Paul Morel: The Representation of the Motif of Dark in D. H. Lawrence's Sons and Lovers

Pető Tímea (2004) Paul Morel: The Representation of the Motif of Dark in D. H. Lawrence's Sons and Lovers. MA/MSc, Szegedi Tudományegyetem.

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This paper examines Paul Morel's character as the representation of the motif of "dark" in Sons and Lovers by D. H. Lawrence. In my analysis, I attempt to explain why it is important to see him, according to Kéry, as the "body of dark flame", namely, that one's character is the flame of an individual. My assumption is that regarding him in connection with this motif, the ambiguity of the closure of the novel is easier to the reader to be uncovered. In other words, there are different interpretations of the motif of "dark" which slightly changes the end of Sons and Lovers. In particular, which way Paul chooses, as far as his future is concern, depends on whether the reader accepts the psychoanalytic perspective or the Lawrence's notion of the motif of "dark". According to the former view, "the body of darkness" is in connection with Freud's theory of the Oedipus complex which is based on the mother-son relationship, and sexuality is also a key term here. Yet, Lawrence defined the concept of "dark flame" as a person's mysterious independent characteristics. The two views offer to read the novel as it has a pessimistic or an optimistic end. According to the former, Paul cannot escape his mother's negative effect on him, while the latter indicates that he is able to break off with her. However, as the consequence of the mother-son relationship in the novel, Paul remains alone, because he not only loses his mother, but also becomes unsuccessful in his relation with women. Besides, his adolescent character stems from the former influence of his mother.


Szegedi Tudományegyetem


Gyula Juhász Teacher Training College


Angol Tanszék


Teacher Training




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Item Type: Thesis (MA/MSc)
Date: 2004
Depositing User: JGYPK Szerkesztő
Date Deposited: 2019. May. 14. 13:40
Last Modified: 2019. May. 17. 12:51

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