By Michael Bell
D. H. Lawrence as soon as wrote that 'we don't have any language for the feelings'. The comment testifies to the fight in his novels to precise his refined realizing of the character of being during the intransigent medium of language. Michael Bell argues that Lawrence's retro prestige stems from a failure to understand inside his casual expression the character and complexity of his ontological imaginative and prescient. He lines the evolution of the fight for its articulation during the novels, and appears on the method during which Lawrence himself made it a wide awake topic in his writing. Embracing during this argument Lawrence's mess ups as a author, his rhetorical stridency and likewise his primitivist extremism, Michael Bell creates a robust and clean feel of his precise value as a novelist.
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Additional info for D. H. Lawrence: Language and Being
6 It is important to understand such projection not as 'fallacy' but as a device. Its meaning, in other words, will depend on the world view within which it is used. The world view is what Lawrence is seeking to understand. Hence the specific uses of this rhetorical form in The White Peacock, as in the opening paragraph when the trees did not 'dally' with the sun or the mill-race 'murmured ' to itself, take their meaning from the way the context as a whole projects human, or personal, feeling on to the external world.
Subtly falsifying the fundamental percep tion to which Lawrence is feeling his way, Cyril projects human meaning on to the outside world and in doing so blurs its true potential significance. His characteristic rhetorical device of personification encapsulates, in an almost analytical way, his responsive and ontological impasse. 7 Cyril's literary manner is a comparable wistfulness arising from the unconscious metaphysical enclosure created by his very way of responding to the world . The difficult knot of personal feelings within his psyche has its correlative, if not its cause, in the ontological vicious circle of his sensibility whereby the external significances through which he seeks to transcend himself are unwitting mirrors of his own personality.
Is there not a suppressed Miriam voice whose story represents a crucial part of the truth about Paul ? In that respect, the more pertinent instances of self- consciousness about 38 D. H. Lawrence: language and being representation in the book are those which bear upon questions of story telling. Paul's father , Mr Morel, loves to tell stories to his children: 'Tell us about down pit, Daddy . ' This Morel loved to do. 'Well, there's one little 'oss - we call 'im Taffy , ' he would begin. ' An ' he's a fawce 'un !