The Man Who Died, by D H Lawrence

The Man Who Died, by D H Lawrence

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The Man Who Died, by D H Lawrence

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In his last novel, published less than a year before his untimely death at the age of forty-five, D.H. Lawrence takes up the theme of Christ's resurrection and his final days on Earth. Lawrence recounts Christ's agonizing journey from death back to life with an alarmingly proffane realism, depicting the tale from teh moment of his initial painful awakening to his eventual redemptive sexual relationship with the priestess of the pagan goddess Isis. The story expands beyond its Christian roots to explore and embrace Lawrence's abiding faith in the life-force apparent in every aspect of the natural world. For his final work, Lawrence has encapsulated a lifetime of extraordinary vision into one profound and exquisite parable.

The Man Who Died, by D H Lawrence

• Published on: 2015-11-02
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .12" w x 6.00" l, .18 pounds
• Binding: Paperback
• 52 pages

The Man Who Died, by D H Lawrence

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32 of 37 people found the following review helpful. DARING MASTERPIECE!!! By Michael Stephens Anyone who has a passing interest or knowledge of the origins of Christian Myth will recognize those roots in this final masterpiece by D.H. Lawrence. It is amazing how prescient Lawrence was here. Remember, this was written some 20 years before the discovery of the Gnostic Gospels at Nag Hammadi. Although gnosticism was known of, and to some degree what some of the gnostics believed about Christ, it was rarely acknowledged beyond the study of heresy within the Catholic and Protestant seminaries. Laypeople knew almost nothing of the origins of Christianity. That most original Christians had very different ideas about their Savior, and that indeed many believed that He was a sexual creature (and some even a homosexual), was blasphemy of the highest degree. And that many also equated Christ and Mary with the myth of pagan Isis and Horas (which many today believe is the real precusor of Chritianity), would have been unthinkable even as late as the 1930s. But Lawrence was an autodidact when it came to religion, and like many autodidactics, had some very strange and original ideas about that and Christianity in particular. Essentially a mystical deist, he found much to despise in organized, modern Christianity. Like so many of his generation, he blamed it, correctly, as one of the main causes of the First World War and the ills of the modern world. He also had an abiding interest in pagan religions of all types (read his The Plumed Serpent), but especially Roman/Etruscan paganism. How much he knew of the Egyptian Isis-Horas/Mary-Jesus connection I have no idea, but it was probably intuitive: Isis was one of the most popular godesses of late-pagan Rome, which Lawrence was very familiar. Did he know that certain early Christians also worshipped Isis and, indeed, believed in a sexual union between the two? I can't say. But knowing of Lawrence's interest in "mystical" sexuality, mixed with his other interests, it was probably natural that he would combine these into one of the most daring novels of all time. While simple-minded, prejudice readers might find this work blasphemous, it is in fact one of the most original and exciting novels written about Christ. This has none of the nonsense of Kazantzakis'Last Temptation of Christ, which was essentially a reverent and wholly orthodox work (but which also has an element of original Christian philosophy -- and thus the unjust controversy). Lawrence dispenses with all that, and somehow discovered and revealed the pagan heart at the core of much Christian philosophy. In his tale of a Christ who "survives" the crucifixion, has a sexual relationship with a priestess of Isis, and then renounces aesthetism for the wordly pleasures of the flesh, Lawrence typically and bravely went for the jugular, while also retaining his elegant, inimitable style. What emerges is one of his most profound and poetic works, and not surprisingly, as he was to die a year later, also pretty much sums up his philosophies in one, neat little package. If you have the chance to read this small, but rich and powerful work, you will have discovered one of the true masterpieces of one of the greatest writers of all time.

18 of 23 people found the following review helpful. Allegory still relevant? By A Customer Lawrence's last novel describes a resuscitated Christ carrying his wounds and meeting old friends. He does not want them to touch him. He needs to move away from this life. He wanders onto the property of a priestess of Isis. She believes him to be Osiris and she is to heal his wounds and bear a child with him. This is how Christ leaves behind his body and blood. The erotic interplay between Christ and the priestess evokes in him a revelation that this is the mystery of life that the Father has not allowed him to experience. In Lawrence's day, the demythologizing of Christ and the erotic interplay underline incarnation. Today it seems a bit much. Forcing Christ into sexual liaisions betrays an emphasis on an erotic gnosticism apparent in contemporary "spiritual" movements. But at the time this novel was written, it may have had some relevance in challenging mystical applications of the Christ myth. The writing is beautiful.

2 of 3 people found the following review helpful. Jesus, at the Nexus between Myth and Reality By M. Knapke A very short book that is more of a novela. As historians often say that students of American history "must get right with Lincoln," so to must participants in Western culture "get right with Jesus." As a man, little is known of Jesus. Of the 1800 or so sayings attributed to Jesus in the Bible, biblical scholars have whittled that number down to less than 100 sayings that they believe to actually be his. As such, the man is cloaked almost completely in the legend that has been built on his name. This book explores that moment when those two identities crossed--Jesus's resurrection from the dead. Tackled in Lawrence's distinctive style, "The Man Who Died" is far more provocative than works such as Mailer's "The Gospel According to the Sun" and is reminiscent of Scorsese's "The Last Temptation of Christ." It confronts the received biblical narrative and shatters the narrow existential walls that limit the spiritual exploration that Jesus's life story demands.It is not just a must read, it is a must own. You will want to go back to this often, because it's never the same book twice.

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