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D. H. Lawrence: Nature, Narrative, Art, Identity by John Beer (auth.)

By John Beer (auth.)

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Additional info for D. H. Lawrence: Nature, Narrative, Art, Identity

Sample text

238. Dorothy V. White, The Groombridge Diary (1924) p. 176. See below, p. 92. The Riddling Narrative of Nature 21 White’s own Journals—in spite of the misunderstanding that has been involved in allowing them to be published under the authorship of ‘Mark Rutherford’. Hale White’s work includes inconsistencies, but they are less striking once the pages from his journals are distinguished from the novels themselves, which show awareness of the limitations involved in thinking based on doctrinal assumptions.

As if perhaps a mother beast was looking after its young . 33 The main change that was being registered was of course one of sensibility: the human soul was coming to be thought of in relation to the human heart, while human activity, as such, was showing itself in terms of its animal energies. There are various uses of imagery in Sons and Lovers that show how sensitive Lawrence was becoming to the part played by patterns and energies in his telling of the story. His depiction of women displayed the extent to which their sensibilities responded to the nature of flowers.

Frieda claimed that she assisted with the writing of his novel, often assisting him to realize what a particular character might have been feeling or saying. ’42 Yet she could also become impatient at such intensity. At one point she wrote a skit entitled ‘Paul Morel, or his mother’s darling’ which Lawrence received coldly. In the case of Sons and Lovers, she at one and the same time felt revulsion at the deep bond revealed there between her new husband and his mother and Lawrence’s apparent inability to enter into her own agony at being deprived of her children.

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