Women in Love - D. H. Lawrence; Howard Jacobson; | …
He was the God of the machine.
Just like Gerald Crich, in Women in Love, Leslie Tempest, in The White Peacock, is an «advocate of machinery which will do the work of men», since he too is an adorer of mechanical instruments and technology, which have made him insensitive to the rhythms of Nature and empty of human feelings.
Despite his being, throughout his literary career, an «appassionato apostolo della natura nel mondo delle macchine», Lawrence was not exempt from contradictions in his ecological crusade, since he was never willing to give up the comforts and advantages of civilization: for instance, he was annoyed and disappointed if his books were not promptly and efficiently commercialized and was very upset if, while travelling, he found a public means of transport, or a private hotel or a restaurant not up to ‘modern’ standards; even unconsciously, he despised uncultured, ‘natural’ people, as shown by the observations he jotted down in his personal notebooks during his travels, such as Twilight in Italy (1916), Sea and Sardinia (1921) and Etruscan Places (1932).
Perhaps it is excessive to describe him as an artist «anticipating the vision of deep ecology» as Paul Delany does in his essay D.H.
Theme of Love Used in Sons and Lovers by D. H Lawrence
Janie at first tried to embrace having a husband with these benefits but even with all the money and land, Janie never loved Logan Killicks and never found true happiness.
H Lawrence’s Sons and Lovers shows his attitude of love or sex and their complexities in the material society during the inter-war and after-war periods.
Cruelty and Love by D. H. Lawrence | Poetry Foundation
The landscape which, since the time of Charles II, had already been altered and was unnaturally spotted by «queer mounds and little black places among the corn-fields and the meadows», at the beginning of the 20th century had become utterly defaced because of the new mining methods.
As Lawrence claimed in his essay Nottingham and the Mining Countryside (1929), these methods had a negative impact on landscape and on human consciousness, condemning both to «ugliness, ugliness, ugliness.
This fierce individualism is the contrary of love for Lawrence: ..
He claimed, paradoxically, that the ordinary collier’s sense of beauty was awakened down in the pit and killed when he came up from the pit itself because «he met with just cold ugliness and raw materialism».
For Lawrence, in England, more than in Italy or in America, the disheartening of men has utterly destroyed their contact with the earth and that kind of archaic, archetypal wisdom rooted in rural life.
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Then, Lawrence wrote, «a sudden change took place», a change that seemingly meant progress, since many new mines were initiated and the railway ran across the valley and the corn fields and up to the hills, but he wanted to emphasize how the promoters of industrial development (the fictional ones were «Carston, Waite and Co.» while the real one he remembers from his childhood was «B.W & Co.») had defaced the rural landscape by opening new pits just to improve their financial assets («six mines like black studs on the countryside, linked by a lop of fine chain, the railway».
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Ecological issues became more prominent in Sons and Lovers (1913), where the narrator’s attention focused on the ugliness of industrialisms by describing the changes suddenly produced by «the large mines of the financiers» and the installation and development of the first industrial coal companies.
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The country is lovely: the man-made England is so vile».
The changes brought about by industrialism and by recent socio-economic changes, as well as the severe ecological damage caused both by pits and their service sector, which had spread «a great scrabble of ugly pettiness over the face of the land» is also found in a few plays (The Widowing of Mrs Holroyd; A Collier’s Friday Night; The Merry-Go-Round; Touch and Go) and short stories about the difficult life of the miner (Strike Pay; The Miner at Home; Her Turn; A Sick Collier; Daughters of the Vicar; The Christening; and Fannie and Annie).