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RELATIONS OF DOMINANCE AND EQUALITY IN D. H. LAWRENCE

RELATIONS OF DOMINANCE AND EQUALITY IN D. H. LAWRENCE

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303<br />

even here Lawrence could not present an achieved balance.<br />

The<br />

balance is still related to Birkin's theory of 'star-polarity1,<br />

or, as Ursula sees it, as one mate being the 'satellite' of the<br />

other.<br />

In the man-to-man 'friendship' there will be a dominant<br />

partner and a submissive one.<br />

This is what the relationships<br />

of Aaron and Lilly, Kangaroo and Somers, and Ramon and Cipriano<br />

imply.<br />

It seems, therefore, that in essence Lawrence has not<br />

changed. His mind still cannot cope with equilibrium. This is<br />

also true in relation to Lawrence's eternal conflict between<br />

soul and body.<br />

These two elements are still not in harmony.<br />

Each belongs to a different character.<br />

In these novels, the<br />

male characters are married but unhappy in their marriages.<br />

Their frustrated relations lead them to break them in order to<br />

search for a 'rebirth' in another kind of relation with other<br />

men.<br />

But, as I said, in these relations is always present the<br />

idea of submission to a more powerful and authoritarian partner.<br />

In these novels the search for power is a strong theme.<br />

Not only power in personal relations but power in the political<br />

sense.<br />

Daleski, in 'The Forked Flame (1965), defines the three<br />

novels of Lawrence's leadership phase:<br />

In Aaron's Rod, it will be remembered, the world<br />

was to be saved, prospectively, by a leader who<br />

would know how to exercise power. In Kangaroo power<br />

is considered in relation to politics and to<br />

possible alternatives to an outmoded system of<br />

democracy, but in the end political programmes are<br />

found to be wholly inefficacious. Somers, the<br />

Lawrence-like protagonist of the novel, finally<br />

realizes that 'the only thing is the God who is<br />

the source of all passion. Once go down before<br />

the God-passion and human passions take their<br />

right rhythm' (p.221). As the passage quoted above<br />

indicates, it is to 'the great dark God, the<br />

ithyphallic, of the first dark religions' that he<br />

turns - and it is this God who is resurrected in<br />

The Plumed Serpent. The myth, however, leaves us<br />

with the uncomfortable suspicion that the God is<br />

reborn as much to vindicate a mode of personal

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