Cosmic Agoraphobia in The Trespasser and Other Texts
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Throughout his career, D. H. Lawrence paid close attention to the question of space, place and the way in which environment interacts with human being-in-the-world. Transcending the “restrictive bonds of simple location” (Casey 181), the “in” of Lawrence’s fiction, is never the simple “in” of physical containment or location. Instead, it relies on an intricate structure that brings together psychological, physiological and physical elements that complicate merely topological or topographical relations by accommodating within them an intricate system of psychological correlatives. Given this mythopoetic context, the essay critically assesses the phenomenon of place as a perfect materialisation of Lawrence’s conceptualisation of the will to the maximum of being, treating place and/or environment not as a supplement in the classical Aristotelian sense but rather as a complex ontological state which closely unites man with his surroundings. All of these motives, themselves typical of his earlier works, have an especial prominence in Lawrence’s second novel, The Trespasser, where Lawrence turns a story that promises to be an idyllic stay in “some state beyond ordinary experience” (T 106) into an encounter with strange unknown anxiety and existential transgression. Examining the ever present motif of the sea and the isolated island, the argument establishes the connection between psychological and physical dimensions as one of the key stylistic and philosophical features of Lawrence’s fiction. Utilising some of the important spatial and psychological motifs that Lawrence elaborates but also considerably revises in his later fiction, The Trespasser is shown to represent a specific early work in which a romantic conception is being critiqued for its illusory and destructive nature.
Abstract
Throughout his career, D. H. Lawrence paid close attention to the question of space, place and the way in which environment interacts with human being-in-the-world. Transcending the “restrictive bonds of simple location” (Casey 181), the “in” of Lawrence’s fiction, is never the simple “in” of physical containment or location. Instead, it relies on an intricate structure that brings together psychological, physiological and physical elements that complicate merely topological or topographical relations by accommodating within them an intricate system of psychological correlatives. Given this mythopoetic context, the essay critically assesses the phenomenon of place as a perfect materialisation of Lawrence’s conceptualisation of the will to the maximum of being, treating place and/or environment not as a supplement in the classical Aristotelian sense but rather as a complex ontological state which closely unites man with his surroundings. All of these motives, themselves typical of his earlier works, have an especial prominence in Lawrence’s second novel, The Trespasser, where Lawrence turns a story that promises to be an idyllic stay in “some state beyond ordinary experience” (T 106) into an encounter with strange unknown anxiety and existential transgression. Examining the ever present motif of the sea and the isolated island, the argument establishes the connection between psychological and physical dimensions as one of the key stylistic and philosophical features of Lawrence’s fiction. Utilising some of the important spatial and psychological motifs that Lawrence elaborates but also considerably revises in his later fiction, The Trespasser is shown to represent a specific early work in which a romantic conception is being critiqued for its illusory and destructive nature.
참고문헌 (24)
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