RELATIONS OF DOMINANCE AND EQUALITY IN D. H. LAWRENCE
RELATIONS OF DOMINANCE AND EQUALITY IN D. H. LAWRENCE RELATIONS OF DOMINANCE AND EQUALITY IN D. H. LAWRENCE
vigorously his head and body implies the presence of a Nemesis, a strong conscience reminding him of his guilt, his compulsion to punish himself. So he drops asleep. That is, he consciously wants punishment otherwise he would look for a place to hide himself from the pain caused by being exposed to the sunlight. Helena looks for shade, i.e., she does not want self-punishment. (The curious thing is that in the beginning of the book, six months after Siegmund's suicide, Helena has her arm inflamed by the sun. This inflammation, according to the narrative, Helena has got in her holiday with Siegmund on the Isle of Wight). Being exposed to the sun leads Helena to feel more guilty for she thinks about the future as being beyond reach: 'No more sea, no more anything,' she thought dazedly, as she sat in the midst of this fierce welter of sunshine. It seemed to her as if all the lightness of her fance and her hope were being burned away in this tremendous furnace, leaving her, Helena, like a heavy piece of slag seamed with metal... 'It is impossible,' she said; 'it is impossible! What shall I be when I come out of this? I shall not come out, except as metal to be cast in another shape. No more the same Siegmund, no more the same life. What will become of us — what will happen?' (p.92). When Siegmund wakes up he tells Helena he is happy. She, although seeming very sad, decides not to spoil his mood of sunny happiness, the happiness of a victim. Again they are separate. He does not notice her preoccupation and she does not want to destroy his mood: She saw him lying in a royal case, his eyes naive as a boy's, his whole being careless. Although very glad to see him thus happy, for herself she felt very lonely. Being listless with sun weariness, and heavy with a sense of impending fate, she felt a great yearning for his sympathy, his.fellow suffering. Instead of receiving this, so as not to shrivel one petal of his flower, or spoil one minute of his consumate hour (p.93).
121 The idea which is implicit here is that Helena does not want to spoil the last day of happiness of her lover. That is why she hides her own sadness. It is a way to prevent him from knowing that she sees no future for them both. The idea of separateness is strong since Helena feels as if it were 'his consumate hour' not hers, too. Here she betrays all her resolve to get out of the affair alone,whether victorious or not, she does not say, but Lawrence implies that the woman will survive. The hot day goes on. Siegmund talks to Helena about his past. Beatrice, his wife, is seen by him as superior to him when they first met. Helena listens to him and expresses her feelings about marriage as something one cannot get out of. It is forever. This certainly implies her sense of guilt. Siegmund repeats he is a moral coward. Helena also talks about herself. This part of the book shows their vague knowledge of each other. Helena tells Siegmund about her difficulty in putting reality inside her mind. This emphasizes more her dreamlike quality, now confirmed in her own words. The sun keeps the couple at his mercy. Both lovers are morally wounded by its punishing rays and by self-reproach. Only Helena seems to feel this: "The heat had jaded her, so that physically she was full of discord, of dreariness that set her teeth on edge. Body and soul, she was out of tune" (p.99). This sense leads her to feel more at fault because of the affair: "Being a moralist rather than an artist, coming of fervent Wesleyan stock, she began to scourge herself. She had done wrong again" (ibid). Within herself she admits her destructive quality: "anyone she embraced she injured". This implies her consciousness of what will happen to Siegmund. She will destroy him since she does not do anything to control this power of
- Page 79 and 80: 69 to go out of it and he has on on
- Page 81 and 82: 71 failure. She is losing her son t
- Page 83 and 84: 73 more are related to his impotenc
- Page 85 and 86: 75 Clara. The idea is that through
- Page 87 and 88: 77 was the marital failure? Who was
- Page 89 and 90: he can have pleasure. Miriam is for
- Page 91 and 92: who she is and what she wants. The
- Page 93 and 94: This is like Paul's passion for Cla
- Page 95 and 96: operate on her, since her heart wou
- Page 97 and 98: 87 'Let's make a sacrifice of Arabe
- Page 99 and 100: characteristics as she had. in what
- Page 101 and 102: My last point about Sons and Lovers
- Page 103 and 104: 93 relation unbearable up to the po
- Page 105 and 106: 95 teacher Siegmund. He is a marrie
- Page 107 and 108: 97 and strong, and fully fruited, h
- Page 109 and 110: 99 though Siegmund wants her, she r
- Page 111 and 112: 101 an analogy for Helena. Siegmund
- Page 113 and 114: 103 any of the relationships, nor c
- Page 115 and 116: 105 Helena's sharpness, and will-to
- Page 117 and 118: 107 like him: She glanced up at Sie
- Page 119 and 120: 109 Siegmund, usually a bad swimmer
- Page 121 and 122: Ill the moon:"Rocked thus on his st
- Page 123 and 124: 113 connotation in his mind) . In f
- Page 125 and 126: 115 is to warn Siegmund of the dang
- Page 127 and 128: 117 ... For centuries a certain typ
- Page 129: 119 she alone will not bear the gui
- Page 133 and 134: 123 not see it. He bowed in obedien
- Page 135 and 136: 125 laurels of having given Siegmun
- Page 137 and 138: 128 as always, is not aware of Sieg
- Page 139 and 140: 130 on her hat, her eyes, gazing he
- Page 141 and 142: 132 to perforin the action. The nar
- Page 143 and 144: 134 extreme splits of soul/body. 'B
- Page 145 and 146: 136 prepares the path to the other.
- Page 147 and 148: 138 connection with the land. This
- Page 149 and 150: 140 Tom proposes marriage to Lydia:
- Page 151 and 152: 142 They looked at each other, a de
- Page 153 and 154: 144 of taking a mistress because "t
- Page 155 and 156: and thinks of them "as if they were
- Page 157 and 158: 148 actualy loves or hates. The mix
- Page 159 and 160: 15 0 Will is an artist and his conc
- Page 161 and 162: 15 2 light of the moon covering Ann
- Page 163 and 164: 154 pleasure, but as soon as the no
- Page 165 and 166: in the night they were gathering sh
- Page 167 and 168: is like a dwarf without power. exul
- Page 169 and 170: everything: life and death. He is c
- Page 171 and 172: take hers: but in her own way" (ibi
- Page 173 and 174: 164 family the inarticulate sorrow
- Page 175 and 176: much violence. Thus, her love for h
- Page 177 and 178: 168 time she walked in a confused h
- Page 179 and 180: 170 'separateness' is seen in Women
121<br />
The idea which is implicit here is that Helena does not want to<br />
spoil the last day of happiness of her lover.<br />
That is why she<br />
hides her own sadness.<br />
It is a way to prevent him from knowing<br />
that she sees no future for them both.<br />
The idea of separateness<br />
is strong since Helena feels as if it were 'his consumate hour'<br />
not hers, too.<br />
Here she betrays all her resolve to get out of<br />
the affair alone,whether victorious or not, she does not say,<br />
but Lawrence implies that the woman will survive.<br />
The hot day goes on.<br />
Siegmund talks to Helena about his<br />
past.<br />
Beatrice, his wife, is seen by him as superior to him<br />
when they first met.<br />
Helena listens to him and expresses her<br />
feelings about marriage as something one cannot get out of. It<br />
is forever.<br />
This certainly implies her sense of guilt. Siegmund<br />
repeats he is a moral coward.<br />
Helena also talks about herself.<br />
This part of the book shows their vague knowledge of each other.<br />
Helena tells Siegmund about her difficulty in putting reality<br />
inside her mind.<br />
This emphasizes more her dreamlike quality,<br />
now confirmed in her own words.<br />
The sun keeps the couple at his mercy.<br />
Both lovers are<br />
morally wounded by its punishing rays and by self-reproach. Only<br />
Helena seems to feel this: "The heat had jaded her, so that<br />
physically she was full of discord, of dreariness that set her<br />
teeth on edge.<br />
Body and soul, she was out of tune" (p.99). This<br />
sense leads her to feel more at fault because of the affair:<br />
"Being a moralist rather than an artist, coming of fervent<br />
Wesleyan stock, she began to scourge herself.<br />
She had done<br />
wrong again" (ibid).<br />
Within herself she admits her destructive<br />
quality: "anyone she embraced she injured".<br />
This implies her<br />
consciousness of what will happen to Siegmund. She will destroy<br />
him since she does not do anything to control this power of
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