Though I risk triggering a "what is irony" debate,
I think there is irony between the intentions of the characters and what
actually happens to them.
Gerald
and Gudrun are concerned primarily with appearance and control, a game that seems
to me to be distinctly part of the world and natural to it. They are focused on
mastering the world and each other.
Gerald's unyielding determination to subjugate his horse (Pg111 of the
Penguin edition) as well as his quite overt attempts at dominance in the
closing chapters of the book establishes him as a character of the world. Gudruns
equally noticeable concern with status and latter her dream-like schemes for
Gerald as a politician displays a similar nature. However, as long as they play
the game they cannot be independent form the other because their signal of
success lies in the domination of the other. In the end Gerald appears to be
losing and he attempts to kill Gudrun in an effort to complete the ultimate
proof of dominance. In attempting to be masters of the world they, Gerald in
particular, become subservient to the game.
Nearly
a mirror to Gerald and Gudrun, Ursula and Birkin's attempt to escape "the
game," to transcend the commonly understood rules of consumption and
dominance (which are part of the natural order, I think) leads them into a
relationship of "stars balancing stars." Each maintains their identity
distinct from the other but each pulls on the other forming an equilibrium. At
the very end, they still differ in thought and focus but neither has consumed
the other. The irony is that in their efforts to escape the world, they found a
way to be that let them live in the
world and together without being subjected to the games of dominance and
control.
The novel indeed seems quite interested in being, in what it means to be. (There is a great book by Michael Bell on this topic in DHL's work.) What, I wonder, is the relation of being to *becoming*, in this novel?
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