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Realism and Romance in the Early Novels of D. H. Lawrence

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Realism and Romance in the Early Novels of D. H. Lawrence REALISM AND ROMANCE IN THE EARLY NOVELS OF D. H. LAWRENCE SUBMITTED FOR THE AWARD OF THE DEGREE OF Master of Philosophy IN ENGLISH BY Jawed S. Ahmad Under the lupervision of Dr. Ghufranullah Khan (RMd«r) DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) «A# \iv Co^^ DS1947 F?Y < > ; -* !~] DEPARTMENT OF ENGLISH AND ALIGARH MUSLIM LMVERSIT\ MODERN EUROPEAN LANGUAGES ALIGARH-20:002 INDIA Mar 1« 1992 TO MHOM XT MA3r COICSRH Thia Is to c«rtl£y that Mr. ammd s. Mwad has MorlBid on *llMaian «8d HMMUOO* ID the Sarly Ibvsis of Q»H;* Xaaureoce** ondar ay flop«rvisio&. His M»Phil aiM«rt«tioii oe ths above topic is ths rsaalt of his iabsiMiva t^^ of hmantvem* a «tf ly aevttls sad eontains soias oasfol mad origlBSl intflor- protatlons* Ho has agr pamlsslon to submit his dissarti tion for assassnsot* -Xf-; It ^, Or. canfranulliAi Xhazi (Sttporrisoir) CONTENTS AGKN OiVEED (32MENTS OiAPTER I : INTRQDUCTICSSI CHAPTER II : THS WHITS PEACOCK 18 CHAPTER III : THS TRESPASSER 49 CHAPTER IV : CCXICLUSIC3N 75 SELECT BIBLIOGRAPHY 82 ACKNOWLEDGEMENTS The present study has been made possible due to the conrributions in various measures of several people and my grateful ac'-cnowledgements are due to them. I am highly indebted to Professor Azizuddin Tariq, Chairman, Department of English, Aligarh Muslijn University, Aligarh, for his constant encouragement throughout the period or my research. Moreover, he has been a principal inspirational force in enabling me to come out with this work. The Departmental Research Fellowship enabled me to make visits to certain libraries outside Aligarh too and I am thankful to Professor Tariq for this. I would also like to express my sincere thanks to -my supervisor. Dr. Ghufranullah Khan who with his untiring efforts, patience and forbearance was ever at band to help and guide me in this work. I am also indebted to Professor S.M. Jafar Zaki, Professor Maqbool Hasan Khan and Professor Kohd Yaseen for assisting my research at various levels and coining out with useful suggestions on several occasions. Obligations are cordially acknowledged to several of my friends, colleagues and well-wishers for their valu­ able help and also to Mr. Mohd Waseem Khan for typing the entire thesis within a short span of time. I would also like to thank the staff of the British Council Library, Patna, for providing me with materials on D.H. Lawrence which initially helped me a great deal. Above all, it has been the endeavour and encourage­ ment of my family members who have helped me reach this goal and primary among them is my uncle, (Late) Mr. S.M. Naseem, my brother. Dr. S.M. Imteyaz, besides Mr. S.M.H. Hague and Mr. S.M. Neyaz. I am greatly indebted to all of them for their incessant help on all occasions. (OAWED S. AHMED) CHAPTER I INTRODUCTION D.H. Lawrence has been considerably %rell evaluated by critics and readers alike regarding his reputation as a novelist. It cannot be denied that he was Indeed a great novelist* and his lucidity and slapllclty has capti­ vated Innumerable readers. It is his propelling narra­ tion and his probing Into the Inner conscloiisness of man that gives sustenance to his art. The volume of Lawrence's works baffles the reader as also his rich and wide variety. The underlying design, the thematic concerns of his literary creations add to the enigma. Mos-t critical works have tended to stress the variety of techniques and sxibject-matter. The present study seeks to Illustrate how a system of ideas underly the various diversi^es in Lawrence's earlier novels- the elements of realism and romance and how the two aspects have been inter-related with each other. Lawrence's novels CeUi be seen to revolve around the writers attitude towards men cUid women. His frigidity and (to a certain extent) cynicism gave way to a general acceptance often called humanitarian attitude. It shaped hire to become more objective. He showed a flair for iron­ ical observation and this found full scope in his interpre­ tation of life. On certain occasions this developed into an indifference which was a kind of defence mechanism of a sensitive mind against its own sensitivity. Several of Lawrence's works show his detatchnent to life; we can feel through his characters that he is strugg­ ling for a satisfying pattern of life. In his attempt to arrive at this xinderlying and positive philosophy, Lawrence exposes the raw and xinlovely spots in human nature. He becomes disenchanted with the contemporary ethics of his time and gives vent to his inner feelings in a variety of his works-mostly novels. Lawrence's novels were the products of his age. They are a stark commentary on the prevailing ethos of which he was a staunch critic. The new# positive literature of his time was bom of confrontations and depicts a world without stable truths and fixed frontiers. Old pieties had been cleared away# alongwith supposed certainties, diverse influences were being accepted; cultural hegemony was loosening its hoid# language was evolving achieving stylistic independence* Most of Lawrence's novels are an expression of agnosticism and an aclcnowledgeroent that there were no irrefut­ able truths, or cultural bequeathings which renaainec sacred. He began to look upon the earth as moving at random through space, without God or man as its master. And the reader is affected by the angst latent in such a perception. The reader cannot experience the characters of his novels (except perhaps Sons and Lovers) as solidly "real". He finds them possessed of a paperiness, walking around in a world of shadows, floating adrift in a sea of words. (Incidentally, this is also a hall mark of post-religious writing) once God dropped out of the novel, alongwith metaphysi­ cal certitudes, and a set social world of manners to react against. Lawrence can be said to have accepted precise histo­ rical realism as a neasure of excellence. He Inherited from writers such as George Eliot and Tolstoy a faith in the validity of earth-bound human beings and local truth rooted in a specific political* philosophical or social order. However, today even novelists such as Rushdie and 1. A.K, Saxena, "A World Without Stable Truths", The Times of India, March 29, 1990, Paul Scott, arialysing histcry in their own lifetimes or in the recent pa^-, are thinlcing about the world which made them, rather zjian the dynasLic forces which shaped that world. Their focus is indi vidua lis tic-much the same as as Lawrence^can i>e seen in majority of his works. The gecire of social realism and romance is qxiite conspicuous ir. the writing of Lawrence. The element of realism is se«f conscious, aware of its alienation. In modem times, a new genre cf the "brutal novel" has come up- the aspec-=s of which are exemplified in several of Lawrence's noTels. Brutal* because it is hard to be a part of this -•»crld. A vast array of characters in some of Lawrence's no-^-els are portrayed as alienated from their immediate social milieu or even from their own respective domesticity. instances wnich can be cited are Siegmund in The Trespasser, Walter Morel in Sons and Lovers, and even in the case of George in The white Peacock. These characters fir»d it difficult to acclimatise theoiselves in their own par:;i.cular domain. Lawrence presents a variety of chcLTacters on a wide spectrum who are not in consonance with the exis-ring societal infrastructxire. At least a couple of his novels can be said to be written from so-called '•ghetto perspec­ tives" and ferocious fables by a socially conscious "self-exile". Lawrence found him­ self detatched from the circle in which he found sustenance. Hence his plight was no better than that of one in exile (here social as well as literary) . That he was a socially conscious being cannct be doxibted and he invariably sought to reform the "degenerated" society. He took the entire burden of this on his frail shoulders. There are linguistic muddles, inadequacies, no doubt- a re-knitting of spoken English. This can be somewhat disturbing - especially for someone accustomed to a more chaste and stable language. Lawrence's literary journey spanning roughly eighteen years, has been a journey along the razor's edge; painful and dangerous, but with flashes of incisive dexterity. The will-o'- the wisp that Lawrence skilfully hxonted over his writing career has, with the exception of a few detours, been what lies at the human 1. A.K. Saxena, "A world without Stable Truths", The Times of India, March 29, 1990. heart cf the matter. In essence, he had a jaandiced view of modem civilization. Accord­ ing to him the root cause of the ills pervad­ ing the society was the extensive mechanisation, Ke had his own particular viewpoint, his own utopion vision through which he sought to establish a noble order which would root out all the social evils. This obsession with the risky perimeter of civilization can be sximmarized by one of Browning's poetic line- "Our interest's on the dangerous edge of things. Lawrence under-stated 'angst', intimations of which came to him during bis boyhood spent in the chill, bleak environs where his father was a miner, was never allowed to lose the discipline of tense, lucid expression (which only sometimes degenerated into the rhetoric of rage) . His novels have proved uniquely cinematic- a few of them being turned into films at one time or another. Unquestionably his most controversial has been Lady Chatterley's Lover.
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