English Literature

D. H. Lawrence: Language and Being by Michael Bell

By Michael Bell

D. H. Lawrence as soon as wrote that 'we don't have any language for the feelings'. The comment testifies to the fight in his novels to precise his subtle realizing of the character of being in the course of the intransigent medium of language. Michael Bell argues that Lawrence's retro prestige stems from a failure to understand inside of his casual expression the character and complexity of his ontological imaginative and prescient. He lines the evolution of the fight for its articulation throughout the novels, and appears on the means within which Lawrence himself made it a wide awake topic in his writing. Embracing during this argument Lawrence's mess ups as a author, his rhetorical stridency and likewise his primitivist extremism, Michael Bell creates a strong and clean feel of his actual significance as a novelist.

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Siegmund is quite aware of his own sexual desire and is not tempted to idealise it. Yet this desire, largely through continual thwarting, has become distorted and ambivalent. His identification with the waves beating against the cliff is an expression not just of sexual power but of frustration and a frustration induced in part by the horror and despair with which he now views his own sexuality. For the destructiveness of the waves is not directed only at Helena; it is more notably directed at himself.

98-9) The desire to escape from ordinary time -bound reality is explicitly linked with musical expression. Ominously, of course, Siegmund's attempt to achieve timeless form is deferred till 'later' in the world of ordinary time. And that suggests the category error the lovers are half consciously making here in their emotions. A symphony might indeed have a legitimate aesthetic timelessness about it but it will then be a purely artistic reflection of the experience they are having in life. Their immediately idyllic freedom from time is an illusion, or rather perhaps a consciously impossible desire born 34 D.

I n this book Lawrence gave fictional expression to the intense relationship with his own mother which had, in its possessiveness, checked his capacity in early manhood, or before meeting Competing voices in the early novels 37 Frieda Weekley , to give himself fully to another woman. As is well known, the figure of Miriam Leivers is closely based on his own girlfriend of adolescence, Jessie Chambers. The invented figure of Clara Dawes broadens the implication by showing Paul Morel's 'failure' with two quite different women.

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