之音。他还说，不管结果如何，一切战争都很美；不管武力服务于什么目的，它总是可赞赏的。 “如果我们希望维持唯一可接受的男人的概念，即认为他一身而兼为英雄和圣人，那么，毫无诚信的争斗就成为我们最终被迫接受的方式了。”在《死了的王后》和《圣地亚哥的团长》中，蒙特朗对一切事业的高超冷漠和对伪崇高的偏爱得到了很好的描绘。 在这两部故作高深的戏剧中，我们看到，两个资为帝王的男人为他们空虚的骄傲而牺牲了仅仅因为富有人性，此外什么罪过都没有的女人：其中的一个受罚而死，另一个则失去了她的灵魂。如果我们再次质问到底以什么名义，作者就会傲慢地回答：没有借助任何名义。他不想让国王在杀伊奈丝的事上表现出过于明显的国事动机，因为这样一来，这一谋杀就只是一件普通的政治罪行了。国王说：“我为什么杀她？无疑有个原因，但我不能把它说出来。”这个原因就是，唯一的原则必须凌驾于芸芸众生之上；而且众所周知，这个原则并未照明任何目标：它始终只要求破坏。至于奥瓦罗，蒙特朗在一篇序言中告诉我们，出于尊敬那个时代的某些男人，他非常欣赏“他们的明确信仰，对外在现实的轻蔑，以及对虚无的疯魔。”正因为自己的入魔，那位圣地亚哥的团长才牺牲了他的女儿。也许可以用神秘的这个字眼未装饰那疯魔。喜爱幸福胜过喜爱神秘主义，岂不愚蠢？问题的实质在于，只有面对一个目标——人的目的，牺牲和放弃才有意义；只有在承认爱和幸福的价值的世界上，超越个人之爱和一己之幸福的目的才能实现。“女店员的道德”比空洞的童话更真实，因为它扎根于生活和现实，更高的企求正来自那里。我们不难想像伊奈丝在巴钦沃德，国王为国事而正式地奔忙于德国大使馆。在沦陷期间，很多年轻的女店员都曾赢得了我们没有给予蒙特朗的尊敬。他大发一些因空洞而有危险性的高论：他用超人的神秘主义批准了不计其数的暂时棵螨。于是，在我们正在讨论的剧作中，这种神秘主义通过两个凶手得到了表现，一个凶手有血有肉，另一个则是道德；奥瓦罗冷酷、孤独、无知，他并没有成为一个宗教法庭的法官；被误解和被否定的国王也没有成为西姆勒。一个人杀女人，杀犹太人，又在犹太人的影响下杀有女人气的男人和基督徒，他假借这些高超的观念的名义，杀一切他乐于杀的人。神秘的否定只能通过否定性表现。真正的超越是通向未来——人的未来的积极行动。为了使他自己相信他已走得很远，飞得很高，伪英雄总是向后望，往下看；他蔑视，咒骂，压制，迫害，折磨，屠杀。凭着挑邻人的错，他自以为比邻人优越。这样的优越就是蒙特朗暂时停止他那“充满活力的呼吸”喘一口气时，以高傲的姿势向我们指出的顶峰。 “好像拉着阿拉伯水车的驴子，我转呀，转呀，盲目地、没有尽头地、一圈又一圈地走着。但是我从未汲出新鲜的水。”这是蒙特朗1927年说过的话，真是无以复加的坦白。新鲜的水从未涌出。也许蒙特朗应该点燃火葬皮列格里奴斯的柴堆：那才是最合逻辑的解决办法。他喜欢在自我崇拜中寻求躲避。他不把自己给予这个他不知如何去滋润的世界，却满足于从中看到自己的反映；于是他照着这个幻影建立他的生活，而这个幻影却只有他的眼睛能看见。他写道：“君主们在一切情况下都处于安逸的状态，即使在失败之中。”因为他以失败为乐，他把他自己当做君王。他重弹尼采的老调说，“女人是英雄的消遣”，并且认为，要使他成为英雄就必须拿女人给他开心。如此等等。正如考士托斯所说，“简直是多么可恶的滑稽表演！” 劳伦斯或阳具的骄傲 劳伦斯与蒙特朗正好相反，他并未界定男人和女人的特殊关系，而是把男女两性还原为生命的真实。这个真实既未明显地表现出来，也不在意志之中，它涉及到人类固有的动物性。劳伦斯竭力反对“性一脑”这一组对立关系，而持一种与叔本华的悲观主义针锋相对的宇宙乐观主义；他把阳具所表现的生之意志视为欢乐，称它为思想和行动的源泉，除非那思想是空洞的概念，那行动是无生育能力的机械运动。单纯的性活动当然不够完满，因为他陷入被限定的状态，这无异于死亡，但这个残缺的现实——性与死依然胜似一种脱离肉体的存在。除了像安泰那样不断与大地接触以外，男人尚有其他更多的需求，作为一个男人，他的生命必须十足地表现出阳刚之气，同时据此来假设和要求女人。因此，她既非玩物，也非猎物，更非面对主体的客体，而是信号相反的一极赖以存在的一极。那些误解了这一真理的男人，比如像拿破仑，就没有完成他们作为男人的命运，因为他们有缺陷。个人的得救不能单靠强调个人的独立性，只有尽量把自己纳入普遍性中，他才能得救。无论是男人还是女人，都不应该在性爱的关系中沾沾自喜或抬高自己；把自己的性别作为意志的工具，那是致命的错误。人们应排除自我的障碍，甚至超越意识的权限，否定个人的统治。再没有什么能比那个分娩中的妇人的小雕像更美了：“一张可怕的面孔空洞而虚无，它几乎被下边那感觉的重压抽象化为无意义。” 这是一种既非牺牲，也非舍弃的迷狂；也不存在两性中任何一方允许另一方将其吞没的问题；无论是男人还是女人，都不应像一对配偶中“被拆下来的断片”，性角色并不像一块默默疼痛的伤疤；配偶中任何一方都是完整的存在，完美的一极；当一方对其阳刚之气十分确信时，另一方也会对其阴柔之美感到确信，“每一方都承认各自被极性化的性别'组合'得十分完美”；性活动中不存在一方对另一方的占有和屈从，双方都通过对方得到了神奇的完成。当乌苏拉和伯理终于互相发现时，他们相互地把那种只能称之为自由的完美均衡给予了对方。“她在他心目中一如他在她心目中，对于任何一方，对方都是另一个全新而丰富的现实，既神奇莫测，又近在眼前。”当两个情人在狂热的厮磨中如漆似胶时，他们共同走向了对方。“她是什么？一个强壮、陌生而有野性的生命，正是这个生命在这一刻与他一起喘息于黑暗中。它广大得包容了他们两人，以至使他从中得到了安静。他们曾经相会，在他们的相会中甚至包容了草丛、鸟鸣和星辰。”查太莱和梅乐士得到了同样的宇宙欢乐：当这一对情人互相交融时，他们也与树林、光和雨融为一体了。在《为查太莱夫人一辩》中，劳伦斯进一步推广了他的理论：“如果婚姻不是持久和极端阳具崇拜的，如果它不是向着太阳、大地、星辰、月亮和海浪的节拍，向着岁月、世纪和光辉，它就是虚幻的东西。如果婚姻不是基于血的交感，它就是乌有。因为血是灵魂的本质。'”“男人的血不同于女人的血，两者永不相混。”正因为如此，两条流蜿蜒地交织在一起，拥抱着生命的整体。“阳具就是填补女人的血之谷的一些血。强劲的男性血流以其终极的深度淹没了华美的女性血流……无论怎样，两者都冲不破这样的阻碍。这就是最完美的结合形式……也是最不可思议的事情之一。回这种结合奇迹般地丰富了生命，但它要求废除对“个人存在”权利的争取。正如现代文明中常见的那样，不同的个体在不否定自己的情况下寻求互相交融，他们的企图注定会受到挫折。在这种情况下，出现了一种“空洞、冷漠、神经质的、诗意的和个人的”性欲，它倾向于分化每一方的生命之流。情人之间若像工具一样相对待，便会引起憎恨，查太莱夫人与密克利斯便是如此。他们一直把自己封闭在各自的主体中；因而只能体验到喝酒或抽鸦片那样的狂热。但那只是没有对象的狂热，因为他们不能互相发现对方的真实存在，他们终于一无所得。劳伦斯枯燥无味地指责了考上托斯，他给盖拉德——中的人物——这个傲慢自私的男人涂脂抹粉；他把自己与古准拖入苦难的境地主要应由他负责。他刚愎自用，喜欢空洞地强调自我，强化他与生活的对应，为驯服一匹烈性的牧马取乐，他把马头按在门扉之上，让它听门外火车驰过的轰鸣。他抽打它，陶醉于自己的权力。这种支配的意志贬低了被他支配的女人，由于缺乏力量，她变成了奴隶。“她刚刚露出一种反叛奴隶的表情，还没有真正形成反抗。