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She is actively involved in his writing career, reading his stories, encouraging him, and serving as a hostess to his circle of intellectuals.

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The hypothesis that I aim to authenticate is that masochism is a “late” phenomenon in the history of representation, which accompanies vitalism’s reaction to modernity (and by modernity I mean a modern late-capitalist technological society characterized by the so-called ), while at the same time allowing a revealing glimpse into the internal contradictions of vitalism itself.

The mental outlook of vitalism, a philosophy championed by D. Lawrence, was formed, as I will argue, as a backlash against what it perceived as the technocratic civilization’s insensitivity to human temporality and the consequent disempowerment of man.

Even these smaller things are powerful in their own way: the daffodils are “so strong in their frailty” (714), and the pheasant chick is “so cheeky” and “so utterly without fear” (733).

People too are described in a language evocative of plant life–their sturdy bodies giving an impression of being firmly planted in the earth or gravitating toward it.

Thus Connie is stirred by the feel of Mellors “warm, living buttocks” and struck by the “small, bud-like reticence and tenderness of the penis” (773-774).

His penis is “proud” and “lordly,” “Like another being!The lovers, Connie and Mellors, their bucolic surroundings, and their affair, narratively framed by the life-affirming progress of the spring, are associated with words such as “vital,” “alive,” and “life,” and allusions to vigor, viability, pliancy, and fertility are frequently invoked in this connection. , round and vital” (719), and the pine-tree under which Connie sits is an “erect, alive thing” that is “elastic, and powerful, rising up” (714).Thus, trees in the forest, surrounding the love nest, are described as “powerful beings, dim twilit, silent and alive” (739); the oak trees have “powerful trunks . Early spring daffodils are “so bright and alive” (714), while a newly born a pheasant chick is “the most alive little spark of a creature in seven kingdoms” (732-3).He is therefore trying to talk Connie into having a child by another man that would be raised by Clifford as the heir of Wragby.To Connie, on the other hand, it is the mental life that “[begins] to feel like nothingness” (691), and her spiritual awakening is intimately bound up with her sexual awakening, which she experiences with her lover, and her husband’s servant, Oliver Mellors.Later, she continues her association with intellectuals–both aristocrats and commoners–via her husband Clifford’s bohemian set, all of them fashionable literati of London society.

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