His polarities inner-outer, inside-outside, internal - external… become metaphors.

Lawrence is a powerfully synaesthetic author. His characters' sense perceptions irrationally combine ( a cold scent, a white virgin scent, coldly blue, soft gold, shine in silence, splashed and spilt stars, splash the darkness, liquid brilliant, cold, white consuming fire…). Synaesthesia is combined with metaphor, forming metaphoric and synaesthetic complexes( blue, lit-up laughter, hard blue-staring anger…).

Image - making. Lawrence is an outstanding imagist. His image-making is unprecedented and inimitable. His writings live by his sensual imagery. His polarities involve imagery of flowers, animals, water, earth, sun, moon, heaven, hell. His imagery is interpenetrating, overlapping, interlacing. One image enables another, an image sprouts an image. We see webs of images, one image enfolding another. It is done by overlapping figures of speech, metaphors, synaesthesias, symbolic details.

Symbol - making. Through this technique Lawrence works toward the revelation of unknown parts of the self. The characters' states of mind are depicted symbolically. Lawrence is sure that man and nature are finally one. He uses cosmic or natural symbols like sun, fire, water, night… A night scene can figuratively express a character's disturbed state of mind. He believed passionately in the sun and the moon as vital forces. Preeminent is the symbol of the moon. The luminous image comes to signify the dominating character of woman or cold , passionless ( spiritual, idealized) love. Women in Lawrence's fiction are frequently depicted in the mood of cruel independence - a mood often accompanied by the appearance of the moon.

Personages in Lawrence's fiction are often characterized through images of colour. In Sons and Lovers Paul's father is characterized through images of redness to express his vitality, sexuality, violence and lack of control. The pallid Gertrude (Paul's mother) is associated with whiteness to express her puritanical upbringing, domination, pride, responsibility and control.

The battle of love-hate is played out against cosmic background of solar and lunar forces representing the power of man and woman respectively. Darkness has the following implications: the unconscious instinctive self and the mysteriously vital universe that eludes the character. The rainbow is the symbol of eternal intercourse between the earth and the sky. The concluding rainbow-image in The Rainbow is taken as a sign of the heroine's recovery of a will to live and live forwards. At the same time the rainbow signals Lawrence's hopes for mankind, its resurrection, regeneration.

His favourite symbolic image is that of a flower. A flower has female sexual properties, womblike receptivity. At the same time a flower is space, cosmos, all the great natural world.

Intensification. Lawrence's books are full of energy, vitality and animation. He exaggerates emotions which magnifies and mystifies the fluctuations in human relationships. He chooses words which already in their paradigmatic meanings carry the semantic component of intensiveness (intense, terribly, horribly, to glare, hugely, vastly, violently, utterly, entirely…). Paradigmatically neutral as to their intensification, sensorial words can, in Lawrence's text, turn into intensifiers. Any adverb in his fiction can become an intensifier (She knew she was right, amply and beautifully fight... Eternally and gloriously right (The Lost Girl).

Syntax. On the surface his syntax is unostentatious. But it is in harmony with his esthetic, narrative and rhythmical innovations. It is impressionistic in its overt simplicity. It expresses Lawrence's concentration on the fleeting and the elusive. To register turbulent emotions, he frequently disrupts syntax like expressionistic painters who distorted the image and exaggerated the line. He prefers detachment, double predicate, parataxis.

Date: 2015-12-17; view: 654