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TABLE OF CONTENTS TABLE OF CONTENTS i INTRODUCTION 1 LITERATURE REVIEW 2 1 1 The use of Dialect in the Novel 2 1 2 The Structure of the Novel 2 1 3 Lexical Analysis 3 1 3 1 The Structure of Vocabulary. TABLE OF CONTENTSTABLE OF CONTENTSiINTRODUCTION1LITERATURE REVIEW21.1. The use of Dialect in the Novel21.2. The Structure of the Novel21.3. Lexical Analysis31.3.1 The Structure of Vocabulary31.3.2. The Use of Darkness and its variants41.3.4. The Use of Blood and its variants51.3.5. The Use of Words relating to Nature61.4. Metaphor as a mode of thought6CONCLUSION9REFERENCE10 INTRODUCTIONThe novel Sons and Lover is a representative masterpiece in the history of British literature, which is a successful model in the early works of D. H. Lawrence, a famous British novelist. The book can be regarded as a semiautobiographical novel of the authors life. It tells us the tragic story of the significant protagonist Paul by depicting a vast picture of his family relationship, especially with his mother, and his romantic relationship with two women. Based on Lawrences personal life experiences, his creative combination of romanticism with realism and psychoanalysis with social criticism gains the novel an everlasting good reputation. In 1994, one famous critic Harold Bloom listed Sons and Lovers as one of the novels that have been important and prominent in Western culture in The Western Canon.Most researches concerning Sons and Lovers have been made from the literary criticism perspective. Few researchers have scrutinized it from the linguistic perspective. This paper examines the conversation between Paul and Mr. Morel and the conversation between Paul and Mrs. Morel. It aims to explore the conversational implicature from the perspective of the Cooperative Principle. In this way, it can be interpreted from a new perspective, that is, a novel perspective. LITERATURE REVIEWLawrence has used numerous literary techniques and devices in Sons and Lovers to draw those trapped in the dizzying modernist vortex and complexity that permeates the modern age. They are discussed under. 1.1. The use of Dialect in the NovelLawrence uses dialect and strong idiomatic folk language to conduct his workingclass characters conversation. An example is a shift from a formal, cultured public school language to the list of ordinary colloquial speech. According to Jing Hengyi Honors College(Hangzhou Normal University, China)6, this is to juxtapose a voice from high culture and a voice from a low culture providing a contrast, which is one of the critical areas of interest in this period. He uses the Midlands dialect, which is considerably different from Standard English. This dialect often drops the beginning consonant of words and operates the oldfashioned thee and thou for you. Walter Morel speaks in dialect, highlighting his social background and sensationalism, while Gertrude speaks the Standard English of the instructed middle class. Paul speaks both dialects. He uses the Midlands dialect for passionate love with the sexually uninhibited Clara, flirting, and women towards whom he feels a sensual attraction. He reserves the Regular English dialect for Miriam, his workingclass friends, and his prim classconscious mother. Paul talks the jargon that is the speech of physical kindness. However, it is to the dialect of his father that Paul relapses when he is flirting with Beatrice. The sons never apply the dialect with their mother, and Paul never uses it with Miriam. 1.2. The Structure of the NovelSons and Lovers is split into two parts. Part one contains six chapters and part two consists of nine. The story has a form governed by its inner logic and is rigorously verified by an idea. It is not a mere chronological account of a family. Lawrences primary interest lies in his characters spiritual and psychical development, as stated in A Study on the Conversational Implicature in Sons and Lovers From the Perspective of Cooperative Principle7. The novels beginning may be conventional, but Lawrence soon gives up the conventional narrative mode. He prefers to mold his story into four neat events, which form a complete whole. He aims to describe the subtler complexities of life in its wide variety. Time is vital in shaping the novels structure, but emotional and psychological impulses play a vital role. Lawrence employs other devices of structural combination like a varying point of view, dialect, descriptions and reflective situations and a complex web of symbolism. The description that precedes some event is so apt that it lends an aesthetic structure to the novels rhythm. The basic fundamental patterns of various scenes involve the conflicts that confuse Pauls objective in life. Lawrence seems to be highly sensitive to what goes on beneath the events, and it is this quality lends a unique structure to his tale. 1.3. Lexical Analysis1.3.1 The Structure of Vocabulary
TABLE OF CONTENTS TABLE OF CONTENTS .i INTRODUCTION LITERATURE REVIEW .2 1.1 The use of Dialect in the Novel 1.2 The Structure of the Novel 1.3 Lexical Analysis 1.3.1 The Structure of Vocabulary 1.3.2 The Use of Darkness and its variants 1.3.4 The Use of Blood and its variants .5 1.3.5 The Use of Words relating to Nature 1.4 Metaphor as a mode of thought CONCLUSION REFERENCE 10 i INTRODUCTION The novel Sons and Lover is a representative masterpiece in the history of British literature, which is a successful model in the early works of D H Lawrence, a famous British novelist The book can be regarded as a semiautobiographical novel of the author's life It tells us the tragic story of the significant protagonist Paul by depicting a vast picture of his family relationship, especially with his mother, and his romantic relationship with two women Based on Lawrence's personal life experiences, his creative combination of romanticism with realism and psychoanalysis with social criticism gains the novel an everlasting good reputation In 1994, one famous critic Harold Bloom listed Sons and Lovers as one of the novels that have been important and prominent in Western culture in The Western Canon Most researches concerning Sons and Lovers have been made from the literary criticism perspective Few researchers have scrutinized it from the linguistic perspective This paper examines the conversation between Paul and Mr Morel and the conversation between Paul and Mrs Morel It aims to explore the conversational implicature from the perspective of the Cooperative Principle In this way, it can be interpreted from a new perspective, that is, a novel perspective LITERATURE REVIEW Lawrence has used numerous literary techniques and devices in 'Sons and Lovers' to draw those trapped in the dizzying modernist vortex and complexity that permeates the modern age They are discussed under 1.1 The use of Dialect in the Novel Lawrence uses dialect and strong idiomatic folk language to conduct his working-class character's conversation An example is a shift from a formal, cultured 'public school' language to the list of ordinary colloquial speech According to Jing Hengyi Honors College(Hangzhou Normal University, China)[6], this is to juxtapose a voice from high culture and a voice from a low culture providing a contrast, which is one of the critical areas of interest in this period He uses the Midlands dialect, which is considerably different from Standard English This dialect often drops the beginning consonant of words and operates the old-fashioned "thee" and "thou" for "you." Walter Morel speaks in dialect, highlighting his social background and sensationalism, while Gertrude speaks the Standard English of the instructed middle class Paul speaks both dialects He uses the Midlands dialect for passionate love with the sexually uninhibited Clara, flirting, and women towards whom he feels a sensual attraction He reserves the Regular English dialect for Miriam, his working-class friends, and his prim class-conscious mother Paul talks the jargon that is the speech of physical kindness However, it is to the dialect of his father that Paul relapses when he is flirting with Beatrice The sons never apply the dialect with their mother, and Paul never uses it with Miriam 1.2 The Structure of the Novel 'Sons and Lovers' is split into two parts Part one contains six chapters and part two consists of nine The story has a form governed by its inner logic and is rigorously verified by an idea It is not a mere chronological account of a family Lawrence's primary interest lies in his characters' spiritual and psychical development, as stated in A Study on the Conversational Implicature in Sons and Lovers From the Perspective of Cooperative Principle[7] The novel's beginning may be conventional, but Lawrence soon gives up the conventional narrative mode He prefers to mold his story into four neat events, which form a complete whole He aims to describe the subtler complexities of life in its wide variety Time is vital in shaping the novel's structure, but emotional and psychological impulses play a vital role Lawrence employs other devices of structural combination like a varying point of view, dialect, descriptions and reflective situations and a complex web of symbolism The description that precedes some event is so apt that it lends an aesthetic structure to the novel's rhythm The basic fundamental patterns of various scenes involve the conflicts that confuse Paul's objective in life Lawrence seems to be highly sensitive to what goes on beneath the events, and it is this quality lends a unique structure to his tale 1.3 Lexical Analysis 1.3.1 The Structure of Vocabulary Vocabulary plays a significant part in creating memorable effects-both textual and communicative, and in any stylistic analysis, it has to be scrutinized in depth This section will be looking at aggregate words, neologisms, collocations, lexical sets, and monosyllabic of 'Sons and Lovers' Lawrence constantly uses short words, mostly monosyllabic and short, presenting a simple, informal, and casual description The following conversation occurs in the novel's opening chapter when William feels very discontented because he had left his mother alone and talks to his mother "The moon was high and majestic in the august night Mrs Morel, seared with passion trembled to find herself out there in a splendid white light, that fell cold on her, and gave a shock to her tender soul She stood for a few minutes helplessly gazing at the glistening great rhubarb leaves nearby the door Then she got the air into her breast She stepped down the garden, path, trembling in every limb, while the child boiled within her" [1] Mrs Morel is a vessel of the life force that seems to push itself at her in nature from all sides, but she is also in resistance against it, and the perfume of the pollen-filled plants makes her gasp with fear She finally aroused Morel from his drunken sleep, and he lets her in Unlocking her brooch at the bedroom mirror, she sees that her face is covered with the yellow dust of the lilies The imagery of the streaming moonshine is that of a vast torrential force, 'magnificent and inhuman.' It equates with the revolutionary power of Mrs Morel The distortion of yellow pollen on Mrs Morel's face is a grossly humorous irony There is an automatic identification between real things and what they symbolize in the novel perspective of Madeline Freeman[8] 1.3.2 The Use of Darkness and its variants In 'Sons and Lovers,' the words darkness, black, death, nothing and their variants have been used repeatedly, resulting in a pattern of some sort This pattern explores Lawrence's ideas and vision about life forcefully, especially in the industrialized civilization[6] In the story, the word dark has been used in different circumstances affecting a pattern In the scene representing the bringing of the coffin containing William into the house, the alternatives of black have been applied in the following words: night, darkness, black, faintly luminous night, obscurity, candlelight Each of the words has been repeated several times in a brief period The constant patterning of these words makes the whole scene dejected and infused with an air of tragedy in the word of Psychoanalytic and Feminist Perspectives in D.H Lawrence’s Sons and Lovers[9] It very poignantly describes the sorrow and desperation felt in the Morel household: At the end of the story, the conflict in Paul's head is brought out very effectively through the contrasting patterns of light-darkness and life-death There is an intended comparison between positive and negative, optimism and pessimism, hope and despair: Here, the vast blackness of the night refers to death as Paul is in a dilemma behind his mother's death He seems to be in a very disturbed state of mind and wonders whether to merge with the darkness and his mother or embrace the glowing lane of life There is a void within him Paul is soundless in the terror of the big night He ultimately decides to cover life and turns towards the glowing lights of the city The lights here refer to and are representative of hope and life 1.3.4 The Use of Blood and its variants In Lawrence's 'Sons and Lovers,' the use of the word blood is quite impressive He uses it in a very notable manner Anger, passion, and sensual desire are shown in various characters There are several instances where the word blood and its alternatives have been used Some of them are: bloodshot eyes; a sensuous flame of life; full of blood; Morel's blood was up; even the blood; roused his blood; a wave of hot blood went over to the infant; her heart melted like a drop of fire; blood battling; etc Look at the following case: "The whole of his blood seemed to burst in to fires and he could scarcely breathe… his blood was focused like a flame in his chest There were flitted in his blood" [1] According to A H Gagiano[10], these lines relate to the passion felt for Miriam as they walked side to side He wants to make love with Miriam, but she blenches away from it and Paul Blood also makes its appearance felt when Mr Morel throws an object with violence at Gertrude, and some bloodshedding occurs This is representative Mrs Morel is hurt on her forehead, and the blood flows and drops on the baby's white cloak Later a drop also dropped on the baby's golden hair The imagery is strong and very symbolic: "Mrs Morel's blood on her baby." There is a blood connection, and a communion seems to have been established between her and baby Paul Moreover, it is ironic that it is Mr Morel who is responsible for the illustration of the blood 1.3.5 The Use of Words relating to Nature Flowers have a function in revealing the characters' psychological traits, and even the skies very symbolically change color according to the characters' feelings(Ding Liming, [4]) Thus it turns to red color when Mrs Morel is unsettled and angry, and it turns black when there is a foreshadowing of death and sorrow It appears to be a bright and glowing blue when Paul is out in the countryside with the woman he loves When he makes romantic love to Clara, the sky is flushed, symbolizing blood, passion, life and physical love Paul is attracted to nature's fundamental things and aspects in contrast to the industrial and mechanized society Mrs Morel's experience with the lilies when she places her head deep inside the flower and when her face is covered with pollen golden in color has been defined in very explicit and figurative language It is replete with comparisons, similes, personifications and symbols Mrs Morel shares a very social affinity with nature Her communion with nature is shared by Paul, her yet-to-be-born child at that time Mrs Morel is influenced by the intense perfume, the full moon's streaming white light, and the paleness of all the flowers 1.4 Metaphor as a mode of thought “The image seems to almost take over and substitute episodes as in discursive analysis, and take over the expressive functions of these”[7] The image is an excellent expressive medium and is very dominant in the given novel Lawrence's imagination/ appears to be so concrete that he seems not to discriminate between reality and the simile or symbol, which makes it plain to us Memorable images are of the streaming moonshine in the first episode and Paul's wonder at the spatial dimensions of a wren's retreat in a fence (he finds selfhood and rhythm in it): "He crouched down and carefully put his hand through the thorns into the large door of the nest It's almost as if you were feeling inside the alive body of the bird" he said, "It's so warm They say a bird creates its nest round like a cup with pressing its breast on it Then how did it create the ceiling round, I wonder?"[1] Ting Bo[11] once wrote, "The image of the red stallion in the woods when Paul, Clara and Miriam take a stroll in the countryside, lends the horse with a unique and magical identity The image associated with Mr Morel is that of the coal pits It is a representative of rhythmic ascent and descent, like life and death.” The work in the coal pits changes the natural use of the hours of life and dark and is an economic distortion of that rhythm in nature Morel and the other colliers bear the spiritual wound of that distortion, for Lawrence is dealing with modern men's natural environment in its complexity and injuriousness The work at the pits is symbolic of the more excellent rhythm governing life, obedience to salvation Throughout the book, the coal cavities are always on the horizon Figurative language generates pictures or images in the context It appeals to our senses, awakens our imagination and thought and adds beauty and intensity to the text Lawrence uses various figures of speech like metaphor, metonymy, simile and alliteration to add beauty and rhythm to the story Lawrence's style is lyrical, poetic and metaphorical, which have emotive opinions The images play a crucial role in sense impressions and evoking our emotions Thus the passage in which Mrs Morel has communication with nature is efficient, effective and sensuous because of the images, which are exotic, sharp and beautiful Similarly, the text abounds with metaphorical images in several scenes To mention a few: the scene when William's coffin, including his body, is brought home, the scenes when Mrs Morel is shown about to the death, the varieties of flowers, nature and the farmland, the passionate scenes between Clara and Paul and eventually the time when Paul takes the decision to turn his back on death and darkness and turns towards the lights of the city and continues with his life CONCLUSION Based on D H Lawrence's famous novel Sons and Lovers, a good illustration of the conflicts in people's hearts and the modern civilized society From the shown perspectives, the paper analyzes Paul’s internal psychological causes in his three dynamic stages of love: birth, development, and disillusionment, and explains the potential reason for his love tragedy to prove further the importance of keeping the balance between family relationships romantic relationship The analysis shows that the novelist in 'Sons and Lovers' mainly uses metaphoric language, symbolism, dialogue, disconnected fragments and sketches, disruptions of narrative flow, techniques of juxtaposition, dialect, fragmented episodes, and multiple points of view for characterization Lawrence makes complex and effective use of a complex range of glossaries in the novel The words darkness, black, death, nothing and their alternatives have been used repeatedly, resulting in a pattern This pattern examines Lawrence's ideas and vision about life in the industrialized cultivation forcefully Adjectives are used generously, both predicatively and attributable, making the prose style more vigorous, colorful, appealing, and forceful His passages are often dominated by long polysyllabic words when the instructed middle-class characters discuss complicated issues relating to emotional crisis, spirituality and abstract concepts By comparing the opposites, he suggests the crisis of the human soul in a mechanized, modern, and demoniacal society The writer focuses on characters' 'Mind Style,' which refers to the characteristic linguistic presentation of an individual's mental self , presenting characters' reflections, prejudices, feelings, and values REFERENCE [1] D.H Lawrence: Sons and Lovers (Oxford University Press, London 1995) [2] Zhang Tao: On the “Love Son Complex” and “Love Mother Complex” in Sons and Lovers, Foreign Literature Studies, (1998) No 4, p 14-17 [3] Hu Yamin: The Collision of Reason and Emotion in Modern Civilization Reading Lawrence’s Sons and Lovers, Foreign Language and Literature, (1999) No 3, p 35-38 + 42 [4] Ding Liming: Paul’s Identity Crisis and ‘Lacanian Self’ Construction in Sons and Lovers, Foreign literature Studies, Vol 34 (2012) No 9, p 91-96 [5] Sun Shengzhong: From the Separation of Spirit and Flesh to the Combination of Spirit and Flesh a Review of Lawrence’s Son and Lover, Foreign Language and Literature, (2000) No 1, p 50-53 [6] Jing Hengyi Honors College: An Analysis of the Love Tragedy of Paul in D H Lawrence's novel Sons and Lovers from the Perspective of Jungian Psychology, Hangzhou Normal University, Hangzhou 311121, China [7] DU Jingjie: A Study on the Conversational Implicature in Sons and Lovers From the Perspective of Cooperative Principle, School of Foreign Languages, Shanxi Normal University, Linfen, China [8] Madeline Freeman: The Woman of a Lifetime: How Frieda Lawrence Influenced Sons and Lovers and Revived D.H Lawrence, Trinity University, 2020 [9] Jackson K: Psychoanalytic and Feminist Perspectives in D.H Lawrence’s Sons and Lovers [10] A H Gagiano: English Academy Review: Southern African Journal of English Studies, 2009 [11] Ting Bo: An Ecofeminist Interpretation of Sons and Lovers, 2018 10 ... Lifetime: How Frieda Lawrence Influenced Sons and Lovers and Revived D.H Lawrence, Trinity University, 2020 [9] Jackson K: Psychoanalytic and Feminist Perspectives in D.H Lawrence? ??s Sons and Lovers... Flesh a Review of Lawrence? ??s Son and Lover, Foreign Language and Literature, (2000) No 1, p 50-53 [6] Jing Hengyi Honors College: An Analysis of the Love Tragedy of Paul in D H Lawrence'' s novel... beauty and intensity to the text Lawrence uses various figures of speech like metaphor, metonymy, simile and alliteration to add beauty and rhythm to the story Lawrence'' s style is lyrical, poetic