By John Worthen (auth.)
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Additional info for D. H. Lawrence and the Idea of the Novel
All at once he stopped. The bitter despair in his tone was the voice of a heavy feeling of which Siegmund had been vaguely aware for some weeks. Siegmund felt a sense of doom. He laughed, trying to shake it off. 'I wish I didn't go on like this,' said Hampson piteously .... (T 85--6) In the novel, Lawrence uses a style and an approach he does not use in the story; the Doppelganger figure of Hampson is a pretentious and unfleshed idea. In general, too, The Trespasser is written with the language and mannerisms of Lawrence's poetry of the period; it is significant that there should be extant two poems working out situation and character for the novel-'Red' and 'A Love-Passage' (Poems ii 889 and 876).
Paul Morel' existed as an idea before it existed as a novel: an idea of mis-marriage, of tragic waste. I have already quoted his remark of April 1911 about all great art being tragic: but that remark was made in the context of a description of his own family, and the fact that Lawrence's fiancee Louie had no conception of what they had all been through; 'she's seen nothing whatever of the horror of life, and we've been bred up in its presence: with father' (26 iv 1911). 'Paul Morel' must have tried to show 'how relentlessly tragic life is' in an account of a ruined marriage, a horrific father and a beatified mother.
ERNEST (after a pause): And you do understand, don't you, Master? MOTHER (with great gentleness, having decided not to torment him): Yes, I understand now. ) ERNEST takes her hand and strokes it a moment. Then he bends down and continues to unfasten his boots. It is very silent. I'm sure that hussy ought to be in-just look at the time! ERNEST: Ay, it's scandalous! 8 Ernest strokes his mother's hand, not her face (as in Sons and Lovers): and the kind of subtle drama of nuance at which the play aims ('having decided not to torment him') is quite different from the raging melodrama of the novel, in which Mrs Morel not only pants with exhaustion after walking uphill (as in the play) but sits 'bluish round the mouth', with a weak heart; then has her passionate scene with Paul; then moans and faints away during the quarrel between father and son.