D.H. Lawrence's later novels, such as Aaron's Rod, Kangaroo, The Plumed Serpent, which are often defined as“leadership novels, ”have something in common with Modernism. Kangaroo, above all, shows a specific tendency as a Modernist text in terms of its fragmentary narrative, collage-like technique, and the protagonist's unstable state of consciousness. The first aim of this paper is to demonstrate that these characteristics of Modernism result not from the author's intention to quest for Modernist aesthetics, but from the mental conflict which the protagonist undergoes both in his political participation and in his marriage life. More importantly it will help us to find that this type of complicated mentality has a structurally profound relation with the historical sentiments and perceptions of the Modernist writers obsessed with a crisis of culture, and a sense of disorientation and nightmare. A second aim is to point out that Kangaroo is considerably successful in describing, by means of the protagonist's political alternative, the destiny of the Modernists and avant-gardes who were compelled to polarize into two different political camps, communism and fascism under the pressure of the Great War. What I finally suggest here is that Kangaroo should be appreciated in a wider historical context and that further emphasis should be put on its particularity and universality as a Modernist text.
It has been widely accepted that the forest in Lady Chatterley's Lover is its crucial image which can be interpreted symbolically as a microcosm in which Constance undergoes a drastic change by the forest's mystic power to“revitalize”men. Although this is one unarguable interpretation of the relationship between Constance and the forest, there yet remains a possibility of deciphering the significance of the forest when we turn our attention to it not as a“symbol”of“life”or“change”as has been usually understood, but as a non-value-fixed entity which“changes itself.” Closely analysing the text, we are unavoidably led to the evidences of the real proximity of Constance to the forest-they change simultaneously and are at times identified as one and the same. Constance changes through her experiences in the forest, but so does the forest through its knowledge of Constance. Both of them change, as the result of their mutual assimilation, from death to life, and from imperfection to perfection.