The Cyril-George relationship in The White Peacock has often been pointed out as homosexual. This paper is an attempt to verify the homosexual inclination of the text not just in the explicit examples of some individuals but in the way the text itself appears to be conscious of homosexuality. The paper will first identify the narrator Cyril's homosexual inclination, and then examine the narrative framework and its aesthetic features. In the course of the discussion, the paper will also refer to the relationship between aestheticism and homosexuality in the turn-of-the-century milieu. And in paying attention to the implications of homosexuality at the time of the text's production, a latent instability of certain fixed relationships described in The White Peacock will hopefully be suggested.
Women in Love gives the impression of incorporating a perspective that extends over a vast expanse of space and time, even though it covers just one year. This essay attempts to explore the way this perspective is achieved. Northrop Frye, in his Anatomy of Criticism, divides literature into four“narrative categories, ”each associated with a season: Comic (spring), Romantic (summer), Tragic (autumn), and Ironic or Satiric (winter). By tracing images in the novel, this essay tries to argue that Women in Love incorporates all four of these categories in one work. The incorporation of the four pregeneric categories allows the work as a whole to be particularly enriched, by different colors and shades, different ways of seeing and comprehending social reality. The whole is seen from four different perspectives. The essay tries to demonstrate that Women in Love is truly‘dialogic’in the Bakhtinian sense. Each category helps illuminate, clarify, reveal, and interpret the others. The essay concludes that it is the four different narrative categories interacting within the work that help achieve the above sense of perspective.
In the beginning of“Odour of Chrysanthemums”are presented three significant elements. Firstly, the relationship between nature and civilization is not a simple opposition. The origin of civilization is inherent in nature itself. Secondly, mechanical civilization has been brought about by the exploitation of nature which is implied in the description of the gardens. Thirdly, the relationship of people in the mining country is built up in the network of anonymous people who merely perform their roles in the mines and at home. These three aspects are developed in the succeeding part of the text which demonstrates two facts: nature and civilization are not opposed to each other but deeply intricated and interdependent; the transition from country to town transforms the human relationships.“Odour of Chrysanthemums”shows the invalidity of the attempt at applying the simple dualistic views such as nature and culture to the texts by D. H. Lawrence.