Use of Symbols in Sons and Lovers by D. H. Lawrence

  D. H. Lawrence makes an extensive use of symbols in his Sons and Lovers. Symbolism means investing a remark or a situation or an incident or an object or even a person with a double significance or a two-fold meaning. One meaning lies on the very surface and is easily understood by the reader. The other or symbolic meaning is hidden in the writing and becomes known to the reader only after a good deal of thought. D. H. Lawrence probes deep into the consciousness of his characters with a clever use of symbols. A proper understanding of these symbols leads to a better understanding of the novel and arises appreciation from the reader. Symbolism is an essential feature of Lawrence’s art, because a symbol “is the expression of a thing not to be characterized in any other better way.” Thus, in order to clearly describe the hidden and the concealed, Lawrence makes use of symbols which in their turn also increase the expressiveness of his language.

There is an abundance of symbols in Sons and Lovers; and practically all the symbolism here has consciously been introduced by the author. Now let’s turn to some of the symbols used by D. H. Lawrence.

The symbol of the Ash-Tree

The ash-tree has been effectively used by Lawrence to describe the sinister and dark aspects of life. It is symbolic of the dark, mysterious forces of nature which are the foreboders of tragedy in human-life. It is symbolic of the disharmony that exists between the husband and wife in the Morel family. The persistent bickering of the parents becomes a terror for the children, who lying awake upstairs are unable to coherently apprehend as to what would happen ultimately. The tree becomes a symbol of the inner terror of children who strike and moan inwardly. It also prophesies the future doom which is to beset the Morel family.

The Symbol of the Coal-pits

The entire life of the mining community depicted in the novel depends upon the coal-pits which stand on the horizon. The coat-pits are not indispensable for a better understanding of the novel but they are symbolic of a particular attitude towards life. Walter Morel with his irrational life principle has a close association with them. The descent and ascent of the coal pits is a symbol of the sexual rhythm or a rhythm of sleep and awakening. The naturalness of the coal pits stand in contrast against the artificial way of life of the sophisticated people.

The symbol of the Swing

The Swing at Willey Farm is symbolic of the love-hate relation that is characteristic of Paul-Miriam relationship. Similar to the background and forward movement of the swing, Paul loves Miriam for one thing but suddenly hates her for another. Though, his hatred for her is also transitory and is soon replaced with love. Hence, the movement of the swing symbolizes, the two extremes of their attitude towards each other i.e. love for one moment and hate the other moment. It is also expressive of their inability to hold on to each other for a very long time.

Miriam’s inability to attain a certain height on the swing as Paul does is significant of her sexual frigidity. As on the swing she fails to attain the sexual heights in her physical relationship with Paul and performs it as a religious duty. Thus, she fails to provide Paul with the physical fulfillment that he is desirous of.

The symbol of the Hens

The symbolic pecking of the hens at the hands of Paul and Miriam stands in juxtaposition to the sexuality thwarted relationship that Miriam is going to have with Paul in the later part of the novel. Miriam’s sexual inhibition is emphasized here; in spite of Paul’s persistence that it does not hurt it only nips, Miriam is afraid to let the hen peck at her hand. This scene symbolically forecasts the disastrous failure that Miriam is going to face in attaining sexual fulfillment with Paul.

The Symbol of the blood tie between Paul and Mrs Morel

In the very beginning of the novel when Mrs. Morel has a quarrel with her husband, in an outrage of anger she is hit with a drawer which is flung at her. The wound bleeds profusely and two drops of blood fall on the hair of Paul who is in the hands of Mrs.Morel at the moment. The blood is not cleared away but it gets soaked in to the scalp of Paul. This small incident is symbolic of the disillusioned and tattering relationship of the husband and wife and the subsequent reversal of attitude of Mrs Morel towards her husband and the ultimate substitution of her sons in place of her husband.  The scene is also symbolic of the contract of soul between the mother and son which is sealed with a blood tie.

The symbol of the Orange Moon

The emotional lives of the characters of Lawrence are much influenced by the active participation of nature. Walking together one evening Paul and Miriam witness a large orange moon staring at them. The passion in Paul is aroused by the sight of the moon. Though Miriam is also deeply moved but Paul fails to get across to her. Violent sexual passion is aroused in Paul, thus the orange moon becomes a symbol of the aroused passion in Paul.

Nature’s Benediction

Lawrence makes nature send its benediction on his characters who wish to live willfully or upon those who wish to attain happiness through their vital instinct. Before the birth of Paul, Mrs Morel is once shut out  of the house after a quarrel, by her husband into the garden, here she feels the presence of nature under the “blinding” August moon. She is expecting Paul and she feels herself melting away I the moon light along with the child. Later when she is allowed into the house by Morel, she smiles upon herself seeking her face smeared with the pollen dust of lilies. The yellow dust is symbolic of the kiss of benediction for both the mother and hild and it also confirms their vitality.

Similarly on another occasion Paul rises after making love to Clara on the bank of the river. There lie on the ground many scarlet, carnation petals like splashed drops of blood, and red small splashes fall from her bosom, streaming down her dress to her feet. This is again symbolic of the benediction of flowers showered upon them for their perfect union. In still another occasion, the rose bush is used as a symbol of the witness to the spiritual communion of Paul and Miriam which they achieve while watching the rose bush together in perfect harmony.

Symbols of Flowers

The most important of the flower symbols are presented in the scene where Clara has just been introduced to Paul by Miriam. All three of them walk in an open field with its many “clusters of strong flowers” they begin to pick flowers. Though, there is natural beauty in flowers that Paul picks, yet he picks them scientifically. He has a spontaneous and direct contact with the flowers. Miriam, though she picks the flowers lovingly and reverentially yet she seems to derive the life out of them. Her bunches lack elegance. But Clara does not pick them at all, defiantly asserting that flowers should not be picked because it kills them.

Thus, on a closer reading of these floral symbols one feels, that it depicts the attitude of various characters towards life. Mrs. Morel has a vital and healthy attitude towards flowers. The scenes where Paul brings her flowers are warm and gay. Since the love of Paul and Miriam develops in the midst of natural surroundings, the flower is symbolic of its freshness and innocence. They also symbolize the beauty ad youth of Miriam.

There are various other symbols of the burned potatoes symbolizing Miriam’s total absorption in Paul. On the other had the charred bread symbolizes Paul’s total absorption in Miriam. Hope and optimism are symbolized at the end of the novel with the help of the gold phosphorescence of the city. Hence, the symbolism uses in Sons and Lovers is quite simple and easy to understand. They are in no way complex but rather help to a better understanding of the novel.

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Comment on Oedipus complex as reflected in Sons & Lovers

  Sons and Lovers belongs to the category of psychological fiction. The remarkable development of psychological novel is a notable phenomenon of the twentieth century literary scene. The psychology of the characters and the typical problems, emanating from a particular psychological pattern form the staple of a psychological novel. This psychological novel has been ushered in by Virginia Woolf and James Joyce. The analysis of the psychology of the characters is what constitutes the motif of a psychoanalytical fiction. The novelist goes deeper and deeper into the innermost crevice of the psychology of his characters and he brings out or externalizes the subtle psychological framework of the characters. 

It was undoubtedly the great creative fecundity of D. H. Lawrence, which was responsible for the intention of psychological novel. The psychological theories and concepts enunciated and disseminated by Freud and Jung revolutionized the world of conventional human thought. According to these eminent thinkers and stalwarts of psychology, the human thought is operative at three levels conscious, sub-conscious and unconscious. The mass of human thought lies dormant in the subconscious and the unconscious minds; but it sometimes comes out into the surface. Lawrence as a psychological novelist has sought to externalize the recondite thoughts which lie hidden in the inner recesses of the sub-conscious and unconscious minds.

Instead of portraying the life and activities of an Augustan hero in a vast and Aeschylean scale, the psychological novelist concentrates on the subtle shades of the psyche of his characters. Hence, Lawrence was preoccupied with the inner life of his characters. He set himself to the task of portraying the psyche or ‘the shimmeriness’ and not the hard facts. M.I. Muller also subscribes to the view that in the modern psychological novel, as that of Lawrence, we notice ‘a withdrawal from external phenomena in the flickering half-shades of the author’s private world’.

The modern novelists including Lawrence take the readers straight into the psychological plane of the characters and in so doing they allow the readers to discern the incessant flow of sensations and impressions which rise up in the minds of the characters. This ‘stream of consciousness’ technique has made it possible for the novelists of experimenting on time and place. The plot is rescued from the bondage of time. But this resultant incoherence or inconsistency of structure has been more than compensated by the exquisite delineation of subtle psychology of the characters. In order to suit the artistic purpose, the novelists make the action move forward and backward. In this context, the pertinent observation of David Daichess merited:

“The stream of consciousness technique is a means of escape from the tyranny of the time dimension. It is not only in distinct memories that the past impinges on the present, but also in much vaguer and more subtle ways, our mind floating off down some channel superficially irrelevant, but really having a definite starting off place from the initial situation, so that in presenting the characters’ reactions to events, the author will show us states of mind being modified by associations and recollections deriving from the present situation, but referring to a constantly shifting series of events in the past”.

Lawrence’s bold originality is exemplified by his style, which is impressionistic. His style is more poetic than the prosaic style of others. He has used plants of vivid images and symbols for giving expressions to the complex thought process of psyche of his characters. Long before the efflorescence of ‘the stream of consciousness novels’, Lawrence foreshadowed the style of consciousness novels’, Lawrence foreshadowed these style of is type novels. Later on James Joyce and Virginia Woolf perfected it with their mature artistry.

The ‘Oedipus Complex’ constitutes a psychological problem and this forms the nucleus of the novels, Sons and Lovers. The possessive character of Mrs. Morel was great stumbling block in the life of Paul, the hero of the piece. She was terribly dissatisfied with her married life and then subsequently. He failed to establish a becoming relationship both with Miriam and Clara. The mother-image was deterrent to the emotional life of Paul who himself was also a highly sensitive person and in his attachment with mother we notice the warmth and passion of a lover. This complex psychological problem has been treated or delineated by Lawrence with the consummate art of a poet and an unfailing observation and insight of a true psychologist.

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The theme of imperialism and colonialism in Heart of Darkness

The word “imperialism” comes from the Latin term imperium. It means "to command." Imperialism is the policy or act of extending a country’s power into other territories, or gaining control over another country’s politics or economics. Joseph Conrad’s Heart of Darkness is a large and effective critic of imperialism, which exposes the hypocrisy and tyranny of imperialism portrayed through the brutalities in Africa.

The keynote of the theme of imperialism is struck at the very outset of Marlow’s narration. Marlow speaks of the ancient Roman conquest of Britain. Their conquest has always been associated with cruelty and brutality. To Marlow:" The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing ."

Conrad's view of imperialism is reflected through Marlow. Marlow challenges the practice of imperialism. " It was just robbery with violence, aggravated murder on a great scale, and men going at it blind." There is a hint of evil in Marlow's reference to the city of Brussels as a “white sepulcher". The phrase "white sepulcher" means a place which is outwardly pleasant and righteous but inwardly impure, full of corruptions and evils. The colonizers treated the Africans was more like slaves rather than people. The evilness of imperialism s shown very well in this quote:  “As Marlow travels from the Outer Station to the Central Station and finally up the river to the Inner Station, he encounters scenes of torture, cruelty, and near-slavery.’’ At the very least, the incidental scenery of the book offers a harsh picture of colonial enterprise.

As we go through the novel we find that the sole purpose of the white men was to indulge in the exploitation of ivory from the natives and brutality over them. Thus "faithless pilgrims", is Marlow calls them. “They do not work; they simply laze around and intrigue. Everyone is there for the money; they have no higher principles or purpose in life.” 

Through the descriptions of Marlow in the novel, Conrad conveys to us the callousness of the white man towards the natives. After getting down from the Swedish captain’s steamer, Marlow sees some awful and grim sights. He sees a lot of people, ‘’mostly black and naked, moving about like ants’’.

He sees black figures crouching under the trees, leaning against the trunks, and clinging to the earth, dying slowly. The Company had no qualms regarding the mistreatment of the natives.

Conrad not only exposes the futility and the failing of the Belgian imperialism over the Congo but also reminds us of British imperialism in various countries of his time. Today white imperialism has crumbled and most of the counties have become independent. Conrad's accusation of imperialist rule in Congo had a valuable message for both the exploiters and the exploited. In the business of exploration, both exploiter and exploited are corrupted.

 Colonialism in Heart of Darkness

Colonialism is an act of political and economic domination involving the control of a country and its people by settlers from a foreign power. In Heart of Darkness, the author, Joseph Conrad, explores the nature of colonialism. He reveals the horrors of colonialism and is cynical of the entire process. He uses several symbolic characters to accomplish this, including the shadowy and elusive Kurtz, who represents all of Europe.

Joseph Conrad shows that the very nature of colonialism has not changed much from Roman times to his day, except that the tools and weapons used have become more sophisticated. The main purpose and the results have stayed the same. Conrad illuminates the secret evils of colonialism and the European capitalist approach through Marlow’s journey up the Congo. A brief analysis of Colonialism is stated below.

Purposes of Colonialism

Joseph Conrad shows that one of the purposes of colonialism is the suppression of the Native’s beliefs and traditional way of life. Conrad begins with a focus on what the Company overtly tells the public: They are going into the Congo to civilize the Natives. The Europeans, on face level, seek to convert the inhabitants of the Congo to the European way of life.

Dominating Theme of Colonialism

White colonialism is the primary concern of Heart of Darkness. The novelist narrates the behavior of the white Europeans with very impressive and effective touches. In this story, he accurately depicts white Europeans and the natives of Congo under colonialism.

Ivory: A Symbol of Colonialism

Ivory was a lucrative trade created by the Belgian company Abir Congo Company when Belgian King Leopold II governed the Congo. Ivory was useless to natives but a high-price commodity to the white men because of its usage in ornament manufacturing. Thus, the motive of white men was to indulge in exploitation and brutally extract ivory from the native people.

 

Natives Become Slaves of Colonizers

Joseph Conrad explains that colonialism is a brutal and savage process. The Natives are lulled into a false sense of security and then become slaves of the European colonizers. To the Europeans, the Natives were valuable if they were productive and supplied ivory and other goods.

Natives Are Neglected by European Colonizers

The Europeans do not care about the health and working conditions of the Natives as long as they are productive. They are left to fend for themselves and slowly waste away, starving, unable to find food. Members of the populace are beaten and hanged simply to serve as lessons to others around them to be obedient.

Selfishness of the White Men

In the story, the manager often talks of having someone hanged so that he will have no competition and be able to advance his career. All that is important to him is the acquisition of money and power. To the Europeans, it is imperative that they attain wealth, power, and prestige. They simply care about what works for them and the betterment of their positions.

Mr. Kurtz's Failure to Uplift the Savages

Mr. Kurtz is a classic example of a white colonialist male. He went to Congo to civilize that region. However, the primary motive is really to collect ivory, not to civilize people. He tried to rule that region in his own way and finally realized he was a complete failure. He was in deep darkness on his deathbed and realized his misdeeds to the native people.

In Heart of Darkness, the author, Joseph Conrad, is disdainful of colonialism and seeks to educate an immature and blinded society to the true nature and horrors of colonialism. Through Marlow’s journey up the Congo and into the heart of darkness, the horrifying tools of colonialism are laid bare, and the true purpose of colonialism and the European capitalist approach are exposed.

 

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