By F. Becket
D.H. Lawrence: The philosopher as Poet addresses a specific physique of language and notion inside of Lawrence's oeuvre the place the metaphorical, the poetic and the philosophical are intricately enmeshed. Lawrence emerges as a author who pulls metaphor clear of its in basic terms rhetorical moorings: his specified variety is the hallmark of 1 who thinks now not analytically yet poetically, concerning the delivery of the self, the physique subconscious, complicated types of otherness and approximately metaphor itself as a method of figuring out.
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Extra info for D H Lawrence: The Thinker as Poet
That is, there are six dual centres of spontaneous polarity, and then the final one. That is, the great upper and lower consciousness is only just broached - the further heights and depths are not even hinted at. Nay, in public it would hardly be allowed us to hint at them. There is so much to know, and every step of the progress in knowledge is a death to the h u m a n idealism which governs us now so ruthlessly and vilely. (Psychoanalysis and the Unconscious, F&P, pp. 249-50, italics mine) It is typical of Lawrence, in the articulation of his own 'metaphysic', to blur what is to us (after Freud) the expected distinction between 'the unconscious' and 'consciousness' as he does here.
H. Lawrence: The Thinker as Poet and nascent. Art communicates a state of being - whereas the symbol at best only communicates a whole thought, an emotional idea. Art-speech is a use of symbols which are pulsations on the blood and seizures upon the nerves, and at the same time pure percepts of the mind and pure terms of spiritual aspiration. (The Symbolic Meaning, p. 19)2 This is Lawrence writing about 'untranslatable consciousness' (p. 187 my italics). The artist works from his head - his 'moral consciousness' - and from his 'unconscious or subconscious soul', working in 'a state of creation' (p.
730), and later, 'The Child and the Unconscious', 'Child Consciousness' and 'Harlequinade of the Unconscious' (Letters, IV, p. 93, p. 82, p. 97). The early versions of the essays which became Studies in Classic American Literature, 28 The Sensual Body 29 usually represented as a work of psychoanalytic criticism, initially included descriptions of 'the biological psyche' as Lawrence calls it in Fantasia of the Unconscious (F&P, p. 104), incorporating the infamous theories of dual consciousness which were largely removed as Lawrence revised his literary material into book form.