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42 pages 1 hour read

D. H. Lawrence

The Rainbow

Fiction | Novel | Adult | Published in 1915

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Symbols & Motifs

The Rainbow

In the novel’s closing paragraphs, Ursula sees a rainbow forming after a rainstorm. The storm closes out a period of her life that was rife with uncertainty, depression, and disillusionment. During that time, Ursula is wounded emotionally by her breakup with Anton and her possible pregnancy. She also suffers the physical trauma of falling from the oak tree and recovering from illness. As the storm clears and her health is restored, Ursula receives word Anton married someone else, and she experiences a wave of anger and shock that fades just as quickly as it flared. With all the threads of her past tied off, Ursula sees the rainbow as a symbol of new beginnings and growth, and she looks forward to what her future might hold. The rainbow also holds “earth’s new architecture,” and in it she sees “the old, brittle corruption of houses and factories swept away,” as her newfound hope for herself inoculates her against the landscapes ruined by industrialization (459). The rainbow’s symbolic power extends back to the Christian Bible, in which Noah saw a rainbow after God sent a great flood to “reset” the earth. In this same sentiment, Ursula feels “reset” herself and presumably moves on from her personal, professional, and academic disappointments.

Water

The Brangwens often find themselves having their most significant interpersonal moments in or near bodies of water. Ursula especially has some of her most transitional and transcendent experiences in water. When Winifred takes Ursula’s class to the pool for swimming lessons, she challenges Ursula to a race and initiates their first significant physical contact when she wins. Ursula does not care about winning the race, nor does she mind the other students’ seeing this intimate moment. What compels her in this scene is the sight of Winifred’s body moving through the water: She admires her teacher’s body but “despised” her own. Later, when they swim naked together, Winifred first leads her through the dark while it rains and carries her into the pond. The scene marks a transitional period in Ursula’s life, functioning like a baptism that marks her rebirth as she moves on—for a period of time—from Anton and explores a sexual relationship with Winifred. Water also plays a vital role in Ursula’s final liberation from Anton. When their off-and-on relationship finally reaches a definite end through his new marriage and her realization that she is not pregnant with his child, a rainstorm ends. She realizes that her torment is ending along with the storm’s end. She is free from the domestic constraints that she long struggled against, and a rainbow forms, offering her renewal and hope.

P. T. Whelan notes that “the end of Tom’s era is marked by a flood which he does not survive” (26). The scene itself is rendered in vivid, upsetting detail as the first Brangwen protagonist dies. The water becomes a passive, swirling darkness that washes Tom away as if he were no different from the debris caught in its currents. It surrounds him, suffocates him, and holds within it unseen objects that knock his feet out from under him and strike his head, rendering him unconscious. In sharp contrast to other scenes of water as locations of love, flirtation, friendship, and life-giving, the flood transforms water into a strange, unidentifiable monster that consumes everything in its path.

Shame

Although Chapter 12 is titled “Shame,” it is the chapter in which the word “shame” (or variations like “ashamed”) appears the least. This chapter chronicles Ursula’s relationship with Winifred in what many Lawrence scholars “gloss over […] as a psychically and sexually damaging interlude” between Ursula’s relationship with Anton and her move into a professional career (Hagen 201). Ursula’s intimacy with Winifred is not a source of shame for her; rather, she finds genuine pleasure and fulfillment with the older woman. Ursula’s feelings of shame after her “First Love” (the title of Chapter 11) with Anton move her into this relationship, and a similar feeling of shame pulls her out of it when she realizes she cannot hold onto this love with Winifred either. The relationship itself is not what makes Ursula feel ashamed, rather, it is her inability to sustain a meaningful attachment with anyone.

In other chapters, shame results from the recognition of defeat. After Anna relentlessly mocks Will’s faith in God and his devotion to the church, he feels beaten down and ashamed. Although he strives to connect with God, Anna’s cruelty makes him feel as if that desire were wrong. She makes him feel bad about being excited by and invested in his religion, and the shame she attaches to religious belief drives a significant wedge between them. Earlier in the novel, Tom and Lydia struggle with their own shame. Tom especially attaches shame to his difficulty in connecting with Lydia: He perceives her as so foreign and different from himself, and his failed efforts to communicate and connect make him feel inadequate and ashamed. These feelings are deepened by his recognition of her wedding ring from her first marriage as a sign that there will always be a part of her life—and therefore a part of her—that he does not and will not ever truly know.

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