Human relations in the works of d. H. Lawrence

CHAPTER 2 . POETIC AND THEMATIC SPECIFICITY OF LATER NOVEL
2.1 Escapism in later novels and the principle of hero determinism

The consequence of what happened, as DG Zhantieva points out , was the writer's "desire to get away from reality, which disgusts him" [16,138]. In the novel "Women in Love" starts Lawrence's non-commitment (" non-inclusion ", " non- commitment ", waiver of responsibility associated with any public activity). The writer encourages his characters to turn away from the "social" world with its worries and focus entirely on personal relationships. Yes, Gerald Creech , a major mine owner, is barely shown at work; Ursula, very preoccupied with social self-determination in "Rainbow", in "Women in Love" (the second part of the "Sisters" duology), defiantly quits school with Burkin , and they go on a trip. Lawrence is trying to change the very principle of character determinism (which can be evidenced by the words of Burkin : "You need to leave the environment unfinished, so that it never holds back, does not fetter you, so that nothing outside can ever dominate you [16,445]. The hero of his later novels is not recognizes a condition other than internal conditionality; external conditionality, by circumstances and conditions of existence, is declared untrue, "fake": "Fate, dictated from the outside, by theory or circumstances, is false" ("Women in Love" [17,30], "Do not believe those who are coming orders, duties, duty from the outside" ("Aaron's Rod"), "The deepest instincts of a person are his true destiny" ("Kangaroo"). This thought acquires a certain sacred character: "Outside of us there is neither purpose nor God" ("Aaron's Rod ").

In connection with this ideological setting, Lawrence declares the heroes of contemporary English traditionalist writers ( Bennett , Wells, Galsworthy), who obey a different principle of determinism, "devoid of real essence, bloodless victims of circumstances" (see the preface to the novel "Women in Love", [17 ,29]. In the article "John Galsworthy" Lawrence speaks of the characters of the latter as "social beings", creatures of a lower order, "lost their true vitality"; having obeyed the "external" attitudes of society, Lawrence believes, they have lost their truly human, turning into " broken in two and newly folded things, not personalities in the full sense of the word "[17,541]. As a positive example, the writer cites the heroes of the ancient Greek drama, whose behavior "is dictated by their own soul, and not by the Social Law" ("Women in Love") [17, 31], as well as Hardy's heroes with their "real, lively, powerful "I", capable of "exploding the shell of manners, conventions, generally accepted opinions and actions to speak - independently, absurdly, uncompromisingly" ("Studying T. Hardy ", 18,410).