Sons and Lovers by D. H. Lawrence (best short novels .txt) 📕
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Sons and Lovers, a story of working-class England, is D. H. Lawrence’s third novel. It went through various drafts, and was titled “Paul Morel” until the final draft, before being published and met with an indifferent reaction from contemporary critics. Modern critics now consider it to be D. H. Lawrence’s masterpiece, with the Modern Library placing it ninth in its “100 Best English-Language Novels of the 20th Century.”
The novel follows the Morels, a family living in a coal town, and headed by a passionate but boorish miner. His wife, originally from a refined family, is dragged down by Morel’s classlessness, and finds her life’s joy in her children. As the children grow up and start leading lives of their own, they struggle against their mother’s emotional drain on them.
Sons and Lovers was written during a period in Lawrence’s life when his own mother was gravely ill. Its exploration of the Oedipal instinct, frank depiction of working-class household unhappiness and violence, and accurate and colorful depiction of Nottinghamshire dialect, make it a fascinating window into the life of people not often chronicled in fiction of the day.
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- Author: D. H. Lawrence
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She sat full of bitterness. She had known—oh, well she had known! All the time he was away from her she had summed him up, seen his littleness, his meanness, and his folly. Even she had guarded her soul against him. She was not overthrown, not prostrated, not even much hurt. She had known. Only why, as he sat there, had he still this strange dominance over her? His very movements fascinated her as if she were hypnotised by him. Yet he was despicable, false, inconsistent, and mean. Why this bondage for her? Why was it the movement of his arm stirred her as nothing else in the world could? Why was she fastened to him? Why, even now, if he looked at her and commanded her, would she have to obey? She would obey him in his trifling commands. But once he was obeyed, then she had him in her power, she knew, to lead him where she would. She was sure of herself. Only, this new influence! Ah, he was not a man! He was a baby that cries for the newest toy. And all the attachment of his soul would not keep him. Very well, he would have to go. But he would come back when he had tired of his new sensation.
He hacked at the earth till she was fretted to death. She rose. He sat flinging lumps of earth in the stream.
“We will go and have tea here?” he asked.
“Yes,” she answered.
They chattered over irrelevant subjects during tea. He held forth on the love of ornament—the cottage parlour moved him thereto—and its connection with aesthetics. She was cold and quiet. As they walked home, she asked:
“And we shall not see each other?”
“No—or rarely,” he answered.
“Nor write?” she asked, almost sarcastically.
“As you will,” he answered. “We’re not strangers—never should be, whatever happened. I will write to you now and again. You please yourself.”
“I see!” she answered cuttingly.
But he was at that stage at which nothing else hurts. He had made a great cleavage in his life. He had had a great shock when she had told him their love had been always a conflict. Nothing more mattered. If it never had been much, there was no need to make a fuss that it was ended.
He left her at the lane-end. As she went home, solitary, in her new frock, having her people to face at the other end, he stood still with shame and pain in the highroad, thinking of the suffering he caused her.
In the reaction towards restoring his self-esteem, he went into the Willow Tree for a drink. There were four girls who had been out for the day, drinking a modest glass of port. They had some chocolates on the table. Paul sat near with his whisky. He noticed the girls whispering and nudging. Presently one, a bonny dark hussy, leaned to him and said:
“Have a chocolate?”
The others laughed loudly at her impudence.
“All right,” said Paul. “Give me a hard one—nut. I don’t like creams.”
“Here you are, then,” said the girl; “here’s an almond for you.”
She held the sweet between her fingers. He opened his mouth. She popped it in, and blushed.
“You are nice!” he said.
“Well,” she answered, “we thought you looked overcast, and they dared me offer you a chocolate.”
“I don’t mind if I have another—another sort,” he said.
And presently they were all laughing together.
It was nine o’clock when he got home, falling dark. He entered the house in silence. His mother, who had been waiting, rose anxiously.
“I told her,” he said.
“I’m glad,” replied the mother, with great relief.
He hung up his cap wearily.
“I said we’d have done altogether,” he said.
“That’s right, my son,” said the mother. “It’s hard for her now, but best in the long run. I know. You weren’t suited for her.”
He laughed shakily as he sat down.
“I’ve had such a lark with some girls in a pub,” he said.
His mother looked at him. He had forgotten Miriam now. He told her about the girls in the Willow Tree. Mrs. Morel looked at him. It seemed unreal, his gaiety. At the back of it was too much horror and misery.
“Now have some supper,” she said very gently.
Afterwards he said wistfully:
“She never thought she’d have me, mother, not from the first, and so she’s not disappointed.”
“I’m afraid,” said his mother, “she doesn’t give up hopes of you yet.”
“No,” he said, “perhaps not.”
“You’ll find it’s better to have done,” she said.
“I don’t know,” he said desperately.
“Well, leave her alone,” replied his mother. So he left her, and she was alone. Very few people cared for her, and she for very few people. She remained alone with herself, waiting.
XII PassionHe was gradually making it possible to earn a livelihood by his art. Liberty’s had taken several of his painted designs on various stuffs, and he could sell designs for embroideries, for altar-cloths, and similar things, in one or two places. It was not very much he made at present, but he might extend it. He had also made friends with the designer for a pottery firm, and was gaining some knowledge of his new acquaintance’s art. The applied arts interested him very much. At the same time he laboured slowly at his pictures. He loved to paint large figures, full of light, but not merely made up of lights and cast shadows, like the impressionists; rather definite figures that had a certain luminous quality, like some of Michaelangelo’s people. And these he fitted into a landscape, in what he thought true proportion. He worked a great deal from memory, using everybody he knew. He believed firmly in his work, that it was good and valuable. In
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