Sons and Lovers belongs to the category of psychological fiction. The remarkable development of psychological novel is a notable phenomenon of the twentieth century literary scene. The psychology of the characters and the typical problems, emanating from a particular psychological pattern form the staple of a psychological novel. This psychological novel has been ushered in by Virginia Woolf and James Joyce. The analysis of the psychology of the characters is what constitutes the motif of a psychoanalytical fiction. The novelist goes deeper and deeper into the innermost crevice of the psychology of his characters and he brings out or externalizes the subtle psychological framework of the characters.
It
was undoubtedly the great creative fecundity of D. H. Lawrence, which was
responsible for the intention of psychological novel. The psychological
theories and concepts enunciated and disseminated by Freud and Jung
revolutionized the world of conventional human thought. According to these
eminent thinkers and stalwarts of psychology, the human thought is operative at
three levels conscious, sub-conscious and unconscious. The mass of human
thought lies dormant in the subconscious and the unconscious minds; but it
sometimes comes out into the surface. Lawrence as a psychological novelist has
sought to externalize the recondite thoughts which lie hidden in the inner
recesses of the sub-conscious and unconscious minds.
Instead
of portraying the life and activities of an Augustan hero in a vast and
Aeschylean scale, the psychological novelist concentrates on the subtle shades
of the psyche of his characters. Hence, Lawrence was preoccupied with the
inner life of his characters. He set himself to the task of portraying the
psyche or ‘the shimmeriness’ and not the hard facts. M.I. Muller also
subscribes to the view that in the modern psychological novel, as that of
Lawrence, we notice ‘a withdrawal from external phenomena in the flickering
half-shades of the author’s private world’.
The
modern novelists including Lawrence take the
readers straight into the psychological plane of the characters and in so doing
they allow the readers to discern the incessant flow of sensations and
impressions which rise up in the minds of the characters. This ‘stream of
consciousness’ technique has made it possible for the novelists of
experimenting on time and place. The plot is rescued from the bondage of
time. But this resultant incoherence or inconsistency of structure has been
more than compensated by the exquisite delineation of subtle psychology of the
characters. In order to suit the artistic purpose, the novelists make the
action move forward and backward. In this context, the pertinent observation of
David Daichess merited:
“The
stream of consciousness technique is a means of escape from the tyranny of the
time dimension. It is not only in distinct memories that the past impinges on
the present, but also in much vaguer and more subtle ways, our mind floating
off down some channel superficially irrelevant, but really having a definite
starting off place from the initial situation, so that in presenting the
characters’ reactions to events, the author will show us states of mind being
modified by associations and recollections deriving from the present situation,
but referring to a constantly shifting series of events in the past”.
Lawrence’s
bold originality is exemplified by his style, which is impressionistic. His
style is more poetic than the prosaic style of others. He has used plants of
vivid images and symbols for giving expressions to the complex thought process
of psyche of his characters. Long before the efflorescence of ‘the stream of
consciousness novels’, Lawrence foreshadowed the style of consciousness
novels’, Lawrence foreshadowed these style of is type novels. Later on James
Joyce and Virginia Woolf perfected it with their mature artistry.
The ‘Oedipus Complex’ constitutes
a psychological problem and this forms the nucleus of the novels, Sons and
Lovers. The possessive character of Mrs. Morel was great stumbling block in the
life of Paul, the hero of the piece. She was terribly dissatisfied with her
married life and then subsequently. He failed to establish a becoming
relationship both with Miriam and Clara. The mother-image was deterrent to the
emotional life of Paul who himself was also a highly sensitive person and in his
attachment with mother we notice the warmth and passion of a lover. This
complex psychological problem has been treated or delineated by Lawrence with
the consummate art of a poet and an unfailing observation and insight of a true
psychologist.
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