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
28 his attachment to Mrs Morel. Pritchard's interpretation of Paul's rejection of Miriam is similar to mine. He says that the reason behind the rejection "is not simply because [Paul] is possessed by his mother but because, having come close to incest, he feels that Miriam, as his mother's representative, must be purged of sexuality" (p.41). In relation to Women in Love, Pritchard explains Birkin's postulation of two rivers of existence and, according to him, the 'silver river of life' may be seen as the 'seminal flow' whereas the 'black river of dissolution' is the 'excremental flow'. The critic concludes his idea of the two rivers by saying that Ursula and the conventional idealists accept only 'normal' sexuality, while Birkin demands the acceptance of the entire bodily process, particularly perhaps the excremental, wherein lies 'the real reality'. Where the silver river is conventional morality, Birkin insists that what is conventionally • regarded as morally corrupt is equally — and even pre-eminently — part of man's nature, not to be suppressed, but accepted, if that nature is to be fulfilled (p.95). I think that Pritchard's explanation is plainly acceptable but if he considers Ursula to be a woman who only accepts 'normal' sexuality, how can he claim that in the chapter "Excurse" Birkin and Ursula have anal intercourse? He says that it is after Ursula makes a "violent denunciation of [Birkin's] 'perversity', particularly as associated with Hermione, where sensuality was solely perverse" (p.100) that she is ready to accept anal intercourse. After this mutual acceptance of the two rivers Birkin and Ursula are ready to face marriage without constraints. Pritchard,as a Freudian critic, defines conflict in Lawrence's novels as a wish for sexual fulfilment, beginning in
29 the love of the powerful mother, and moving towards the love of potent males who represent father-figures. The central idea seems to be that Lawrence's male characters and mouthpieces, must defeat the female characters so that the author can get rid of his mother's influence to be closer to his father. The last group of critics includes Keith Sagar (1966), George H. Ford (1965) and Graham Hough (1970). Among these three critics Keith Sagar is the one who establishes a certain pattern relating to Lawrence's career as a writer. The others do . not explicitly follow the same view but it can be said that they share a belief in Lawrence's works as having a pattern of quality beginning with Sons and Lovers in which Lawrence favors his mother. Then: follows a second phase presenting a certain balance represented specifically by The Rainbow. The third pattern represents a decay in quality and includes the novels of the leadership phase (Aaron's Rod, Kangaroo and The Plumed Serpent). The fourth one is Lawrence's return to 'tenderness1. Lady Chatterley's Lover represents this return and . marks Lawrence's rejection of the mother and redemption of his father. As I have already discussed the majority of these patterns throughout this narrative, I will concentrate here on pointing out aspects of these three critics' views which I have omitted before, although it is almost impossible hot to repeat ideas which they share with the critics I have already analysed. Sagar is another strong advocate of the mother in Sons and Lovers. Ford, in his view, does not side either with the mother or the father. both characters. He simply presents arguments for and against Hough also seems not to side with anybody. For him, Paul's heritage ('the neurotic refusal of life') "is the direct result of his parents' failure. And the parents' failure
- Page 1 and 2: UNIVERSIDADE FEDERAL DE SANTA CATAR
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29<br />
the love of the powerful mother, and moving towards the love of<br />
potent males who represent father-figures.<br />
The central idea<br />
seems to be that Lawrence's male characters and mouthpieces,<br />
must defeat the female characters so that the author can get rid<br />
of his mother's influence to be closer to his father.<br />
The last group of critics includes Keith Sagar (1966),<br />
George H. Ford (1965) and Graham Hough (1970).<br />
Among these three<br />
critics Keith Sagar is the one who establishes a certain pattern<br />
relating to Lawrence's career as a writer. The others do .<br />
not explicitly follow the same view but it can be said that they<br />
share a belief in Lawrence's works as having a pattern of quality<br />
beginning with Sons and Lovers in which Lawrence favors his<br />
mother.<br />
Then: follows a second phase presenting a certain<br />
balance represented specifically by The Rainbow. The third<br />
pattern represents a decay in quality and includes the novels of<br />
the leadership phase (Aaron's Rod, Kangaroo and The Plumed<br />
Serpent).<br />
The fourth one is Lawrence's return to 'tenderness1.<br />
Lady Chatterley's Lover represents this return and .<br />
marks<br />
Lawrence's rejection of the mother and redemption of his father.<br />
As I have already discussed the majority of these<br />
patterns throughout this narrative, I will concentrate here on<br />
pointing out aspects of these three critics' views which I have<br />
omitted before, although it is almost impossible hot to repeat<br />
ideas which they share with the critics I have already analysed.<br />
Sagar is another strong advocate of the mother in Sons and<br />
Lovers.<br />
Ford, in his view, does not side either with the mother<br />
or the father.<br />
both characters.<br />
He simply presents arguments for and against<br />
Hough also seems not to side with anybody. For<br />
him, Paul's heritage ('the neurotic refusal of life') "is the<br />
direct result of his parents' failure.<br />
And the parents' failure
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