comparing themes

Theme Comparison: ″A Modern Lover″ vs. ″New Eve and Old Adam″

Lawrence believed in what he termed the union of "pure mutual opposites," which he
defined as the ultimate marriage of opposed elements such as fire and water, on which the
rule of creation was founded. The union of a man and a woman plays an essential role in his
theory. According to his idea, when a man and a woman are born, the two germs represent
the two cosmic principles contained inside the life spell. This connection with the other sex,
according to Lawrence, would assist the human person in discovering their actual, authentic
self, the self who is most closely associated with the body and the senses and, as a result, is
more primal in its conception of the self than civilized conceptions. It is important to note
that this connection includes physical and spiritual aspects. This connection becomes one of
the essential themes in his writings. Nevertheless, there are instances in which he celebrates
the connection of the bodies rather than the spiritual union. He seems to assume that the body
may bring about spiritual rebirth on its own.

Men and Women in ″A Modern Lover″

In "A Modern Lover," we follow the story of Cyril Mersham, a young man who grew
up in rural England and returned home to meet his old sweetheart, Muriel, after a period of
living in the city. "A Modern Lover" is directed by Michael Winterbottom. Given that Cyril
was about the same age as Lawrence when he wrote the narrative, his experiences influenced
Lawrence. In the past, Cyril had been very close to Muriel and her family, spending a lot of
time with them. However, as his profession and new adventures took him away from home,
he has become more distant (Burwell, 2019). Even though Muriel and her family adored him,
they were becoming chilly toward him during his occasional visits since they knew he would
soon cease to visit. According to the storyline, this pattern includes a young man returning
from London to the location where he spent his childhood, seeing a lady with whom he had a

3
strong, celibate emotional relationship while also sharing their intellectual progress with her,
and then returning to London (Lawrence, 1934). As soon as he meets her new fiancé, the
protagonist finds himself confronting the lady himself. This creative process may manifest
itself as an artistic alteration of the events or as a dialogue between fiction and reality,
depending on the circumstances.

Muriel, the object of Mersham's affections and his target of resentment, exhibits an
artistic portrayal. It is possible to build an equivalent sequence of similarities and questions in
this character and Cyril's character. Muriel and Jessie Chambers's biographical relationships
will not be discussed in total, but rather the emphasis will be on one crucial feature of
Muriel's stance: how she delimits the human interaction shown in A Modern Lover." She
must be seen in the context of the fictional game that Lawrence has constructed, as well as
the function she plays in it in terms of Cyril's attitude and feelings (Lawrence, 1934).
Chambers has been re-created, and Lawrence has utilized this re-creation to stress an artistic
portrayal of the biographical event, in some ways strategically. Muriel is portrayed in the
novel unusually regarding the relationship: she is described as having "the indulgent tone of a
woman who will sacrifice anything for love."

Although the connection between Muriel and Cyril is essential to the storyline of A
Modern Lover, it also provides the opportunity for the development and dissolution of poetic
relationships inside the tale, which can distort the proper emphasis of events and enclose
those same events within a different atmosphere. It is necessary to understand the poetic
connections that Nalbantian expresses about a generic perspective on aesthetic autobiography
in this context as the specific method the characters react to the magnified event (Burwell,
2019). Because of the artistic alteration of autobiographical facts, there is an exaggeration of
reality created from actuality. According to the artist, it is part of the aesthetic autobiography

4
to recreate this specific human contact since it amplifies a life experience into an artistic
depiction (Nalbantian 136). The author's fresh insights into the personal experience (in this
instance, the fictitious occurrence in the novel), the focus on the moments, and the way b


Place your order