By S. Fahim
The aim of this examine is to check the explanation of Doris Lessing's improvement from Classical Realism to mysticism and varieties of technological know-how fiction and to think about the unifying motifs that seem all through her novels in her constant look for Sufi Equilibrium. The 4 novels chosen during this research symbolize major phases in Lessing's paintings. bankruptcy one specializes in The Grass is making a song, which represents the author's early often practical writing, to teach how a long way the preoccupations of Lessing's later novels locate expression during this early paintings. bankruptcy stories The Golden laptop, which marks a turning aspect in formal constitution in Lessing's canon and is chosen as facts of her curiosity in Sufism at that early degree. bankruptcy 3 concentrates at the learn of The Memoirs of a Survivor, which has elicited a relatively constrained quantity of feedback yet which proves to be an immense success whilst introduced into line with Sufi equipment of writing. bankruptcy 4 considers Lessing's technology fiction sequence, 'Canopus in Argos', tracing assets from Oriental literature - a key which unlocks many parts of obscurity.
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Extra info for Doris Lessing: Sufi Equilibrium and the Form of the Novel
The collective values clash with her individual feelings and she is significantly helpless in that confrontation since she has never been able to develop her inner self to stand any chance of balance in that challenge - 'she had no measuring rod to assess herself with' (36) and 'she was fighting against something she did not understand' (207). She is destroyed by her inability to reconcile an individual emotion with her own deep commitment to the rigid line her society maintains between whites and blacks - 'she had lost her balance; she had no control over her actions' (154).
The danger, however, is defined clearly enough in her dreams. Her dreams signify her repressed memories on the individual and collective levels. They are all obsessive nightmares which haunt her with images of her sexual frustration, repressed childhood memories and her forced contact with the native - aspects which she vehemently tries to exclude from her conscious awareness. Three crucial dreams wake her up 'sweating in fear' (166) and 'filled with terror' (173). The first dream haunts her with images of her contact with the native 'forcing her into a position where she had to touch him' (165) - symbolic of that realm of relationship which she forcibly denies.
207) Only when the candidate successfully pursues the motif to descend to the core of evil in the individual and collective unconscious can he regain a vision of positive wholeness. Her closing vision is therefore negative rather than positive. She envisions the destruction of the house by encroaching vegetation, beetles and rats effacing the house and all human intrusion around it till the only remaining sign of habitation is a stone step covered by grass: The house, the store, . . the hut - all gone, nothing left, the bush grown over all!