Human, Animal and Plant in the Poetry of D. H. Lawrence

The elements of human, animal and plant in

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4 The elements of human, animal and plant in Pansies
As Becket points out, "it is fair to say that there is no principal organizing theme to Pansies, as Lawrence confirms"78 (86) This chapter introduces the variations of themes offered in the collection of Pansies, an English form of the French word pensées, which is "a handful of thoughts," "my tender administrations to the mental and emotional wounds we suffer from," (417) explains Lawrence in his introductory words to the collection: "Each little piece is a thought; not a bare idea or an opinion or a didactic statement, but a true thought, which comes as much from the heart and the genitals as from the head. A thought with its own blood of emotion and instinct running in it."79 (417) Many of the poems in this collection make the impression of being little creatures carrying some simple idea on their backs and tails. Among such poems are short pansies analysed in this section with regard to Lawrence's idea of animals being much better than men. These poems include Little Fish, The Gazelle Calf, The Mosquito Knows, Lizard, Self-Pity, Many Mansions, Man's Image and Ego-Bound. What the poet himself writes about these poems is that "they are thoughts which run through the modern mind and body, each having its own separate existence, yet each of them combining with all the others to make up a complete state of mind." (417) The analysis of animalistic poems then shifts focus on pieces like Cowards, Wild Things in Captivity, and Wages with support of poems such as The Root of Our Evil, There Is No Way Out, Money-Madness and Kill Money. These poems show Lawrence's belief in nature and disbelief in humankind via demonstrating human deliberate isolation from nature and, what is more important, the state of humankind, which to Lawrence is rotten with money.

4.1 Analysis of selected poems
Based on Becket's statement that there is no thematic organization in Pansies, the following analysis will be dealt with in a similar manner, thematically shifting from poem to poem, or a group of poems. Some of the poems from this collection are only a one or two-sentence remarks or observations which reveal the direction of Lawrence's thinking, mainly his reflecting, comparing, and contrasting between man and animal. In Little Fish, for example, Lawrence neutrally remarks how "the tiny fish enjoy themselves in the sea", calling them "little splinters of life", as if instinctively speeding towards each new day, while "their little lives are fun to them in the sea." (CP 466) Here, the author does not explicitly include the idea of men who should enjoy their lives and the energy of nature that was given to them like the little fish do, yet it may make the reader draw that comparison, especially when knowing about Lawrence's discomfort about how people wrongly ignore simple beauties of life and the simple gift that life itself is.

Similarly, The Gazelle Calf speaks about how baby gazelle "goes behind its mother across the desert, / goes behind its mother on blithe bare foot / requiring no shoes, O my children!" (CP 466) where Lawrence does not address his own children, as he had none, but rather the whole society where men go on complaining and wanting more even though they could easily be accommodated and satisfied with much less than they cry for. The double use of 'O my children!' with an exclamation mark creates an image as if the poet was shaking his head in sad disapproval, praying for a change in the behaviour of 'the children'.

Another contextually relevant poem is The Mosquito Knows, where the little insect's knowledge reveals that – in the confines of its insect-world – it is "a beast of prey." This poem, however, points at the fact that "animals kill for survival, but man goes beyond that."80 (Keese 140) After all, the mosquito "only takes his bellyful, / he doesn't put my blood in the bank," (CP 466) as humans do without any shame in them, being surrounded by surplus while consciously ignoring the fact that some other men, and creatures as well, have not even the minimum to survive in dignity. Keese points out that humans "do not take only what they need," and so "the mosquito is better in that respect," (466) which is not the first time in Lawrence's poetry where the mosquito turns out to, in a sense, 'outwin' the man.

Following the pensées about the innocent simplicity of animal life, the poem Self-Pity does not stay far behind, as it perfectly raises the question of why some human feelings, as if artificially raised by their minds, seem unnatural to the poet's eye. The whole idea lets its way out only through four brief lines: "I never saw a wild thing / sorry for itself. / A small bird will drop frozen dead from a bough / without ever having felt sorry for itself." (CP 467) Humans would, on the other hand, feel sorry even for the little bird, not mentioning how sorry and pitiful they are when it comes to their strivings: "Humans may be the only animals who find it difficult to take life as it comes to them. Humans allow their mental hang-ups to control their happiness."81 (Keese 140) They are "more apt to be absorbed by the worlds created in their minds", which, according to Keese, is Lawrence's presumption that human minds often build a barrier on the way to simple pleasures and happiness. Therefore, they cannot take life as it comes, whereas animals follow their natural instinct not making reproaches and regrets.

While in the previously analysed poems questioning humankind could be found after a deeper thought, the poem Lizard starts a sequence of remarks directed at men explicitly. It details a lizard coming out on a rock "listening / no doubt to the sounding of the spheres". Lawrence seems to attach great significance, and what is more, quite a respect and esteem to the "dandy fellow", evidently monitoring the universe and our world from his lizard point of view. It does all that a lizard is supposed to do, it is a lizard in a lizard-world the same way as Lawrence wishes a man to be a man in a man-world. However, Lawrence may only wish: "If men were as much men as lizards are lizards / they'd be worth looking at." (CP 524)

Lawrence wishes for men to take after animals in those sincere instinctive life-bursting marks that nature spotted their souls with, such as the gaiety of a bird when it "flips his tail in getting balance on a tree" in the poem Many Mansions. The creature is much happier and more joyful than if it was given a "nest with a bathroom," or gained a fortune. Lawrence regarded money to be an evil construct, as Keese points out: "…these creations, including money, do not make people happier", while in contrast to that "in nature, animals are more than capable of being happy without the concept of wealth", exactly as the bird in the poem is. Lawrence ends his poem by a question: "Why can't people be gay like that?" (CP 496) Maybe if humans stayed in touch with nature and their 'animal selves', they would comprehend the simplicity of taking pleasures in little things instead of gathering wealth and being programmed to centralize as much money as possible: "If humans were more in touch with their animal sides, then they could do away with many, if not most, of their material possessions. If humans could be content with the simple pleasures of living, then they would not be in need of the so-called conveniences of civilization."82 (Keese 141)

The last short poem to be analysed bears the title Man's Image. It conveys the idea of a man looking into the mirror and being satisfied. Lawrence pities the man for not "bark[ing] at himself, like a dog does", but self-indulging his pride in his own reflection, symbolising all the human faces that think of themselves as being the bosses of the universe. But what do people stare into the mirror for? Surely women for their make-ups, and man for their gallant looks and well-prepared gestures. However, "the modifications to appearances are only attempts to disguise the animals that humans really are."83 (Keese 139) Lawrence's despair at this image is apparent, when he summons: "What a pity he sees himself so wonderful, / a little lower than the angels! / and so interesting!" (CP 528) Yet the man stays far behind the real angels of the poet's philosophy, which would be living creatures representing and bearing the truth of life.

Lawrence does not condemn society for good, yet he sees little chance in men's reliving the forgotten essence of life. In Ego-Bound he exclaims that "As a plant becomes pot-bound / man becomes ego-bound," (CP474) where the bond with ego causes an enclosure of the man "in his own limited mental consciousness." This attachment, to Lawrence, is that unconsciously negative experience which builds a barrier between a man and the whole world of possibilities sourcing from life that he could exploit, but since ego-bound, "he can't feel anymore / or love, or rejoice or even grieve anymore", as he is engulfed "in the pot of his own conceit, / and he can only slowly die." Nevertheless, Lawrence does not imply determined fatality of the ego-bound. He sees a chance to break the chains of this conceit, yet only a little one, as "he values the human only insofar as it possesses the potential to triumph over its humanity, where humanity is synonymous with fallenness."84 (Sheehan 119) Such challenge can be taken only by that man who – even if faintly – remembers his roots in the earth, his origins in nature, and can "burst the pot, / shell of his ego / and get his roots in earth again." (CP ) He must be a "sturdy plant" willing to survive and not afraid to overcome his pride in order to meet the true life he was given.

There is, however, quite a small chance for a man to lay hold on his life, as Lawrence expresses in the poem Cowards. It is yet another poem pointing a reproving finger on society, claiming that "In all creation, only man cowers and is afraid of life. / Only man is terrified of his own possible splendour and delight." (CP 529) According to Keese, it is human mind and intelligence that composes the misconception described by Lawrence as the agony "of the necessity to be something better than he is", while he actually stays only "a poor mental worm." Keese suggests that "the mind is what prevents humans from accepting themselves as they are. The mind is what keeps people from living life the way it should be lived. Humans are so full of what they are supposed to know and how they should act that they are 'afraid of life' and do not trust themselves to act in any way that comes naturally."85 (139) Instead of using their beautiful minds to overcome the fear of life, humans tend to bury their heads in the ground and let their mentality make them only the poor worms in the great world of life. There is a connection to other species in the poem – the species long extinct, which perhaps "too died out from fear, / as man is likely to do." However, the mammoth which "got too big in tusk and teeth" as well as the "giant elk too big in antlers" might have gone extinct due to the evolution and due to the fear of their natural enemies, while a man has no greater enemy than humankind itself.

This idea appears also in another of Lawrence's poems, the tale of unsuccessful breeding of Wild Things in Captivity. The poem is playfully rhythmical, bringing forth the subject half-bitter and half-ironical by the voice "of a very wise man who is also humorous, completely disillusioned yet never cynical, a man who loves life, but is saddened and embittered at the way in which it is being fouled and violated by mass civilization."86 (Pinto 15) The poem describes how wild things in captivity with their wilderness confined to a cage "won't breed, they mope, they die." (CP 484) These creatures were deprived of their natural freedom, and as such are left to die without the joy for life, and the joy for breeding, as people cramped their natural instincts. This poem, however, does not reflect upon the cruelty of man appropriating lives of other living organisms as much as it does upon his own fate to die as animals in captivity do: "All men are in captivity, / active with captive activity, / and the best won't breed, though they don't know why." We live in "the great cage of our domesticity," (CP 485) which "kills sex in a man", as it is a life prison to one's true natural desires and impulses. Keese writes that "human conception and enforcement of societal norms are the very things that keep people from living."87 (141) Sex was still partly a taboo issue to talk about in Lawrence's times, yet he openly discussed his ideas and disgust upon the hypocrisy of society, where "the young ones copulate, hate it, and want to cry." The primal instinct of a living creature to survive is to breed and multiply, but since the refreshed society at the state-of-the-art demands the price of suppressing the natural and animalistic in people, Lawrence calls for a change: "Sex is a state of grace. / In a cage it can't take place. / Break the cage then, start in, and try." Lawrence simply " hates the mess men are now making of their lives by intellectualizing their emotions and organising themselves into slavery."88 (Gates 572)

Humankind's greatest evil product is according to Lawrence money. There are several poems in Pansies that directly attack the mammon-directed society. In a simple sentence that constructs the whole body of the poem Choice, Lawrence confesses: "I would rather sit still in a state of peace on a stone / than ride in the motor-car of a multimillionaire / and feel the peacelessness of the multimillionaire / poisoning me." (CP 498) It is not lack of money that would make him jealous and therefore helplessly opposing 'the lucky rich ones', it is the simple fact that there is no peace in generating, acquiring, and administrating money. With money come problems, and problems chase out peace of one's mind, one's values and one's true self – the instinctual, yet intellectual, human animal other. Pinto writes in the introduction to the Collected Poems that "some of the pansies and nettles are written in a mood of exasperation, but many of them are brilliant and incisive satiric commentaries on Western civilization, like the poem called Wages."89 (15) Here, Lawrence wittily comments on "the viciousest circle that ever turned men into fiends." (CP 521) The poem commences with the chain of reactions in a 'work-cash-want' world: "The wages of work is cash. / The wages of cash is want more cash. / The wages of want more cash is vicious competition. / The wages of vicious competition is – the world we live in." In this world despised by the author, what money created is only a great prison of life on wages, where a man becomes "a gaoler instead of a gaol-bird," a slave instead of a free man. And so a man strives for a better life, trying hard not to blindly fall within the prison premises, yet it is nearly impossible to be free, "since the work-prison covers / almost every scrap of the living earth." The beat of a man hammering away his own life is that of a prisoner doing exercise. Lawrence's "mocking humour and penetrating insight"90 (Pinto 15) come at their best in the closing line: "This is called universal freedom" – the universal freedom in a universal prison run by dead-end goals of men. As Pinto suggests: "The image of the gaol is the perfect symbol for industrial society, and that of the man with the private income strolling grandly outside 'in terror lest you have to go in' is, like all the best satire, at once very funny and rather terrible."91 (16)

This mammon-hate of Lawrence's is perfectly expressed in many other pansies, where he adds more and more to the ugly image of the modern-age society. In The Root of Our Evil, for example, he claims that the present evil is that we buy and sell – "buying and selling one another." (CP 482) The poet offers us a suggestion, a resolution to the whole world falling into deep mess: "What we want is some sort of communism / not based on wages, nor profits, nor any sort of buying and selling, / but on a religion of life." (CP 483) The simple beauties of worshipping life are to Lawrence the exact medicaments for healing the society, although he also makes it apparent in There Is No Way Out that we have gone too far, maybe irreversibly: "There is no way out, we are all caged monkeys / There is no way out, the cage has no door, it's rusted solid." (CP 485-6) Not only does Lawrence preach about the rights and wrongs of our annihilated lives, but he also encourages, appeals to people to revert the direction of humankind. In the poem Money –Madness, he speaks of the insanity in which we live – the fact that if one has no money, he is being treated worse than a piece of trash: "How much is he worth? / Has he no money? Then let him eat dirt, and go cold." (CP 486) Lawrence is afraid of the money-madness of humankind eventually making people kill each other, and so he follows the urge to beat this insanity in the poem Kill Money, where he states exactly what men must do to protect their lives and natural roots: "We must have the courage of mutual trust. / We must have the modesty of simple living. / And the individual must have his house, food and fire all free like a bird." (CP 487)

'All free like a bird' could be ascribed as a motto to Lawrence, definitely making its way and sense out through his collection of Pansies. A symbolism of simple living creatures, as well as a sharp critique of our monetary system could all be found in the previous analysis of the poems selected. Lawrence uses animal "more as a muse and a focal point through which to direct his personal philosophies on the state of humankind."92 (Keese 135) Similarly, the closer a man can get to his animalistic nature, the better his life can be: "As he observes in other animal species, Lawrence believes humans have much to gain by reverting to their true nature. In doing this, they will find the true path to happiness" (Keese 147) This, however, must happen by casting off the urge to make money, after which we finally may become free.
4 The elements of human, animal and plant in More Pansies and Last Poems
D. H. Lawrence's collections of More Pansies and Last Poems are said to be somehow descending down the ladder of the greatness of the author's poetry, but they also offer some of the greatest and purest pieces of Lawrence's mind. The analysis of poems from these collections serves more as an affirmation and evidence to the themes previously analysed rather than as a new insight into Lawrence's poetry with regard to the topic of this thesis. Poems such as The Uprooted, Fatality, Free Will and Flowers and Men express the author's belief in nature and the origins of man. Men like Gods and Man and Machine represent, according to Rich, "the anti-burgeois squibs, the outbursts against mass society, the machine, censorship."93 (221) Other poems analysed are Man Is More Than Homo Sapiens, few poems on Gods that – exceptionally to this chapter – bring forth a new subject, and a calm poem Pax, one of the two chosen from the collection Last Poems.
4.1 Analysis of selected poems
Lawrence created an image of a man who has roots in the earth, yet forgets or ignores that fact and instead of walking the right way barefoot, he speeds away from his origins on a highway. To him, the reason why all the people feel so much insecurity about their lives, is that they became uprooted. In The Uprooted, Lawrence speaks of those "who complain of loneliness", those "who are crying like a plant whose roots are cut." (CP 610) These people may seek the presence of other people, yet their happiness does not reappear with being surrounded by other men. These people "must have lost something, / lost some living connection with the cosmos, out of themselves, / lost their life-flow / like a plant whose roots are cut." And since the greatest flow of life is the Creative Urge, the never-ceasing flow of nature, people need to reconnect with nature to find their way: "The thing to do is in solitude slowly and painfully put forth new roots / into the unknown, and take root by oneself." Lawrence claims that "we all have our roots in earth. And it is our roots that now need a little attention, need the hard soil eased away from them, and softened so that a little fresh air can come to them, and they can breathe. For by pretending to have no roots, we have trodden the earth so hard over them that they are starving and stifling below the soil."94 (418) The image of a man is the one of an uprooted plant, on one hand unable to et nutrients from the soil, feeling lonely, and on the other hand with the roots being still in the soil, but walked over without any respect, as if humans forgot where they came from. Lawrence adds to this idea that "we have roots, and our roots are in the sensual, instinctive and intuitive body, and it is here we need fresh air of open consciousness." That consciousness is what the author lacks in humanity, the consciousness of the natural source of all life.

In the poem Fatality Lawrence's utterance is that of a saddened man announcing to the world the cruel fate our humankind is lead to by its suppression of natural instincts. He speaks of no one, not even God, who can "put back a leaf onto a tree / once it has fallen off." (CP 617) Similarly, no one "can put back a human life into connection with the living cosmos / once the connection has been broken / and the person has become finally self-centred." It reminds one of the poem Ego-Bound where such fatality is suggested, yet Lawrence seems to leave some space for return. Sagar states that "the wound that most concerns him here is the broken connection between man and the living cosmos. In 'Fatality' he suggests that the only healing of that wound might be death."95 (128) However, there always is a possibility to change, to disconnect from the blinding ego, as suggests Free Will. Humans have a choice; their free will gives them two choices to make: "either to stay connected with the tree of life, and submit / the human will to the flush of the vaster impulsions of the tree; / or else to sever the connection, to become self-centred, self-willed, self-motivated–" (CP 617) Many humans have taken the second choice as theirs, they became uprooted, only a subjects to their blunt lives. What the poem offers is not only an advice, but encouragement to connect with the Life Force, with nature and the real self, not the ego binding the last living roots dry.

Another poem, very similar to the short pansies from the previous chapter, is Flowers and Men. It contains a thought on flowers, the blooms and blossoms of natural world that "achieve their own floweriness and it is a miracle." (CP 683) How come men don't achieve their own manhood, Lawrence asks. "Alas, oh alas!" Because it is not the beauty in front of a mirror, it is not bank accounts filled with money, it is not the depraved values humans have set to follow that make a flower flowering, and make a man achieve his manhood. To become true to oneself and to the world means to Lawrence regain the connection with the earth without using human ways of achieving, only being in the purest natural form of one's being: "All I want of you, men and women, / all I want of you / is that you shall achieve your own beauty / as the flowers do." Rich argues that Lawrence "found man sacred in design even if degraded in execution. And nature, which he never sentimentalized, was always sacred to him."96 (220) What Lawrence asks for is getting as close to the miracles of nature as possible, in order to become as sacred as only the natural can be.

The absence of connection to nature is linked to the industrialisation of the world. In Men like Gods Lawrence expresses a simple thought: "Men wanted to be like gods / so they became like machines / and now even they're not satisfied." (CP 640) The irony of wanting to be like gods is significant in that gods, to Lawrence, are everywhere, in nature, in life, in the Life Force and the Creative Urge, in nature itself, but they can hardly be found in machines and in the age of iron, to which humanity has turned. Therefore it sounds as if the poet was mocking those who became like machines, how come they are not satisfied? This remark is followed by the poem Man and Machine which is contextually semblable as it ironically points out that "Man invented the machine / and now the machine has invented man." (CP 641) Machine is the opposite to animals, the Evil against the Good, the lie against the truth, death against eternal life, and Lawrence draws on a beautiful metaphor connected to human God and machine, which is identical and much far behind the real gods of nature that he worships: "God the Father is a dynamo / and God the Son is a talking radio / and God the Holy Ghost is gas that keeps it all going." And so men happen to be "little dynamos" and "little talking radios", striving to follow their God with a mechanical face, getting closer and closer to achieve their own godliness, while actually making connection with 'the other side', the artificial, mechanical face of their lives where nature has no roots and they have no roots in nature. And so "Man invented the machine / so now the machine has invented man."

The compelling title of Man Is More Than Homo Sapiens suggests Lawrence's idea of human surpassing. There is the great possibility for a man to reach beyond, to go beyond his own self and reach eternity in that he lets his animal self out in a manner not that of brute wilderness, but that of the pure instinctual nature that was given to every living creature. To Lawrence "Man is not quite a man / unless he has his pure moments, when he is surpassing." (CP674) Sometimes the "simple and primitive men are closer to the living God than are men 'corrupted by civilization',"97 (80) as Williams points out, adding that "Lawrence demands the casting-off of egotism and self-sufficiency, the regeneration in elemental oblivion, a completely new start, before man can really be 'in touch' with God."98 (83) Williams explains Lawrence's attitude towards human boarders, and the human mind which is to be used as a tool to 'surpass' an individual, to go beyond knowledge and the mind itself. In the poem, the author mentions how once he saw "an angry Italian seize an irritating little official by the throat / and all but squeeze the life out of him." It is as if the Italian was suddenly burned with anger, within the flames of his own naturalness, employing his right to overrule another creature in the sense of natural selection. He "was a god, in godliness pure as a Christ, beautiful," though not quite the ideal of the Lawrence's image of a man surpassing, but "with the dark and gleaming beauty of the messageless gods," simply pure.

When touching the topic of gods, Lawrence offers several poems with variations on what gods are, whether they exist, and how they look. Among these is the poem There Are No Gods, where the author calmly suggests that gods may, as well as they may not exist. It is up to every person to decide. From the very beginning of the poem the words are firm and resolute: "There are no gods, and you can please yourself / go and please yourself / But leave me alone, leave me alone to myself!" There is only the presence of one person, and that would be the poet himself: "Who is it that touches the sides of my breast / and touches me over the heart / so that my heart beats soothed, soothed, soothed and at peace?" It is only the person and his mind, and it is every man's chance to either be satisfied with their own selves in the room of their lives, or to choose believing and worshipping something that may give them power, yet only some untouchable faith never to be proved existing. Lawrence has, in this poem, chosen for himself: "I tell you, it is no woman, it is no man, for I am alone. / And I fall asleep with the gods, the gods / that are not, or that are / according to the soul's desire, / like a pool into which we plunge, or do not plunge." The simplicity of deciding whether to jump into a pool or not is here applied to the graveness of believing or not believing in gods, which is Lawrence's way to introduce the idea of how relative gods are and how slovenly they can be chosen.

Lawrence, however, seems to make his choice in the poem What Are the Gods?, where a question resonates: "What are the gods, then, what are the gods?" (CP 650) Taking into consideration the previous poem analysed, one might think Lawrence was an atheist, but as proven before, it is far from true: "He reveres nature because nature is one with, and springs from, God."99 (Williams 78) He says that "The gods are nameless and imageless", as if lacking identity and never to be portrayed, "yet looking in a great full lime-tree of summer / I suddenly saw deep into the eyes of god: / it is enough." Lawrence sees his gods deep in the eyes of nature, because that is the primal source of life, and "it is enough." In the essay Democracy he explains: "It is all very well to talk about a Supreme Being, an Anima Mundi, an Oversoul, an Infinite: but it is all just human invention. Where do you find an Anima? – in living individual creatures. Where would you look for a soul? – in a man, in an animal, in a tree or flower. And all the rest… is just abstraction."100 (72) And so the eternal soul, the God, the All, comes from nature and can be found in nature again.

It is important to note that For Lawrence "there was no contradiction between belief in God and belief in the gods. In the Last Poems God is sometimes the creative urge in nature,"101 (Pinto 17) which is demonstrated in The Body of God. Here, Lawrence shares his thought that "God is the great urge that has not yet found a body / but urges towards incarnation with the great creative urge." (CP 691) Any woman at her most beautiful can be god, as well as every man at his most fearless is, and so are "poppies and the flying fish." For Lawrence, there simply is either the one God that is Nature, or gods everywhere, appearing, reappearing, and disappearing with the flow of the Life Force: "The lovely things are god that has come to pass." As Oates points out, Lawrence "celebrates the life force wherever it appears, even if it withdraws itself from the species to which he belongs."102 It can be traced also in the fictional works of his that the natural selection and evolution are not confined to the world of humans103, but may easily follow up to a higher level, making the poor Homo Sapiens history. Gods are everywhere springing up like early summer flowers, fuelled by life in its purest form.

The closing analysis of this chapter and the whole thesis recognizes Pax, a poem that encompasses the peace that Lawrence had in mind when picturing what one's life should be: "All that matters is to be at one with the living God / To be a creature in the house of the God of Life," the one true and omnipresent God. It represents the basic requirement of Lawrence's philosophy of humans versus nature – to be at peace with it, with our roots deep in the fertile ground of life: "Like a cat asleep on a chair / at peace, in peace / and at one with the master of the house, with the mistress, / at home, at home in the house of the living, / Sleeping on the hearth of the living world / yawning at home before the fire of life." (CP 700) Lawrence imagines peace, "feeling the presence of God / like a great reassurance," with "a deep calm in the heart." The knowledge and the sensing of everything being at peace, in harmony with the God, with gods of nature, and with the mind and soul, is the soothing picture Lawrence paints in this poem. As Williams observes, "it is living life deeply, experiencing life intensely, understanding life with the entire personality, missing nothing of life, adjusting all the elements of mind and heart and body to one another, drinking life to the less,"104 (82) and having all of this within one's soul is Lawrence's vision… "in the house of life."

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