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    Oedipus complex and relationships in Sons and Lovers

    David Herbert Lawrence was born in 1885 in Nottinghamshire, England where his father

    was a miner. His experience growing up in a coal-mining family provided much of the

    inspiration forSons and Lovers. Lawrence had many affairs with women in his life, including a

    longstanding relationship with Jessie Chambers (on whom the character of Miriam is based), an

    engagement to Louie Burrows, and an eventual elopement to Germany with Frieda Weekley.

    Sons and Lovers was written in 1913, and contains many autobiographical details. His childhood

    coal-mining town of Eastwood was changed, with a sardonic twist, to Bestwood. Walter Morel

    was modeled on Lawrence's hard-drinking, irresponsible collier father, Arthur. Lydia became

    Gertrude Morel, the intellectually stifled, unhappy mother who lives through her sons. The death

    of one of Lawrence's elder brothers, Ernest, and Lydia's grief and eventual obsession with

    Lawrence, seem hardly changed in the novel. (Both Ernest and his fictional correspondent,

    William, were engaged to London stenographers). Filling out the cast of important characters

    was Jessie Chambers, a neighbor with whom Lawrence developed an intense friendship, andwho would become Miriam Leiverin the novel. His mother and family disapproved of their

    relationship, which always seemed on the brink of romance. Nevertheless, Chambers was

    Lawrence's greatest literary supporter in his early years, and he frequently showed her drafts of

    what he was working on, including Sons and Lovers (she disliked her depiction, and it led to the

    dissolution of their relationship). Lawrence's future wife, Frieda von Richtofen Weekly, partially

    inspired the portrait ofClara Dawes, the older, sensual woman with whom Paul has an affair.

    Considered Lawrence's first masterpiece, most critics of the day praised Sons and Lovers

    for its authentic treatment of industrial life and sexuality. There is evidence that Lawrence was

    aware of Sigmund Freud's early theories on sexuality, and Sons and Lovers deeply explores andrevises of one of Freud's major theories, the Oedipus complex. Still, the book received some

    criticism from those who felt the author had gone too far in his description of Paul's confused

    sexuality.

    Sons and Lovers was the first modern portrayal of a phenomenon that later, thanks to

    Freud, became easily recognizable as the Oedipus complex. Never was a son more tied to his

    mother's love and full of hatred for his father than Paul Morel, D.H. Lawrence's young

    protagonist. Never, that is, except perhaps Lawrence himself. In his 1913 novel he came to grips

    with the discordant loves that haunted him all his life--for his spiritual childhood sweetheart,

    here called Miriam, and for his mother, whom he transformed into Mrs. Morel. It is, byLawrence's own account, a book aimed at depicting this woman's grasp: "as her sons grow up

    she selects them as lovers--first the eldest, then the second. These sons are urged into life by their

    reciprocal love of their mother--urged on and on. But when they come to manhood, they can't

    love, because their mother is the strongest power in their lives."

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    Of course, Mrs. Morel takes neither of her two elder sons as a literal lover, but

    nonetheless her psychological snare is immense. She loathes Paul's Miriam from the start,

    understanding that the girl's deep love of her son will oust her: "She's not like an ordinary

    woman, who can leave me my share in him. She wants to absorb him." Meanwhile, Paul plays

    his part with equal fervor, incapable of committing himself in either direction: "Why did his

    mother sit at home and suffer?... And why did he hate Miriam, and feel so cruel towards her, at

    the thought of his mother. If Miriam caused his mother suffering, then he hated her--and he

    easily hated her." Soon thereafter he even confesses to his mother: "I really don't love her. I talk

    to her, but I want to come home to you." The result of all this is that Paul throws Miriam over for

    a married suffragette, Clara Dawes, who fulfills the sexual component of his ascent to manhood

    but leaves him without a complete relationship to challenge his love for his mother.

    When Paul, physically aroused, finds no natural response in the girl who seems to love

    him-Miriam, he is confused, helpless, and becomes even cruel. Unable to assert himself, or even

    to accept as natural his longings he is unable to continue in the spiritual relationship with the girlbecause his mother alone already owns his soul. The relationship is ended, Pauls personality

    suffers a kind of tearing or splitting and in his next relationship Paul realizes at some

    unconscious level he must leave his soul somewhat free for his mother and participate on a kind

    of detached physical level.

    Thus, in his relationship with Clara, it is the primarily bodily maleness of Paul bonding

    with the primarily bodily femaleness. Obviously the danger is to oversimplify the Paul/Miriam

    and Paul/Clara relationships. It is true that the contact with Clara puts Paul at least temporarily

    into richer contact with his own body, his phallic consciousness, as Lawrence would say,

    whereas in his sterile relationships with his mother and Miriam Paul has had to forego this fullerconsciousness. Now he experiences what he believes is a kind of paradisiacal kind of love and

    fulfillment. In any case, all the relationships in Sons and Lovers seem to involve power

    struggles: Mrs. Morel extracts power from her husband by turning from his sexual presence and

    then dominating, even emasculating her sons; she controls Pauls devotion through the

    imposition of her values and aspirations and thus weights down their relationship. The balance of

    power in relationships seems to be an essential concern of D. h. Lawrence, since it is appears

    over and over again to be responsible for the death of love. Lawrences men and women will not

    be controlled, possessed or lost in another individuals reality.

    D. H. Lawrences perpetual search for the archetypal human relationship affects all hisfiction and particularly Sons and Lovers, his coming of age novel. It is here that his

    preoccupation with the love ethic and the profound split caused by the imbalance or power

    cast, of most relationships are so nakedly revealed. The incomplete and imperfect relationships

    of Sons and Lovers are among the most discussed and analyzed in English Literature. Paul

    Morels imprisoning relationship with his mother cripples all his other relationships.