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
287 He crept back to bed, but felt as if the top of his head were coming off. He could not sleep. He could not keep still. He rose, quietly dressed himself, and crept out on to the landing once more... Then he put on his boots and his overcoat and took the gun. He did not think to go away from the farm. No, he only took the gun... He went stealthily away down a fence-side, looking for something to shoot (pp.120-1 - My underlining). This 'something to shoot' is his hidden wish to kill Banford. As he cannot shoot her now, this desire will be released by his shooting of an animal. And at this point of the story comes the killing of the fox. The scene is very strange for me because how is Henry going to kill the animal if it represents himself? The only possible interpretation I could find is that by killing the animal, Henry becomes able to assimilate it. And because Henry has assimilated the fox, there is no reason for the animal to exist anymore. It is living in Henry. He is the fox now. Also the fox represents March's renounced, slain masculinity. Thus she does not need to be divided in the attraction between the animal and the young man. She has always identified the animal with the man and, as they have become one, her attraction will be directed to Henry who is now the animal. In the scene which precedes the killing of the animal, there is a suggestion that, even before shooting it, Henry's behaviour is fused with the animal's (and we have already seen this several times). All Henry's does relates to the senses, especially to smell which is characteristic of animals: [Henry] sat a long time with his eyes fixed unchanging upon the gateway... he stood up, watching with all his eyes, thinking it might be a rat. But he felt he could smell the hot, sickly, rich smell of live chickens in the cold air Ȧnd then - a shadow. A sliding shadow in the gateway (whose shadow? Henry's or the fox's?). He gathered all his vision into a concentrated
288 spark, and saw the shadow of the fox, the fox creeping on his belly through the gate. There he went, on his belly like a snake... (pp.121-2 - My underlining). If one does not read the passage carefully s/he might mix the fox with Henry. There are several 'hes' in it, which confounds the reader. When Henry shoots the fox there is a sense that he is indeed assimilating the animal in himself: There was a commotion everywhere. The fowls were scuffing and crawking, the ducks were quark-- quarking, the pony had stamped wildly to his feet. But the fox was on his side, struggling in his last tremors. The boy bent over him and smelt his foxy smell (p.122 - My underlining). Henry's attitude is like that of an animal who kills other animals. He gets closer and smells the dead to feel if it is really dead or not. Acting like this, Henry becomes the fox and smelling his foxy smell, it can be transferred to the young man, integrating one with the other. Because of the shot the girls wake up and open their window to see what is going on. Henry tells them and then he addresses March the following sentence: "'He will make you a lovely fur1" (p.123). This may imply that covering March with the fox's fur, he is somehow assuming a position of protection or of domination. Protection because the fur covers the shoulders and prevents cold. Domination because the fur will be over March's skin. As the fur belongs to the fox - Henry in other words - this may imply his wish to live imposing his will over hers. But even now March does not look amiably at this 'Trojan gift': "'You don't catch me wearing a fox fur "'(ibid). The fox fur could also suggest a dominant role for her, which she rejects.
- Page 245 and 246: disguised inner selves beneath thei
- Page 247 and 248: egathers itself in the water as if
- Page 249 and 250: 240 (p.252 - My underlining). His a
- Page 251 and 252: 242 the two because somehow he acce
- Page 253 and 254: 244 as alternatives to the relation
- Page 255 and 256: 246 energy. Hermione. That is how U
- Page 257 and 258: 248 'finger-tips'. The couple decid
- Page 259 and 260: 250 as you are always saying? You t
- Page 261 and 262: 252 turning suddenly to catch hold
- Page 263 and 264: 254 exploits Loerke and vice versa.
- Page 265 and 266: 256 which no one can escape from. H
- Page 267 and 268: 258 like nothing; she is like Geral
- Page 269 and 270: 260 shocked,to really blame Gudrun.
- Page 271 and 272: 262 can only feel the 'unison in se
- Page 273 and 274: 264 has been marked by a whole set
- Page 275 and 276: 266 be sure that she will put an en
- Page 277 and 278: unsatisfied tendencies" - I am temp
- Page 279 and 280: 270 emotionally. This may be becaus
- Page 281 and 282: 27 2 ♦ has a gun), unable to do a
- Page 283 and 284: 274 next morning he simply goes to
- Page 285 and 286: The underlined sentences are the ke
- Page 287 and 288: 278 because she is not conscious of
- Page 289 and 290: 280 to see the strange glow in his
- Page 291 and 292: 282 top, Lawrence says that March "
- Page 293 and 294: 284 owner of the house for in the m
- Page 295: 286 relationship she is going to ha
- Page 299 and 300: 290 masculine identification. She w
- Page 301 and 302: 292 and chiffon dresses. The Banfor
- Page 303 and 304: 294 From this point on, March has f
- Page 305 and 306: 296 to March. With Henry she will h
- Page 307 and 308: 298 and once more the answer goes b
- Page 309 and 310: 300 She looked up at him with tears
- Page 311 and 312: CHAPTER V THE PLUMED SERPENT - THE
- Page 313 and 314: 304 relations that Lawrence seems d
- Page 315 and 316: 306 man. But in The Plumed Serpent
- Page 317 and 318: 308 this fate implies punishment be
- Page 319 and 320: 310 and his sensuality and this see
- Page 321 and 322: 312 Ramon cannot be compared to Wal
- Page 323 and 324: 314 Carlota. The fact that Ramon wa
- Page 325 and 326: 316 devote special attention: the o
- Page 327 and 328: i 318 ... when she remembered [Cipr
- Page 329 and 330: 320 my soul. Let me close my prying
- Page 331 and 332: 322 other kind of intimacy save for
- Page 333 and 334: 324 But perhaps he would be, if we
- Page 335 and 336: 326 general. And furthermore, if Ka
- Page 337 and 338: 328 black hair, which he wore rathe
- Page 339 and 340: 330 himself, his nakedness, his min
- Page 341 and 342: 332 is no beyond" and where only me
- Page 343 and 344: :334 thing. She resented being made
- Page 345 and 346: 336 because he really is an author
287<br />
He crept back to bed, but felt as if the top of<br />
his head were coming off. He could not sleep.<br />
He could not keep still. He rose, quietly<br />
dressed himself, and crept out on to the landing<br />
once more...<br />
Then he put on his boots and his overcoat and<br />
took the gun. He did not think to go away from<br />
the farm. No, he only took the gun... He went<br />
stealthily away down a fence-side, looking for<br />
something to shoot (pp.120-1 - My underlining).<br />
This 'something to shoot' is his hidden wish to kill Banford. As<br />
he cannot shoot her now, this desire will be released by his<br />
shooting of an animal.<br />
And at this point of the story comes the<br />
killing of the fox.<br />
The scene is very strange for me because<br />
how is Henry going to kill the animal if it represents himself?<br />
The only possible interpretation I could find is that by killing<br />
the animal, Henry becomes able to assimilate it.<br />
And because<br />
Henry has assimilated the fox, there is no reason for the animal<br />
to exist anymore. It is living in Henry. He is the fox now.<br />
Also the fox represents March's renounced, slain masculinity.<br />
Thus she does not need to be divided in the attraction between<br />
the animal and the young man.<br />
She has always identified the<br />
animal with the man and, as they have become one, her attraction<br />
will be directed to Henry who is now the animal.<br />
In the scene which precedes the killing of the animal,<br />
there is a suggestion that, even before shooting it, Henry's<br />
behaviour is fused with the animal's (and we have already seen<br />
this several times).<br />
All Henry's does relates to the senses,<br />
especially to smell which is characteristic of animals:<br />
[Henry] sat a long time with his eyes fixed<br />
unchanging upon the gateway... he stood up,<br />
watching with all his eyes, thinking it might be<br />
a rat. But he felt he could smell the hot,<br />
sickly, rich smell of live chickens in the cold<br />
air<br />
Ȧnd then - a shadow. A sliding shadow in the<br />
gateway (whose shadow? Henry's or the fox's?).<br />
He gathered all his vision into a concentrated
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