we identified a level of characterisation underneath the surface level of conscious thoughts and speech. We commented that the ‘real’ story of D. H. Lawrence’s novels takes place on this level; and we noticed how Paul Morel, Tom Brangwen and four of the characters from our Women in Love extract are all portrayed as struggling with inner conflicts and unconscious or half-suppressed urges. There are still further questions to ask about this. In particular, we fudged the issue of consciousness: does the character ‘know’ their emotions at the time? How much are they aware of, how much is hidden from their conscious knowledge of themselves? If they ‘sense’ or ‘know’ their sudden feelings, in what way are they aware of them, and do they understand what is causing the way they feel? These questions can only be answered on a case-by-case basis: in such a variety of characterisation as Lawrence provides us with, the only thing we can be sure of is that we must proceed with extreme caution.
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