Literary modernism: movements, characteristics, and historical context

DHLawrence

Lawrence's novel Women in Love encapsulates the social, political, economic climate of the fin du siecle: especially the phenomena of burgeoning middle class and bourgeoisie. It is within this particular social framework that it becomes possible for women to assert themselves and help transform gender norms in Western society. Underprivileged women, on the other hand, do not have the luxury of deciding whether or not to work or marry, or whether or not to go to art school in London as Gudrun Brangwen did. Lawrence examines gender roles and norms and also sexuality with depth and scrutiny. Both male and female homosexuality is addressed frankly. However, it is the liberation of women from the stranglehold of patriarchy that forms one of the novel's most compelling themes. Lawrence does not paint an idealistic picture of womanhood, femininity, or matriarchy. Rather, the author shows how difficult it was for women to straddle two worlds: the world of the Victorian past and the world of the modernist future. The women in Love, as well as the men, simultaneously embrace and reject the new paradigm of egalitarian gender norms. In Women in Love, DH Lawrence writes about deeply conflicting, contradictory notions of female empowerment and self-sufficiency.

Gudrun and Ursula Brangwen start off not as brash, bold, unconventional female characters. In fact, patriarchy prevails in the sisters' lives. The opening line of the novel underscores the way patriarchy will continue to haunt the Brangwen sisters as well as the male friends they meet later. "Ursula and Gudrun Brangwen sat one morning in the window-bay of their father's house in Beldover, working and talking. Ursula was stitching a piece of brightly-coloured embroidery." Here, the opening line of the novel, there is mention of the "father's house," which symbolizes patriarchal lineage and the dependency of the two women on their father's estate. Thus, issues related both to class and gender are raised. The two women are independent in the sense that they are not yet married but they are still completely beholden to their father: a male figure who remains all but anonymous in the novel. Lawrence therefore presents a contradiction from the very opening of Women in Love. Two women long for creative self-expression outside of the confining roles of wife and mother. Yet they are only privileged to experience or even to contemplate the notion of gender role liberation because they are wealthy; and they are only wealthy because of their father. This vicious cycle and co-dependence on patriarchy is a prevailing theme in Women in Love. Patriarchy continues to shape and define Ursula and Gudrun's characters, as well as those around them. Their struggle to assert their identity from within a patriarchal framework while still attempting to subvert that male authority is Gudrun and Ursula's challenge.

Chapter one of the novel sets the stage for the character development of the two sisters, and also for the development of the core theme related to female empowerment and a new order of matriarchy. Gudrun asks her sister Ursula if she wants to get married. Simply posing the question is a remarkable thing; for many women at the turn of the century would view marriage as a matter not of choice but of obligation. But Gudrun asks Ursula innocently and matter-of-factly as if there is a choice. This suggests that Lawrence is reflecting a major transformation in gender norms during the time of writing Women in Love.

Yet just a few lines later, Lawrence seems to contradict the potentially liberating conversation the women are having. Just as soon as Gudrun and Ursula begin their conversation of whether it is worthwhile to marry or not, Gudrun states plainly that marriage might put her "in a better position than you are in now." Just as the opening sentence about the father's estate shows that patriarchy remains the prevailing paradigm, this statement also suggests that even the liberated Brangwen sisters believe that they might not be able to be financially independent without a male benefactor. Marriage is presented here not as something that will make the women happy but that which will make them financially stable. Sure, the women do question the reality of patriarchy but they also understand that there are relatively few avenues for female self-sufficiency in the world.

The sisters develop a rather cold-hearted view toward marriage, though. This suggests that perhaps they know that marriage would mean sacrificing their self-esteem. Gudrun states, "You don't think one needs the experience of having been married?' She and Ursula perceive marriage as "just an experience," which is a liberating, feminist thought in itself. Ursula replies that indeed, marriage is "bound to be, in some way or other," an experience. She then adds that marriage is "Possibly undesirable, but bound to be an experience of some sort." Calling marriage categorically "undesirable" is a strongly feminist statement. The sisters continue to disparage the social institution of marriage. They want to break free from patriarchy and yet, the sisters are terrified to do so because it would be like jumping off a cliff. "Isn't it an amazing thing,' cried Gudrun, 'how strong the temptation is, not to!' They both laughed, looking at each other. In their hearts they were frightened." They are "frightened" of what they would do, be, and become as single women. Lawrence goes so far as to suggest that the empowerment of the Brangwen sisters is related to their being gay: "It's just impossible" to envision marriage, Ursula notes. "The man makes it impossible," (Chapter 1)

Moreover, neither Ursula nor Gudrun seem to want children and in fact question the automatic tendency of women to breed. "Do you feel like that?' asked Gudrun. 'I get no feeling whatever from the thought of bearing children.' Gudrun looked at Ursula with a masklike, expressionless face. Ursula knitted her brows." The sisters agree that having children is not a defining feature of the feminine experience. "Perhaps it isn't genuine,' she faltered. 'Perhaps one doesn't really want them, in one's soul -- only superficially.'" (Chapter 1). The sisters are exploring deeply the notion that women have been oppressed systematically by being ushered into roles as wives and mothers without consideration of the fact that they might want to pursue other careers. Gudrun displayed her proud independent spirit by going to school alone in London; Ursula is self-sufficient because she works at a school.

Both women are in control of their sexuality, which is a sign that they are personally and socially liberated. Lawrence presents sexuality as a sign of changing gender norms. Gudrun is in control of her sexuality and her destiny, evidence at the first time she sees Gerald Crich. She "lighted on him at once," and she awakens sexually as "all her veins were in a paroxysm of violent sensation," (Chapter 1). Gudrun owns her own feelings and does not suppress them. Her pursuit of the relationship might not be entirely healthy for her psyche but it is for her sexual soul. Sexual empowerment goes hand in hand with personal and political empowerment.

However, the empowerment of women is directly linked to their social class. "Gudrun had been a social success, and had her friends among the slack aristocracy that keeps touch with the arts." It is because of their high social standing that the Brangwen sisters are able to have conversations about sexuality. The fact that Lawrence presents a deeply conflicted image of female sexuality becomes evident later in the novel. Whereas the women seem sexually liberated, they are later faced with the wall of patriarchal sexual oppression. For example, in Chapter 6, Gerald "felt an awful, enjoyable power over her, an instinctive cherishing very near to cruelty. For she was a victim. He felt that she was in his power, and he was generous." Told from Gerald's perspective, the passage shows that women are not entirely free from being objectified and "victimized" by men. Lawrence paints masculinity and femininity both in conflicting ways. Gerald's own bisexuality shows that even men need to be freed from the constraints of patriarchal, homophobic culture: "Gerald glanced at him, and saw him, his suave, golden coloured body with the black hair growing fine and freely, like tendrils, and his limbs like smooth plant-stems. He was so healthy and well-made, why did he make one ashamed… " (Chapter 7).

Matriarchs play a small role in Women in Love. The first matriarch to appear is Mrs. Critch, who is herself an unconventional and possibly liberated woman. "She was a queer unkempt figure, in spite of the attempts that had obviously been made to bring her into line for the day," (Chapter 1). Hermione Roddice is also a powerful matriarchal figure who shows that gender norms are shifting. "She was passionately interested in reform, her soul was given up to the public cause. But she was a man's woman, it was the manly world that held her," (Chapter 1). The presence of the matriarchs in the novel serves to remind readers that a combination of wealth and social capital can help women overcome patriarchal oppression.