D. H. Lawrence의 단편소설 연구 = A Study on D. H. Lawrence's Short Stories

다국어 초록 (Multilingual Abstract)

In the formative year (1907∼1914) Lawrence was learning to replace literary models form the past with his own voice expressing his own convictions, among them the conviction that emotion and sensation are more powerful, if unconscious, psychological forces, than reason and intellect. This belief led to search for a more satisfactory form than the rigid closed structure he had inherited from the Edwardian generation of writers, Bennett, Galsworthy and Wells. Between 1907 and 1914 Lawrence was evolving a dualistic vision of man which recognized the need to balance intellect against emotion, and reason against feeling. Because he became especially aware of the imbalance into which man had been thrown by the Industrial Revolution, he appears to celebrate the life of the passions at the expanse of the more conscious life of the mind. In fact he is only trying to redress the balance. It is underlying concern with life's dual nature which informs the shaped of his earlier stories-almost all of which were collected in The Prussian Officer in 1914.
In $quot;$quot;The Crown$quot;$quot; Lawrence extended his dualistic explanation of human nature to embrace life and death, autocracy and democracy, pagan sensuality and Christian spirituality. He was convinced that the Christian democratic ideal was finally destroying itself. He saw the First World War as the inevitable outcome of the collective death-wish inherent in individuals such as the two protagonists in $quot;$quot;The Prussian Officer$quot;$quot; or the Lindleys, Mary and Massy in $quot;$quot;Daughters of the Vicar$quot;$quot;. This formulation of his metaphysic necessarily affected the nature of the stories he wrote over the next seven years, 1915 to 1922. All eight stories in this selection emanating from this middle period and collected in England, My England(1922) show a new awareness of the wider significance of individual characters' actions and behaviour. Most of the stories reflect the destructive spirit finding such monstrous expression on the battlefields of France.
In the period of formal experimentation(1923∼1928) Lawrence reaches new heights of formal inventiveness, experimenting with genres like myth, the fairy story and satiric comedy-all of which traditionally present individuals as representatives of universal patterns of behaviour. Or he makes use of conventional literary forms like the ghost story and the murder story only to break their mechanical rules and reverse the reader's normal expectations. Two of the stories(The Woman Who Rode Away, Sun) show Lawrence turning to primitive myths in which the heroine is confronted with the natural world from which she and her kind have become dangerously alinated.