Audio recording of chapter 10 of Studies in Classic American Literature by D. H. Lawrence, "Herman Melville's Typee and Omoo." (36:05)
There he is then, in Typee, among the dreaded cannibal savages. And they are gentle and generous with him, and he is truly in a sort of Eden.
Here at last is Rousseau's Child of Nature and Chateaubriand's Noble Savage called upon and found at home. Yes, Melville loves his savage hosts. He finds them gentle, laughing lambs compared to the ravening wolves of his white brothers, left behind in America and on an American whaleship.
The ugliest beast on earth is the white man, says Melville.
In short, Herman found in Typee the paradise he was looking for. It is true, the Marquesans were 'immoral', but he rather liked that. Morality was too white a trick to take him in. Then again, they were cannibals. And it filled him with horror even to think of this. But the savages were very private and even fiercely reserved in their cannibalism, and he might have spared himself his shudder. No doubt he had partaken of the Christian Sacraments many a time. 'This is my body, take and eat. This is my blood. Drink it in remembrance of me.' And if the savages liked to partake of their sacrament without raising the transubstantiation quibble, and if they liked to say, directly: 'This is thy body, which I take from thee and eat. This is thy blood, which I sip in annihilation of thee', why surely their sacred ceremony was as awe- inspiring as the one Jesus substituted. But Herman chose to be horrified. I confess, I am not horrified; though, of course, I am not on the spot. But the savage sacrament seems to me more valid than the Christian: less side-tracking about it. Thirdly, he was shocked by their wild methods of warfare. He died before the great European war, so his shock was comfortable.
Three little quibbles: morality, cannibal sacrament, and stone axes. You must have a fly even in Paradisal ointment. And the first was a ladybird.
But paradise. He insists on it. Paradise. He could even go stark naked, as before the Apple episode. And his Fayaway, a laughing little Eve, naked with him, and hankering after no apple of knowledge, so long as he would just love her when he felt like it. Plenty to eat, needing no clothes to wear, sunny, happy people, sweet water to swim in: everything a man can want. Then why wasn't he happy along with the savages ?
Because he wasn't.
He grizzled in secret, and wanted to escape.
He even pined for Home and Mother, the two things he had run away from as far as ships would carry him. HOME and MOTHER. The two things that were his damnation.
There on the island, where the golden-green great palmtrees chinked in the sun, and the elegant reed houses let the sea-breeze through, and people went naked and laughed a great deal, and Fayaway put flowers in his hair for him - great red hibiscus flowers, and frangipani - O God, why wasn't he happy? Why wasn't he?
Because he wasn't.
Well, it's hard to make a man happy.
But I should not have been happy either. One's soul seems under a vacuum, in the South Seas.
The truth of the matter is, one cannot go back. Some men can: renegade. But Melville couldn't go back: and Gauguin couldn't really go back: and I know now that I could never go back. Back towards the past, savage life. One cannot go back. It is one's destiny inside one.
There are these peoples, these 'savages'. One does not despise them. One does not feel superior. But there is a gulf. There is a gulf in time and being. I cannot commingle my being with theirs.
There they are, these South Sea Islanders, beautiful big men with their golden limbs and their laughing, graceful laziness. And they will call you brother, choose you as a brother. But why cannot one truly be brother?
There is an invisible hand grasps my heart and prevents it opening too much to these strangers. They are beautiful, they are like children, they are generous: but they are more than this. They are far off, and in their eyes is an easy darkness of the soft, uncreate past. In a way, they are uncreate. Far be it from me to assume any 'white' superiority. But they are savages. They are gentle and laughing and physically very handsome. But it seems to me, that in living so far, through all our bitter centuries of civilization, we have still been living onwards, forwards. God knows it looks like a cul de sac now. But turn to the first negro, and then listen to your own soul. And your own soul will tell you that however false and foul our forms and systems are now, still, through the many centuries since Egypt, we have been living and struggling forwards along some road that is no road, and yet is a great life- development. We have struggled on, and on we must still go. We may have to smash things. Then let us smash. And our road may have to take a great swerve, that seems a retrogression.
But we can't go back. Whatever else the South Sea Islander is, he is centuries and centuries behind us in the life-struggle, the consciousness-struggle, the struggle of the soul into fullness. There is his woman, with her knotted hair and her dark, inchoate, slightly sardonic eyes. I like her, she is nice. But I would never want to touch her. I could not go back on myself so far. Back to their uncreate condition.
She has soft warm flesh, like warm mud. Nearer the reptile, the Saurian age. Noli me tangere.
We can't go back. We can't go back to the savages: not a stride. We can be in sympathy with them. We can take a great curve in their direction, onwards. But we cannot turn the current of our life backwards, back towards their soft warm twilight and uncreate mud. Not for a moment. If we do it for a moment, it makes us sick.
We can only do it when we are renegade. The renegade hates life itself. He wants the death of life. So these many ' reformers' and 'idealists' who glorify the savages in America. They are death-birds, life-haters. Renegades.
We can't go back, and Melville couldn't. Much as he hated the civilized humanity he knew. He couldn't go back to the savages; he wanted to, he tried to, and he couldn't.
Because, in the first place, it made him sick; it made him physically ill. He had something wrong with his leg, and this would not heal. It got worse and worse, during his four months on the island. When he escaped, he was in a deplorable condi- tion - sick and miserable, ill, very ill.
But there you are. Try to go back to the savages, and you feel as if your very soul was decomposing inside you. That is what you feel in the South Seas, anyhow: as if your soul was decomposing inside you. And with any savages the same, if you try to go their way, take their current of sympathy.
Yet, as I say, we must make a great swerve in our onward- going life-course now, to gather up again the savage mysteries. But this does not mean going back on ourselves.
Going back to the savages made Melville sicker than any- thing. It made him feel as if he were decomposing. Worse even than Home and Mother.
And that is what really happens. If you prostitute your psyche by returning to the savages, you gradually go to pieces. Before you can go back, you have to decompose. And a white man decomposing is a ghastly sight. Even Melville in Typee.
We have to go on, on, on, even if we must smash a way ahead.