Transcendental Sexuality : Sexual Awakening leading Development of Self in D.H Lawrence’s Lady Chatterly’ s Lover
While reading D.H Lawrence’s Lady Chatterly’s Lover I could retrace the imagery and the compelling thoughts and emotions of the characters in the novel with the idea of transcendental sexuality and spiritual sex mentioned in the ancient texts of numerous civilizations and holy texts such as kaballah., The Zohar and The mystic Song of Songs.
According to Kabballah pleasure is what defines a human being. Nothing more do I find more apt This world ‘s creation also arose from the desire of pleasure in Eve to rebel leading to the act of eating of the forbidden fruit of knowledge . The process of lovemaking has infinite potential
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A country women Connie symbolic of womanhood in its truest , naïve and purest form is deprived of what she calls true connection and is trapped in a loveless marriage with a cold man who lacks sentiment. Lawrence ‘s description of Connie grows dangerously disconnected , out of contact and deathlike. He describes her state as “ feeling acutely the agony of her own female forlornness.” Connie in one of her thoughts starts to resent and repulse her body .Lawrence says
Her body was going meaningless, going dull and opaque, so much insignificant substance. It made her feel immensely depressed and hopeless. What hope was there? She was old, old at twenty-seven, with no gleam and sparkle in the flesh. Old through neglect and denial
Lawrence goes on to describe Connie ‘s disappointed state of nothingless in her life again and again. Connie feels her efforts to live a life has led to a grand total of nothing “The sense of deep physical injustice burned to her very soul”. Connie stubbornly
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Her whole self quivered unconscious and alive, like plasm. She could not know what it was. She could not remember what it had been. Only that it had been more lovely than anything ever could be. Only that. And afterwards she was utterly still, utterly unknowing, she was not aware for how long. And he was still with her, in an unfathomable silence along with her. And of this, they would never speak
The more one looses control the more creative energy flows through the power of creative and intitutive arena of one s mind where it finds more satisfaction and a sense of completeness and creation that is not realized or described but is felt and experienced .
Not just Connie but other characters in the novel also portray the need of a deep connection it is as if one is incomplete if not known to the lover’s body Mrs Bolton remembers her husband and claims that if there is heaven above she knows that it her husband and the touch of him
Connie describes this feeling in one of her dialogues to her sister Hilda .She
Susan Minot’s “Lust” follows a young woman narrating her growing up and coming of age through the men she has lusted over. The story is formatted in short paragraphs, usually changing between men without warning. At the near end of the story, she says: After sex, you curl up like a shrimp, something deep inside you ruined, slammed in a place that sickens at slamming, and slowly you fill up with an overwhelming sadness, an elusive gaping worry. You don’t try to explain it, filled with the knowledge that it’s nothing after all, everything filling up finally and absolutely with death. After the briskness of loving, loving stops.
The late 19th century was a monumental era for the city of Paris. As the city kept growing and increasing in popularity around the globe, the city itself was being modernized from its dated medieval layout. These modernizations had a direct impact on the culture of the city, the lifestyles of its inhabitants, and the prominence of the city across the world. Paris’ inhabitants were as social as ever, and often enjoyed themselves at cafés and bars. This modernization acted as a perfect catalyst to support the surging wave of capitalism across Western Europe.
In detailing the events that led up to her change in perspective, she made note of the honeysuckle that covered the walls of the well-house, the warm sunshine that accompanied going outdoors, and the cool stream of water that she felt as she placed her hand under the spout. These details kept the reader with her in the moment as she felt something less simple, but still universal; the returning of a, “ misty consciousness as of something forgotten.” In using rich diction, she maintained a sense of intimacy with the reader which allowed her to call on personal details from her own life and theirs. Later in the passage, she described how, once the reality of language was opened to her, and she returned to the house, “every object which I touched seemed to quiver with life.” She had gone through a complete shift of perspective, one that, to her, was felt entirely through senses other than sight or sound.
Additionally, the narrator realizes her consciousness is constantly changing as she “loves the thing untouched by lore…the thing that is not cultivated… the thing built up” (473). The narrator’s consciousness faces another struggle between trying to find equal good in both the culture of her people and the new culture that has been introduced to her. Yet, she stands boldly “one foot in the dark, the other in the light” (473), as she forms a bridge between the two cultures and is stuck while she tries to understand her sense of self. Finally, the silent voice, a metaphor for her faith, calls out to her.
The short story “Where Are You Going, Where Have You Been?” by Joyce Carol Oates can be interpreted in a multitude of ways due to its ambiguity. A psychological lens, however, provides the most accurate viewpoint for analyzing the story as it clarifies certain obscure scenes and actions of Connie. One psychological issue of Connie that is easily inferred from the beginning of the story is her insecurity about her looks. Connie constantly worries about the way that she looks and takes any opportunity to do so, “craning her neck to glance into mirrors or checking other people's faces to make sure her own was all right” (1).
“But now her looks were gone and that was why she was always after Connie.” (Oates ). Also, there is another opportunity for friendship within the family, between Connie and her sister, however, that is lost in their rivalry and hostility. “Her sister was so plain and chunky and steady that Connie had to hear her praised all the time – by her mother and her mother's sisters.” ( ).
Carol Joyce Oates’ “Where Are You Going Where Have You Been?” presents how falling into temptation leads to giving up control and innocence. Though her mother is unapproving of her actions, Connie spends her time seeking attention from male strangers. Home alone, Connie is approached by a compelling creature who convinces her to leave her life and join him on his unknown journey. Through disapproving her family, having multiple appearances, listening to music, and her desperation to receive attention from boys, Connie gives up control of herself losing the purity of adolescents and contributing to her detrimental fate. It is imperative that one should not be controlled because of a desire to impress others.
A few nights before Connie and some friends had gone out to meet boys and Connie
In Joyce Carol Oates’s short story “Where Are You Going, Where Have You Been” the main protagonist finds herself in a very hostile situation. With an all most fateful encounter with a man known as Arnold Friend. Forcing her to choose whether to run off with him or taking her by force. This man known as Arnold Friend to the reader comes off as almost a demon. A person who uses many temptations, word play, and threats to take advantage of the young protagonist Connie.
Essay #2 Parents play a very important role in the lives of their children. If parents do it in the right way, it positively impacts children’s mental and emotional condition. One of the main characters from the short story “Where Are You Going, Where Have You Been?” by Joyce Carol Oates, Connie, does not have that kind of relationships with her parents, with who she can share her thoughts or who to get a good advice from. The main reason of all Connie’s mental and emotional problems is that her parents do not play a good role model for her and compare with the older sister. Being parents is far more than just providing children with food and clothes.
The people in those books never lived. Come on now! She shook her head.” (Bradbury 35). Here, one is demonstrated that the old woman is emotionally, mentally, and even physically attached
The reader soon discovers, this feeling that comes to Mrs. Mallard is joy and relief, she feels this because she can now finally be her own person. Mrs. Mallard comes to the realization that her husband had been oppressing her for years, “There would be no powerful will bending..”, and she was finally free of that. Before the passing of her husband, Mrs. Mallard was scared of living a long life because of the treatment she received from him. After his passing she had a much different outlook, “There would be no one to live for her during those coming years; she would live for herself.” This shows that Mrs. Mallard was excited to now live her own life without being told what she was to do.
From her internal thoughts and observations, the reader is given knowledge of the exact extent to which Ellie’s own mortality affects her thoughts, actions, and enjoyment of her whole life. The impact of the knowledge is best demonstrated when the reader is told, “Yet
[She] knew them, thought them. but they would not come”[p.48]. Habit had rendered her unable to speak her mind at command. It took a great deal of effort to enable herself to speak and express herself. She thus sought comfort and refuge in silence.
At the time that it was published, D. H. Lawence’s Women in Love was an extremely controversial novel. However, Lawrence’s talent as a writer and his ability to explore the intricacies of human emotions such as love, have ensured that his work continues to be read even today. Women in Love follows several relationships and the struggles that the characters face in their pursuit of love. Three of the most notable relationships exist between Rupert and Ursula, Gerald and Gudrun, and Rupert and Gerald. Conflict plays a leading role in each of these relationships, but it affects them all differently.