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Extra info for D. H. Lawrence: Nature, Narrative, Art, Identity
11 William Hale White, The Early Life of Mark Rutherford, London 1913. 9 20 D. H. Lawrence He was no doubt attempting to correct earlier misunderstandings: the clear meaning here was that the autobiographical writings of ‘Mark Rutherford’ should not be assumed to be totally true of his own life. Yet Lawrence, writing many years before, and praising him for being ‘just’ and ‘thorough’ and ‘sound’, may not have considered the degree to which Hale White’s pseudonymous authorship had necessarily involved him in a degree of over-projection—possibly even falsification—of events.
As Lawrence’s drafts are examined closely, indeed, one senses that he was becoming aware of producing a work that was not to be limited to the struggle between two women for domination of a promising young man—and one which was by no means shapeless. He was right to insist that the work had form (‘I tell you it has got form,—form’), but the struggle to establish the existence of this ‘form’ was leading him into a questioning of the very nature of the organic. 26 L PM 204. L PM 156–7. 28 ‘She hated J and would have risen from the grave to prevent my marrying her’: L CL I 197.
30 Yet though the mobility of his mother’s features might have collapsed into sterile fixity at her death, this was by no means the end: on the contrary, life displayed its continuing essence in the interplay between the stability of vegetable growth according to a preordained pattern and the urge to play of all active organisms. This showed itself particularly in the violent change in his attitude as his revulsion from all that was implied in her shrinking towards the fixity of death was replaced by a turning towards all that was displayed in the activity of youth.