Women’s Influence on the Development of David Lurie’s Character (Coetzee, 1999) Essay Example for Free

Womens Influence on the Development of David Luries Character (Coetzee, 1999) EssayLuries own conclusion move this examination of the influence of women on his character The truth is, he had n of all time had much of an eye for rural look, despite all his reading of Wordsworth. Not much of an eye for anything except pretty girls, and where has that got him? (p. 218). Of course, the perplexity of where is rhetorical, provided the question of why the persona of the scholar no longer allowed him to indulge his eye forpretty girls was the central question in a novel focusing on changes in South Africa since 1994, when Apartheid ended. The scholar with an Eye for clean GirlsAs the simply boy in a house of loving women, whom he, in turn, loved, Lurie recognized that enough a handsome young spell made it easy for him to find responsive women (p. 7). Based on his age in 1999, 52 years, his age for choosing a c areer was in the late 1960s, when South African white society was s imilar to societies in the United States and Western European democracies at an earlier time. estimate the kind of career which would non only permit an obviously well-educated and intelligent young man to pursue his main interest in pretty girls, but also would enhance his ability to do so. Lurie probably would non realise been consciously aware of such a goal. However, on that point are decisions that are influenced by unconscious motives (Hunt Ellis, 2004).In South Africa, when Lurie chose a career, the persona of a scholar at universities and colleges was prize and brought a life of privilege. In a satire on academia that unintentionally mirrored Luries approach, anthropologist Ashley Montagu (1959) advised young academics in the United States to remember that your progress in Academe will depend not so much on your intellectual abilities than upon your skill as a personality that is, in the skill of displaying few assets in a convincing manner (p. 10), where a want of o riginal ideas constitutes not the least impediment to productive publication (p. 23).Lurie, afterwards a career stretching back a quarter of a centurypublished three books (Coetzee, 1999, p. 4) he knew were uninspired and recognized he had never been much of a t apieceer (p. 4). However, until Apartheid ended in 1994, the persona of a scholar was perfect for one who actually had only an interest in pretty girls (p. 218). As an attractive man in an esteemed profession, for decades the backbone of his life was a result of a magnetism where looking at a woman in a authentic way, with a certain intent, she would return his look (p. 7).The Women in Luries LifeThe little we exist of Luries first wife was revealed only in response to a question about her, a outline response that she was Dutch and returned to Holland after her divorce. We dont know how he felt when he conjoin her, but what seemed a genuine indifference and lack of interest suggested she was not an important influence on the development of his character.We know that he and his second wife, Rosalind, experienced passion His best memories were of Rosalinds long, pale eubstance thrashing this way and that in the throes of a pleasure that was hard to tell from pain (p. 187). He believed that what held them in concert was only that they were two sensualists (p. 187).However, regardless of her sensuality and of how old she might have been, she clearly would not have been described as a pretty girl but as a confident and autarkical woman who both had a mind and did not hesitate to express her thoughts. Her influence on Davids character might have been in his developing the ability to have non-sexual bloods with adult women, as manifest by his post-divorce relationship with her.Regarding Luries own belief about the influence of women on his character, he conclude that he was enriched by each of the hundreds of women in a life consisting of sex with women he has known on two continents, some from f ar away in time that he barely recognizes them (p. 192). Readers cannot know how each or any of the women enriched his life, but his choices were varied. Before Apartheid, pretty girls who were his students were easily seduced because scholars still were held in awe.When black African students gained admission charge to college educations, their experiences had not led them to idolize any white males, an attitude that spread to other students. When the exact for courses that could be applied in jobs after college was met, Luries institution, Cape Town University College, became Cape Technical University, and alternatively of being a professor of modern languages, he became a professor of communications (p. 7). With less access to young students, his women ranged from prostitutes to the unattractive, middle-aged country woman Bev, he described as almost waistless, like a squat little tub (p. 149).If one uses imagination in reading this novel, such scenes take on a gay tone. Anoth er example of visualization resulting in a scene turning comic occurred while Lurie actually was demonstrating a passion in creating a work of art as he wrote an opera about Teresa, the beautiful young countess who had been in love with Lord Byron.In the opera, he depict Teresa years after Byrons death when she had become unattractive, looking more like a savage . . . than an aristocrat (p. 181), relentlessly singing mio Byron (p. 183), resulting in comic imagery. The comic element was enhanced because While Lurie did know that Byron did not feel about Teresa as she thought he did, Coetzee did not write what he moldiness have known Byron wrote to a friend about his embarrassment when Teresa called out to me mio Byron in an audible samara (1819/2009). Sadly, Lurie himself came to realize that the opera was going nowhere.There is no action, no development and he has not the musical resources, the resources of nix to raise the opera off the monotonous track on which it has been run ning since the start (p. 214).Despite the comic imagery elicited when Lurie had sex with Bev, his relationship with her did influence his character. In working with Bev (at first to satisfy his daughter) at the clinic where there was no choice but to kill pathetic, unwanted animals, he became able to form considerate relationships with the animals. early in his life, one event clearly did influence the development of Luries character, the event of becoming a father. The first interactions in the novel between Lurie and his daughter, Lucy, made one conclude that the one unselfish relationship he had as a young man was the father/daughter one that began with Lucys birth. (It was not possible to find a reason for Coetzees obviously non-coincidental decision to have Lurie choose the guide water used in a series of rustic, romantic poems by the poet of Luries academic specialty, Wordsworth, 1798-1801/2009.)Her brutal mess up by black men (representing not racism, but Coetzees depicti on of the after-effects of ending Apartheid) most for certain shook him out of his lassitude, but did not influence his character in the sense that his obviously unselfish concern for her well-being and his efforts to protect her after the rape were not unexpected.In general, however, Luries character did not seem to change very much since the time he was a young man. Toward the end of the novel, after he was not permitted to watch Melanie in a performance, his behavior demonstrated the character he had from the beginning. aft(prenominal) having sex with a young prostitute, he feels contented So this is all it takes, he thinks. How could I ever have forgotten it? (p. 194). Perhaps the most interesting question about the novel was how Coetzee was able to make an essentially superficial man into a complex, absorbing, and sympathetic anti-hero.ReferencesByron, G. G. (1819). Lord Byrons letters and journals. Jeffrey D. Hoeper (Ed.). Retrieved March 17, 2009, from www.engphil.astate.ed u/ head/byron.html.Coetzee, J. M. (1999). Disgrace. New York Penguin.Hunt, R. R., Reed, H. C. (2004). Fundamentals of cognitive psychology. New York McGraw-Hill.Montagu, A. (1959). Up the ivy. New York Hawthorn.Wordsworth, W. (1798-1801). Lucy. Retrieved March 17, 2009, from www.poetry.archive.com/w/lucy/html.