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D__H__Lawrence S Portr D. H. Lawrence's Portrayal of Women by Parvindokht Hamidinia A Thesis Submitted to the Faculty of the College of Humanities in Partial Fulfillment of the Requirement for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida April 1984 D. H. LAWRENCE'S PORTRAYAL OF WOMEN by Parvindokht Hamidinia This thesis was prepared under the direction of the candidate's thesis advisor, Dr. William Coyle, Department of English and has been approved by the members of her supervisory committee. It was submitted to the faculty of the College of Humanities and was accepted in partial ful­ fillment of the requirements for the degree of Master of Arts. SUPERVISORY COMMITTEE: Chairperson, Thesi Advisor, Studies ii ABSTRACT Author: Parvindokht Hamidinia Title: D. H. Lawrence's Portrayal of Women Institution: Florida Atlantic University Degree: Master of Arts Year: 1984 Controversy which has surrounded David Herbert Lawrence arises out of misunderstanding of what he was actually saying. Lawrence's depic­ tion of sexual scenes and particularly his vocabulary in presenting these scenes have misled many critics into believing that he was a feminist. Early criticism (1911-1940's) indicates that Lawrence por­ trays the modern liberated woman favorably. From the beginning of the 1950's to the early 1970's, critics agreed that Lawrence respected and understood women. Recent criticism (latter part of 1970's to date) finds to some extent a tone of cynicism toward women. However, the idea that Lawrence understands and respects women still prevails. Analysis of Lawrence's novels suggests that his heroines are not con­ sistently modern or liberated. These women may be introduced as libe­ rated and intellectual, but in the end they submit to the power of man. Lawrence's motif is the conflict between male and female, which re­ sults in male dominance and female submission. iii TABLE OF CONTENTS ABSTRACT .. iii INTRODUCTION 1 Chapter I. Early Criticism (1911-1940's) .. 7 II. 1950's to Early 1970's . 24 III. Recent Criticism 43 CONCLUSION . 62 BIBLIOGRAPHY 64 iv INTRODUCTION David Herbert Lawrence grew up during the period when the women's li- beration movement had already started. Until Lawrence began his literary career, sexual discussions had been restricted in fiction. Lawrence's novels (particularly Sons and Lovers, The Rainbow, Women In Love and Lady Chatterley's Lover) put an end to this restriction. His depiction of the physical act, his use of sexual vocabulary, and particularly his introduction of intelligent, self-willed women such as Ursula in The Rainbow, Miriam in Sons And Lovers, and Connie in Lady Chatterley's Lover, gave critics the impression that he was a feminist defending the modern woman. And thus the fact that each of these heroines submits to the will of the man at the end of each novel was overlooked. Lawrence's theme was so new in literature that many critics tended to forget that sexual revolution did not necessarily mean the freeing of women from dependence on men. Lawrence criticism since the publication of The White Peacock shows a change of attitude toward the author; however, the idea that he respected and understood women prevails. An early article refers to Mrs. Morel in Sons And Lovers as a woman 1 wh ose c h aracter 1s. a rea 1 tr1ump. h . She is said to be "clear headed, faithful to ideas of right, full of strenth and purpose," but at the same 2 time she does not "lack her spice of shrewishness." Another critic says that she is "strong enough" and is "an interesting woman who reigns supreme over every r1va. 1 . .,J / Th e cr1t1cs. h ave s1mp. 1 y over 1 oo k e d t h e f act t h at },'11rs. 1 2 Morel is a submissive wife who puts up with her drunken husband and becomes a slave to him and to her children. A review of The White Peacock refers to this novel as a "characteristic specimen of the modern fiction which is being 4 written by the feminist hand." Although Lettie and Meg, the heroines, are intellectual, they are only "perfect" when they are tending to their womanly duties such as cooking and taking care of children. Herbert Seligmann points out that "Lawrence illumines modern woman" and that "men have made a goddess 5 of women." Later criticism focuses on the idea that Lawrence respects and unde~- stands women and treats men and women on equal terms. Norman Mailer states 6 that Lawrence "understood women as they had never been understood before." In a study of the Celts and women, Julian Moynahan concludes that Lawrence in "working with the Celt-woman link was working for women's liberation and 7 the liberation of all from the fettered past." Mary Freeman reflects: "For the first time, in Lawrence's writing woman was an equal partner with 8 1 man in social creativity, not by thinking, but by being. " She also says, "Book after book searches for ways in which men and women of different 9 classes and viewpoints can come together and widen the horizon for both." Such criticism is misleading as Lawrence does not display sympathy or re- spect for his heroines. He starts them out as being intellectual but crushes them to nothing. Mrs. Morel, who loves life, dies by the will of her son (he poisons her), because he is tired of her. Paul Morel rejects Miriam because she has a mind of her own and does not want to submit. But she must do so in order to satisfy his male ego and her need to depend on the power of a man. The anti-woman theme of Lady Chatterley's Lover is easily spotted. Connie is an educated, liberated woman, but she "had to be a passive, con- 10 sent1ng. t h.1ng, l.k1 e a s 1 ave, a ph ys1ca. 1 s 1 ave. " The idea of the essential 3 union of male and female has been considered by some critics. Raymond Williams comments that Lawrence's "vital study of relationship, which is the basis of his original contribution to our social thinking, is naturally con­ 11 ducted in the novels and stories." About the marriage of Kate and Cipriano, Keith Sagar says: "This terrible, complete marriage offers her passivity and abandon, the abandoning of everything ... Although Sagar admits the passivity of Kate in this novel, he reflects that it is "against" Lawrence's "standards," which makes his statement in- accurate, as Lawrence probably intended to portray Kate as passive and sub- missive. In Sagar's opinion this submission is "the only salvation from the 13 null freedom." In some criticism, there is even an indication that Law- renee is a feminist. David Cavitch states that "Lawrence attends principally to the female reality, to the degree that some reviewers thought that the 14 unfamiliar author was a woman." Tony Slade declares: "Lawrence's bias in 15 Sons And Lovers, of course, is obviously in favor of the mother." And Hilary Simpson says: "Cooperation with woman is present from the very incep­ 16 tion of Lawrence's writing career." Baruch Ho~an justifies Lawrence's presentation of submissive women by stating that "they want--ambivalently, to 17 be sure--to submit and succumb to the strong male!" Scott Sanders says: "Women in search of liberation defying social restrictions, were to remain 18 central figures in Lawrence's fiction to the end." And T. E. Apter says 19 that women submit merely because of "a need for human connection." It is hard to accept Millett's statement that Lady Chatterley's Lover is a quasi­ 20 religious tract recounting the salvation of one modern woman. " Although Millet reveals Lawrence's sexual politics and his prejudice towards women, she, too, tends to misunderstand his true intentions at times. For example, she asserts that "with Lady Chatterley, Lawrence seems to be making his peace 4 with the female" and that "this last work appears almost an act of atone- 21 ment." Actually Lawrence portrays another totally submissive woman in the character of Connie. It is her submission that gives Mellors satisfaction, and she finds happiness in her lover's satisfaction. Hilary Simpson says that Lawrence's novels entail "a change in the relationship between the 22 sexes," and that the women's subsmission is a "free submission." Simpson perceives The Plumed Serpent as "the beginning of a return to a preoccupation 23 with the relationship between men and women." Lawrence's male chauvinism is not hard to recognize in his novels. His heroines succumb willingly or unwillingly. Almost all of Lawrence's novels portray the battle of the sexes, a battle which always results in the victory of the man. Mrs. Morel, though much more intelligent than her husband, accepts his way of life unquestioningly. Kate submits to Cipriano. Hannele (in The Captain's Doll) and March (in The Fox) also submit blindly. Ursula in The Rainbow, the only female character who resists becoming submissive, finally succumbs to Birkin in Women In Love. Each of the heroinesis the intelligent modern woman unable to resist the power or the will of her male counterpart and thus becomes submissive. NOTES / 1 The Ath eneu~, No. 4469 (1913), p. 668, in Sons And Lovers, ed. Julian Moynahan (New York: The Viking Press, 1968), p. 424. 2 / Sons and Lovers -- A Novel of Quality," in Critics on D. H. Lawrence, ed. W. T. Andrews (Coral Gables, Florida: University of Miami Press), p. 16. 3 / "Mother Love," The 'New York Times, 21 Sept. 1913, in Moynahan, pp .
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