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
171 There is always a strongtsuggestion of industrialism and corruption in the relation of the lovers. Corruption is seen in the influence of uncle Tom and industrialism in the invasion of the collieries and railway which mix themselves with the beautiful landscape of Tom Brangwen's time. When Ursula and Skrebensky walk together the sound of their steps mingles with the ugly noises of progress: Ursula and Anton Skrebensky walked along the ridge of the canal between. The berries on the edges were crimson and bright red, above the leaves. The glow of the evening and the wheeling of the solitary pewit and the faint cry of birds came to meet the shuffling noise of the pits, the dark, fuming stress of the town opposite, and they two walked the blue strip of water-way, the ribbon of the sky between (p.309). The intrusion of industrial progress in the whole landscape provokes in the characters a set of internal changes which destroy what might be 'pure' in their temperament. In Tom Brangwen's generation, the characters' way of thinking was directed to simple things. For instance, they would never question each others' differences. They would, instead, accept them. In Ursula's time, on the other hand, industrial change may be seen as a factor of transformation in the characters' themselves. This "growth" could either be viewed positively in the sense that the characters become more demanding, more critical persons, as in Ursula's case, or negatively, in terms of their sickness of soul, their "selling out" like Skrebensky and uncle Tom. A good example of this difference between Ursula and Skrebensky can be seen when they, walking through the spoilt landscape, talk about Skrebensky's career. Ursula's questions are those of a person Who has a certain distaste for the conventional values of the man's world. The main point of their discussion lies perhaps in Lawrence's criticism of the nation as an instrument for
172 destroying in people the creative knowledge of life. Skrebensky is seen as a mere robot following the instructions of the great machine of power. If the great machine tells him that fighting and killing is "the most serious business there is" in life, he would never question it because he does not think, nor feel, he just obeys commands blindly. He cannot take up any original attitude. Hence, Skrebensky belongs to the great structure of power but who, without the structure, is nothing. This is what Ursula realizes: 'But when [the nation] didn’t need your services in particular — when there is no fighting? What would you do then?' He was irritated. 'I would do what everybody else does.' 'What?' 'Nothing. I would be in readiness for when I was needed.' The answer came in exasperation. 'It seems to me,' she answered, 'as if you weren't anybody — as if there weren't anybody there, where you are. Are you anybody really? You seem like nothing to me' (p.311). Ursula's words contain her dawning realization that the man is no 'son of God' and, although she only comes to reject him later, she has already started to deny his being. The lovers in fact have different ideas about the world. Ursula is an individual with a confused goal; the man does not have any aim in life except that he lives to 'serve' the collective. Skrebensky's personal feelings exist only in terms of physical fulfilment, and that is what he wants from Ursula. She, however, demands more from life. She wants to raise her being to 'touch the stars' and be beyond carnal love. Skrebensky "was just a brick in the whole great social fabric, the nation, the modern humanity" (p.328). As a person, he "had no importance, except as he represented the whole... To his own intrinsic life, he was dead" (ibid). As a man, all he wants from a woman is
- Page 129 and 130: 119 she alone will not bear the gui
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- Page 133 and 134: 123 not see it. He bowed in obedien
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- Page 141 and 142: 132 to perforin the action. The nar
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- 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
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- Page 157 and 158: 148 actualy loves or hates. The mix
- Page 159 and 160: 15 0 Will is an artist and his conc
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- 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: 170 'separateness' is seen in Women
- Page 183 and 184: 174 Paul at this time, encounters t
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- Page 189 and 190: 180 When she leaves the school her
- Page 191 and 192: 182 dead. The only part of him whic
- Page 193 and 194: 184 Ursula first refused him cried
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- Page 199 and 200: CHAPTER IV 1 WOMEN IN LOVE: THE PRO
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- Page 207 and 208: 198 because he is no 'clone', no sl
- Page 209 and 210: 200 London bohemianism which Birkin
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- Page 213 and 214: 204 course startles Gerald who cann
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- Page 225 and 226: 216 see the gate shut; then Gerald
- Page 227 and 228: 218 in a fierce desire to deny the
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172<br />
destroying in people the creative knowledge of life.<br />
Skrebensky<br />
is seen as a mere robot following the instructions of the great<br />
machine of power.<br />
If the great machine tells him that fighting<br />
and killing is "the most serious business there is" in life, he<br />
would never question it because he does not think, nor feel, he<br />
just obeys commands blindly.<br />
He cannot take up any original<br />
attitude.<br />
Hence, Skrebensky belongs to the great structure of<br />
power but who, without the structure, is nothing.<br />
This is what<br />
Ursula realizes:<br />
'But when [the nation] didn’t need your services<br />
in particular — when there is no fighting? What<br />
would you do then?'<br />
He was irritated.<br />
'I would do what everybody else does.'<br />
'What?'<br />
'Nothing. I would be in readiness for when I was<br />
needed.'<br />
The answer came in exasperation.<br />
'It seems to me,' she answered, 'as if you<br />
weren't anybody — as if there weren't anybody<br />
there, where you are. Are you anybody really? You<br />
seem like nothing to me' (p.311).<br />
Ursula's words contain her dawning realization that the man is no<br />
'son of God' and, although she only comes to reject him later,<br />
she has already started to deny his being.<br />
The lovers in fact have different ideas about the world.<br />
Ursula is an individual with a confused goal; the man does not<br />
have any aim in life except that he lives to 'serve' the<br />
collective.<br />
Skrebensky's personal feelings exist only in terms<br />
of physical fulfilment, and that is what he wants from Ursula.<br />
She, however, demands more from life.<br />
She wants to raise her<br />
being to 'touch the stars' and be beyond carnal love. Skrebensky<br />
"was just a brick in the whole great social fabric, the nation,<br />
the modern humanity" (p.328).<br />
As a person, he "had no importance,<br />
except as he represented the whole... To his own intrinsic life,<br />
he was dead" (ibid).<br />
As a man, all he wants from a woman is