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劳伦斯对二十世纪的骚动和危机有异常强烈的感受,对表现这种局面有着激越的热情。不过,“他的感觉和热情并没有引向譬如詹姆斯和康拉德所指出的道路,即对优美精致的小说技巧的关注。”劳伦斯的现代主义特征,主要并不表现在对小说形式的革新方面。他的小说结构基本上仍然保持着传统小说的特点,具有现实主义的特征。但劳伦斯强烈的悲剧意识,促使他致力于人的内心属于潜能的那部分隐秘激情——“黑暗意识”的探索,这是现实主义手法难以胜任的,只得借助于象征。这种熔现代的象征和现实主义于一炉的表现方法,正是劳伦斯艺术创造的又一大特色。本文试图以他的第一部小说《白孔雀》为主要文本,结合他的现代主义的象征理论,对他的这一艺术特征作一初步的探讨。
Lawrence, who had unusually strong feelings about the turmoil and crisis of the twentieth century, had a passion for showing such a situation. However, “his feelings and enthusiasm did not lead, for example, to the path James and Conrad pointed to, that is, to the attention of beautiful, refined novels.” Lawrence’s modernist traits are not primarily manifestations of novelty aspect. His novel basically still maintains the characteristics of traditional novels, with the characteristics of realism. However, Lawrence’s strong sense of tragedy prompting him to devote himself to exploring the hidden passion, the “dark consciousness,” that part of the potential of mankind belongs to reality, which can only be achieved by means of symbolism. This melting modern symbolism and realism in a furnace of performance methods, it is Lawrence another major feature of art creation. This article tries to make a preliminary discussion of this artistic feature of his with his first novel “White Peacock” as the main text and his modernist symbolism.