Everything Leaves a Trace: D. H. Lawrence, Modernism, and the English \u3ci\u3eBildungsroman\u3c/i\u3e Tradition

During the transition from the nineteenth to the twentieth-century, the Bildungsroman acted as a vehicle for artists’ reflections on the turbulent time. The Bildungsroman is especially well suited to capture the fragmentation and disillusionment characteristic of modernism because of its sensitivity to the community’s role in the individual’s social normalization. D. H. Lawrence’s autobiographical novel Sons and Lovers (1913) embodies the jarring transition from the world of the Victorian Bildungsroman to modernity. While Lawrence’s novel still relies on characteristics of the Victorian Bildungsroman, it makes a significant attempt to break away from the Victorian Bildungsroman. Lawrence uses the burgeoning field of psychoanalysis to inform protagonist Paul Morel’s development from adolescence to adulthood. Freud’s theories ground the tension between the individual and civilization in psychological terms and offer an explanation for its origin. If modernism’s creed is to make it new, as Ezra Pound suggests, Sons and Lovers stands as Lawrence’s attempt to reinvent and redirect the English Bildungsroman. Later modernist writers like James Joyce and Virginia Woolf take up the Bildungsroman and create a distinctly modern iteration of the genre that reveals and highlights the artist’s unique position in his/her community through incorporating psychoanalytic theories to create a more realistic depiction of the protagonist’s psyche. But Lawrence’s Sons and Lovers represents a pivotal moment in the history of the Bildungsroman as well as in the development of modern literature