How Does D.h. Lawrence Present Different Aspects Of Love In His Novels?

'Women In Love'

In 'Women In Love' there is less of a focus on familial relationships, as are prominent in 'Sons and Lovers', and more analysis of conventional romances of couples of a similar age. Our four main characters reflect on the significance of the arts, politics, economics, sexual experience, friendship and marriage throughout the novel and it is these cerebral conversations that have the power to unite or divide our characters. Ultimately, 'Women in Love' suggests that romantic love in the twentieth century is stifled by societal pressures and the novel tends to present a bleak vision of human nature and contemporary civilization. In fact, this tone prevented the novel being published in wartime conditions due to fears that it was too depressing. The first obvious relationship is between Ursula, a young schoolteacher and Birkin, a school inspector and a reflection of Lawrence in his mannerisms and attitude. Secondly, we have Gudrun, the artist strongly juxtaposed with the cold industrialist Gerald. However, one could make the argument that the most important bond is between Gerald and Birkin. Indeed, Birkin strongly believes in the 'eternal union' (486) that one can have with another man. Moreover, it has been suggested that Lawrence himself developed an intimate relationship with a Cornish farmer named William Henry Hocking. Even more revealing was a letter he wrote in 1913 where he questioned "why nearly every man that approaches greatness tends to homosexuality". This is a clear indication of Lawrence's interest in addressing homosexuality and we can therefore suggest that the strong connection between Gerald and Birkin, may have romantic tendencies. The opening chapter of 'Women in Love' is extremely effective in immediately highlighting one of the key issues of the novel. The question 'don't you really want to get married?' (9), addresses the recurring conflict between social conventions and the genuine desires of our characters. This is further highlighted through the question of 'children' (Page 11- 'Women in Love', 'Lady Chatterley's Lover', 'Sons and Lovers' omnibus edition) and whether a woman should be expected to have them. Indeed, Gudrun raises the notion that people only desire these things 'superficially' (11) despite their true feelings. This idea of defying conventions is intrinsically linked to Lawrence himself because of his tendency to be an outsider and an unorthodox writer. Therefore, we can expect our female protagonists to similarly yearn for an emotional attachment that exceeds the limitations set upon them and perhaps this is one of the reasons we sympathize with them so readily. Contrastingly, we are presented with the rather more repellant character of Hermione, who knows she is 'accepted in the world of culture and of intellect' (18) and perhaps even the 'superior' (18) to those around her. However, Lawrence reveals that she is 'tortured' and 'vulnerable' (18), despite her apparent confidence, due to her own conflicted nature. Ultimately, she tries to fill the 'terrible void' (18) inside her by forming a relationship with Birkin. However, this love is forever unrequited because Birkin, much like Lawrence, detests societal 'mediums' (19) and this is what Hermione represents to him. Much like the relationship between Connie and Mellors in 'Lady Chatterley's Lover', the bond between Gerald and Gudrun appears to be based more on lust than love. When Gudrun first sees Gerald as a 'fair, good-looking, healthy' (24) man it is said to change the 'whole temper of her blood' which suggests a strong physical attraction from the beginning. Moreover, in Chapter Four, Gudrun and Ursula watch Gerald swimming naked with a 'vigorous, thrusting motion' (49) which furthers the sexual undertones present in the novel and highlights the sensual nature of Lawrence's romances. In Chapter Nine we are presented with a much more violent metaphor for the sexual act. Gerald is continually reigning his terrified horse in whilst a train goes past. Gerald's 'mechanical relentless' (114) as he dominates the creature reveals to us the callous and emotionally detached nature of his character. He is more machine than man and therefore is beyond compassion or mercy. Indeed, this 'repulsive sight' (114) closely reflects a kind of sexual violation. The 'terror' (114) of the mare juxtaposed with the image of the 'man closed round her' forcing her into submission and 'pressing relentlessly' (114) with his spurs, is akin to sexual abuse. The whole passage throws into relief the theme of domination and possession that will be closely linked with Gerald's character. Indeed, later on in the novel we bear witness to Gerald's attempts to physically control Gudrun and she is ultimately rendered 'powerless in him'. Gerald admits that he is incapable of true love and we can perhaps attribute this to the fact that he accidentally killed his brother when an old gun went off in his hands. The incident may be the cause of Gerald's coldness and his need for efficiency before any kind of emotional attachment. The word 'mechanical' (114) is often assigned to Gerald and this gives us an insight into his whole character. He is crude and detached, just like the machines used in the mines he owns. Indeed, Lawrence frequently condemns people who have modeled themselves after emotionless machines that were prominent in this new industrial age; in his poem 'A Man who Died', Lawrence presents us with an 'iron-wrought', 'metal-cold' automaton which serves as a sinister symbol for the evils of industrialization. Moreover, Gerald is commonly associated with words of ownership; he is desperate to have Gudrun 'in his power' (67) so he can dominate her completely. Indeed, this is most prominent near the end of the novel when Gerald admits that he has a 'sudden desire' to 'kill her' because then he 'would have had her finally and for ever' (466). This reveals Gerald's desperate need for control in his life and for everything to run like 'clock-work' (471). Inevitably, this is what causes the relationship between Gerald and Gudrun to be so harmful and destructive. Gudrun feels suffocated by the 'mechanical will' (460) that Gerald embodies and by the end of the novel she is desperate to 'leave him for ever' (468) and no longer be 'bound' to him. Gerald is often 'trembling with too much desire' (453) but lacks the emotional subtlety that is necessary to have a healthy relationship. This links back to the mind body concept that Lawrence often explores; Gerald emphasizes physical sexuality to the detriment of spiritual cohesion. Indeed, this is further thrown into relief through Loerke, the German artist, who shares Gudrun's love of art over life. This intellectual understanding allows Loerke an 'approach and a power that Gerald never dreamed of' (456); he can penetrate the 'inner, individual darkness' (457) of Gudrun's soul although he lacks the male attractiveness that is so present in Gerald. In contrast to the constricting relationship between Gudrun and Gerald, we are presented with a more healthy union between Birkin and Ursula. Lawrence indicates that this romance imbues a sense of freedom, as opposed to oppression by writing that Ursula was 'liberated into perfection' (323) by their union. However, the two characters do act as foils for one another and therefore they clash frequently in their discussions. Birkin represents Lawrence through his disillusionment from social norms; he desires something beyond the 'definite limitation' (309) that people have become victim to. Contrastingly, Ursula still acts on a deeply 'emotional personal level' (309) and therefore people remain an 'adventure' (309) to her. Consequently, Ursula criticizes Birkin's pretentious allusions to some kind of deeper spiritual unions believing it to be inherently 'false' (310) and hypocritical. She even suggests that Birkin is more in love with himself and his own philosophies making him incapable of real 'emotional intimacy' (313). However, due to the successful nature of this romance, we might suggest that Lawrence is highlighting the need for balance in relationships. Indeed, the love between Birkin and Ursula seems to be based on mutual understanding and 'unspeakable communication' (325) as opposed to the dominating influence that Gerald attempts to exert over Gudrun. Yet, there is still a physical attraction at the core of Ursula and Birkin's relationship. This 'electric passion' (318) once again throws into relief Lawrence's personal belief in the balance between the body and the mind, the sensual and the spiritual, in any union. Therefore in 'Women in Love', we can see elements of the destructive, overwhelming love that is prominent in 'Sons and Lovers'; yet, there are also aspects of Lawrence's mind body concept which features so strongly in 'Lady Chatterley's Lover'.