Description
This project considers the way James Joyce's portrayal of paralysis is present in the works of D.H Lawrence and E.M. Forster. By observing how Joyce's Dubliners depicts paralysis through the "The Sisters" and "Eveline" the distinct delineations of paralysis become evident and inform the way paralysis and flight is studied in Women in Love, A Room with a View, and Maurice. This study explores the way in which Joycean paralysis is present in the works of Lawrence and Forster who construct self-aware characters, but who also depict characters paralyzed and hindered by detrimental attachments to Victorian ideals all reflective of an English society unable to progress. Paralysis is manifested through physical, social, and mental mediums. The paralyzed character is one who struggles to let go of archaic and limiting ideals which hinder his or her ability to reach fulfillment and actualization. Most frequently, reaching fulfillment rests on their ability to find genuine and reciprocated love. On the other hand is the mobile character able to break away from paralysis and pursue their passions. The flight from paralysis must be ideological and physical. In order to denounce society's attempts at paralyzing the subject there must be an awareness of the paralyzing elements. Then there must be a willingness to commit to the sacrifices necessary to break ties with paralyzing society. This vital element of awareness comes to characters through the form of Joycean epiphanies. Prior to their moment of enlightenment these characters are usually portrayed in a Forsterian muddle. The Forsterian muddle becomes a precursor, or the liminal space prior to the subject being faced with the choice of mobility or paralysis. With Lawrence I am able to explore the way in which society's inability to accept homosexual love comes to paralyze Rupert Birkin who is frequently seen as progressive and even a mirror of Lawrence himself. With Forster, love is also being limited, but rather than the love being "inappropriate" for gendered reasons, the union is hindered by station and expectations of class. Maurice concludes this analysis with a protagonist who successfully flees to the fantastical greenwoods.
