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A Body, A Nation: The Enigma Of The Body And Nation In T.s Eliot And Wyndham Lewis
Modernism and the Body
Date : 16/11/2016
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Uploaded on : 16/11/2016
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A Body, A Nation: The Enigma of the Body
and Nation in T.S Eliot and Wyndham Lewis.Julia Kristeva in
Revolution in poetic Language suggests that the body is always already
involved in a semiotic process. [1] the
body is a complex site for cultural discussion and this can be exhibited in
many ways. That is to say that the body is, from birth, semiotic because of the
social structure into which it is born. Therefore, by reading the body, one can
also read the corresponding social and discursive pressures This is one of the
ways in which modernist writers articulate nation in their texts. Richard
Kearney, in What is Carnal Hermeneutics ,
addresses the idea of interpreting the body according to the sensory. He writes
that flesh (sarx) is the medium (metaxu) that gives us space to discern
between different kinds of experience [ ] [2]
He refers to the importance of flesh as a medium in the relationship between
sensation and interpretation, asserting that the body, through its senses, is
full of carnal signs bridging the gap between the internal and the external. This
produces a reversibility of sensation in order to interpret it and make sense
of it. That is to say that, in a text, the body becomes the flesh through which
sensations are conveyed to the reader so that they can be interpreted. Maurice Merleau-Ponty presents ideas
of gestalt in The Phenomenology of
Perception (1998) and the dualism of the sensory in giving and receiving,
which brings an experience into being by connecting the external touch with the
internal sensation. In this way, the body is advanced beyond a semiotic in
literature as it is an embodiment of discourse. This study will use these ideas
in its analysis of gender and nation in the texts The Waste Land (1917) and Sweeney
Among the Nightingales (1920) by T.S. Eliot and A Soldier of Humour (1927) and the essay Our Wild Body (1910) by Wyndham Lewis. Nation is defined in the
Oxford English Dictionary as a large body of people united by common descent,
history, culture or language, inhabiting a particular space or territory. [3]
This study will explore how this idea of nation is embodied in the male and
female in these texts. These texts are optimal for this study as they address the
bodily and the sensory in the modernist movement and their place in terms of
gender and nation. They view the body from various, and often contradicting,
perspectives. Eliot talks about a post war nation whilst Lewis talks about
particular nations such as the English nation and the American nation to make
assertions of power structures. In some places the gendered body is an
embodiment of the nation, whilst in other instances it is a symbol of the
pressures of nationhood. Yet, both texts demonstrate the enigmatic and fluid
roles assigned to the gendered body and to the bodily nation. The melancholy of returning to the nation
torn by war despite its victory is expressed in the male bodies of The Waste Land . Bodies are scattered
throughout the five parts of the text, whilst dejection and death override the
joy of victory. The body is used as a locus to contemplate nation and gender. The
parts of the male body that Eliot focuses on in The Waste Land are failing. Michel Foucault s ideas of the corporeal
body will aid to interpret this aspect of malfunctioning of the body. In his essay Docile Bodies, Foucault refers to the performativity of the body.
He asserts that corporeal style, or acting out of the body, makes it possible
to examine how individuals live in their bodies in order to analyse their
social relations and that the human body was [...] a machinery of power. [4] The
body s descri ption as a machine is symbolic of the progression of the nation
through the Industrial Revolution and therefore representative of political
power. Advances in technology and machinery contributed to Britain becoming the
most powerful country in the world in the nineteenth century. Similarly, the
representation of the body as a machine infers that that the body has the
ability to symbolise power. This is in itself a modernist idea in that the body
can represent external power or a lack of it. In The Waste Land , the lack of coherency within a modern identity
following the Great War can be seen in the disjointedness of the body and
senses in the text. In The Burial of the Dead , the male body is a physical symbol
for the post-war nation as it is a returning soldier. In juxtaposition with the
soldier, the character of hyacinth girl in the text is used as a symbol of a
sensory experience of the body as she comes from the garden, arms full, and
your hair wet [ ] .[5] Her
wet hair and full arms can be seen as a sign of fertility. After returning from the encounter in the
hyacinth garden, the failing of the bodily connection to the senses is expressed
through the lines I could not / Speak, and my eyes failed, I was neither /
Living nor dead, and I knew nothing. [6]
Shell shock and post war trauma in soldiers has caused the body to fail in the
most basic of its instincts: connecting the corporeal and the sensory. Despite
victory, the male body here signifies the collapse of the nation after the
Great War. Andrew Bennett writes the senses are the most immediate experience
we have of the body in this they are, so to speak, the body of
experience itself. [7] As
the power of nation is embodied in the soldier, the corporeal failure of the
soldier s body contradicts the assumed power of a victorious nation. There is no fixed gender of the voice
in the poem and it deviates in perspective throughout without continuity. This
displacement of national identity due to the war and the loss of the corporeal
statement of power means the nation no longer has a fixed voice but is rather an
assortment of fragmented thoughts and voices that lack coherency. The violence
of The Great War has distorted the nation s bodily experience. Even looking at
the heart of light is met with silence as it cannot draw the male out of the
darkness.[8] The
light in the female body signifies hope due to its ability to bring new life
into the world. The male body s lack of response to that hope after a sexual
experience, which is synonymous with procreation, would suggest despair about the future of the
nation, affected by the everyday violence in wartime Britain and the inability
to look forward to it . Images of men returning from war in The Waste Land are found in the line A
crowd flowed over London Bridge and each man fixed his eyes before his feet. [9] This
imagery suggests that the soldiers were unable to meet the eyes of the people
in London due to the atrocities committed on the battlefields it detracts from
the representation of the victorious nation to the harsh reality of the Great
War which was soldiers returning from war with both damaged bodies and minds.
The failure to adjust and to connect with the gestalt aspect of connection with
the internal mind and external physicality of life is emphasised by this. Merleau-Ponty
writes that the body is our general medium for having a world. [10] That
is to say that our body is the prerequisite of experience. Thoughts and
experiences are dependent upon the sensory rather than the body being reliant
on internal thought. However, the text here suggests that this cannot be
achieved in the male body of the soldier as it is no longer able to receive
sensation to interpret the reality of the new nation and is therefore unable to
engage with its changing social circumstances.The theme of a damaged nation is
taken further in A Game of Chess and this part of the text complicates the
reflection of modernist society and the role of the woman s body within it. The
section begins with the words The Chair she sat in, like a burnished throne [.] [11] The
line places the female body in the position of leading the embodied male nation
as if led by a Monarch. However, although the female body continues to
represent hope for a rebuilt nation following the war in this way, its ability
to carry out this role is impaired in the text as the chair being like a
throne implies that the ascent to this position is fraudulent as it is not
actually a throne, merely a chair purporting to be one. The female body is used
to stimulate a reaction from the male body, as suggested by Merleau-Ponty, in
order to lead the nation into the future. The decadence of the modernist era is
shown in the way that strange synthetic perfumes are used by the female that
drowned the sense in odours [.] [12] The
use of the word synthetic to describe the perfumes suggests the forced
attempt to engage the male body with its senses. Yet the effort is marked as futile
because instead of engaging the male body the scent overwhelms it and it is
drowned . The female body s ability to stabilise
the damage done by war to the nation is unsuccessful as the male body is not
able to respond, despite the seductive efforts of the female body. This is reflected
in the passage of speech where the female asks the male to Stay with me. /
Speak to me. Why do you never speak? Speak. [13]
The only response the female body gets to this is I think we are in rats alley
/ Where dead men lost their bones. [14]
In Shell Shock: War and the Modernist
Imagination, Bonikowski writes that, as well as bodily injuries, war affects
the psychosis of soldiers in such a way that they are unable to make a
connection with sensory experiences because of the disruption of the ability to
assemble them into a coherent structure.[15]
Soldiers were harmed so badly they were unable to connect to their experiences and
to reunite with the world they returned to. The extent of damage to the nation
is shown in the male body in these lines, as it portrays the female body as pleading
for a connection to the internal through the bodily experience. This is
unsuccessful because the male body is trapped in memories of the war.
Therefore, despite the potential of the female body in bringing hope for the
recovery of the nation, the trauma of war is too great to overcome. It
questions the role of hope assigned to the female body by a patriarchal society
in relation to nation, as well as whether this function is, in fact, realistically
achievable. By assigning an impossibly idealised role to the female body, the
text infers that the female body is powerless to change the nation and, in
turn, questions the legitimacy of the role assigned to it. Eliot
complicates the female body further in this text as he detracts from the image
of the female body as a saviour and then renders it as a commodity. The modern
post-war woman emerging from the text a wife who waits for her husband to
come back from the war- is exemplary of the role played by the female body in
modernity. The woman is told by her friend to get herself some teeth to make
herself presentable for her husband as he wants a good time having been to war.[16] The friend goes on to advise her that if she
doesn t give her man a good time there s others will [.] [17]
This suggests the commodification of the female body for male pleasure and its
potential disposability once not functioning properly, it can be easily
replaced by another female body. Although the woman lacks sexual desire since
her abortion, she is still pressured to perform the role of dutiful wife for
her husband. Her body is damaged through childbirth and miscarriages for the
animalistic desire of men. The female body is shown to be the property of her
husband whilst the text questions how far women are expected to push their
bodies for the male body. With the female body being easily disposable, it
loses its value and is reduced to carrying out a duty to the male body. This diminishes
the modern female and her contribution to the nation as she is objectified, a merely
servant to the desires of the male body. Animalistic desires of the male are
also portrayed in Eliot s poem Sweeney
Among the Nightingales (1920). In this poem, Sweeney is described like an
animal. His arms hang down which is ape-like and he has zebra stripes on
his face.[18] The
descri ption blurs the line between human and animal and his moral and human
attributes are obscure. The animal-like
features indicate the lack of ability to think rationally. Therefore, his mind
is weak and powerless in confrontation with his primitive, bodily desires. Following
the war, the rationality of the mind and it s power of the physical body has
been severed indicating a nation that has been reduced to its primal,
uncivilised state. It is an allusion to the unthinkable violence in the Great
War which has damaged the nation and stripped back civilisation in male bodies
to its primitive ancestors.Sexual intimacy and therefore sensory
experience between bodies is degraded by the portrayal of Sweeney s male body
as animalistic. However, although Sweeney is tempted by the exotic female
bodies on offer, shadows of The Waste
Land hover over him the inability to engage with the temptation marks him
as the silent vertebrate [ ] who Contracts and concentrates, withdraws. [19] The
classification of him as a species of animal rather than human shows the result
of the inability of the male body to engage with its senses as the rationality
of a human is what differentiates it from animals. As a result, Sweeney loses
his voice as well as his recognition as a man, therefore losing agency. The
decline is developed further when Sweeney encounters Rachel who, in a similarly
animalistic vein , tears at grapes with murderous paws. [20]
By creating animal imagery of the female body in this way, Eliot equalises the
male and female body and suggests that in terms of nation, both males and
females are equal and neither can save the other. This complicates the role of
the body as it proposes that the female body and its bodily instincts of sex
are no different from the male. Therefore, the dynamic contradicts Eliot s
ideas of the female body as both the saviour and a commodity in the modern
nation. Like Eliot,
Wyndham Lewis connects nationalism in particular with the concept of a neglected
body. He too embodies nation in the male body in his essay. However, Lewis
approaches the idea that the English nation in particular is lacking in its
connection with the sensory in a different way to Eliot. In contrast to Eliot s
suggestion that the embodied nation was unable to connect to its sensory
experiences, Lewis writes that the English idea of the body is repressed by
modernity and civilisation. Lewis asserts that the English equate one s awareness
of the body with physical cleanliness and exercise. He writes that the English are
proud of their baths, but that this is merely to drown their bodies in and
that exercise is to indebt it to science and tame it. [21] The
use of these vivid images of drowning and taming the body suggest repression.
This has led the body to become anaemic metaphorically in terms of spirit, when
it is in fact a wilderness that needs to be explored, not repressed.[22]
By encouraging the nation to get in touch with their bodily and sensory
experiences, Lewis contradicts Eliot s ideas of the intellectual deterioration inherent
to the animalistic body by suggesting that, instead of being unable to think
rationally, it will enable the nation to connect with the modern world. Lewis
compares the Englishman to the Frenchman and to the Continental man. By
continental, Lewis differentiates between the man from France and the man from
elsewhere on the European continent. Again,
this contributes to the embodiment of nation as the man is known by his nation.
He calls the Frenchman s body the child of the mind, writing that, as the
fathers become friendly [ ] natural that the children should also [.][23]
By making the intrinsic link between body and mind as a father and son, Lewis
propagates the idea that a son should follow his father and be more open
physically. Furthermore, the depiction of the body and mind as a family unit alludes
to the dependence of one upon another. This follows Merleau-Ponty s ideas of the
sensory as a two way relationship in the sense of touch by giving a sensation and
at the same time receiving a sensation which then becomes comprehension. He
writes that all meaning was ipso facto conceived as an act of thought,
as the work of pure I [ ] [24]
Merleau-Ponty in this passage emphasises the importance of the bodily self and
perception of the world in order to bring meaning to it. The I is what brings
something into being. In this text the embodiment of the nation in the man
makes it an entity by connecting the internal man with the external nation. In effect, Lewis brings the bodily into being
as opposed to making it a sign or a vessel to carry meaning. By doing so, he
suggests that the sensory experience is an inextricable part of the national identity.
He uses the example of the two English stockbrokers who were in touch with
their sensory experiences when they were young as they played together but, as
grown-ups, they never touch at any point of their physique [ ] [25]
The distance between them is symbolic of the way in which the nation is
disconnected by the neglect of awareness of the bodily and sensory. Lewis compares
this to the Frenchman s hospitality of the body in which the Frenchman allows
another to be at home in his body by giving him full access to the tactile as
well as visual senses. However, though walking side by side with other nations,
the Englishmen remain detached. They are unable to bridge the gap between the
sensory and the visual and, by extension, to bring the nation into being as an
entity. Lewis proposes
using the phenomenological experience of being by blurring the boundaries
between anger and laughter. By doing this, the text elevates the primitive
nature of the body and suggests that the seemingly animalistic urge to fight is
repressed by so-called civilised society. He writes that by fighting, a man
feels, at the contact of his victim s chin or nose, his anger ebbing but then
realises the futility of the pretext that had led to the struggle. [26]
The fight brings the internal feelings of discontentment into being by giving
them an external physical sensory experience. Eventually, this process leads to
the understanding of the situation and the irrationality of the negative
feelings. This text illustrates the way in which the primitive nature of the
body functions to bring emotions into being, complicating the idea that the
body is a mere sign for interpretation. In contrast, the Frenchman s animalism
is described as neither attractive nor dignified but is said to be a catalyst
in the healthy state of mind shadowed forth. [27] Though
Eliot s assertions of primitiveness suggest a nation in decline, Lewis s ideas
of embracing the primitiveness of the body are viewed as a way of recovery for
the nation.Lewis
carries on the theme of conflating the lines between laughter and anger in his
short story A Soldier of Humour (1927). The body and the mind in this
text are dichotomised in order to show the versatility of the body in the
embodiment of the nation. Lewis uses the embodiment of the American nation in
order to demonstrate this. Kerr Orr describes himself as a large blond clown
and his body as large, white and savage. [28] Though
a clown would suggest entertainment, the size and savageness of his body
suggests violence. Yet this contradiction is bridged by large strong teeth
which I gnash and flash when I laugh. [29]
Ordinarily, gnashing teeth are a sign of anger but Lewis takes imagery of the
wildness in the gnashing teeth and attributes it to the contradictory emotion
of laughter. The juxtaposition of these images blurs the lines between the
grotesque and the humorous by emphasising laughter as a physical experience,
aligned with the experience of fighting. Both states connect the physical with
the emotional in creation of a bodily experience. Kerr-Orr
attributes his ability to experience the physical bodily sensation to his
mother. Similarly to Eliot s assertions of the female body as a facilitator for
the recovery of the nation, the wildness
of Kerr Orr s body is facilitated by his mother, enabling him to feed the
beast of humour that is within me [ ] by giving him money.[30] Both
Eliot and Lewis acknowledge the utility of the female to further the nation and
its patriarchal structure by encouraging it to be able to engage with the
sensory and bridge the gap between the physical and psychological. Kerr-Orr s laughter is referred to as
uncivilised in nature, and then juxtaposed to the French esprit. [31]
By comparing the wild nature of his laughter to the civility of the French
mind, the text creates meanings contradictory to those contained within Lewis
essay Our Wild Body . It suggests the French body is restricted by
social etiquettes of civilisation. Furthermore, the animalistic reference to
humour being a beast which needs feeding questions the effects of humour and
the body. Calling it a beast suggests an uncontrollable being which may
easily overpower the body. Therefore, the text suggests that the body may
become captive to humour to the detriment of other sensory and psychological
experiences highlighted in the Frenchman of Lewis essay.The effect of nation on the body is
demonstrated in the character of Valmore, a naturalised American citizen. His
pride at being an American citizen shows in the change of his demeanour when he
talks with a New York accent. He is said to have been injected with a
personal emotion as he looks at Kerr Orr with eyes of the forty-eight States
of the Union. [32] The
eyes of the American subject project power over Kerr-Orr by using the word
injected , the text indicates that, like drugs, the emotion of nationalism can
be inserted into a body and have an empowering effect upon it. It emphasises
the strength of America after the Great War and that nationalism contributed to
their strength in this regard. However, it is also representative of the
infiltrations of migrants who were given citizenship in the aftermath of the
Great War and the way the power of the nation insinuated down to them as well
through the process of naturalisation. It echoes Our
Wild Body in that it embodies nationalism in the male body and makes it a physical
presence rather than a mental concept. This is further emphasised when Kerr-Orr
wants to make Valmore look like a fool for taking pride in being an American
citizen, even though he earned his citizenship through naturalisation, not
birth. His manner of achieving this however, relies on his American friends
whom he praises that Optimism, consciousness of power [ ] surged out of them
[ ] [33] This,
again, shows the confidence of the American nation which emanates from the
bodies of Kerr-Orr s friends. By the end of the war, Britain was heavily
indebted to America financially. America s industrial strength and assistance
was one of the reasons for the victory in the Great War. The power relation
between Britain and America after the Great War is reflective in the power
relations between Kerr- Orr and his friends demonstrated in this text. The
perception of optimism, progressiveness and power is projected by Kerr-Orr on
to his friends. Unable to defeat Valmore in his own body as the American body
overpowers it, Kerr-Orr requires his friends American bodies to use as armour
in order to defeat him. Therefore, the American body here is a site of national
pride which generates the capacity to overshadow all other bodies within its
vicinity. Kerr Orr rejoices over his own
intelligence and his ability to manipulate words and language to gain advantage
over Valmore in his argument. However, the descri ption of the argument is
reminiscent of a physical fight. For example, Valmore changed his position in
the argument [ ] begun by attacking. [34] Throughout the argument they changed about
alternately and at one point had a breathless moment. [35]
The language here demonstrates the inextricable connection between mind and
body. Though Kerr-Orr s mind is working during the argument, his body is
reacting to the words which are said and this gives the effect of a contest
between the mind and the body. Kerr-Orr s reference to Valmore as a poor bum
has a stark physical effect on Valmore of paralysing him and robbing him of
speech thus enabling Kerr-Orr to emerge victorious. [36]
These words have the effect of severing the gestalt in Valmore as the internal perception of self as an American
becomes disconnected from the external physicality of his migrancy alluded to
by these words he loses the moment of connection between them that completes
him. However, the victory of Kerr-Orr s words and the exchange has a more
profound effect on his own body in the physically intense, orgasmic effect of
laughter in his body. Kerr-Orr howled like an exultant wolf and his penetrating
howl [ ] shook the walls of the room. [37]
The imagery of the howling wolf connotes the primitive and wild self of Our Wild Body and the liberty which is
experienced by unleashing the wildness within it. ConclusionEliot s poems provide an illustration
of the cultural roles attributed to the male and female body in a post war
nation. Upon first glance, it may be assumed that female body in Eliot s poems
is assigned these roles as an aid to the progress of the male embodied nation. However,
in both of Eliot s poems, this position is questioned as the female body s
ability to heal a nation is challenged due to the inability of the male body to
respond to the female body upon stimulation both physically and mentally. The commodification of the female body and
the animalistic desires of the male body suggest a regressive rather than
progressive nation. Therefore, if the female body cannot heal, and there is little
possibility for the male embodied nation to be healed, then the texts suggest
that, the nation is irreparable and regressive, despite its victory at war.Lewis, on
the other hand, argues that the body in its primitive form (that is, when
released from societal confinements) is in touch with reality and this is the
way to cure the illness of the neglect of the body. The body and sensory
experience is deemed to be superior in society. Therefore, by crossing the boundaries
of civilisation and entering the realm of the absurd, the body is capable of
creating a better nation. It contradicts Eliot s assertions that the primitiveness of the body is a
symbol of inability to perceive the world adequately. Rather, the connection
with the primal instincts of the body in relation to the sensory and bodily is
essential in understanding the perception of being in the world. Eliot s and Lewis texts,
consecutively, assigned the body with a variety of roles. They are presented
both as a whole and in fragmented parts in the texts, yet each has significance
in terms of gender and nation. The body is used as a vehicle of discourse and
its association with the preservation or disconnection from the gestalt gives
it significant political agency.
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