勞倫斯在《戀愛(ài)中的女人》中的人物刻畫畢業(yè)論文

1、【標(biāo)題】勞倫斯在戀愛(ài)中的女人中的人物刻畫 【作者】傅明名 【關(guān)鍵詞】大衛(wèi)?赫伯特?勞倫斯；戀愛(ài)中的女人；人物刻畫技巧 【指導(dǎo)老師】張亞軍 盧靜 【專業(yè)】英語(yǔ) 【正文】I. IntroductionA. A Brief Introduction to the AuthorDavid Herbert Lawrence was one of the greatest English novelists in the early 20th century. During his life-long literary career, he had written more than ten novels

2、 and several volumes of short stories. Besides being a great novelist, Lawrence is also a proficient poet, a combative essayist, and a prolific literary correspondent. Furthermore, he extends his talents to book-reviewing, translation and painting. But it is in the novels that his true greatness lie

3、s, and on them that his reputation rests.B. A Brief Introduction to the NovelBeing audacious in erotic writing and original in describing sexual relationship, D. H. Lawrence became one of the most controversial writers in modern literature. His novels had been banned for some time, so he struggled f

4、or several years to find a publisher for Women in Love which was known as his mature and profound work of fiction before its eventual appearance in 1921.Women in Love tells us a story about two sisters, Ursula and Gudrun Brangwen, both of whom are grammar school teachers, strike up relationship with

5、 two close friends, Rupert Birkin, a school inspector, and Gerald Crich, a wealthy and influential mine-owner, in the East Midlands colliery area of Beldover. Ursula and Birkin struggle into a relationship of some fulfillment, and are married; Gudrun and Gerald experience increasing conflict, leadin

6、g to tragic conclusion.As soon as it was published, Women in Love was vehemently criticized by some of those contemporary readers and critics. Fortunately, as time goes, the artistic achievements of Women in Love have gradually won the readers and scholars acknowledgements. Nowadays, Women in Love,

7、has not only acquired all deserving praises and acknowledgements, but also becomes a very important object of the academic study, including feminism, mysticism, deconstruction, etc. This paper is mainly concerned with the characterization from three aspects Lawrence adopts in this novel: charac

8、terization in the depiction of appearance of characters, characterization in dialogue, characterization in the depiction of psychology. It aims to reveal the specialties of the crafts through the careful exploration of these writing skills used in the characterization of this novel, and to help othe

9、rs to understand the novel well.II. Characterization in the Depiction of Appearance of CharactersThe depiction on appearance of characters refers to depict the features of characters on face, gesture, attire and expression and so on. As the saying goes, “It is the most important to make a good

10、impression on the first time.” People usually have an first eye on someone judging by his appearance which include face, expression and attire. Through these very detailed descriptions, the typical characters can be represented vividly.A. The Depiction of First Presence of CharactersAt the beginning

11、 of the novel, Lawrence introduces the general background of the two female Gudrun and her older sister Ursula. Gudrun has just come from London where she has been for several years, working at an art school, as a student, and living a studio life. Moving with her artist friends in different kinds o

12、f society, she has already come to know a good many people of repute and standing. She has been a social success. These experiences determine her owning exciting qualities, and her own ideas. Ursula is a class mistress in a Grammar school, as she has been for some years. On Gudruns first presence, s

13、he looks like very beautiful, passive, soft-skinned herself. She wears “a dress of dark-blue silly stuff, with ruches of blue and green linen lace in the neck and sleeves, and she had emerald-green stockings.” 1The clothes show that she comes from the petty bourgeoisie, and has independent sour

14、ce of income. Comparing with her brilliant attire, there is no many flowery words to describe her older sister Ursula. On the contrary, it gives us a natural and pleasantly new image.The first chapter describes a wedding. The daughter of the chief mine-owner of the district Thomas Crich is getting m

15、arried to a naval officer. Lawrence avails himself of this opportunity to introduce the main male Gerald and Birkin. Gerald is the son of Thomas Crich, so he has been given a set of conditioning circumstances at first: He was of a pair, sun-tanned type, rather above middle height, well -ma

16、de, and almost exaggeratedly well-dressed. But about him also was the strange, guarded look, the unconscious glisten, as if he did not belong to the creation as the people about him. Gudrun lighted on him at once. There was something northern about him that magnetized her .In his clear northern

17、 flesh and his fair was a glisten like sunshine refracted through crystals of ice. And he looked so new, encroached pure as an artic thing. 2These words describe a strong and powerful man on physique. From the very beginning, it warns us of something dangerously and cold elemental in him .As on

18、e of the most important person on wedding, there is something that is unknown that relates to his family and his industrial kingdom, so all of these have attracted the attention of Gudrun, who wants to know more about that man .It is to say in advance that they will built further relationship.R

19、ubert Birkin is the other leading male character. Many critics consider Birkin as Lawrences mouthpiece in the novel. His first presence is more specific .The readers know him from a specific guest, Hermione Roddice, who is the most remarkable woman in the Midlands, a daughter of a Derbyshire Br

20、onet of the old school. She is a woman who moves among the foremost circles in art, society and thought. She is complete and perfect according to the first standards, but she feels valaerable, and then is a deficiency .She craves for Rubert Birkin to close up this deficiency. Birkin is an isola

21、ted hero in the novel. It seems that he has no family and his background in vague. It reflects his importance, and his appealing. He appears with Mr. Crich. He is thin, pale and ill-looking. His figure is narrow but nicely makes. He also piques Ursula. She wants to know him more. Thus, it is no stra

22、nge for their intersection before long.B. The Depiction of the Variety of AttireIn the novel, characterization is taken in the variety of attire of characters. It is the demands of attire to mirror the features of age and individual. As one member of society, each person plays each role in daily lif

23、e. As both a carrier and a symbol, attire is the concrete form of expression for economy, status, education, profession, pursuit and so on. Thus, attire not only refers to the clothes. It can represent the qualities of each character, hinting at the development for characters emotional affairs.In th

24、is novel, the attire of two females Gudrun and Hermione are described with plenty of words. Comparing with them, Ursula is not stressed on her attire.According to the development of emotion between Gudrun and Gerald, Lawrence has designed many types of attire for stressing Gudruns personalities and

25、her qualities as an artist.In the main road of Beldover, there are part shops, part dwelling houses utterly formless and sordid, dark and soiled from place to place. Under this background, Lawrence let Gudrun have on grass-green stockings, large grass-green velour hat, full soft coat, and a strong b

26、lue color, which is quite alien to here, so “women  stared after the Brangwen sisters with that long, unwearyingly stare of aborigines.”3 These colors express her dreams: grass green stands for hope, dream, blue stands for sky and free. Our sense of Gudruns freedom is shown by her taste in

27、 clothing.In the early stage of Gudruns courtship with Gerald, Lawrence designs two suits of clothes for her. In the water-party on Willey Water given by Mr. Crich, Gudrun has a formal dressing. She wears “dresses of white crepe, hats of soft grass, a sash of brilliant black and pink and yellow

28、 color wound broadly round her waist, pink silk stockings, black and pink and yellow decoration on the brim of her hat, a yellow silk coat over her arm.”4 This dress is resplendent, so there is no surprise to attract Gerald. Though her look is very remarkable, like her father says she might as well

29、get herself for a Christmas cracker, she wears her clothes in pure defiance. It shows that she is independent and distinctive. Comparative with her, Ursula is all “snowy white, pink hat, dark red shoes, carries an orange-colored coat, entirely without trimming.”5 She looks more natural and simp

30、le, and at the same time, it shows their different educational background and qualities.When Gudrun is a family teacher for Geralds younger sister in shortlands, Geralds father has heavy illness. Gudrun dresses in blue, with woollen yellow stockings, and the heavy black shoes. Here, Lawrence ingenio

31、usly gives a starchy image of the Mademoiselle, whose glossy black dress perfectly correct, dark hair done high. In fact, England is strict with the atmosphere, so Gudruns dressing expresses strong ego that gives Gerald a grate challenge. It also manifests her great independence in ignoring the trad

32、itional restraint .On the other hand, it tells us that this family does not treat her as a sort of servant, and they see her on terms of friendship.In Innsbruck, Lawrence gives us the last suit for Gudrun. She dresses in brilliant clothes and thick scarlet stockings. Gudrun speeds down the road

33、 of snow. Her scarlet stockings stand for the strong desire burning brightly in her heart. Gerald feels “She seemed to be rushing towards for fate, and leaving him beyond.” 6 Here, it hints the ending of their emotional relationship.In Women in Love, Gudrun is more self-sufficient, more capable

34、 of controlling her own future. Moreover, her independence and freedom are constantly reinforced by clothing, and especially, in her brilliantly colored stockings.   Hermione is the second female who is given plenty of words to describe her attire by Lawrence. The attire reveals not only h

35、er personalities, but also the inevitable outcome between her and Birkin. Meanwhile, it implies that Birkin and Ursula will come together.As a host, Hermione herself wears a dress of prune-colored silk, with coral beads and coral colored stockings. The dress reflects her richness and formed. But acc

36、ording to the authors complement, the perfection is “shabby and soiled, even rather dirty.”7 It depicts vividly her pretence and stereotype. And on the other hand, it hints that the love relationship between Birkin and Hermione exists in name only.Hermione comes down to dinner strange and sepul

37、chral, because before the dinner, she has quarreled with Birkin. She puts on a dress of greenish brocade. It is very old stiff, and very tight. Here, it stands for her autocracy. In the gay tight of the drawing room her greenish brocade is full of faint darkness. As Lawrence says that she likes a re

38、venant8. It implies the emotion between Hermione and Birkin is in splitting, terrible and ghastly form.Attire, which is considered to be one of the cultural arts, reflects deep connotation of society that is used cogently in characterization by Lawrence. The variety of attire of the characters manif

39、ests their quite distinctive qualities, and implies their emotion tendency.III. Characterization in DialogueEverybody who reads Women in Love cannot ignore the foreground of its dialogue. More recently, some reviewers begin to pay attention to the novels dialogue features. David Lodge remarks: 

40、“Lawrence is the most Dostoevskian of English novelists, in whose best work conflicting ideological positions are brought into play and set against each other in a dialogue that is never simply or finally resolved.”9 This part tends to approach Women in Love from a dialogue perspective. It focuses o

41、n the dialogue relationship about two pairs of lovers.A. Dialogues between Gudrun and GeraldIn Chapter Twenty-nine, “Continental”, Gudrun is attracted by Loerke, a little German sculptor, who seems to be the very stuff of the underworld of life. For Gudrun, Loerke consummates her passion. They

42、have an invariable topic in their art. Gerald can not bear it. He can not catch up with them in that field. So far, he has been spiritually deserted. He does not admit his dominance through upon her is weakened. One evening, Gerald is arguing with Loerke, Geralds savage contempt makes Gudruns blook

43、flare up. When Loerke addresses her Mrs. Crich for help, she refuses the address:“Please dont call me Mrs. Crich,” she cried aloud.“What shall I say, then? asked Loerke, with soft, mocking insinuation.“Sagen sie nur nicht das.” she muttered, her cheeks flushed crimson, “not that, at least.”“Sol

44、l ich Fraulein sagen?” He asked, malevolently.“Im not married,” she said, with some hauteur.10    In this dialogue, Gudrun insists that Loerke does not call her Mrs. Crich, which deals Gerald a blow. “Mrs.” is a title used to address or talk about a married woman. Gudrun ref

45、uses this address, which manifests she is an unmarried and freedom woman. It also shows that she suffers few bonds of wedlock and moral restraints to Gerald. The conflicts between them break into the open. Meanwhile, through the depiction of the dialogues, Lawrence depicts vividly Loerkes calculatin

46、g disposition. He understands thoroughly the conflicts between Gudrun and Gerald. Underneath his kind consultant to Gudrun, he wants to breake the close relationship and sharpen the difference between Gudrun and Gerald.After Gudrun decides not to go back England, they have a talking again:“Our attem

47、pt has been a failure,” she said.“Our attempt at being lovers has been a failure?” he repeated aloud.“Hasnt in?” she asked “Do you think it has been a success?”“It had some of the element of success, our relationship,” he replied, “It might have been come off.”“No,” she replied, “You

48、cannot love.”“And you?” he asked.“I couldnt love you,” she said.11From the dialogue, it is clear that their relationship comes to the end, although both of them desire to be self-sufficient through their relationship. Gudrun and Gerald take apart at the end. In fact, their fundamental rupture can be

49、 predicted from the very beginning of the novel. Geralds father, Thomas Crich, is a chief mine-owner. He is a grate prompter of industry. In his mind, his goods and authority are more divine than anything. There is no doubt that this kind of family engenders “malady” in its children. He be

50、lieves that the pure instrumentality of the individual is the most important. He removes the old grey managers, the old grey clerks, the doddering old pensioners, and cancels the welfare of the free coals for window. He succeeds in establishing an efficient but inhuman system in his kingdom. He beco

51、mes the product of modern mechanical civilization. He is quite rich in material; however, his inner-life is vacuous. He is not a real and natural man. He has no ability to love others by heart. He makes machine his God. Because he is unemotional, he cannot combine with others truly.Gudrun is introdu

52、ced as one of the apparently freest creatures in the world in the novel. She is cynical and independent woman. She pursues to freedom and unrestrained. As an artist, she has a deep love for art. She tries to find “passionate purpose” life all long, but it is the lack in Geralds life. The confli

53、cts which are existed from the very beginning are increasing common. All of these contradictions determine their tragic ending.B. Dialogues between Birkin and UrsulaBirkins affair with the former mistress Hermione proves to be a disastrous failure. Hermione depends heavily on will, spirit and intell

54、ect which are fused together into a single passion for final abstract knowledge. For Hermione such knowledge means power, power to hold all life within the scope of her conscious mind, to reduce the passion to finite particles of thought, and even to reduce Birkin to his abstract spiritual essence.

55、Birkin can not bear it. There are some arguments between them that destroy Hermione. Her hit at Birkins head proclaims the thorough breaking of their relationship. Later Birkin and Ursula came together; their relationship is not compatible all the time. There are still contradictions between them. F

56、requently, their dialogues are consistently described as “hostile” and “opposition”. Whenever Birkin tendsto give a sermon, Ursula interrupted with a derisive remark. In Chapter Eleven, “An Island,” Birkins assertion that “I abhor humanity, I wish it was swept away”12 is cou

57、ntered by Ursulas remark that “youd be dead yourself, so what good would it do you?”13 Ursula does not convince that the detestable human world will disappear. Though Ursula finds Birkins dream of a world without humans attractive, she argues against him:“if you dont believe in love, what do yo

58、u believe in?” she asked, mocking. “Simply in the end of the world, and grass?”He was beginning to feel a tool.“I believe in the un seen hosts,” he said.“And nothing else.Your world is poor show.”“Perhaps it is,” he said 14The dialogues reflect their different attitudes to society and life. Bir

59、kin detests the world and its ways. He feels intense loathing for real society He regards love as sentimental cant. Comparing with him, Ursula is more positive to the world. She believes in love. Meanwhile, both of them have strong ego and individual will, which induces the some conflicts between th

60、em. In fact, the “duality in feeling” between Birkin and Ursula is constant in the novel. It seems that the hostility and love are inseparable since Ursula is both attracted and repelled by Birkin.Before the ending, Ursula once asked Birkin:“Arent I enough for you?”“No,” he said,” You are enoug