A Brief Description of Characters in D.H Lawrence’s Novel Sons and Lovers

AUTHOR’S DECLARATION

I, THAUHIDA ELITA declare that I am the soul author of this paper. Except where bibliography is made in the text of thus paper contains on material published elsewhere or extracted in whole or in part for paper from a paper by which I have qualified for or awarded another degree.

No other person’s work has been used without due acknowledgement in the main text of the paper. This paper has not been submitted for the award of another degree in any tertiary education.

Signed : Date :

COPYRIGHT DECLARATION

Name : THAUHIDA ELITA

Title of Paper : A Brief Description of Characters in D.H Lawrence’s Novel Sons and Lovers

Qualification : D-III/Ahli Madya Study Program : English

I am willing that my paper should be available for reproduction at the discretion of the Librarian of the Diploma III English Study Program, Faculty of Letters, USU, on the understanding that users are made aware of their obligation under law of the Republic if Indonesia.

Signed : Date :

ABSTRAK

Novel adalah salah satu karya terbaik manusia yang tidak hanya menuliskan cerita yang menarik, tetapi juga memberikan kesan tertentu pada pembacanya. David Herbert Lawrence adalah penulis terkenal dari Inggris yang telah menuliskan banyak novel, salah satunya adalah Sons and Lovers. Penulis memilih novel ini untuk dianalisis karena novel ketiga dari D.H Lawrence ini adalah karya besar di kesusasteraan Inggris. Meskipun sudah menimbulkan banyak kritik dan mendapat kecaman hebat, namun tidak sedikit orang menyambut novel ini dengan gembira. Novel ini ditulis berdasarkan pengalaman dan riwayat hidup pengarangnya sendiri. Dalam novel Sons and Lovers Lawrence menceritakan hubungan tiga laki-laki dan wanita. Di antara tiga pemeran utama wanita itu, peran Mrs Gertrude Morel adalah peran yang paling penting, karena dia mempengaruhi anak-anak lelakinya untuk membenci bapak mereka.

ACKNOWLADGEMENT

Firstly, I would like to thanks and praise to ALLAH SWT almighty who has blessed me with health and capability to complete this paper in order to fulfill one of the requirements to finish my study at English Diploma Study Program, University of North Sumatra.

I would also to thank the Dean of Faculty of Letters, Drs. Syaifuddin, M.A, Ph.D and I wishes to express my sincere gratitude to all Lecturers for their valuable knowledge and guidance and advice during the years of the my study at the faculty and also my sincere gratitude goes to Dra. Hj. Syahyar Hanum, as the Head of English (D-III) Study Program and Drs. Siamir Maralafau, M. Hum as the Secretary of English (D-III) Program who gives me advice to finish this paper.

In particular, I would like to extend my heart full gratitude to my Supervisor in writing this paper Dra. Oliviana Harahap, M. Hum and my paper reader Drs. Mathius C. A Sembiring thanks for time, patience, and suggestions in completing of my paper.

On this occasion, I don’t forget to express my whole hearted thanks to my beloved parents B. Prisyono and Chadijah who have supported and motived me during the years of my study, and for their material and spiritual support. I would like to express my gratitude for their love and support. To my sister and brother, Priska Utami, M. Hafis and my cousins Mimi and Pipit.

To my best friends, Azmi, Imez, Wulan, Rani. Nadia, Dara and all my friends in the college thanks to for being such nice friends and supporting me in life, keep on our friendship forever!!.

Finally, I realized that this paper is still far from being perfect. Therefore, I am ready to welcome creative suggestion and criticism, so that this paper will be much better.

Medan,………2009 The Writer

Thauhida Elita

TABLE OF CONTENTS

Page

AUTHOR’S DECLARATION………... i

COPYRIGHT DECLARATION………... ii

ABSTRACT………... i

ACKNOWLADGEMENT……….. ii

TABLE OF CONTENTS……… iv

1. INTRODUCTION……… 1

1.1 Background of Study………... 1

1.2 Scope of Study………. 2

1.3 Purpose of Study……….. 2

1.4 Significance of Study………... 3

1.5 Method of Study………. 3

2. A BRIEF DESCRIPTION OFCHARACTERIZATION ………….. 4

2.1Characterization………... 4

2.2Division Of Character……… 6

2.2.1 Main Character and Peripheral Character………. 7

2.2.2 Protagonist Character and Antagonist Character……….. 7

2.2.3 Round Character and Flat Character………. 9

2.2.4 Typical and Neutral Character……….. 10

3. A BRIEF DESCRIPTION OF CHARACTER’S D.H LAWRENCE’S NOVEL SONS AND LOVERS……… 12

3.1 Major Characters ………. 12

3.1.1 Paul Morel………. 12

3.1.2 Gertrude Morel (Mrs. Morel)……… 13

3.1.3 Walter Morel (Mr. Morel)………. 15

3.1.4 Miriam Leivers……….. 17

3.1.5 Clara Dawes ……….. 19

3.2 Minor Characters……… 22 3.2.1 Louisa Lily Denys Western (“GYP”)……….. 22 3.2.2 The Other Morel Children………... 23 3.2.3 Baxter Dawes………..

3.2.4 The Leivers………..

24 25

4. CONCLUSIONS AND SUGGESTIONS………. 26

4.1 Conclusions……… 26

4.2 Suggestions……… 27

BIBLIOGRAPHY……….. APPENDICES………

CHAPTER I

INTRODUCTION

1.1The Background of Study

The first motive for the reading of literature is pleasure or entertainment.

Through literature we can easily acknowledge the vital role played in human affairs by writers. All of us who read work of literature will find our knowledge of human affairs broadened and deepened whether in the individual, the social, the racial or the international sphere. A special kind of knowledge which, every society must foster to concern its own culture. Here we use it to signify what is peculiarly characteristic of a particular community. Including its organization, laws institutions, customs, education, religion, work, play, art, and so on. Literature, however, can fill in any gaps and put the whole into meaningful picture. There are four mainly important branches of literature : short stories, novel, poetry, drama.

The main reason for the writer to choose the topic is because D. H. Lawrence’s Novel, Sons and Lovers is one of the landmark novel of twentieth century. When it appeared 1913, it was immediately recognized as the first great modern restatement of the oedipal drama, and it is now widely considered the major work of D. H. Lawrence’s early period. This intensely autobiographical novel recounts the story of Paul Morel, a young artist growing to manhood in a British working-class family rife with conflict. The author’s vivid evocation of the all consuming nature of possessive love and sexual attraction makes this one of his most powerful novels.

1.2 The Scope of Study

A lengthily fictitious prose narrative portraying character and presenting an organized series of events and setting. A work of fiction with fewer than 30,000 to 40,000 words in usually considered a short story, novelette, or tale, but the novel has no actual maximum length. Every novel is an account of life. Every novel involves, characters, setting, plot, theme, style and point of view. It covers action speed no matter how small is apart of a total presentation of that complex combination of both the miner and author that constitutes a human being. Character is a real person which is portrayed imaginations.

1.3 Purpose of Study

This report writing is presented in such a way in order to understand the

novel. This paper is also intended to fulfill one of requirements for the Diploma III in English from The Faculty of Letters, University of North Sumatra.

Beside that, I will also create my deep understanding and it is also an excellent exercise for me to improve my talent to be a scientific writer in the future.

By reading the novel, I hope that I can increase the knowledge in English and rich my vocabularies.

1.4Significance of Study

Sons and Lovers is a great novel because it has the ring of something

written from deeply felt experience of the author. It tells us most about the emotional source of these ideas.

1.5 The Method of Study

The Method used in writing this report writing is Library Research and internet Research. In this research, all the data and information related to the analyses are taken from books and other sources.

A set of interview programmed is impossible being addressed to the author though he is still alive. After having read some valuable novels written by some popular novelist, especially “David Herbert Lawrence’s novel”, I describe it fulfill to my academy. All resources are obtained from private, public, internet and university library in the bibliography.

CHAPTER II

A BRIEF DESCRIPTION OF CHARACTERIZATION 2.1 Characterization

Fiction is strong because it is so real and personal. Most characters have both first and last names; the countries and cities in which they live are modeled and real places; and their actions and interactions are like those which reader themselves have experienced, could experience, or could easily imagine themselves experiencing.

Along this attention to character, fiction is also concerned with the place of individuals in their environments. Fiction is usually about the interaction among people, but it also involves these large interactions either directly or indirectly. Indeed, in a typical work of fiction there are always many forces, both small and large, that influence the ways in which characters meet and deal with their problems.

The judgment of characters may be done from the word they express. Because from their word reflect experience which is related to setting an action expressed in the story. The themselves represent full significance that can be appreciated by literary reader, while reading it in relation to this Taylor, Richard stated (1981 : 62)

“A character is mere construction of words meant to express an idea or view express an idea or view of experience and must be considered in relation of other features of the composition, such as setting and action, before its significant can be appreciated.”

In fiction, a Character may be defined as a verbal representation of a human being. Through action, speech, description, and commentary, authors portray characters who are worth caring about, rooting for, and even loving, although there are also characters you may laugh at, dislike, or even hate.

John Peck and Martin Coyle in their book Literary Terms and Critism ( 1986 : 105 ) explained the definition of character as follows :

According the statements above that character is presumably an imagined

person who inhabits a story – although that simple definition mat admit to a view exceptions, but usually, we recognize, in the main characters of the story, human personalities that become function to us. If the story seems true to life, we generally find that its characters act in a reasonably consistent manner and that the author has provided them with motivation, sufficient reason to behave as they do. This not to claim that all authors insist that their characters behave with absolute consistent for certain contemporary stories feature characters that sometimes act without any apparent reason. Nor can we say taha in good fiction, character never change, or develop.

Character also refers to moral qualities and ethical standards and principles.

In literature, character has several other specific meanings, notably that a person

“Character in literary work are not like real life people

for they have been specially created by authors. When authors create character, they select some aspect of ordinary people. develop some of those aspect whilst playing down other and put them together as they please, the result is not an ordinary person but a fictional character who only exist in the words of literary works.”

represented in a story, novel, play, etc. in seventeenth and eighteenth-century England, a character was a formal sketch or descriptive analysis of a particular virtue or vice as represented in a person, what is a more often called a character sketch.

Finally. Character is the interest for the very personal that we want to see how others people live, how they pursue their goals. We measure our selves by them. Now, let us see what the characterization means. The author may depict his characters in some ways. He may do it directly, or he may make the other characters do it for him or he trusts it to the readers to infer from the passage. Martin Gray ( 1984 : 42 ) says that characterization is the way in which a writer creates his characters in a narrative, so as to attract or repel our sympathy. The varieties of characterization presented in literature are as numerous as those of the real people who surround us in the world ; but different kinds of literature have certain conversation of characterization. Often in dealing with a literary character we learn more of his or her motives than we would ever expect to be certain of in real life; consistency of motivation seems a necessary fact in literary characterization.

2.2 Division of Character

Based on the main role or the importance level, the character in a story divided into two kinds. They are main characters and peripheral character. It also divided into two types based on character’s appearance. They are protagonist and antagonist character.

2.2.1 Main Character and Peripheral Character

Main character is the character that often appears in the almost each event and main character is the important and the special character, so that we fell is so dominates the story. In certain novel, the main character always appears in almost each event and can be found in each page of the novel. When we read a novel or any other literary work, we will usually deal with some character. There is character that classified as an important character and showed in the story continuously. In this case, main character has always related with other character.

Peripheral character is the character that appears once or sometimes in a novel, and may be relatively in short portion. It is called peripheral character often provide, support, and illuminate the protagonist (as Nugriyantoro, Burhan, states in his book Teori Pengkajian Fiksi ).

2.2.2 Protagonist character and Antagonist character

Protagonist or main character is the central figure of the story. It is not

necessarily clear what being this central figure exactly entails. The terms protagonist, main character and hero are variously (and rarely well) defined and depending on the source may denote different concept. The word “protagonist” derives from the Greek protagonists, “one who plays the first part, chief actor.” The term protagonist is defined to be either always synonymous with the term main character, or it is defined as a different concept, in which case a single

character still may (and usually will) serve the function of both the protagonist and main character, or the functions may be split.

In classical and later theater the protagonist is the character undergoing a dramatic change (peripeteia), both of his own character and external circumstances, with the plot either going from order to chaos, as in a tragedy, with reversal of fortune bringing about the downfall of the protagonist, usually an exceptional individual, as a result of a tragic flaw (hamartia) in his personality; or from chaos to order, as in a comedy, with the protagonist going from misfortune to prosperity an from obscurity to prominence.

A story about an exceptional character being a driving force behind the plot, facing an opponent (the antagonist) and undergoing an important change like it is the case with the protagonist may be told from the perspective of different character (who may, but will not necessarily also be the narrator).

The principal opponent of the protagonist is a character known as the antagonist who represents or creates obstacles that the protagonist must overcome. As with protagonists, there may be more than one antagonist in a story.

An antagonist from Greek antagonists, “opponent, competitor, rival” is a character or group of characters, or, sometimes an institution of a happening who represents the opposition against which the protagonist must contend. In the classic style of story where in the action consist of a hero fighting a villain, the antagonist is not always the villain, but simply those who oppose the main character.

2.2.3 Round character and Flat character

Round character is a character who shows many different facets ; often presented in depth and with great detail. The basic of trait of round character are that they recognized, change with, or adjust to circumstances. The round character –usually the main figure in a story –profits from experience and undergoes a change or alteration, which may be shown in (1) an action or actions, (2) the realization of new strength and therefore the affirmation of previous decisions, (3) the acceptance of a new condition, or (4) the discovery of unrecognized truths.(Robert,2003:133). Because round of they usually play a major role in a story.

Round characters are often called the hero or heroine. Many main characters are anything but heroic, however, and it is therefore preferable to use the more neutral word protagonist. The protagonist is central to the action, moves against an antagonist, and exhibits the ability to adapt to new circumstances.

To the degree that around characters are both individual and sometimes unpredictable, and because they undergo change or growth, they are dynamic.

Flat character is a character who usually has only one outstanding trait or feature. In contrast, flat characters do not grow. They remain the same because they may be stupid or insensitive or lacking in knowledge or insight. They end where they begin and are static, not dynamic. But flat characters are not therefore worthless, for they usually highlight the development of the round characters.

Sometimes flat characters are prominent in certain types of literature, such as cowboys, police, and detective stories, where the focus is less on character than

on performance. Such character might be lively engaging, even though they do not develop or change. They must be strong, tough, and clever enough to perform recurring tasks like solving a crime, overcoming a villain, or a finding a treasure. The term stock character refers to characters in these To the degree that stock characters have many common traits, they are representative of their class, or group. Such characters with variations in names, ages, and sexes, have been constant in literature since the ancient Greek.

2.2.4 Typical and Neutral Character

Based on the reflecting story character toward human real life, story character can be distinguished into typical character and neutral character. Typical character is the character who show less individuality and more job’s quality or something represented. Typical character is the description, reflecting or performance toward person or a group of tied people in a committee in real world. The description is indirectly and not whole and reader guess it based on knowledge, experience, and their opinion toward the character in real world and their understanding toward story character in fiction world.

In another side, the neutral character is the story character who has existence for the story. He/She is the real imaginer character who live in fiction world. He/She presents for the story even he/she the owner of the story, action of story. Their presence does not represent or show something out of themselves one who is from

real world. At least, the reader get difficulty to guess it as the represented because there is no evidence of reflecting from reality.

The characterization of story character typically can be seen as reaction, opinion, accepting, guessing of composer toward human character in real world. The opinion may sound negatively as seen in teasing, critical, and even caricatured story.

The typical characterization which is not concerned with intentional and implicit meaning that told by the composer to the reader. The composer not only give reaction or opinion through that typical character, but also shows their attitude toward character, character’s problem or its own action at once.

Typical character in a novel maybe only one or some people, for example the main character or peripheral character. The typication of character does not need involve all their presence even it is impossible. There is only little aspect concerns with their self. For example, their reaction and action about something. The problem or conflict their faces, the action and word, the particular actions, etc.

The typication in other side does not only show she/he has life attitude but there is character who has attitude, characteristic, action, problem, event, etc who told in a novel which has the similarity characteristics happen in real world. Thus, typical character has characteristic such as life, however life like character is not certain typical character.

CHAPTER II

A BRIEF DESCRIPTION OF CHARACTERIZATION 2.1 Characterization

Fiction is strong because it is so real and personal. Most characters have both first and last names; the countries and cities in which they live are modeled and real places; and their actions and interactions are like those which reader themselves have experienced, could experience, or could easily imagine themselves experiencing.

Along this attention to character, fiction is also concerned with the place of individuals in their environments. Fiction is usually about the interaction among people, but it also involves these large interactions either directly or indirectly. Indeed, in a typical work of fiction there are always many forces, both small and large, that influence the ways in which characters meet and deal with their problems.

The judgment of characters may be done from the word they express. Because from their word reflect experience which is related to setting an action expressed in the story. The themselves represent full significance that can be appreciated by literary reader, while reading it in relation to this Taylor, Richard stated (1981 : 62)

“A character is mere construction of words meant to express an idea or view express an idea or view of experience and must be considered in relation of other features of the composition, such as setting and action, before its significant can be appreciated.”

In fiction, a Character may be defined as a verbal representation of a human being. Through action, speech, description, and commentary, authors portray characters who are worth caring about, rooting for, and even loving, although there are also characters you may laugh at, dislike, or even hate.

John Peck and Martin Coyle in their book Literary Terms and Critism ( 1986 : 105 ) explained the definition of character as follows :

According the statements above that character is presumably an imagined

person who inhabits a story – although that simple definition mat admit to a view exceptions, but usually, we recognize, in the main characters of the story, human personalities that become function to us. If the story seems true to life, we generally find that its characters act in a reasonably consistent manner and that the author has provided them with motivation, sufficient reason to behave as they do. This not to claim that all authors insist that their characters behave with absolute consistent for certain contemporary stories feature characters that sometimes act without any apparent reason. Nor can we say taha in good fiction, character never change, or develop.

Character also refers to moral qualities and ethical standards and principles.

In literature, character has several other specific meanings, notably that a person

“Character in literary work are not like real life people

for they have been specially created by authors. When authors create character, they select some aspect of ordinary people. develop some of those aspect whilst playing down other and put them together as they please, the result is not an ordinary person but a fictional character who only exist in the words of literary works.”

represented in a story, novel, play, etc. in seventeenth and eighteenth-century England, a character was a formal sketch or descriptive analysis of a particular virtue or vice as represented in a person, what is a more often called a character sketch.

Finally. Character is the interest for the very personal that we want to see how others people live, how they pursue their goals. We measure our selves by them. Now, let us see what the characterization means. The author may depict his characters in some ways. He may do it directly, or he may make the other characters do it for him or he trusts it to the readers to infer from the passage. Martin Gray ( 1984 : 42 ) says that characterization is the way in which a writer creates his characters in a narrative, so as to attract or repel our sympathy. The varieties of characterization presented in literature are as numerous as those of the real people who surround us in the world ; but different kinds of literature have certain conversation of characterization. Often in dealing with a literary character we learn more of his or her motives than we would ever expect to be certain of in real life; consistency of motivation seems a necessary fact in literary characterization.

2.2 Division of Character

Based on the main role or the importance level, the character in a story divided into two kinds. They are main characters and peripheral character. It also divided into two types based on character’s appearance. They are protagonist and antagonist character.

2.2.1 Main Character and Peripheral Character

Main character is the character that often appears in the almost each event and main character is the important and the special character, so that we fell is so dominates the story. In certain novel, the main character always appears in almost each event and can be found in each page of the novel. When we read a novel or any other literary work, we will usually deal with some character. There is character that classified as an important character and showed in the story continuously. In this case, main character has always related with other character.

Peripheral character is the character that appears once or sometimes in a novel, and may be relatively in short portion. It is called peripheral character often provide, support, and illuminate the protagonist (as Nugriyantoro, Burhan, states in his book Teori Pengkajian Fiksi ).

2.2.2 Protagonist character and Antagonist character

Protagonist or main character is the central figure of the story. It is not

necessarily clear what being this central figure exactly entails. The terms protagonist, main character and hero are variously (and rarely well) defined and depending on the source may denote different concept. The word “protagonist” derives from the Greek protagonists, “one who plays the first part, chief actor.” The term protagonist is defined to be either always synonymous with the term main character, or it is defined as a different concept, in which case a single

character still may (and usually will) serve the function of both the protagonist and main character, or the functions may be split.

In classical and later theater the protagonist is the character undergoing a dramatic change (peripeteia), both of his own character and external circumstances, with the plot either going from order to chaos, as in a tragedy, with reversal of fortune bringing about the downfall of the protagonist, usually an exceptional individual, as a result of a tragic flaw (hamartia) in his personality; or from chaos to order, as in a comedy, with the protagonist going from misfortune to prosperity an from obscurity to prominence.

A story about an exceptional character being a driving force behind the plot, facing an opponent (the antagonist) and undergoing an important change like it is the case with the protagonist may be told from the perspective of different character (who may, but will not necessarily also be the narrator).

The principal opponent of the protagonist is a character known as the antagonist who represents or creates obstacles that the protagonist must overcome. As with protagonists, there may be more than one antagonist in a story.

An antagonist from Greek antagonists, “opponent, competitor, rival” is a character or group of characters, or, sometimes an institution of a happening who represents the opposition against which the protagonist must contend. In the classic style of story where in the action consist of a hero fighting a villain, the antagonist is not always the villain, but simply those who oppose the main character.

2.2.3 Round character and Flat character

Round character is a character who shows many different facets ; often presented in depth and with great detail. The basic of trait of round character are that they recognized, change with, or adjust to circumstances. The round character –usually the main figure in a story –profits from experience and undergoes a change or alteration, which may be shown in (1) an action or actions, (2) the realization of new strength and therefore the affirmation of previous decisions, (3) the acceptance of a new condition, or (4) the discovery of unrecognized truths.(Robert,2003:133). Because round of they usually play a major role in a story.

Round characters are often called the hero or heroine. Many main characters are anything but heroic, however, and it is therefore preferable to use the more neutral word protagonist. The protagonist is central to the action, moves against an antagonist, and exhibits the ability to adapt to new circumstances.

To the degree that around characters are both individual and sometimes unpredictable, and because they undergo change or growth, they are dynamic.

Flat character is a character who usually has only one outstanding trait or feature. In contrast, flat characters do not grow. They remain the same because they may be stupid or insensitive or lacking in knowledge or insight. They end where they begin and are static, not dynamic. But flat characters are not therefore worthless, for they usually highlight the development of the round characters.

Sometimes flat characters are prominent in certain types of literature, such as cowboys, police, and detective stories, where the focus is less on character than

on performance. Such character might be lively engaging, even though they do not develop or change. They must be strong, tough, and clever enough to perform recurring tasks like solving a crime, overcoming a villain, or a finding a treasure. The term stock character refers to characters in these To the degree that stock characters have many common traits, they are representative of their class, or group. Such characters with variations in names, ages, and sexes, have been constant in literature since the ancient Greek.

2.2.4 Typical and Neutral Character

Based on the reflecting story character toward human real life, story character can be distinguished into typical character and neutral character. Typical character is the character who show less individuality and more job’s quality or something represented. Typical character is the description, reflecting or performance toward person or a group of tied people in a committee in real world. The description is indirectly and not whole and reader guess it based on knowledge, experience, and their opinion toward the character in real world and their understanding toward story character in fiction world.

In another side, the neutral character is the story character who has existence for the story. He/She is the real imaginer character who live in fiction world. He/She presents for the story even he/she the owner of the story, action of story. Their presence does not represent or show something out of themselves one who is from

real world. At least, the reader get difficulty to guess it as the represented because there is no evidence of reflecting from reality.

The characterization of story character typically can be seen as reaction, opinion, accepting, guessing of composer toward human character in real world. The opinion may sound negatively as seen in teasing, critical, and even caricatured story.

The typical characterization which is not concerned with intentional and implicit meaning that told by the composer to the reader. The composer not only give reaction or opinion through that typical character, but also shows their attitude toward character, character’s problem or its own action at once.

Typical character in a novel maybe only one or some people, for example the main character or peripheral character. The typication of character does not need involve all their presence even it is impossible. There is only little aspect concerns with their self. For example, their reaction and action about something. The problem or conflict their faces, the action and word, the particular actions, etc.

The typication in other side does not only show she/he has life attitude but there is character who has attitude, characteristic, action, problem, event, etc who told in a novel which has the similarity characteristics happen in real world. Thus, typical character has characteristic such as life, however life like character is not certain typical character.

CHAPTER III

THE DESCRIPTION OF CHARACTER’S IN D.H

LAWRENCE’S NOVEL SONS AND LOVERS

3.1 Major Characters

3.1.1 PAUL MOREL

Paul Morel, the protagonist of Sons and Lovers, is based on the youthful D. H Lawrence. Paul is a young man in the painful process of growing up. He’s also gradually discovering that he’s gifted artist. Most important to the story, Paul is torn between his passion for two young women, the mystical Miriam and Sensual Clara, and his unyielding devotion to a possessive mother.

It can be seen quoted bellow:

‘I even Love Clara, and I did Miriam; but to give my self to them in marriage I couldn’t. I couldn’t belong to them. They seem to want me,and I can’t ever give it them.’ (D.H Lawrence,1913:427)

“Paul was very ill. His mother lay in bed at nights with him; They could not afford a nurse, He grew worse, and the crisis approached. One night he tossed into consciousness in the ghastly, sickly feeling of dissolution, when all the cell in the body seem in intense irritability to be breaking down, and consciousness makes a last flare of struggle , like madness.” ‘ I s’ll die, mother he cried, heaving for breath on the pillow, She lifted him up, crying in small voice :

‘Oh, my son-my son

That brought him to. He realized her. His whole will rose up and arrested him. He put his head on her breast, and took ease of her for love.’ (D.H Lawrene,1913:175)

Another Paul’s conflicts centers on his apparent hatred for his father. We can see Paul’s abhorrence of Walter Morel’s vulgarity and alcoholism, but his imitation of Walter’s carefree spirit and lust for life.

It can be seen quoted bellow:

Paul’s own brutality to Miriam derived from his father’s behavior. Paul is a fascinating mixture of extremes: vitality and despondency, spirituality and sensuality, love and hate, sensitivity and cruelty.

It can be seen quoted bellow:

3.1.2 GERTRUDE MOREL

Gertrude Morel is Paul's mother. Intensely hates her role as Walter Morel's wife and wishes that she were not the wife of a miner. Hates that her husband drinks excessively and cannot control himself. She focuses all of her love and attention from her husband to her two older sons.

‘Paul hates his father. As a boy he had a fervent private religion.

‘Make him stop drinking,’ he prayed every night. ‘Lord my father die,’ he prayed very often. ‘Let him not be killed at pit,’ he prayed when, after tea, the father did not come home from work.(D.H Lawrence,1913 :79)

‘He spent the week with Miriam, and wore her out with his passion before it was gone. He had always, almost willfully, to put her out of count, and act from the brute strength of his own feelings. And he could not do it often, and there remained afterwards always the sense of failure and of death. If he were really with her, he had to put aside himself and his desire. If he would have her, he had to put her aside.’(D.H Lawrence’1913:354)

It can be seen quoted bellow

Mrs. Morel often seems to be doing wonderful things for her children, but the resulting impact on their lives cripples them. Mrs. Morel is so important to William and Paul that all other women come up short when compared to her. First she devotes herself to William and is very jealous of William's relationship with his fiancee. She resents that William allows Lily to treat Annie like a servant.

It can be seen quoted bellow:

After William's death, she clings to Paul. She severely dislikes Miriam and believes that Clara is not good for Paul either. In the last few painful months of her life, she struggles to live for Paul.

It can be seen quoted bellow:

‘She exult-exults, she exults as she carries him from me,’ Mrs. Morel cried in her heart when Paul had gone. She’s not like an ordinary woman, who can leave me my share in him. She wants to absorb him. She wants to draw him out and absorb him till there is nothing left of him, even for himself. He will never be a man on his own feet – she will suck him up.’ So the mother sat,and battled and brooded bitterly.’(D.H Lawrence,1913:237)

‘And Annie stood washing when William and Lily went out the next morning. Mrs. Morel was furious, and sometimes the young catching a glimpse of his sweetheart’s attitude toward his sister, hated her.’(D.H Lawrence,1913:161)

“Then Mrs. Morel loathed her husband, loathed him for days; and he went out and drank; and she cared very little what he did. Only, on his return, she scathed him with her satire.” (D.H Lawrence,1913:23)

Paul and Annie give her morphed to stop her pain and die. It can be seen quoted bellow:

3.1.3 WALTER MOREL

Walter Morel is Paul’s rough, sensual, hard-drinking father. He is a miner. In many ways, he is his wife’s opposite Walter is from a lower class mining family. He is a handsome and fine dancer.

It can be seen quoted bellow:

He speaks the local dialect in contrast to his wife’s refined English

It can be seen quoted bellow:

‘When she spoke to him, it was with a southern pronunciation and a purity of English which thrilled hear to him.‘You don’t look as if you’d come much uncurled,’ she said.‘I’m like a pig’s tail, I curl because I canna help it,’ he laughed, rather boisterously.‘And you are a miner !’ she exclaimed in surprise.‘Yes. I went down when I was a ten‘When you were ten ! And wasn’t very hard?’ she asked. You soon get used to it. You live like th’ mice. An youi pop out at night to see what’s going on.’It makes me feel blind,’ she frowned. ‘Like a moudiwarp !’ he laughed. ‘Yi, an’ there’s chaps as does go round like ‘That evening he got all the morphia pills there were,and took them downstairs. Carefully he crushed them to powder.‘What are you doing?’ said Annie.

‘I s’ll put ‘em in her nigh milk,’

‘Then they both laughed together like two conspiring children. On top of all their horror flickered this little sanity.’(D.H Lawrence,1913:479)

‘He danced well, as if it were natural and joyous in him to dance.’

(D.H Lawrene,1913:17)

‘You know he’s quite a famous one for dancing.’ ‘ I didn’t know he was famous,’ laughed Mrs.Morel. ‘Yea, he is though ! why he run that dancing class in the Miners’ Arms club-room for over five year.’(D.H

His wife hates him because he gets to enjoy himself drinking while she stays home caring for the children. Gertrude’s hatred for her husband begins with his excessive drunken fits and his temper. Morel does not have a close relationship to any his children

It can be seen quoted bellow:

There are two ways a Walter Morel’s failure to be a good husband, father, and family breadwinner. He as a man broken by an uncaring, brutal industrial system and an overly demanding wife. You can also see Walter as his own worst enemy, inviting self-destruction through drink and irresponsibility.

A good deal about Walter’s good deal and bad qualities in Sons and Lovers, while Lawrence seems to concentrate on the character’s violence and irresponsibility, he also gives you a picture of Walter’s warm, lively, loving ways. The key scenes of family happiness revolve around the time when Walter stays out of the pubs and works around the house, hugging his children and telling then tall stories of life down in the mines.

‘He drank rather heavily, thought not more than many miner, and always beer. So that whilst his health was affected, it was never injured.’ (D.H Lawrence,1913 :26) ‘Shut that doo-er !’ bawled Morel furiouslt. Annie banged it behind her, ans was gone ,’if tha opens it again while I’m weshin’ me, I ‘ll ma’e thy jaw rattle,’ hethreatened from the midstof his soapsuds. Paul and the mother frowned to hear him.(D.H Lawrencw,1913:243)

It can be seen quoted bellow:

3.1.4 MIRIAM LEIVERS

Miriam Leivers, Paul’s teenage friend and sweetheart, was modeled after Lawrence’s own young love. Miriam is Paul devoted helpmate in his artistic and spiritual quests. Although beautiful, she takes no pleasure in her physical attributes. Her whole life is geared toward heaven and mystical sense of nature. She loves him more than he loves her. Paul gets frustrated and furious with the way she absorb everything in her soul and cannot fathom why she has to treat everything with so much depth and intensity.

Most of Paul’s families and friends feel put off by Miriam. She’s too intellectual and otherworldly even to know how to hold an ordinary conversation. She lack of normalcy and plain fun is one of the things Paul hates bout her.

There are two warring sides to Miriam her love of Paul Morel and her resistance to her sexual feelings toward him. Her mother taught her that sex is one of the burdens of marriage, and though she doesn’t want to believe it, she can’t help but

‘Morel turned round to him.

‘Have you my boy? What sort of competition?’ ‘Oh, nothing – about famous women.’

‘And How much is the prize, then, as you’ve got?’ ‘It’s a book.’

‘Oh, indeed !’ ‘About birds.’ Hm - hm !’

And that was all. Conversation was impossible between the father and any other member of the family. He was an outsider. He had deniedthe God in him.’(D.H Lawrence.1913:82)

listen to the woman who’s shaped her life. When Miriam finally gives in to Paul, she does it in a spirit of self-sacrifice that disappoints both of them. Miriam’s inability to enjoy sex makes her an incomplete person in the Lawrentian world, where sex as well as spiritually is necessary to an individual’s fulfillment.

It can be seen quoted bellow:

Miriam is very complex character. At times you feel that Lawrence himself is trying to understand exactly what she’s like. The narrator, like Paul, fluctuates between pitying and condemning her. But because there are so many opposing elements to Miriam, you have an opportunity to figure out who she really is and what she wants, through your own investigation and interpretation.

It can be seen quoted bellow:

‘She could feel him falling and lifting through the air, as if he were lying on some force. . . For the moment he was nothing but a piece of swinging stuff: not a particle of him that did not swing.’ (D.H Lawrence,1913 :191)

‘She was very quiet, very calm. She only realized that she was doing something for him. He could hardly bear it. She lay to be sacrificed for him because she loved him so much. And he had to sacrifice her. For a second, he wished he were sexless or dead. Then he shut his eyes again to her, and his blood beat back again.’ (D.H Lawrence,1913:354)

‘She looked up at him, and her eye dilated with anger. ‘Then,’ she said, if it’s true, it’s a great shame.’ (D.H Lawrence,1913:505)

3.1.5 CLARA DAWES

Clara Dawes is sensuous older woman who comes to replace Miriam as the love interesting Paul’s life. It is with Clara that Paul learns the importance of sex as humanity’s deepest link with nature and the cosmos.

Clara is depicted as a new twentieth-century woman. She’s a feminist before it was fashionable. Determined to be independent, she leaves her husband, earns her own living, and has an extramarital affair with Paul. Clara can be viewed as representative of the many post-Victorian women who rebelled against the traditional image of woman as the “weaker sex.” Clara is extraordinarily intelligent, with a good critical mind

It can be seen quoted bellow:

Clara unlike Miriam, is bursting with a lusty, animal passion. She is Paul’s match for fearlessness, sensuality, and intelligence. At the same time, she lacks Miriam’s spirituality and sensitivity.

‘It was exciting. And than sometimes he caught her looking at him from under her brows with an almost furtive, sullen scrutiny, which made him move quickly. Often she met his eyes. But then her own were, as it were, covered over, revealing nothing. She gave him a little, lenient smile. She was to him extraordinarily provocative, because of the knowledge she seemed to possess, and gathered fruit of experience could not attain.’(D.H Lawrence, 1913:324)

‘Clara had always been ‘ikey’ reserved and superior. She never mixed with the girls as one of themselves. If she had occasion to find fault, she did it coolly and with perfect politeness, which the defaulter felt to be a bigger insult than crossness.’(D.H Lawrence’1913:322)

It can be seen quoted bellow:

Their subsequent love affair gives them both a new, expansive sense of life. With Clara, Paul finds the sensual fulfillment he can’t have with either Miriam or his mother. Paul awakens Clara’s sexuality, something she missed with her husband.

Clara is the least successful of the major character s in Sons and Lovers. They believe she comes across merely as a vehicle for Paul’s passion and as a very shallow caricature of the “new woman.”

It can be seen quoted bellow:

‘Clara was, indeed, passionately in love with him, and he with her, as far as passion went. In the daytime he forgot her a good deal. She was working in the same building, but he was not aware of it. He was busy, and her existence was of no matter to him. But all the time she was in her spiral room she had a sense that he was upstairs, a physical sense o his person in the same building. Every second she expected him to come through the door, and when he came it was a shock to her. But he was often short and off hand with her. He gave her his direction in an official manner, keeping her at bay. With what wirs she had left she listened to him, she dared not misunderstand or fail to remember, but it was cruelty to her.’(D.H Lawrence,1913:427)

‘You should have come in here to tea. He said.

Miriam laughed shortly, and Clara turned impatiently aside.

(D.H Lawrence,1913,395)

‘But he didn’t go straight in. halting on the plot of grass he heard his mother’s voice, then Clara’s answer:

What I hate is the bloodhound quality in Miriam.’Yes,’ said mother quickly, ‘yes; doesn’t it make you hate her,now!’(D.HLawrence,1913:396)

3.1.6 WILLIAM MOREL

William is Paul’s order brother. He’s based on Lawrence’s own brother Ernest, who has the pride and joy of his family. Like his fictional counterpart, Ernest died in London at an early age.

William is robust and merry like his father. He’s also intellectual and responsible like his mother.

It can be seen quoted bellow:

He’s Gertrude darling because he distinguishes himself early and remains devoted to her.

It can be seen quoted bellow:

‘It never occurred to him that she might be more hurt at his going away than glad of his departure, her heart began to close and grow dreary with despair. She loved him so much! More than that, she hoped in him so much. Almost she lived by him. She liked to do things for him: she liked to put a cup for his tea and iron his collars, of which he was so proud of his collars. There was no laundry. So she use to rub away at them with her little convex iron, to polish them, till they shone from the sheer pressure of her arm. Now she would not do it for him. Now he was going away. She felt almost as if he were going as well out of her heart. He did not seem to leave her inhabited with himself. That was the grief and the pain to her. He took nearly all himself away.’(D.H Lawrence,1913:73)

‘That William promised me when he went to London, as he’d give me a pound a month. He has given me ten shilling-twice; and now I know he hasn’t farthing if I asked him. Not that I want it. Only just now you’d think he might be able to help with this ticket, which I’d never expected.’ (D.H

‘He was a very clever boy, frank, with rather rough features and real Viking blue eyes.’ (D.H Lawrence,1913 : 68)

‘Meanwhile William grew bigger and stronger and more active.’(D.H Lawrence)

When he goes off to a promising job in London, he meets and falls in love with a shallow-minded beauty. Louisa Lily Denys Western (“Gyp”). She satisfies his passion and fulfills his aspiration to marry someone from a higher social class, but leaves his mind and soul unfulfilled. William chooses such an unsuitable mate because he fears having a woman who might usurp his mother’s place in his heart. Lawrence, in an unpublished foreword to Sons and Lovers.

It can be seen quoted bellow:

William’s death from pneumonia to his internal struggle between his physical passion for a young, frivolous woman and his true love for his mother.

It can be seen quoted bellow:

3.2 Minor Characters

3.2.1 LOUISA LILY DENYS WESTERN (“GYP”)

Gyp is William Morel’s finances. She’s flighty, foolish, but beautiful young woman whose family has fallen upon hard times. Even though she is forced to work as secretary, Gyp still treats people like the Morels as inferiors.

‘William was succeeding with his ‘Gypsy’ as he called her. He asked the girl- her name was Louisa Lily Denys Western.’ (D.H Lawrence,1913 : 125)

‘The doctor came. It was pneumonia, and he said, a peculiar erysipelas, which had started under the chin when the collar chafed, and was spreading over the face. He hope it would not get to brain.’(D.H Lawrence,1913:169)

It can be seen quoted bellow:

3.2.2 THE OTHER MOREL CHILDREN

Annie Morel is Paul’s older sister. She becomes a schoolteacher and marries her childhood friend, Leonard.

It can be seen quoted bellow:

Paul is very close and loving to Annie. Annie and Paul conspire to give their mother morph to help speed up her death.

It can be seen quoted bellow:

‘You look nice enough, if that’s what you want to know,’ he said

(D.H Lawrence,1913: 161)

‘Read a book ! Why, she’s never read a book in her life.’ ‘Oh, go along !’ said Mrs. Morel, cross with the exaggeration. ‘It’s true, mother – she hasn’t,’ he cried, jumping up and taking his old position on the hearthrug. ‘She’s never read a book in her life.’(D.H Lawrence,1913 : 162)

‘You couldn’t tell it was there, mother; you couldn’t tell it was there,’ he repeated over and over. So long as Annie wept for the doll he sat helpless with misery. Her grief wore itself out. She forgave her brother – he was so much upset. But a day or two afterwards she was shocked.’(D.H Lawrence,1913:75)

‘Annie was still a junior teacher in the Board-school, earning about four shilling a week.’

(D.H Lawrence,1913 : 143)

‘Annie who had been teaching away, was at home again. She was still a tomboy; and she was engaged to be married.’(D.H Lawrence.1913:241)

Arthur Morel is Paul younger brother. He’s much like Walter Morel, an intellectual and fun-loving. He marries Beatrice Wyld, a friend of Annie’s.

It can be seen quoted bellow:

3.2.3 BAXTER DAWES

Clara’s husband. He also work at Thomas Jordan’s. He and Paul have a tense, hateful relationship, yet they are bound to each other for some reason After they fight each other a couple of time, they manage to form a companionship. Dawes and Paul are sympathetic to each other’s suffering and worries.

It can be seen quoted bellow:

‘He was a quick. Careless, impulsive boys, a good deal like his father. He hated study made a great moan if he had to work, and escaped as soon as possible to his sport again.’(D.H Lawrence,1913 :142)

‘From the first day he had hate Paul. Finding the lad’s impersonal, deliberate gaze of an artist on his face, he got in to a fury.’ (D.H Lawrence,1913 :229)

‘Since he was a superior employee at Jordan’s, it was the thing for Paul to offer Dawes a drink.’

‘What’ll you have?’ he asked of him

‘Nowt wi’ a bleeder like you !’replied the man.’ (D.H Lawrence,1913 : 416)

3.2.4 THE LEIVERS

The Leivers are Miriam’s family. They provide a home away from home for Paul. Paul is very close to Mrs. Leivers, a flighty, mystical woman very different from his pragmatic mother.

It can be seen quoted bellow:

He is also friendly with the strong, rationalistic Edgar, Miriam’s oldest brother. The Leivers family give Paul much support.

It can be seen quoted bellow:

‘Edgar was a rationalist, who was curious, and had a sort of scientific interest in life. It was a great bitterness to Miriam to see herself deserted by Paul for Edgar, who seemed so much lower. But the youth was very happy with her elder brother. The two men spent afternoos together on the land or in the loft doing carpentry, when it rained.’(D.H Lawrence,1913 : 195)

I’m sure you’re tired and cold,’ she said. Let me take your coat. It’s heavy. You mustn’t walk far in it.’

‘She helped him off with his coat. He was quite unused to such attention. She was almost smothered under its weight.

CHAPTER IV

CONCLUSION AND SUGGESTION

4.1 Conclusion

After reading the novel Sons and Lovers by D.H Lawrence, I can conclude some conclusion:

1. I have mentioned above that D.H Lawrence has written a number of novels and short stories. We can find some advantages by reading the novel like the value of daily life. Through the story we can search the solution of many problems. 2. Life is not easy to mixed two human being in one idea.

3. Mother influence her children in wrong way.

4. Husband must give his attention to his family and truth to his family.

5. I believe that it is still difficult for her to understand and English novel, but by hard efforts, she has been able to finish this paper as one of the requirement to acquire English D-III certificate at University of North Sumatra. Therefore for those who want to analyze literary works, I must work hard and have efforts in understanding a topic discussion.

4.2 Suggestion

After analyzing Sons and Lovers, I would hope that the readers and audiences can more clearly understand about the character and who has not read the novel will set interested. This paper also can be as a guide to other students in analyzing other literary works especially novel. I would hope that other students can analyze Sons and Lovers novel from other elements of literary works, such as theme, plot, setting, point of view, and especially characterization.

And I want to add that this novel consist of positive message to the reader. In family we must understand of love to each other. Believe to what they have done.

BIBLIOGRAPHY

Echols, John M and Hasan Shadilly, 1998. Kamus Inggris-Indonesia, Jakarta: PT. Gramedia Pustaka Utama.

Hamalian. Leo and Karl.Frederick R, 1996. The Shape of Fiction British and

America Short Stories, San Franscisco, Toronto: McGraw-Hill

Book Company New York.

http://www.google.co.id.23 August 2008

Lawrence, D. H, 1913. Sons and Lovers, England : Penguin Books Ltd

Nurgiyantoro, Burhan, 1998. Teori Pengkajian Fiksi, Yogyakarta: Gajah Mada University.

Oliviana, 2008. Introduction To English Literature, Medan: Universitas, Sumarera Utara.

Peck, John and Martin Coyle,1986. Literary Terms and Critism, Beirut: Longman Group Limited.

Robert. Edgar V and Jacobs. Henry E, 2003. An Introduction to Reading and

Writing, PRENTICE HALL,Englewood Cliffs, New Jersey:

Lehman College The City of University of New York.

Salgado, Gamini, 1968. A Case Book : Sons and Lovers D.H Lawrence, London : Macmilan Publisher Ltd.

Sanger, Keith, 2001. The Languange of Fiction, Roitledge: Taylor and Francis Group.

Taylor, Richard. 1981. Understanding the Element of Literature. Hongkong: The MacMilln Company.

www.wikipedia.com

APPENDINCES

SUMMARY

The first part of the novel focuses on Mrs. Morel and her unhappy marriage to a drinking miner. She has many arguments with her husband, some of which have painful results: on separate occasions, she is locked out of the house and hit in the head with a drawer. Estranged from her husband, Mrs. Morel takes comfort in her four children, especially her sons. Her oldest son, William, is her favorite, and she is very upset when he takes a job in London and moves away from the family. When William sickens and dies a few years later, she is crushed, not even noticing the rest of her children until she almost loses Paul, her second son, as well. From that point on, Paul becomes the focus of her life, and the two seem to live for each other.

Paul falls in love with Miriam Leivers, who lives on a farm not too far from the Morel family. They carry on a very intimate, but purely platonic, relationship for many years. Mrs. Morel does not approve of Miriam, and this may be the main reason that Paul does not marry her. He constantly wavers in his feelings toward her.

Paul meets Clara Dawes, a suffragette who is separated from her husband, through Miriam. As he becomes closer with Clara and they begin to discuss his

relationship with Miriam, she tells him that he should consider consummating their love and he returns to Miriam to see how she feels.

off with her. She still feels that his soul belongs to her, and, in part agrees reluctantly. He realizes that he loves his mother most, however.

After breaking off his relationship with Miriam, Paul begins to spend more time with Clara and they begin an extremely passionate affair. However, she does not want to divorce her husband Baxter, and so they can never be married. Paul's mother falls ill and he devotes much of his time to caring for her. When she finally dies, he is broken-hearted and, after a final plea from Miriam, goes off alone at the end of the novel.

Biography of D. H. Lawrence

Lawrence, age 21 (1906)

David Herbert Richards Lawrence (11 September 1885 – 2 March 1930) was an English author, poet, playwright, essayist and literary critic. His collected works represent an extended reflection upon the dehumanizing effects of

modernity and industrialization. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, human sexuality and instinct. Lawrence's opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage."[1] At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an

obituary notice, challenged this widely held view, describing him as, "The greatest imaginative novelist of our generation."[2] Later, the influential Cambridge critic

F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. Lawrence is now generally valued as a visionary thinker and significant representative of modernism in English literature, although some

feminists object to the attitudes toward women and sexuality found in his works. The fourth child of Arthur John Lawrence, a barely literate miner, and Lydia (née Beardsall), a former schoolmistress,[3] Lawrence spent his formative

Eastwood, 8a Victoria Street, is now a museum.[4] His working class background and the tensions between his parents provided the raw material for a number of his early works. Lawrence would return to this locality, which he was to call "the country of my heart,"[5] as a setting for much of his fiction.The young Lawrence attended Beauvale Board School (now renamed Greasley Beauvale D. H. Lawrence Primary School in his honor) from 1891 until 1898, becoming the first local pupil to win a County Council scholarship to Nottingham High School in nearby Nottingham. There is a house in the Junior School named after him. He left in 1901, working for three months as a junior clerk at Haywood's surgical appliances factory before a severe bout of pneumonia ended this career. Whilst convalescing he often visited Haggs Farm, the home of the Chambers family and began a friendship with Jessie Chambers. An important aspect of this relationship with Jessie and other adolescent acquaintances was a shared love of books, an interest that lasted throughout Lawrence's life. In the years 1902 to 1906 Lawrence served as a pupil teacher at the British School, Eastwood. He went on to become a full-time student and received a teaching certificate from University College Nottingham in 1908. During these early years he was working on his first poems, some short stories, and a draft of a novel, Laetitia, that was eventually to become The White Peacock. At the end of 1907 he won a short story competition in the Nottingham Guardian, the first time that he had gained any wider recognition for his literary talents.

In the autumn of 1908 the newly qualified Lawrence left his childhood home for London. While teaching in Davidson Road School, Croydon, he continued writing. Some of the early poetry, submitted by Jessie Chambers, came to the attention of Ford Madox Ford, editor of the influential The English Review. Hueffer then commissioned the story Odour of Chrysanthemums which, when published in that magazine, encouraged Heinemann, a London publisher, to ask Lawrence for more work. His career as a professional author now began in earnest, although he taught for a further year. Shortly after the final proofs of his first published novel The White Peacock appeared in 1910, Lawrence's mother died. She had been ill with cancer. The young man was devastated and he was to

describe the next few months as his "sick year." It is clear that Lawrence had an extremely close relationship with his mother and his grief following her death became a major turning point in his life, just as the death of Mrs. Morel forms a major turning point in his autobiographical novel Sons and Lovers, a work that draws upon much of the writer's provincial upbringing.

In 1911 Lawrence was introduced to Edward Garnett, a publisher's reader, who acted as a mentor, provided further encouragement, and became a valued friend, as Garnett's son David was also. Throughout these months the young author revised Paul Morel, the first draft of what became Sons and Lovers. In addition, a teaching colleague, Helen Corke, gave him access to her intimate diaries about an unhappy love affair, which formed the basis of The Trespasser, his second novel. In November 1911, pneumonia struck once again. After recovering his health Lawrence decided to abandon teaching in order to become a full time author. He also broke off an engagement to Louie Burrows, an old friend from his days in Nottingham and Eastwood.

In March 1912 Lawrence met Frieda Weekley (nee von Richthofen), with whom he was to share the rest of his life. She was six years older than her new lover, married to Lawrence's former modern languages professor from Nottingham University, Ernest Weekley, and with three young children. She

eloped with Lawrence to her parents' home in Metz, a garrison town in Germany near the disputed border with France. Their stay here included Lawrence's first brush with militarism, when he was arrested and accused of being a British spy, before being released following an intervention from Frieda Weekley's father. After this encounter Lawrence left for a small hamlet to the south of Munich, where he was joined by Weekley for their "honeymoon," later memorialized in the series of love poems entitled Look! We Have Come Through (1917).

From Germany they walked southwards across the Alps to Italy, a journey that was recorded in the first of his travel books, a collection of linked essays entitled Twilight in Italy and the unfinished novel, Mr Noon. During his stay in Italy, Lawrence completed the final version of Sons and Lovers that, when published in 1913, was acknowledged to represent a vivid portrait of the realities of working

class provincial life. Lawrence though, had become so tired of the work that he allowed Edward Garnett to cut about a hundred pages from the text.

Lawrence and Frieda returned to England in 1913 for a short visit. At this time, he now encountered and befriended critic John Middleton Murry and New Zealand-born short story writer Katherine Mansfield. Lawrence and Weekley soon went back to Italy, staying in a cottage in Fiascherino on the Gulf of Spezia. Here he started writing the first draft of a work of fiction that was to be transformed into two of his better-known novels, The Rainbow and Women in Love. Eventually, Weekley obtained her divorce. The couple returned to England at the outbreak of World War I and were married on 13 July 1914.

Weekley's German parentage and Lawrence's open contempt for militarism meant that they were viewed with suspicion in wartime England and lived in near destitution. The Rainbow (1915) was suppressed after an investigation into its alleged obscenity in 1915. Later, they were even accused of spying and signaling to German submarines off of the coast of Cornwall where they lived at Zennor. During this period he finished Women in Love. In it Lawrence explores the destructive features of contemporary civilization through the evolving relationships of four major characters as they reflect upon the value of the arts, politics, economics, sexual experience, friendship and marriage. This book is a bleak, bitter vision of humanity and proved impossible to publish in wartime conditions. Not published until 1920, it is now widely recognised as an English novel of great dramatic force and intellectual subtlety.

In late 1917, after constant harassment by the military authorities, Lawrence was forced to leave Cornwall at three days' notice under the terms of the Defence of the Realm Act (DORA). This persecution was later described in an autobiographical chapter of his Australian novel Kangaroo, published in 1923. He spent some months in early 1918 in the small, rural village of Hermitage near

Newbury, Berkshire. He then lived for just under a year (mid-1918 to early 1919) at Mountain Cottage, Middleton-by-Wirksworth, Derbyshire, where he wrote one of his most poetic short stories, The Wintry Peacock. Until 1919 he was compelled by poverty to shift from address to address and barely survived a

severe attack of influenza. After the traumatic experience of the war years, Lawrence began what he termed his 'savage pilgrimage', a time of voluntary exile. He escaped from England at the earliest practical opportunity, to return only twice for brief visits, and with his wife spent the remainder of his life travelling. This wanderlust took him to Australia, Italy, Ceylon (now called Sri Lanka), North America, Mexico and southern France. Lawrence abandoned England in November 1919 and headed south; first to the Abruzzi region in central Italy and then onwards to Capri and the Fontana Vecchia in Taormina, Sicily. From Sicily he made brief excursions to Sardinia, Monte Cassino, Malta, Northern Italy, Austria and Southern Germany. Many of these places appeared in his writings. New novels included The Lost Girl (for which he won the James Tait Black Memorial Prize for fiction), Aaron's Rod and the fragment entitled Mr Noon (the first part of which was published in the Phoenix anthology of his works, and the entirety in 1984). He experimented with shorter novels or novellas, such as The Captain's Doll, The Fox and The Ladybird. In addition, some of his short stories were issued in the collection England, My England and Other Stories. During these years he produced a number of poems about the natural world in Birds, Beasts and Flowers. Lawrence is widely recognized as one of the finest travel writers in the English language. Sea and Sardinia, a book that describes a brief journey from Taormina undertaken in January 1921, is a recreation of the life of the inhabitants of this part of the Mediterranean. Less well known is the brilliant memoir of Maurice Magnus (Memoirs of the Foreign Legion), in which Lawrence recalls his visit to the monastery of Monte Cassino. Other non-fiction books include two studies of Freudian psychoanalysis and Movements in European History, a school textbook that was published under a pseudonym, a reflection of his blighted reputation in England.aaaaa

In late February 1922 the Lawrences left Europe behind with the intention of migrating to the United States. They sailed in an easterly direction, first to Ceylon and then on to Australia. A short residence in Darlington, Western Australia, which included an encounter with local writer Mollie Skinner, was followed by a brief stop in the small coastal town of Thirroul, New South Wales,

during which Lawrence completed Kangaroo, a novel about local fringe politics that also revealed a lot about his wartime experiences in Cornwall. The Lawrences finally arrived in the U.S. in September 1922. Here they encountered Mabel

Dodge Luhan, a prominent socialite, and considered establishing a utopian

community on what was then known as the 160-acre (0.65 km2) Kiowa Ranch near Taos, New Mexico. They acquired the property, now called the D. H. Lawrence Ranch, in 1924 in exchange for the manuscript of Sons and Lovers. He stayed in New Mexico for two years, with extended visits to Lake Chapala and

Oaxaca in Mexico.

While in the U.S., Lawrence rewrote and published Studies in Classic American Literature, a set of critical essays begun in 1917, and later described by

Edmund Wilson as "one of the few first-rate books that have ever been written on the subject." These interpretations, with their insights into symbolism, New England Transcendentalism and the puritan sensibility, were a significant factor in the revival of the reputation of Herman Melville during the early 1920s. In addition, Lawrence completed a number of new fictional works, including The Boy in the Bush, The Plumed Serpent, St Mawr, The Woman who Rode Away,

The Princess and assorted short stories. He also found time to produce some more travel writing, such as the collection of linked excursions that became Mornings in Mexico.A brief voyage to England at the end of 1923 was a failure and he soon returned to Taos, convinced that his life as an author now lay in America. However, in March 1925 he suffered a near fatal attack of malaria and

tuberculosis whilst on a third visit to Mexico. Although he eventually recovered, the diagnosis of his condition obliged him to return once again to Europe. He was dangerously ill and poor health limited his ability to travel for the remainder of his life. The Lawrences made their home in a villa in Northern Italy, living near to

Florence while he wrote The Virgin and the Gipsy and the various versions of

Lady Chatterley's Lover (1928). The latter book, his last major novel, was initially published in private editions in Florence and Paris and reinforced his notoriety. Lawrence responded robustly to those who claimed to be offended, penning a

describe the next few months as his "sick year." It is clear that Lawrence had an extremely close relationship with his mother and his grief following her death became a major turning point in his life, just as the death of Mrs. Morel forms a major turning point in his autobiographical novel Sons and Lovers, a work that draws upon much of the writer's provincial upbringing.

In 1911 Lawrence was introduced to Edward Garnett, a publisher's reader, who acted as a mentor, provided further encouragement, and became a valued friend, as Garnett's son David was also. Throughout these months the young author revised Paul Morel, the first draft of what became Sons and Lovers. In addition, a teaching colleague, Helen Corke, gave him access to her intimate diaries about an unhappy love affair, which formed the basis of The Trespasser, his second novel. In November 1911, pneumonia struck once again. After recovering his health Lawrence decided to abandon teaching in order to become a full time author. He also broke off an engagement to Louie Burrows, an old friend from his days in Nottingham and Eastwood.

In March 1912 Lawrence met Frieda Weekley (nee von Richthofen), with whom he was to share the rest of his life. She was six years older than her new lover, married to Lawrence's former modern languages professor from Nottingham University, Ernest Weekley, and with three young children. She eloped with Lawrence to her parents' home in Metz, a garrison town in Germany near the disputed border with France. Their stay here included Lawrence's first brush with militarism, when he was arrested and accused of being a British spy, before being released following an intervention from Frieda Weekley's father. After this encounter Lawrence left for a small hamlet to the south of Munich, where he was joined by Weekley for their "honeymoon," later memorialized in the series of love poems entitled Look! We Have Come Through (1917).

From Germany they walked southwards across the Alps to Italy, a journey that was recorded in the first of his travel books, a collection of linked essays entitled Twilight in Italy and the unfinished novel, Mr Noon. During his stay in Italy, Lawrence completed the final version of Sons and Lovers that, when published in 1913, was acknowledged to represent a vivid portrait of the realities of working

class provincial life. Lawrence though, had become so tired of the work that he allowed Edward Garnett to cut about a hundred pages from the text.

Lawrence and Frieda returned to England in 1913 for a short visit. At this time, he now encountered and befriended critic John Middleton Murry and New Zealand-born short story writer Katherine Mansfield. Lawrence and Weekley soon went back to Italy, staying in a cottage in Fiascherino on the Gulf of Spezia. Here he started writing the first draft of a work of fiction that was to be transformed into two of his better-known novels, The Rainbow and Women in Love. Eventually, Weekley obtained her divorce. The couple returned to England at the outbreak of World War I and were married on 13 July 1914.

Weekley's German parentage and Lawrence's open contempt for militarism meant that they were viewed with suspicion in wartime England and lived in near destitution. The Rainbow (1915) was suppressed after an investigation into its alleged obscenity in 1915. Later, they were even accused of spying and signaling to German submarines off of the coast of Cornwall where they lived at Zennor. During this period he finished Women in Love. In it Lawrence explores the destructive features of contemporary civilization through the evolving relationships of four major characters as they reflect upon the value of the arts, politics, economics, sexual experience, friendship and marriage. This book is a bleak, bitter vision of humanity and proved impossible to publish in wartime conditions. Not published until 1920, it is now widely recognised as an English novel of great dramatic force and intellectual subtlety.

In late 1917, after constant harassment by the military authorities, Lawrence was forced to leave Cornwall at three days' notice under the terms of the Defence of the Realm Act (DORA). This persecution was later described in an autobiographical chapter of his Australian novel Kangaroo, published in 1923. He spent some months in early 1918 in the small, rural village of Hermitage near Newbury, Berkshire. He then lived for just under a year (mid-1918 to early 1919) at Mountain Cottage, Middleton-by-Wirksworth, Derbyshire, where he wrote one of his most poetic short stories, The Wintry Peacock. Until 1919 he was compelled by poverty to shift from address to address and barely survived a

severe attack of influenza. After the traumatic experience of the war years, Lawrence began what he termed his 'savage pilgrimage', a time of voluntary exile. He escaped from England at the earliest practical opportunity, to return only twice for brief visits, and with his wife spent the remainder of his life travelling. This wanderlust took him to Australia, Italy, Ceylon (now called Sri Lanka), North America, Mexico and southern France. Lawrence abandoned England in November 1919 and headed south; first to the Abruzzi region in central Italy and then onwards to Capri and the Fontana Vecchia in Taormina, Sicily. From Sicily he made brief excursions to Sardinia, Monte Cassino, Malta, Northern Italy, Austria and Southern Germany. Many of these places appeared in his writings. New novels included The Lost Girl (for which he won the James Tait Black Memorial Prize for fiction), Aaron's Rod and the fragment entitled Mr Noon (the first part of which was published in the Phoenix anthology of his works, and the entirety in 1984). He experimented with shorter novels or novellas, such as The Captain's Doll, The Fox and The Ladybird. In addition, some of his short stories were issued in the collection England, My England and Other Stories. During these years he produced a number of poems about the natural world in Birds, Beasts and Flowers. Lawrence is widely recognized as one of the finest travel writers in the English language. Sea and Sardinia, a book that describes a brief journey from Taormina undertaken in January 1921, is a recreation of the life of the inhabitants of this part of the Mediterranean. Less well known is the brilliant memoir of Maurice Magnus (Memoirs of the Foreign Legion), in which Lawrence recalls his visit to the monastery of Monte Cassino. Other non-fiction books include two studies of Freudian psychoanalysis and Movements in European History, a school textbook that was published under a pseudonym, a reflection of his blighted reputation in England.aaaaa

In late February 1922 the Lawrences left Europe behind with the intention of migrating to the United States. They sailed in an easterly direction, first to Ceylon and then on to Australia. A short residence in Darlington, Western Australia, which included an encounter with local writer Mollie Skinner, was followed by a brief stop in the small coastal town of Thirroul, New South Wales,

during which Lawrence completed Kangaroo, a novel about local fringe politics that also revealed a lot about his wartime experiences in Cornwall. The Lawrences finally arrived in the U.S. in September 1922. Here they encountered Mabel Dodge Luhan, a prominent socialite, and considered establishing a utopian community on what was then known as the 160-acre (0.65 km2) Kiowa Ranch near Taos, New Mexico. They acquired the property, now called the D. H. Lawrence Ranch, in 1924 in exchange for the manuscript of Sons and Lovers. He stayed in New Mexico for two years, with extended visits to Lake Chapala and Oaxaca in Mexico.

While in the U.S., Lawrence rewrote and published Studies in Classic American Literature, a set of critical essays begun in 1917, and later described by Edmund Wilson as "one of the few first-rate books that have ever been written on the subject." These interpretations, with their insights into symbolism, New England Transcendentalism and the puritan sensibility, were a significant factor in the revival of the reputation of Herman Melville during the early 1920s. In addition, Lawrence completed a number of new fictional works, including The Boy in the Bush, The Plumed Serpent, St Mawr, The Woman who Rode Away, The Princess and assorted short stories. He also found time to produce some more travel writing, such as the collection of linked excursions that became Mornings in Mexico.A brief voyage to England at the end of 1923 was a failure and he soon returned to Taos, convinced that his life as an author now lay in America. However, in March 1925 he suffered a near fatal attack of malaria and tuberculosis whilst on a third visit to Mexico. Although he eventually recovered, the diagnosis of his condition obliged him to return once again to Europe. He was dangerously ill and poor health limited his ability to travel for the remainder of his life. The Lawrences made their home in a villa in Northern Italy, living near to Florence while he wrote The Virgin and the Gipsy and the various versions of Lady Chatterley's Lover (1928). The latter book, his last major novel, was initially published in private editions in Florence and Paris and reinforced his notoriety. Lawrence responded robustly to those who claimed to be offended, penning a

large number of satirical poems, published under the title of "Pansies" and "Nettles", as well as a tract on Pornography and Obscenity.

The return to Italy allowed Lawrence to renew old friendships; during these years he was particularly close to Aldous Huxley, who was to edit the first collection of Lawrence's letters after his death, along with a memoir. With artist Earl Brewster, Lawrence visited a number of local archaeological sites in April 1927. The resulting essays describing these visits to old tombs were written up and collected together as Sketches of Etruscan Places, a beautiful book that contrasts the lively past with Mussolini's fascism.

Lawrence continued to produce fiction, including short stories and The Escaped Cock (also published as The Man Who Died), an unorthodox reworking of the story of Christ's Resurrection. During these final years Lawrence renewed a serious interest in oil painting. Official harassment persisted and an exhibition of some of these pictures at the Warren Gallery in London was raided by the British police in mid 1929 and a number of works were confiscated. Nine of the Lawrence oils have been on permanent display in the La Fonda Hotel in Taos since shortly after his death. They hang in a small office behind the hotel's front desk and are available for viewing. Lawrence continued to write despite his failing health. In his last months he wrote numerous poems, reviews and essays, as well as a robust defence of his last novel against those who sought to suppress it. His last significant work was a reflection on the Book of Revelation, Apocalypse. After being discharged from a sanatorium, he died at the Villa Robermond in Vence, France due to complications from tuberculosis. Frieda Weekley returned to live on the ranch in Taos and later her third husband brought Lawrence's ashes to rest there in a small chapel set amid the mountains of New Mexico.

Lawrence is perhaps best known for his novels Sons and Lovers, The Rainbow, Women in Love and Lady Chatterley's Lover. Within these Lawrence explores the possibilities for life and living within an Industrial setting. In particular Lawrence is concerned with the nature of relationships that can be had within such settings. Though often classed as a realist, Lawrence's use of his characters can be better understood with reference to his philosophy. His use of

sexual activity, though shocking at the time, has its roots in this highly personal way of thinking and being. It is worth noting that Lawrence was very interested in human touch behaviour (see Haptics) and that his interest in physical intimacy has its roots in a desire to restore our emphasis on the body, and re-balance it with what he perceived to be western civilization's slow process of over-emphasis on the mind.