1 00:00:05,640 --> 00:00:13,620 And. Trial of Penguin Books for Public, 2 00:00:13,620 --> 00:00:23,730 the publication of an unexpurgated edition of Lady Chatterley's Lover Dame Rebecca West was one of the witnesses called for the defence. 3 00:00:23,730 --> 00:00:34,230 Although she defended the novel from the charge of obscenity. She conceded that, quote, Lawrence has a great defect which impairs this book. 4 00:00:34,230 --> 00:00:38,880 He has absolutely no sense of humour. 5 00:00:38,880 --> 00:00:44,550 And a lot of the sentences in this book are, to my view, ludicrous. 6 00:00:44,550 --> 00:00:54,450 She was and is not alone in either part of this opinion that Lawrence has no sense of humour and that because he has no sense of humour, 7 00:00:54,450 --> 00:00:59,470 he unintentionally writes in a way which is ludicrous. 8 00:00:59,470 --> 00:01:09,880 Malaz and Lady Chatterley, placing flowers in each other's pubic hair, has been found by many to be hilarious, though I confess that I cannot see why. 9 00:01:09,880 --> 00:01:17,000 More generally, it is his tone and style that have been found fault with. 10 00:01:17,000 --> 00:01:29,690 At his tone, at times, insistent, hyper confident, bullying, preaching and his style with its half invented vocabulary and its repetition, 11 00:01:29,690 --> 00:01:36,380 Lawrence himself explained in his advertising leaflet for the American edition of Women and Love. 12 00:01:36,380 --> 00:01:46,370 That in point of style, founders of Folt is often found with the continual, slightly modified repetition. 13 00:01:46,370 --> 00:01:53,990 The only answer is that it is natural to the author and that every natural crisis in emotion or passion 14 00:01:53,990 --> 00:02:04,250 or understanding comes from this pulsing frictional to and fro which works up to a culmination. 15 00:02:04,250 --> 00:02:11,700 This commentary would itself be held up by the same kind of critic to the same kind of ridicule. 16 00:02:11,700 --> 00:02:22,070 And there is no doubt that he is being serious here. But am I wrong to detect behind that the ghost of a grim, ghostly hands rubbing, 17 00:02:22,070 --> 00:02:27,750 rubbing together to see what the honest readers of America make of that? 18 00:02:27,750 --> 00:02:35,070 Over the last three decades, there's been increasing recognition that Lawrence did indeed have a sense of humour, 19 00:02:35,070 --> 00:02:44,070 and this has helped to restore his reputation from the nadir it reached as a result of the 1970s feminist critique. 20 00:02:44,070 --> 00:02:54,570 The Lawrence being presented today, both as in during this hour and in general nowadays, is perhaps harder both to ridicule and connect, 21 00:02:54,570 --> 00:03:03,420 at least to object to than the sage who was presented in the nineteen fifties and sixties in 1996. 22 00:03:03,420 --> 00:03:10,680 A book devoted to this subject came out Paul Eggerton, John Worden's Lawrence and comedy. 23 00:03:10,680 --> 00:03:17,880 Comedy is used here in the narrow sense of humour, not the widest sense of involving a happy ending. 24 00:03:17,880 --> 00:03:23,910 I think ultimately that Lawrence did have a view of life, though, which was comedic in the widest sense. 25 00:03:23,910 --> 00:03:32,190 But that isn't the subject of this lecture today. Those who knew Lawrence found him fun. 26 00:03:32,190 --> 00:03:40,020 Jesse Chambers, the Eastwood friend on whom Miriam in Sons and Lovers is based, recalls that when he was in the mood, 27 00:03:40,020 --> 00:03:48,090 he could be very funny, particularly when mimicking the members of the Christian Endeavour class. 28 00:03:48,090 --> 00:03:55,230 Frieda recalls him, mimicking Bertrand Russell and the other fellows of Trinity College, Cambridge. 29 00:03:55,230 --> 00:04:04,110 He acted for me how? After dinner, they walked around the room with their hands on their backs and discussed the Balkans in the professional way. 30 00:04:04,110 --> 00:04:12,650 And really they knew nothing. Any of you who live within striking distance of Hampstead May, a couple of years ago, 31 00:04:12,650 --> 00:04:18,590 have seen a play which was premiered there called On the Rocks by Amy Rosenthal. 32 00:04:18,590 --> 00:04:24,080 This was about Lawrence and Frida's life together in rock strewn Cornwall during 33 00:04:24,080 --> 00:04:29,660 the First World War and the failure of their experiment in communal living. 34 00:04:29,660 --> 00:04:37,430 When the short story writer Katherine Mansfield and her novelist boyfriend John Middleton Murray came to join them. 35 00:04:37,430 --> 00:04:41,300 The actor playing Lawrence was far too muscular and healthy. 36 00:04:41,300 --> 00:04:50,660 Looking at this play and this production exaggerated the extent to which Lawrence was the life and soul of the party. 37 00:04:50,660 --> 00:04:59,030 He would not, for example, as this place showed, grab a bottle of beer and lustily encourage others to do likewise. 38 00:04:59,030 --> 00:05:07,430 He drank a little and disliked drunkenness, but I was glad that this play reminded people that Lawrence was indeed the kind 39 00:05:07,430 --> 00:05:12,230 of person who would corral his friends into polygons like Shiraz and Brook. 40 00:05:12,230 --> 00:05:20,420 No Nodine Birken in Women in Love resembles, as I said last week, Lawrence in several ways. 41 00:05:20,420 --> 00:05:28,910 The Burkean played by Alan Bates in the nineteen sixty nine Ken Russell film of Women in Love, also raises laughter with him, 42 00:05:28,910 --> 00:05:37,460 but less by being a party animal, as in that play and more by being a teasing enfant terrible. 43 00:05:37,460 --> 00:05:42,500 Here he is taking tea at Bradley. 44 00:05:42,500 --> 00:05:51,890 In fact, in the garden at Bradberry, he hardly gives any kind of speech except to rebuff Hamani irritably, there are no soliloquies. 45 00:05:51,890 --> 00:05:59,540 But Bates's speech on figs is a verbatim quotation of sections of Lawrence's poem, Figgs, 46 00:05:59,540 --> 00:06:06,200 which was published in his collection Birds, Beasts and Flowers within four years of finishing Women in Love. 47 00:06:06,200 --> 00:06:12,920 And it's a testimony to the freeness of its verse that it resembles prose. 48 00:06:12,920 --> 00:06:19,550 Or rather, perhaps it indicates that speech, if transcribed, more resembles free verse than it resembles prose. 49 00:06:19,550 --> 00:06:23,240 In any case, it's an inexplicable deviation from the novel, 50 00:06:23,240 --> 00:06:29,930 just as the one posthumous Lawrence of On the Rocks is a forgivable distortion of the man himself. 51 00:06:29,930 --> 00:06:38,030 Lawrence would read out his poems to his friends, including at Garston, the country seat of Lady Autoline morale, 52 00:06:38,030 --> 00:06:44,060 which lies just six miles from us on which Bradley was partially based. 53 00:06:44,060 --> 00:06:52,130 The Oxford Voice, one of the poems in his nineteen twenty nine collection, Pansy's asks to be read out loud. 54 00:06:52,130 --> 00:06:55,790 It ends. We wouldn't insist on it for a moment. 55 00:06:55,790 --> 00:07:01,900 But we are. We are. You know, we are superior. 56 00:07:01,900 --> 00:07:10,760 We are. Or in generally exasperated vein, there is the little wowza, another pansy, 57 00:07:10,760 --> 00:07:16,970 there should certainly be red in Eastwood accent, which I'm going to have to make my best shot. 58 00:07:16,970 --> 00:07:24,680 There is a little wowza John Thomas by name. And for every blooming mortal thing that little blighters to blame, it was Emmas. 59 00:07:24,680 --> 00:07:32,780 Putin has made the first mistake of putting us in the world, forcing us out of the UN awake and making us come on cold. 60 00:07:32,780 --> 00:07:41,420 And then when you get in nicely on and life seems to begin, that little bleeder comes bustin in with Hello boy, what about sin? 61 00:07:41,420 --> 00:07:47,900 And then it leads to by the nose. After a lot of women and strips you starkers a monkey notes and leaves you never a tramon. 62 00:07:47,900 --> 00:07:51,740 And then somebody has to marry to put him through its paces. 63 00:07:51,740 --> 00:07:56,390 Then when John Thomas don't worry. It's your wife. Where is and Grace is. 64 00:07:56,390 --> 00:08:02,420 I think of all the little brutes as ever was invented. That little cods the Holy Worst ACTUP. 65 00:08:02,420 --> 00:08:10,580 Tim, I've repented. Lawrence was also able to laugh warmly and delightedly at others. 66 00:08:10,580 --> 00:08:15,650 This kind of laughter combines an amused sense of the absurd, the unlearnt, 67 00:08:15,650 --> 00:08:22,070 the clumsy and the preposterous with love of those who aroused this feeling in him. 68 00:08:22,070 --> 00:08:27,980 We find it in the narration of Tom Brangwyn speech at Will and Anna's Wedding in the Rainbow. 69 00:08:27,980 --> 00:08:34,880 This is a rustic scene. The step father of the bride and his two brothers are getting drunk and ribald. 70 00:08:34,880 --> 00:08:38,720 They toast the virginal couple night and day in May. 71 00:08:38,720 --> 00:08:42,840 They enjoy it hammer and tongs and may they enjoy it. 72 00:08:42,840 --> 00:08:51,590 And then Tom, the stepfather of the bride, finds himself inspired by a theory about angels and decides to make a speech. 73 00:08:51,590 --> 00:08:57,830 It seems to me, as a married couple makes one angel for an angel can't be less than a human being. 74 00:08:57,830 --> 00:09:04,610 And if it was only the soul of a man minus the man, then it would be less than a human being. 75 00:09:04,610 --> 00:09:12,440 His brother then raises the problem of women who never marry or who remarry, such as Tom's own wife. 76 00:09:12,440 --> 00:09:19,070 One of the women in the audience then recalls that her angel sorry, her child once thought he saw angels. 77 00:09:19,070 --> 00:09:23,840 And another woman recalls that when she was a child, she got an angel stuck up her nose. 78 00:09:23,840 --> 00:09:26,750 We used to call them. They saw things, angels as well. 79 00:09:26,750 --> 00:09:33,260 It's about the room then moves into a general discussion of things that children will get stuck up their noses. 80 00:09:33,260 --> 00:09:37,520 Quote, Tom Brown's mood of inspiration began to pass away. 81 00:09:37,520 --> 00:09:43,040 He forgot all about it and was soon shouting and roaring with the rest. 82 00:09:43,040 --> 00:09:49,220 This is the mildest satire of a rustics version of Lawrence's own ideas. 83 00:09:49,220 --> 00:09:55,160 Tom enjoyed his inspiration, as did we. And then we are happy to get on with the party. 84 00:09:55,160 --> 00:10:02,030 We both share the spirit of this party and that of the newlywed couple who later that night pours 85 00:10:02,030 --> 00:10:09,380 in their lovemaking to giggle at their drunken fathers who are singing at them through the window. 86 00:10:09,380 --> 00:10:15,650 Often, though, Lawrence uses humour when he is out of humour as a weapon of attack. 87 00:10:15,650 --> 00:10:22,670 In his 1927 essay on John Galsworthy, he described what he means by satire. 88 00:10:22,670 --> 00:10:32,670 And I should explain in this quotation that his phrase social being denote the mode in which a soul exists in relation to society. 89 00:10:32,670 --> 00:10:37,890 Satire exists for the very purpose of killing the social being, 90 00:10:37,890 --> 00:10:46,800 showing him what an inferior he is, and with all his parade of social honesty, dishonest to life, 91 00:10:46,800 --> 00:10:54,300 dishonest to the living universe on which he is parasitic as a louse, by ridiculing the social being, 92 00:10:54,300 --> 00:11:03,630 the satirist helps the true individual, the real human being, to rise to his feet again and to go on with the battle. 93 00:11:03,630 --> 00:11:14,800 Here, then we have humour as the demonstration of superiority, one of the four major theories of humour alongside incongruity, relief and play, 94 00:11:14,800 --> 00:11:24,660 and in Lawrence's case, the demonstration of superiority has the aim of annihilation in how beastly the bourgeois is, 95 00:11:24,660 --> 00:11:31,440 which is another poem from Pansy's. The sarcasm is wielded like a battle axe. 96 00:11:31,440 --> 00:11:39,870 How beastly the Bajwa is, especially the male of the species, presentable, eminently presentable. 97 00:11:39,870 --> 00:11:43,980 Shall I make you a present of him? Isn't he handsome? 98 00:11:43,980 --> 00:11:48,630 Isn't he healthy? Isn't he a fine specimen? 99 00:11:48,630 --> 00:11:52,140 Doesn't he look the fresh, clean Englishman outside? 100 00:11:52,140 --> 00:12:00,420 Isn't he God's own image, tramping his thirty miles a day after partridges for a little rubber ball. 101 00:12:00,420 --> 00:12:06,210 Wouldn't you like to be like that? Well, off and quite the thing. 102 00:12:06,210 --> 00:12:12,810 The poem ends standing in the thousands. These appearances in damp England. 103 00:12:12,810 --> 00:12:23,800 What a pity. They can't all be knocked over like sickening toadstools and left to melt back swiftly into the soil of England. 104 00:12:23,800 --> 00:12:29,650 A very different resigned satire can be found in Lady Chatterley's Lover. 105 00:12:29,650 --> 00:12:34,150 If you've read this, you'll remember that before Lady Chatterley meets Mallow's, 106 00:12:34,150 --> 00:12:38,980 she has a brief affair with a guest of her husband's called Mikaela's. 107 00:12:38,980 --> 00:12:41,860 Mickolus is an Irish playwright. 108 00:12:41,860 --> 00:12:51,580 Ultimately, he is an unsympathetic character, but he embodies several characteristics of Lawrence himself in exaggerated form. 109 00:12:51,580 --> 00:13:00,880 He is an outsider to the English upper classes, whom he satirises in his plays but whose hospitality he nonetheless accepts. 110 00:13:00,880 --> 00:13:05,620 He is unhappy, lonely and without glee. 111 00:13:05,620 --> 00:13:13,810 What is interesting is the closeness of his own gloomy sense of irony to that of the narrator who describes it. 112 00:13:13,810 --> 00:13:20,170 For example, Mickolus was the last word in what was caddish and boundaries, 113 00:13:20,170 --> 00:13:27,790 he was discovered to be and to English and to the class that made the discovery, this was worse than the dirtiest crime. 114 00:13:27,790 --> 00:13:36,850 He was cut dead and his corpse thrown into the refuse can bear in mind that Lawrence was writing this novel in Italy about the country, 115 00:13:36,850 --> 00:13:42,880 which had first published and then suppressed and burned his rainbo, 116 00:13:42,880 --> 00:13:52,150 demanding changes to women in love because of threats of libel and which had suspected him of anti English activities during the war, 117 00:13:52,150 --> 00:13:58,450 and in which the novel on which he was engaged at the time stood not a chance of publication. 118 00:13:58,450 --> 00:14:03,910 He didn't feel he did indeed feel cut dead by England. 119 00:14:03,910 --> 00:14:08,620 Mikaela's talks to Connie. Am I altogether a lonely bird? 120 00:14:08,620 --> 00:14:14,290 He asked, with his queer grin of a smile that looked almost as if he had toothache. 121 00:14:14,290 --> 00:14:19,250 It was so wry and his eyes were so perfectly unchanging. 122 00:14:19,250 --> 00:14:26,690 Only melancholy or stoical or disillusioned or afraid. 123 00:14:26,690 --> 00:14:32,360 The part of the novel which is concerned with RAGBRAI, Clifford and his Flamel trousered, 124 00:14:32,360 --> 00:14:42,560 Cambridge Intransigents, was precisely such a queer, melancholy grin that looks like a spiritual toothache. 125 00:14:42,560 --> 00:14:53,030 Koney then takes pity on Mickolus, stroking the nape of his neck when he lies his head in her lap, which then moves smoothly into their first sex. 126 00:14:53,030 --> 00:15:02,840 Later in the novel itself along sorry later, the novel itself, along with Connie, finds a better satisfaction in Malaz. 127 00:15:02,840 --> 00:15:12,030 That is when the not when the narrative itself loses its grimace and breaks into a smile of serious delight. 128 00:15:12,030 --> 00:15:22,920 Much Laurentian satire, though, is not sad, but exuberant, and one of its primary uses is in the deflation of idealism, 129 00:15:22,920 --> 00:15:31,440 two works which I mentioned last week, do this in particular fantasy of the unconscious and Mr Noone. 130 00:15:31,440 --> 00:15:40,200 Mr Noone is a semiautobiographical novel which Lawrence wrote in nineteen twenty to twenty one, but abandoned unfinished. 131 00:15:40,200 --> 00:15:51,540 The manuscript ends halfway through a sentence. Its narrator is the most rambunctious and controlling of any of Lawrence's works. 132 00:15:51,540 --> 00:15:57,600 As Melvyn Bragg says in his introduction to the novel, he panders, flatters, scorns. 133 00:15:57,600 --> 00:16:00,330 Tiss dismisses bullies and badgers. 134 00:16:00,330 --> 00:16:11,280 The poor reader taking the scruff of his neck in one feetfirst and the seat of the pants in the other and frog marching him up and down the page. 135 00:16:11,280 --> 00:16:15,420 Here is an example. An anonymous lady. 136 00:16:15,420 --> 00:16:19,710 She may even be yourself. Gentle reader once wrote to me. 137 00:16:19,710 --> 00:16:24,420 Thus you who can write so beautifully of stars and flowers. 138 00:16:24,420 --> 00:16:31,620 Why will you grovel in the ditch? I might answer her or you, gentle reader. 139 00:16:31,620 --> 00:16:37,350 Thus you who wear such nice suede shoes. 140 00:16:37,350 --> 00:16:49,040 Why do you blow your nose? Often it is not the nose, but the bottom, which this Rabelaisian narrator uses to remind us of our grossness, 141 00:16:49,040 --> 00:16:57,230 he reminds us that we have one, gives it a few robust kicks and from time to time pushes us down onto it. 142 00:16:57,230 --> 00:17:03,770 There is no sadism in this. These are the acts of an amused parent dealing with a pretentious five year old. 143 00:17:03,770 --> 00:17:08,660 Except since we are adults who instead can be sarcastic, dear draftee, 144 00:17:08,660 --> 00:17:19,580 uplift bellow out our skirts and trouser legs like Zeppelin balloons till we roll up into the sky whence we can look down on our fellow men in love. 145 00:17:19,580 --> 00:17:24,380 Of course, buttoned up uppermost. It's a risky thing to do. 146 00:17:24,380 --> 00:17:32,870 Of course, if your trousers seat is worn a little thin, the balloon of the spiritual inflators might then burst and let you flop on that same 147 00:17:32,870 --> 00:17:39,200 pathetic mankind which will not welcome you at all if you come down like a brickbat. 148 00:17:39,200 --> 00:17:43,040 Another favourite metaphor for Lawrence for pretentiousness was Mt. 149 00:17:43,040 --> 00:17:50,030 Pisgah. This is the mountain from which Moses saw the Promised Land for the first time. 150 00:17:50,030 --> 00:17:59,810 Lawrence does not believe in the Promised Land, at least not one which can be discerned from what he would consider a spiritual elevation. 151 00:17:59,810 --> 00:18:09,740 There is an essay called Climbing Down Pisgah, but in fact, the following quotation concerning Pisgah comes from fantasy of the unconscious. 152 00:18:09,740 --> 00:18:14,480 The Promised Land, if it be anywhere, lies away beneath our feet. 153 00:18:14,480 --> 00:18:21,800 Idealism and materialism amount to the same thing on top of Pisgah, and the space is very crowded. 154 00:18:21,800 --> 00:18:27,860 We're all cornetta on our mountain top, climbing up one another and standing on one another's faces. 155 00:18:27,860 --> 00:18:35,740 In our Scream of Excelsior, they say that that way lies the new Jerusalem of universal love. 156 00:18:35,740 --> 00:18:44,390 And over there, the happy valley of indulgent pragmatism. And they're quite near is the chirpy land of the vital lists. 157 00:18:44,390 --> 00:18:51,260 And in those dark groves, the home of successful analysis surnamed Psycho. 158 00:18:51,260 --> 00:18:56,240 But Lord, I can't see anything. Help me heaven to a telescope for icy black. 159 00:18:56,240 --> 00:18:59,840 Nothing. I'm not going to try anymore. 160 00:18:59,840 --> 00:19:08,120 I'm going to sit down on my posterior and Slava's full speed down this Pisgah, even if it cost me my trouser seat. 161 00:19:08,120 --> 00:19:19,640 Saho, away we go. The political ideal he wags his wagging finger at in particular, is the American ideal of liberty. 162 00:19:19,640 --> 00:19:26,040 This mock heroic passage concerns the book fantasy of the unconscious itself. 163 00:19:26,040 --> 00:19:33,840 And when I lay this little book at the foot of the Liberty Statue, that brawny lady is not going to look down her nose and bawl. 164 00:19:33,840 --> 00:19:37,860 Do you see any green in my eye? Of course I don't, dear lady. 165 00:19:37,860 --> 00:19:45,420 I only see the reflection of that torch. Or is it a carrot which you are holding up to light the way into New York Harbour? 166 00:19:45,420 --> 00:19:51,870 Well, many an arse has strayed across the uneasy paddock of the Atlantic to nibble your carrot. 167 00:19:51,870 --> 00:19:59,010 Dear lady, nevertheless, in spite of all this up trotz they a little arse and makes you a nice present of this little book, 168 00:19:59,010 --> 00:20:02,760 you needn't sniff and and glance at your carrots. 169 00:20:02,760 --> 00:20:07,320 Get Lady Liberty. You needn't throw down the thinnest carrot pairing. 170 00:20:07,320 --> 00:20:15,490 You can pair off and then say, why should I pay for this tripe, this wordy mass of rather revolting nonsense. 171 00:20:15,490 --> 00:20:21,640 You can't pay for it, darling, if I don't make you a present of it, you could never buy it. 172 00:20:21,640 --> 00:20:28,030 So don't shake your carrot, Sapta, and feel supercilious. Here's a gift for you, Mrs. 173 00:20:28,030 --> 00:20:31,870 You can look it in its mouth to mind. It doesn't bite you. 174 00:20:31,870 --> 00:20:37,780 Now, you needn't bother to put your carrot behind your back. Nobody wants to snatch it. 175 00:20:37,780 --> 00:20:43,760 The 1969 film of Women in Love shows Burkin also in a deflationary mode, 176 00:20:43,760 --> 00:20:49,360 in a scene just after the one I've shown you, you may remember that at bread will be her. 177 00:20:49,360 --> 00:20:59,080 Maione orchestrates Gudrun and Ursula in a little ballet in the style of the Russian ballet of Pavlova and Lewinsky. 178 00:20:59,080 --> 00:21:06,280 As in the last extract, the film departs from the novel, which, like Lawrence himself, took the ballet seriously. 179 00:21:06,280 --> 00:21:13,120 The women dance well, and Gudrun and Ursula during this ballet aroused their respective lovers to be. 180 00:21:13,120 --> 00:21:18,640 But like the figure skating scene, the adaptation here is true to an aspect of Lawrence. 181 00:21:18,640 --> 00:21:30,400 His desire to deflate spiritual pretension. Mocking is a word you often find in his writings and more often than not, approvingly used at the wedding. 182 00:21:30,400 --> 00:21:36,070 At the beginning of Women in Love, Laura calls to her groom when he finally arrives at the church. 183 00:21:36,070 --> 00:21:44,890 Tibs Tibs, she cried in her sudden mocking excitement, standing high on the path in the sunlight and waving her bouquet. 184 00:21:44,890 --> 00:21:53,140 She then raises him into church. This is an example of the kind of spontaneous behaviour of which Lawrence approves elsewhere. 185 00:21:53,140 --> 00:21:58,690 Mockery has a sexual charge in that Tyrolean Gusto's Burkean dances. 186 00:21:58,690 --> 00:22:10,930 The shawl platen with Ursula quote, He seemed to have turned into something wicked and flickering, mocking, mocking, suggestive, quite impossible. 187 00:22:10,930 --> 00:22:22,150 Ursula was frightened of him, clear before her eyes, as in a vision, she could see the sardonic, licentious mockery in his eyes. 188 00:22:22,150 --> 00:22:31,390 When they then go to bed, his eyes, his lips dropped with a faint motion of satiric contempt, and she gave way. 189 00:22:31,390 --> 00:22:39,370 He might do as he would. His licentiousness was repulsively attractive, but he was self responsible. 190 00:22:39,370 --> 00:22:47,650 She would see what it was. What it almost certainly is is anal sex, the one instance of it in the novel. 191 00:22:47,650 --> 00:22:57,220 The mockery and satire involved in it aren't far distant from Lawrence's mockery of Lady Liberty or of the Lady in the suede shoes. 192 00:22:57,220 --> 00:23:08,470 This is the mockery of the satires of Pan, for whom lust is inextricably connected with amusement and whose face is above their erections, 193 00:23:08,470 --> 00:23:18,850 where a perpetual grin Laurence liked plan and approved of his male characters at times resembling him. 194 00:23:18,850 --> 00:23:26,490 For Lawrence, another major use of satire is as a means of self-defence, his friend Catherine Caswell, 195 00:23:26,490 --> 00:23:33,510 in her memoir of him The Savage Pilgrimage, likened him to Joey in the Punch and Judy show. 196 00:23:33,510 --> 00:23:38,760 He pops up from the grave and mocks those who would reduce him to a formula. 197 00:23:38,760 --> 00:23:47,130 The simile is apt. His works do boppers on the head, and in particular, they bop his critics. 198 00:23:47,130 --> 00:23:53,670 The Forward to Fantasia of the Unconscious is titled An Answer to some critics. 199 00:23:53,670 --> 00:23:59,010 He methodically holds various criticisms which had been made of psych, 200 00:23:59,010 --> 00:24:07,920 psychoanalysis and the unconscious up to ridicule by selectively quoting juxtaposing opposed criticisms. 201 00:24:07,920 --> 00:24:16,290 For example, the accusation that he was obsessed by sex and that he was prejudicially prejudice against Freud by quips, 202 00:24:16,290 --> 00:24:21,480 by refuting the criticisms and by mocking apostrophes. 203 00:24:21,480 --> 00:24:31,080 Dear Mr. Weaver, since many of his critics had held extracts of his writing up to ridicule, he is meeting fire with fire. 204 00:24:31,080 --> 00:24:39,060 One critic concludes, This is altogether a remarkable book, a book which will appeal to a limited few and which, 205 00:24:39,060 --> 00:24:45,570 to the generality of readers, will seem only a worthy mass of rather revolting nonsense. 206 00:24:45,570 --> 00:24:55,400 As for me, Laurence says, I feel the generality of readers as a wordless mass of rather revolting nonsense, he said. 207 00:24:55,400 --> 00:25:01,050 He sarcastically neutralises criticism of his use of an arean idea. 208 00:25:01,050 --> 00:25:08,070 Of course, my dear critic, the ancient Aryans were just doddering. The old buffer's babbling the babes. 209 00:25:08,070 --> 00:25:18,890 But as for me, I have some respect for my ancestors and believe they had more up their sleeve than just the marvel of the unborn me. 210 00:25:18,890 --> 00:25:25,460 The satire of his critics gets sourer in the chapter of Women in Love called Gudrun in the Pompadour. 211 00:25:25,460 --> 00:25:35,120 The pompadour is based on Cafe Royal Society Cafe in Piccadilly in London, which has just been destroyed to make way for a block of flats. 212 00:25:35,120 --> 00:25:39,080 Three Bohemian friends, Haliday Libidinal, Nikonov and the Puss. 213 00:25:39,080 --> 00:25:45,660 Some are there. Gouta and Gerald come in but choose not to join them. 214 00:25:45,660 --> 00:25:55,310 Quote, The holiday party was tipsy and malicious. They were talking out loudly about Birken ridiculing him on every point. 215 00:25:55,310 --> 00:26:00,170 Oh, don't make me think of Birken. Haliday was squealing. He makes me perfectly sick. 216 00:26:00,170 --> 00:26:05,640 He's as bad as Jesus Lord. What must I do to be saved? 217 00:26:05,640 --> 00:26:10,340 He giggled to himself typically. Do you remember? Came the quick voice of the Russian. 218 00:26:10,340 --> 00:26:14,750 The letters he used to send desire is holy. 219 00:26:14,750 --> 00:26:19,010 Oh, yes! Cried Haliday. Oh, how perfectly splendid. Well, I have got one in my pocket. 220 00:26:19,010 --> 00:26:25,070 I'm sure I have. And he finds that he does indeed have a letter from Birken on him. 221 00:26:25,070 --> 00:26:31,760 This is one of the best. There is a phrase in every race he read in the singsongs slow, 222 00:26:31,760 --> 00:26:42,110 distinct voice of a clergyman reading the Scriptures when the desire for destruction overcomes every other desire in the individual. 223 00:26:42,110 --> 00:26:50,930 This desire is ultimately a desire for destruction in the cell I hope is going ahead with the destruction of himself, 224 00:26:50,930 --> 00:26:55,820 said the quick voice of the Russian. There's not much to destroy in him, said the person. 225 00:26:55,820 --> 00:27:00,050 He's so thin already there's only a [INAUDIBLE] end to start on. 226 00:27:00,050 --> 00:27:08,990 Do let me go on a return along the flux of corruption to the original rudimentary conditions of being. 227 00:27:08,990 --> 00:27:16,490 Oh, he was always going on about corruption, said the person. He must be corrupt himself to have it so much on his mind. 228 00:27:16,490 --> 00:27:25,220 After a while, Gudrun, who is not being part of this group, goes to their table and asks to see the letter to see whether it is genuine or not. 229 00:27:25,220 --> 00:27:31,350 May I see? Smiling foolishly, he handed it to her as if hypnotised. 230 00:27:31,350 --> 00:27:41,220 Thank you, she said, and she turned and walked out of the cafe with the letter all down the brilliant room between the tables in her measured fashion. 231 00:27:41,220 --> 00:27:45,540 It was some moments before anybody realised what was happening. 232 00:27:45,540 --> 00:27:54,630 They call for her to be stopped, but she does walk out unhindered and outside, says to Gerald, I could have killed them dogs. 233 00:27:54,630 --> 00:28:00,960 They are dogs. Why is Rupert such a fool as to write such letters to them? 234 00:28:00,960 --> 00:28:07,060 Why does he give himself away to such? Can I? It is a thing that cannot be born. 235 00:28:07,060 --> 00:28:19,300 This is not just Lawrence speaking. The episode is based on a very similar event which took place in the Cafe Royale on the 1st of September 1916. 236 00:28:19,300 --> 00:28:28,780 Katherine Mansfield was there with two other friends of Lawrence, the translator, Eschaton Jansky, and the painter Mark Gertler. 237 00:28:28,780 --> 00:28:35,860 They overheard two men and a woman on another table talking about talking about various authors. 238 00:28:35,860 --> 00:28:42,430 Then a woman pulls out a copy of Amara's, the most recent of Lawrence's collections of poetry, 239 00:28:42,430 --> 00:28:48,720 and the party starts dissecting it in perfect English, using long words. 240 00:28:48,720 --> 00:28:55,080 Catherine goes to their table, asks to see the book and leaves the cafe with it, 241 00:28:55,080 --> 00:29:05,100 Kottoor Jansky then told Laurence about this episode and he gave Catherine the honour of an extra chapter in his novel, Chapter 27. 242 00:29:05,100 --> 00:29:11,370 The passage in the novel not only serves to attack Lawrence's critics, though it does do this, 243 00:29:11,370 --> 00:29:22,710 it also serves to sweeten the pill of his and Birkins own doctrines by admitting that he knew he could be and was seen as a preacher, 244 00:29:22,710 --> 00:29:27,390 according to the Wowza. As in the poem a little while, 245 00:29:27,390 --> 00:29:35,400 the little Wowza is a puritanical enthusiast or fanatic or one who wants to compel everybody else 246 00:29:35,400 --> 00:29:42,540 to do whatever he thinks right and abstain from everything he thinks wrong with this knowledge. 247 00:29:42,540 --> 00:29:50,890 The poem is therefore not only of an obscene poem, it obtains something of the cast of a wry confession. 248 00:29:50,890 --> 00:29:57,840 Lawrence knew that some people might smile at the locution and ideas in, for example, fantasy of the unconscious. 249 00:29:57,840 --> 00:30:04,920 He knew that it might happen and he tried to forestall it. In that little book, Psychoanalysis and the Unconscious. 250 00:30:04,920 --> 00:30:14,350 I tried rather wistfully to convince you, dear reader, that you had a solar plexus and the lumbar ganglion and a few other things. 251 00:30:14,350 --> 00:30:19,120 I warned the generality of readers that this present book will seem to them here. 252 00:30:19,120 --> 00:30:26,950 The phrase recurs. It clearly stuck with him, will seem to them only a rather more revolting mass of wordy nonsense than the last. 253 00:30:26,950 --> 00:30:33,210 I would warn the generality of critics to throw this book away in a wastepaper basket without more ado. 254 00:30:33,210 --> 00:30:39,570 As for the limited few, I may as well say straight off that I stick to the solar plexus. 255 00:30:39,570 --> 00:30:45,080 That statement alone, I hope, will thin the numbers considerably. 256 00:30:45,080 --> 00:30:54,120 One is reminded of the description of Tom Brangwyn when he starts to give his speech on angels, his eyes twinkling and yet quite profound. 257 00:30:54,120 --> 00:31:00,890 But he was deeply serious and hugely amused at the same time. 258 00:31:00,890 --> 00:31:09,950 In Mr Noone, he is often genially self parodic and now gentle reader, ha, I feel you shy at those two words. 259 00:31:09,950 --> 00:31:14,510 Yes, I admit it. They are my dilly dilly dally. Come and be killed. 260 00:31:14,510 --> 00:31:19,250 Yes, I am going to pacifies and oh moralise. And why shouldn't I. 261 00:31:19,250 --> 00:31:23,160 If you don't want to read, turn on to page. 262 00:31:23,160 --> 00:31:31,290 And here there's a break in the manuscript, given that the novel was abandoned, unfinished and not published until 1984, 263 00:31:31,290 --> 00:31:38,230 the freedom with which he browbeats his readers would have been affected by his sense that they didn't exist. 264 00:31:38,230 --> 00:31:44,200 It's significant that both of these works with Fantasia of the unconscious are from the early 20s, 265 00:31:44,200 --> 00:31:48,640 his experience of the First World War, living with a German in England, 266 00:31:48,640 --> 00:31:54,910 his interpretation of the war as the spiritual death throes of English society and his great 267 00:31:54,910 --> 00:32:02,290 difficulties in getting his novels into print broke something in Lawrence as early as 1915, 268 00:32:02,290 --> 00:32:10,720 he wrote in a letter to Bertrand Russell. I'm ashamed to write any real writing of passionate love to my fellow men. 269 00:32:10,720 --> 00:32:14,510 Only satire is decent now. 270 00:32:14,510 --> 00:32:25,850 Compare this with T.S. Eliot statement in the metaphysical poets of 1920, poets in our civilisation as it exists at present must be difficult. 271 00:32:25,850 --> 00:32:32,510 These contrasting statements epitomise an important difference between Elliotts and Lawrence's writings in the 20s. 272 00:32:32,510 --> 00:32:36,440 But in this respect, Lawrence was in tune with his age. 273 00:32:36,440 --> 00:32:46,130 The 1920s saw probably the greatest flowering of satire in England since Swift died in 1745 with forced war. 274 00:32:46,130 --> 00:32:57,440 And Aldous Huxley, who was Lawrence's closest male friend from 1926 onwards when Lawrence died in a guesthouse above Von's in nineteen thirty, 275 00:32:57,440 --> 00:33:02,870 one of England's best surviving satirical novelists was at his side. 276 00:33:02,870 --> 00:33:12,710 Indeed, two years earlier, he Huxley had caricatured Lawrence as the character Rampion in his own satirical novel Point Counterpoint. 277 00:33:12,710 --> 00:33:16,760 So if you read point counterpoint, watch out for Rampion. 278 00:33:16,760 --> 00:33:25,220 But a lot of twenties satire unlike, say, Swift's A Modest Proposal, does not blaze with righteous indignation. 279 00:33:25,220 --> 00:33:31,820 It had an ironic detachment as though since the First World War had been launched, justified and advertised. 280 00:33:31,820 --> 00:33:36,920 In the spirit of seriousness, your country needs you. 281 00:33:36,920 --> 00:33:44,900 Seriousness itself was not quite decent. The opening line of the Second Draught of Lady Chatterley's Lover sums it up. 282 00:33:44,900 --> 00:33:52,850 Ours is essentially a tragic age, so we refuse to take it tragically. 283 00:33:52,850 --> 00:33:59,510 The shattered Clifford Chatterley, who literally embodies the war, is described as follows. 284 00:33:59,510 --> 00:34:05,780 Having suffered so much, the capacity for suffering had to some extent left him. 285 00:34:05,780 --> 00:34:11,510 He remains strange and bright and cheerful, almost one might say chirpy. 286 00:34:11,510 --> 00:34:19,940 There is something of this chirping us in a lot of the consumptive Lawrence's writing of the 20s, as he says himself of Aaron's rod. 287 00:34:19,940 --> 00:34:28,340 It is funny. It amuses me terribly. Yet the direct syntax of those sentences contradict their meaning. 288 00:34:28,340 --> 00:34:36,900 It is again, as if said, through gritted teeth. Here is one of his most political poems called Asain Revolution. 289 00:34:36,900 --> 00:34:45,300 Bear in mind, Lawrence was living in fascist Italy, which, as Arun's world records, had been close to communist revolution. 290 00:34:45,300 --> 00:34:51,660 And he experienced Neo was aware of numerous bomb attacks in public places. 291 00:34:51,660 --> 00:34:57,510 If you make a revolution, make it for fun. Don't do it in ghastly seriousness. 292 00:34:57,510 --> 00:35:02,460 Don't do it in deadly earnest. Do it for fun. 293 00:35:02,460 --> 00:35:06,430 Don't do it because you hate people. Do it just to spit in there. 294 00:35:06,430 --> 00:35:19,510 I don't do it for the working classes, do it so that we can all of us be little aristocracies on our own and kick our heels like Jolli escaped arses. 295 00:35:19,510 --> 00:35:26,410 Don't do it anyhow for international labour. Labour is the one thing man has had too much of. 296 00:35:26,410 --> 00:35:32,530 Let's abolish labour. Let's have done with labouring. Work can be fun and men can enjoy it. 297 00:35:32,530 --> 00:35:39,690 Then it's not labour. Let's have it. So let's make a revolution for fun. 298 00:35:39,690 --> 00:35:49,770 Instability itself is a quality which Lawrence embraces greatly Birken, as the film showed, joins in the dancing, which follows the ballet. 299 00:35:49,770 --> 00:35:57,870 Roo's Birken, quote, did not yet know how to dance their convulsive ragtime sort of dancing. 300 00:35:57,870 --> 00:36:03,840 But he knew how to begin Birken when he could get free from the weight of the people present whom he disliked, 301 00:36:03,840 --> 00:36:11,370 danced rapidly and with a real gaiety and how her minie hated him for this irresponsible gaiety. 302 00:36:11,370 --> 00:36:16,440 Now I see, cried the Contessa excitedly. Mr Burkin. He is a changer. 303 00:36:16,440 --> 00:36:22,410 He is not a man. He is a chameleon, a creature of change. 304 00:36:22,410 --> 00:36:29,220 He is not a man. He is treacherous. Not one of us said itself over in homogenise consciousness, 305 00:36:29,220 --> 00:36:37,170 and her soul writhed in black subjection to him because of his power to escape to exist other than she did, 306 00:36:37,170 --> 00:36:42,450 because he was not consistent, not a man less than a man. 307 00:36:42,450 --> 00:36:48,660 Birkins ideas, as I mentioned last week, change abruptly and contradict each other over the novel. 308 00:36:48,660 --> 00:37:00,880 What matters, though, is not this. But the author's attempt to interpret his soul to be spiritually alive is to be what the Contessa calls a changer. 309 00:37:00,880 --> 00:37:07,810 Lawrence was well aware of the limitations of language. Tom Bronwyn's monologue on Angels is introduced. 310 00:37:07,810 --> 00:37:12,600 Tom Brangwyn wanted to spread to make a speech. For the first time in his life. 311 00:37:12,600 --> 00:37:21,070 He must spread himself wordly. Lawrence to felt the urge to spread himself wordly nearly all the time. 312 00:37:21,070 --> 00:37:30,130 But he was well aware that word is spreading often entailed an element of the ridiculous and not just if one lacked a university education. 313 00:37:30,130 --> 00:37:39,310 One way in which Lawrence demonstrates his impatience with and scepticism of language is by using certain words on different occasions, 314 00:37:39,310 --> 00:37:43,240 not just in different ways but in flatly contradictory ways. 315 00:37:43,240 --> 00:37:49,750 And it's good, as readers of Lawrence, to be aware of this consciousness, for example, can be a good thing. 316 00:37:49,750 --> 00:37:53,410 It can also be a bad thing to forward to. 317 00:37:53,410 --> 00:37:56,770 Women in love extols the struggle into conscious being. 318 00:37:56,770 --> 00:38:07,930 But Homogenise A. per effort at consciousness leaves her spent and Ashan in her body conscious sometimes means unconscious. 319 00:38:07,930 --> 00:38:16,120 Burkean describes the fetish as representing really ultimate physical consciousness, mindless, utterly sensual. 320 00:38:16,120 --> 00:38:22,720 Two senses of consciousness. Meet's when in exquisite Birken drove on in a strange new wakefulness. 321 00:38:22,720 --> 00:38:28,660 The tension of his consciousness broken. He seemed to be conscious all over. 322 00:38:28,660 --> 00:38:33,700 Many of Birkins words are found debased in other situations. 323 00:38:33,700 --> 00:38:39,310 Birken wants an inhuman connexion, but machines are inhuman. 324 00:38:39,310 --> 00:38:43,000 Words with the same root are played off against each other. 325 00:38:43,000 --> 00:38:55,570 Organic, which is positive organisation, generally negative equality as in democracy, negative equilibrium as in that between a man and a woman. 326 00:38:55,570 --> 00:39:04,210 Generally positive idir final, complete and absolute are all words which can go either way. 327 00:39:04,210 --> 00:39:12,700 So let the reader beware. Lowrance allows Ursula to mock Birken when he spreads himself wordly. 328 00:39:12,700 --> 00:39:17,260 This is their first Tea Party. But don't you think me good looking? 329 00:39:17,260 --> 00:39:22,660 She persisted in a mocking voice. He looked at her to see if he felt that she was good looking. 330 00:39:22,660 --> 00:39:28,720 I don't feel that you're good looking, he said. Not even attractive, she marked bitingly. 331 00:39:28,720 --> 00:39:35,620 He knitted his brows in sudden exasperation. Don't you see, it's not a question of visual appreciation in the least. 332 00:39:35,620 --> 00:39:40,060 I don't want to see you. I've seen plenty of women. 333 00:39:40,060 --> 00:39:48,030 I'm sick and weary of seeing them. I want a woman I don't see. I'm sorry, I can't oblige you by being invisible, she laughed. 334 00:39:48,030 --> 00:39:52,770 Yes, he said, you are invisible to me if you don't force me to be visually aware of you. 335 00:39:52,770 --> 00:39:57,210 But I don't want to see or hear of you. What did you ask me for? 336 00:39:57,210 --> 00:40:01,140 Then she marked. I think you were very silly. 337 00:40:01,140 --> 00:40:07,020 I think you want to tell me you love me and you go all the way around to do it. 338 00:40:07,020 --> 00:40:11,670 All right, he said, looking at with sudden exasperation. Now, go away then and leave me alone. 339 00:40:11,670 --> 00:40:17,280 I don't want any more of your meretricious persiflage. Is it really persiflage? 340 00:40:17,280 --> 00:40:20,850 She marked her face, really relaxing into laughter. 341 00:40:20,850 --> 00:40:30,390 She interpreted it that he had made a deep confession of love to her, but he was so absurd in his words also. 342 00:40:30,390 --> 00:40:36,780 But this argument between them and others like it in the novel does not just serve to qualify Burkin. 343 00:40:36,780 --> 00:40:40,800 They also have the virtue of pitting the lovers in opposition. 344 00:40:40,800 --> 00:40:50,700 Lawrence, as I say, the Crown, which he wrote between the Rainbow and Women in Love, argues that life itself is based on opposition. 345 00:40:50,700 --> 00:40:59,640 The flux of corruption, which was mentioned in the letter to Haliday, is a necessary counterpart to the flux of creation. 346 00:40:59,640 --> 00:41:09,750 To paraphrase this essay, The Bestial Lion forever fights the virginal unicorn, and between them they hold aloft the crown. 347 00:41:09,750 --> 00:41:15,390 It would be wrong for the lion ever to lie down with the lamb. This would be the end of life for them. 348 00:41:15,390 --> 00:41:24,990 Both Birken and Urszula, therefore, ought to argue in one of the most ending, most open endings in the whole history of the novel. 349 00:41:24,990 --> 00:41:30,390 Birken ends women in love with the words. I do not believe that. 350 00:41:30,390 --> 00:41:39,150 Lawrence and Freeda themselves fought spectacularly, their friend Enid Hopkin recalls visiting them in 1918. 351 00:41:39,150 --> 00:41:41,880 I remember the group around the piano in the candlelight, 352 00:41:41,880 --> 00:41:47,880 Frida singing with a cigarette hanging out of the corner of her mouth, and Frida would strike wrong notes. 353 00:41:47,880 --> 00:41:51,780 After several of these, Lawrence would lose his temper and scream at her. 354 00:41:51,780 --> 00:41:58,660 Frida would scream back. The whole scene was very dramatic as we stood in mid chorus. 355 00:41:58,660 --> 00:42:03,250 Suddenly it was all over and freedom would settle down and go back to go back to playing, 356 00:42:03,250 --> 00:42:11,980 and we would all start to sing again at such moments they resemble perhaps not so much Birken and Ursula, but Mr Noone and his German lover, 357 00:42:11,980 --> 00:42:15,760 Yohana, and the narrator defies us, gentle readers, 358 00:42:15,760 --> 00:42:24,340 to disapprove out of this very promising looking bag of a story which I have this moment shown to you tied up with a pretty blue ribbon of peace. 359 00:42:24,340 --> 00:42:35,800 I am going to let out what the cat I am going to let the cat out of the bag or even to whirling fur, flying cats or claws and sparks. 360 00:42:35,800 --> 00:42:43,390 Dear Gilbert, he had found his mate and his match. He had found one who would give him [INAUDIBLE] for tat and tittle tattle. 361 00:42:43,390 --> 00:42:46,390 My dear, I mean you gentle reader. 362 00:42:46,390 --> 00:42:55,570 All life and splendour is made out of the union of indomitable opposites, with its iridescent humour and seriousness, 363 00:42:55,570 --> 00:43:03,340 self-parody and self-assertion, valorisation of argument and refusal to tolerate dissent. 364 00:43:03,340 --> 00:43:10,030 This passage suggests a way of reading Lawrence without taking umbrage at his self-confidence, 365 00:43:10,030 --> 00:43:17,020 despairing at his contradictions, or taking flight as some of his views. 366 00:43:17,020 --> 00:43:26,320 At certain moments, he even endorses relativism, acknowledging that the truths which he feels are not necessarily truths for all of us in Fantasia, 367 00:43:26,320 --> 00:43:30,280 he reassures us, Don't get alarmed if I say things, 368 00:43:30,280 --> 00:43:35,740 just apply a little theory of relativity and realise that what I say is not what you hear, 369 00:43:35,740 --> 00:43:42,340 but something uttered in the midst of my isolation and arriving strangely changed and 370 00:43:42,340 --> 00:43:49,750 travel worn down the long curve of your own individual circumstances and atmosphere. 371 00:43:49,750 --> 00:43:55,300 And this perception points towards the quite different kind of humour with which I want to end. 372 00:43:55,300 --> 00:44:00,730 It's found in the poem Bear Fig Trees of the early twenties. 373 00:44:00,730 --> 00:44:08,440 Let me sit down beneath the many branching and candelabrum that lives upon this rock and laugh at a 374 00:44:08,440 --> 00:44:16,840 time and laugh at dull eternity and make a joke of stale infinity within the flash scent of this wicked 375 00:44:16,840 --> 00:44:25,180 tree that has kept so many secrets up its sleeve and has been laughing through so many ages at man and 376 00:44:25,180 --> 00:44:35,290 his uncomfortable nurses and his attempt to assure himself that what is so is not so up its sleeve. 377 00:44:35,290 --> 00:44:44,940 This is divine laughter of the laughing Buddha in whom Lawrence had considerable interest or as the preacher of Ecclesiastes puts it, 378 00:44:44,940 --> 00:44:53,530 vanity of vanities all is vanity. This is the wisdom next to which all human wisdom is but folly. 379 00:44:53,530 --> 00:44:57,550 Admittedly, this is not Lawrence's usual position. 380 00:44:57,550 --> 00:45:07,570 Truth for him is not normally to be found in Nirvana. He's down amongst us, fighting harder than most of us to work out what is really going on. 381 00:45:07,570 --> 00:45:16,400 And he doesn't oblige us to follow his path. If I try to write down what I see, why not? 382 00:45:16,400 --> 00:45:24,530 If a publisher likes to print the book or write and if anybody wants to read it, let him. 383 00:45:24,530 --> 00:45:29,690 But why? Anybody should read one single word if he doesn't want to. 384 00:45:29,690 --> 00:45:40,570 I don't see. Unless, of course, he is a critic who has to scribble a billion worth of words no matter how to say. 385 00:45:40,570 --> 00:45:51,286 So go ye and scribble, thank you.