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 :
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 :
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,
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
2.2Division Of Character……… 6
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
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
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
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
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)
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
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
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
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
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
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
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
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)
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
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
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
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
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
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
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
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
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)
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)
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)
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.
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 !’
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)
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)
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:
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)
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)
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)
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
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
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
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
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
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
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
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
