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Thematization of Power in D. H. Lawrence’s Women in Love with reference to

Nietzsche’s - The Will to Power

Article in European Scientific Journal · June 2016

DOI: 10.19044/esj.2016.v12n11p425

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 European Scientific Journal April 2016 edition vol.12, No.11 ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431

Thematization of Power in D. H. Lawrence’s Women

in Love with reference to Nietzsche’s - The Will to
Power

Hishryar Muhammed Ameen, MA

University of Duhok, Iraq
Khorsheed Mohammed Rasheed Ahmed, MA
University of Zakho, Iraq

doi: 10.19044/esj.2016.v12n11p425 URL:http://dx.doi.org/10.19044/esj.2016.v12n11p425

Abstract
This paper gives a brief discussion on Nietzsche's - The Will to
Power. It aims to thoroughly discuss how this theme has been reflected
within the plot and characters of D. H. Lawrence novel Women in Love. This
paper briefly talks about Nietzsche and his concept of The Will to Power,
Nietzsche’s influence over Lawrence, the relationships between characters in
Women in Love and their significances, and The Will to Power and conflicts
for dominations. Subsequently, it focuses on the Will to Power between male
and female. Also, it considers social status as a source of power and
authority. Finally, this study concludes on the type of Will to Power that is
mainly reflected in Women in Love.

Keywords: Will to Power, Nietzsche's influence, Knowledge and Conflicts

for Dominations, Power between Male and Female, and Social statue as
Power and Authority

Introduction
As the theme of power has been dominant throughout the twentieth
century, the name “Friedrich Nietzsche” has become one of the major names
which have been recognized with the new dominant theme of power.
Nevertheless, almost all the different fields of academic studies have been
widely influenced by his approaches on power. This is because throughout
the twentieth century, humankind has been preoccupied with the notion of
power. Through the wake of philosophers such as Friedrich Nietzsche, this
theme has spanned the conceptual “divide” between modernism and
postmodernism. Also, this has increasingly dominated these diverse
academic fields such as philosophy, economics, political science, and
English literature (Hyde, 2010, p.1). Due to the reality of Nietzsche’s wide

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influence over the academic thoughts, Lawrence was also influenced by his
notions of power. As a result, he advocated a vitalism and individualism
which often had parallels in the views of Nietzsche. In addition to this, he
was also very obviously influenced by the new advent of the modern age. He
was reacting against the industrialism and rationalism of the bourgeois
world. Then, he saw the modern industrial world to be sexually repressive
and to have a stunted human potential (Habib, 2011, p 194).
Hugh Steven (2007, p. 137) states that while Lawrence argues about
the modern fiction and divides them into three types, he argues that two of
the three types derive and propagate the self-consciousness. Thus, he
considers it a big problem of the modern culture. Furthermore, he argues that
at this point, Lawrence is influenced by his reading of Nietzsche. This is
because self-consciousness is an awareness of self as separated from the
natural world. It is a mental condition arising from the effects of the modern,
rational, and scientific thoughts with its dualism and harsh delineation of
subject and object.

The Concept of The Will to Power

Friedrich Nietzsche (1844-1900) was a German whose philosophy
challenged the religious fundamentals and the traditional morals, especially
those of the Western society. However, he has published many books and
has enriched the world of thought with new ideas and philosophies. These
ideas and philosophies have, however, influenced major people from
different fields of thought and science. Furthermore, he had a great influence
over literary scholars such as D. H. Lawrence. As Nietzsche saw that religion
and governing system both use rules to force people toward implementing
their plea without their own desire, he called for a new conception of
humanity. Therefore, this conception is based on self-creation, passion,
power, and subjugation of one’s circumstances (Habib, 2011, p. 182).
Nietzsche is best known for his conception of The Will to Power. This was
despite the fact that he did not dedicate writing a book on this very frank
title. However, his note book was published after his death under The Will to
Power.
Consequently, the idea of The Will to Power is very obviously
connected directly with life. In Beyond Good and Evil, Nietzsche says:
“living things wants to discharge its strength – life itself is The Will to Power
– self-preservation is only one of the indirect and most frequent
consequences of this” (Nietzsche, 2002, p. 15). Furthermore, if we intend to
better understand the concept of The Will to Power, we need to look at the
sample judgment of some scholars. Heidegger (1987, p 15) in his book cited
that Nietzsche states that, “Will to Power is the principle of new valuation;
and vice versa, the principle of the new valuation to be grounded is Will to

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Power.” Another simpler interpretation of The Will to Power is presented by

Belliotti (1998, p. 82). Hence, Belliotti stated that “the fundamental drive of
all living things… [is] the impulse to dominate one’s environment and
extend one’s influence.” Furthermore, he adds that this drive includes, “love,
friendship, respect etc., which are all manifestations of the Will to Power”
(Belliotti, 1998, p. 83). In addition to all these, Nietzsche viewed our pursuit
for knowledge as not impartial, but as a manifestation of our “Will to Power”
our fundamental motive of self-assertion, subjugation, and conquest, as well
as our need for security (Habib, 2011, p. 183).

A Short Summary of Women in Love

Women in Love is one of the major books written by D. H. Lawrence
in 1913. However, it was published in 1920. This story is about two sisters,
Gudrun and Ursula, known as the Brangwen Sisters. Ursula Brangwen is the
older and she is a teacher, while Gudrun Brangwen is an artist. The story
starts with the two sisters discussing about marriage. One day, they decide to
participate in a wedding party where they find their lovers. Usrula fell in love
with Rupert Birkin, while Gudrun fell in love with Gerald Crich. Moreover,
Birkin was haunted by an undesired relationship with Hermoine Roddice, a
friend of the Crich’s family. She is an aristocratic intellectual woman who
was sometimes Birkin’s lover. However, she wants to subjugate herself
completely to Birkin. As a result, Ursula and Hermione became enemies.
Hermione was ready to do everything to impose her power over Birkin, even
if she meant smashing Birkin on his head. As such, the relationship between
the two goes towards the end. Birkin goes back to Ursula. However, Birkin is
sure about his feeling toward Ursula, but soon he finds himself to be in love
with Gerlad. Also, Gerald had feelings toward Birkin too, but this confuses
him due to his growing love for Gudrun.
As the story develops, the characters begin to profess their emotions
towards each other. Ursula shows her readiness to marry Birkin, but there
was a problem with the proposal plan. Therefore, this made Birkin angry and
he goes to Gerald to find comfort. As time passes, they were engaged in an
eroticized wrestling. Later, Birkin asked Ursula’s hands in marriage from her
father. Soon after they got married, Gerald suggests a winter picnic for both
of them in Europe. Here, Gerald hopes that the picnic will be a way by which
he develops the romance between him and his lover, Gudrun. Everything
went on fine until Ursula tells Birkin that she loathes cold and they left. On
the other hand, the relationship between Gerald and Gudrun was interrupted
due to the interfering of a German artist named Herr Loerke, who was
interested in Gudrun. Gerald will to dominate everything even Gudrun
unveils here clearly when he hits Loerke badly and strangles Gudrun nearly
to death. After this, he walks away to the middle of the cold snowy mountain

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and was freezed to death. Then, his corpse was brought back to the hostel.
Birkin and Ursula came back again as soon as they hear the news of Gerald
death.

Section One
Nietzsche’s Influence over Lawrence
As a result of new industries and economic boom, life had faced
dramatic changes in the new century. New issues and problems had been
raised in the society. Lawrence was not neutral and speechless in the time of
the booms of the new changes. This was also accompanied by new
philosophical beliefs and thoughts. Thus, this was mainly that of Friedrich
Nietzsche and its raising influences over the new era. Hence, D. H.
Lawrence’s transformation to his Romanticism inheritance was his central
life’s work, and he did so as one who absorbed Nietzsche (Bell, 2001,
p.178). While Nietzsche’s philosophy started influencing various fields of
thinking and intellectualism, Deleuze (2006, p. xv) argues that, [in] England,
Nietzsche’s influence was mainly over the novelists, poets, and dramatists.
The new changes of the age were different from the changes that had
occurred in any other time in history. Therefore, it was not easy for people to
assimilate and accept them easily and smoothly. It was even believed to be
the age of crisis as was so called by many modernists who, “felt…..they were
in a time of historical and spiritual crisis…” (Lawrence, 2007, p. xviii). In
this age of crisis, D. H. Lawrence writings reflect Nietzsche’s philosophy of
power. His theme was dramatized in terms of a struggle between what he
calls Will. Also, he manifests this will as the integration of the drive of ego
towards power and domination. It has its inverse in the desire to be
overpowered, to be dominated, and to yield everything to dissolution
(Schorer, 1963, p. 57).

The Relationships between Characters in Women in Love and their

Significances
Women in Love is formed from several different characters.
Basically, two pairs of characters are the major focus in the story world, plus
a number of other characters which do not undermine their role in conveying
the central themes. There include a group of “free” characters, and a group of
“bound” characters. The free characters are limited to four, while the four
actively seek out their fate through the plot movement (Schorer, 1963, p. 53).
Consequently, the four characters who were considered to be the free
characters are Ursula and Gudrun who fell in love with Birkin and Gerald,
respectively. That is, Ursula fell in love with Birkin, while Gudrun fell in
love with Gerald. Lawrence has typical aims behind such creation of

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characters and relationships among them. Therefore, the relationship

between each pair of lovers reflects different themes.
The relationship between Gerald and Gudrun represents death, while
on the other side, the relationship between Birkin and Ursula represents life.
“Gerald…was captivated by the cold sculptor Gudrun - their relationship
represents “death”. Birkin…established the polarized male and female
relationship…with Ursula, and their relationship represents “life” (Zheng,
2010, 125). Furthermore, Jianjun Zheng argues that the theme of life and
death of the characters reflects the type of personality, mentality, and
thinking of characters. As life and death are two opposite things, the destiny,
events which occurred, and conclusions of the two pairs of characters were
different as well. Zheng also divides the characters into two different
categories in terms of their will to powers and domination versus their
sensuality and passion.
"Gudrun is a person to control, to possess, and to exercise her
own Will to Power. She has the negative destructive mental
self-consciousness in the depth of her soul… Gudrun belongs
to the same group with Gerald, and their relationship
represents death…Birkin symbolizes the natural, spontaneous
life, the man alive and lived wholly as a man of integrity, the
invincible life force that tries to overflow and stimulate him.
While…Ursula is sensitive and protective, believes in true
love...Together with Birkin, they are in Lawrence’s sense
“man alive and woman alive” (Zheng, 2010, p. 126).
Zheng further states that all other characters interact with the main
characters and contributed to the theme of the novel.

Knowledge as The Will to Power and Conflicts for Dominations

Hermione could be considered as one of the main characters on the
part of representing the typical symbol of The Will to Power in the novel.
She is on a continual attempt of imposing her domination on her
surroundings. Her behaviors and efforts of domination made her to be a
symbol of The Will to Power. However, other characters, who tried to force
their Will to Power on others, fell under her category. Furthermore, “Gudrun
pits her will against Gerald. She is on her way of becoming his Hermione
(Schorer, 1963, p. 56). In the vein, when Birkin visits Ursula in the
classroom, Lawrence created a very strong argument between Birkin and
Hermione. Hermione tries to demonstrate that the passion and sensation was
a negative thing. She inquires whether or not Birkin thinks that children’s
minds could be harmed by bringing them to consciousness. Alternatively,
Birkin considered the fact that it would be better to leave them without
knowledge. Hence, this would simply make them animals. In her continuous

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speaking, Hermione considers knowledge as sever between human being and

animals. Therefore, she stated that “it is better to leave them untouched,
spontaneous. Is it not better for them to be animals, crude, violent, or
anything, rather than being self-conscious or have no capacity to
spontaneous?” (Lawrence, 2007, p. 40)?
She further expresses her position and argues that, “when we have
knowledge, don’t we lose everything but knowledge? If I know about flower,
don’t I lose flower and have only the knowledge? Are we not exchanging the
substances for the shadow? Are we not forfeiting life for this dead quantity
of knowledge? And what does it mean to me, after all? What does all this
knowing mean to me? It means nothing!” (Lawrence, 2007, p. 41). As
Hermione finishes her speech, Birkin answers her argument with an outburst
of anger. However, as someone who knows her well to the extent that he
knows what she hides behind her words, he replies: “Knowledge means
everything to you! Even your animalism, you want it in your head. You don't
want to be an animal, you want to observe your own animal functions to get
a mental thrill out of them… Passion and the instincts—you want them hard
enough, but through your head, in your consciousness. It all takes place in
your head!” (Lawrence, 2007, p. 41). Consequently, this argument between
Birkin and Hermione is actually an argument or to say a battle between
passion and pure believing in the power of intellect and knowledge. As
Birkin argues against Hermione, his argument and hard attack further
continues. Thus, he accuses her that she only lusts for power and
dominations which are her will. Birkin stated that she is not honest about her
passion: “But your passion is a lie ... It isn’t passion at all, it is your will. It’s
your bullying will. You want to clutch things and have them in your
power…you only have your will, your conceit of consciousness, and your
lust for power to know!” (Lawrence, 2007, p. 42).
Birkin goes on with his speech against Hermione and accuses her that
she just wants everything in her way. He also stated that she is passionless
and has no sense. Furthermore, he says that destroying her skull might turn
her to a sensual woman. This offensive attack from Birkin against Hermione
explains that she takes just one part of human configuration which is
knowledge or intellect in reflecting her will. However, Birkin neglected the
sense and creativity of the body: “for ‘knowing’ in the sense of incorporating
and possessing intellectually is the mainspring of Hermione’s internal life”
(Black, 2001, p. 194).
Ursula, as Birkin, who falls within the same category of characters,
opposes the modern will to knowledge and power. Thus, Ursula considers it
as a destroyer of life. “We are tempted to agree with her [Ursula] that both
the Romantic projects of natural supernaturalism and the modern will-to-
knowledge have even destroyed the private life: nothing was left, but the

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kingdom of death” (O’Hara, 1992, p. 155). Hermione’s rejection of sensual

passion could stand even against the moral and sensual world of the novel.
This is because Women in Love reflect a great part of the importance of
sensuality and passion as an essential part of the human being’s nature.
The above tenacious dialogue between Birkin and Hermione could
embrace Nietzsche’s statement on The Will to Power when he argues that,
“The great rationality of all education in morality has always been that one
tried to attain to the certainty of instincts. So, neither good intention nor good
means had to enter into consciousness. As the soldier exercises, so should
man learn to act. Thus, this unconsciousness belongs to any kind of
perfection: even the mathematician employs his combinations
unconsciously” (Kaufmann, 1968, p. 234). In reading the above passage of
Nietzsche, it would be good to look at Kaufmann’s remark on the mentioned
passage from Nietzsche. Thus, this would bring more understanding and
clarity:
"The mathematician who is able to handle complicated
calculations "unconsciously" is not "unconscious" in the same
manner; as he is, perhaps, an animal that acts on impulse. The
"unconsciousness" that Nietzsche considers as a sign of power
is what one might call an attained unconsciousness and a state
of perfect mastery. Nietzsche considers both the man who acts
on impulse and the man who deliberately counteracts his
impulses to be inferior to the man who acts rationally on
instinct" (Kafmann, 1974, p. 233).

Section Two
The Will to Power between Male and Female
In one of the chapters of Women in Love under the title “Mino”,
there is a clear emphasis on The Will to Power. When Ursula went up the hill
to reach Birken’s house, she felt as though she was dreaming. In fact, when
she entered into a conversation with Birkin, she discovered more reality
about life as she argues with Birkin about love and individuality. As they
argue about life and love, suddenly their conversation turns to Mino, a male
cat. Mino could symbolically represent a male in the society. However,
Lawrence uses imagery to convey his ideas, and “[h]e is very good at
drawing concrete symbols which can convey his theme from the ordinary
objects of nature to characters” (Zheng, 2010 p. 126). When Mino boxes a
female cat twice, Ursula gets upset and goes out to the garden to stop Mino
from hitting the female cat. She, in turn, takes this opportunity to turn her
attack on all males as she says, “Mino…I don’t like you. You are a bully like
all the males!” (Lawrence, 2007, p. 149). Furthermore, we found that Birkin
opposes Ursula in that Mino is not a bully. Thus, he tries to justify what

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Mino did. Then, Ursula’s answer moves more toward expressing The Will to
Power. After calling Mino a bully, she cries out that Mino wants things its
own way. Here, when she describes Mino, she uses the same phrases in
which Birkin used before to describe Hermione’s Will to Power and
domination. The scene repeats itself here again. However, this time, Ursula
accuses male of doing things in their own way. Thus, she portrays that male
have a lust for power: “He wants his own way (I know what your fine words
work down to) bossiness. I call it bossiness” (Lawrence, 2007, p.150).
Birkin expresses male superiority over female. In addition, he stated
that males have a higher understanding and wisdom compared to females.
Ursula opposes him and by saying that Birkin’s ideology is “a real
Willezurmacht- so base, so petty” (Lawrence, 2007, 150). Birkin agrees with
her that The Will to Power is a petty thing. Nevertheless, he is still insisting
on his idea based on the case of Mino. This is because it is a different will
from the kind of The Will to Power which Ursula means. What he sees
appropriate and alright with Mino is that, “it is the desire to bring this female
cat into pure stable equilibrium, a transcendent, and an abiding rapport with
the single male. Thus, without him, she is mere wanderer and a fluffy
sporadic bit of chaos. It is a volonte´ de pouvor…a will to ability…”
(Lawrence, 2007, 150).
Thus, it can be said that from this argument, the two people were
discussing two manifestations of power. Ursula is against the Will to Power,
especially the type which reflects the lust of dominating other people. Birkin
agrees with her in this viewpoint and approves her opposition against The
Will to Power as domination. He insists that he is not concerned with
domination, but rather concerned with the kind of The Will to Power which
is in equilibrium between people that Ursula is likely to reject.
In a way, a comparison could be made between Hermione and Mino.
This is observed during their expression of The Will to Power. Furthermore,
Hermione as a female and Mino as a male are both representing The Will to
Power. Such a comparison could possibly convey and support the argument
in which The Will to Power exists. Thus, this occurs within human being
regardless of their sex. Apart from human beings, it takes place in all living
things which embraces Nietzsche’s notion that, “All living things possess a
Will to Power, although many do not have minds (Belliotti, 1998, p. 82).”
Mino uses its power and even takes advantage of its physical
superiority over the female cat and hits it. On the other hand, Hermione also
uses her physical power and attacks Birkin when she smashes his head.
However, “Hermion is determined to dominate him with the force of her
will” (Schorer, 1963, p. 54). Such comparison between Hermione and Mino
could possibly make the readers to believe. Thus, this is based on the fact

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that Will to Power and domination strips human off all feelings and degrades
them to the level of animals.

Social Status as Power and Authority

Gerald, the coal mine heir of his father, sees the work in the coal
mine to be an exciting experience. The coal mine for Gerald is a real
adventure because he can exercise his inner feeling of imposing power over
people. Consequently, there were “so many wagons, bearing his initials that
are running all over the country. He met with them when he entered London
in a train. He saw them at Dover. So far, his power ramified” (Lawrence,
2007, p. 222). Therefore, this new position gives him a great sense of
control and influence due to the power he receives from owning the coal
mine. Thus, in another word, the coal mine is a source of power. With Gerald
arriving into the city with his new posting to the coal mine industry,
Lawrence has created an image which shows Gerald’s sense of superiority
arising from the new source of power. Therefore, “will is mechanical, and its
symbol is therefore the mechanic” (Schorer, 1963, p. 57).
On the other hand, this scene could be looked at as the industrial
power which turns majority of people (workers) into weak instrument in the
hand of a more powerful person. Therefore, it made them inferior to him.
Also, “they were all subordinate to him. Although they were ugly and
untouched, they were his instrument. Thus, he was known as the God of the
machine” (Lawrence, 2007, p. 223). Moreover, it could be argued that
Lawrence reflects his real attitudes toward the impact of new industrial age
over nature and society. He shows his opposition against the new form of
power raised as a result of the development in the industrial fields. He was
born and grew up in Eastwood, Nottinghamshire. Thus, he lived in an
industrial area of coalfield where the waste produced by the coal industry
had a negative impact on nature. Hugh Steven (2007, p. 142) in his essay, D.
H. Lawrence: Organicism and the Modernist Novel, describes this effect of
industry on nature. Therefore, he stated that “[t]hese stark contrasts are
explored in most depth in Women in Love. All of which examines the impact
of what Lawrence calls the mechanical on landscape and on our way of
living. In addition, the modern has a demonic and fascinating power, which
is an awful destructiveness.”
Subsequently, coal mine as to be a source of power for Gerald. It
becomes a place where he can practice and reveal his will due to the reality
of the will force. Thus, this drives human being toward its action. Basically,
“the will of man was the determining factor. Man was the arch-god of the
earth. His mind was obedient to serve his will. As such, man’s will was
regarded as absolute” (Lawrence 2007, p. 223). He further argues that it
becomes more important for him. This is not based on the fact that it brings

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more money to him or because of his social position, but because it agrees
with his will. Another picture of The Will to Power, which is reflected in
Gerald, can be seen in his will of control even over his lover, Gudrun.
Lawrence describes a scene when Gerald is with Gudrun, and he held her
strongly. He describes this in a way that shows Gerald’s inside will of
domination and power over people and things. Therefore, the Will to Power
and domination with Gerald began to have no boundary because it does not
differentiate between strangers and non-strangers. As he receives his power
from the mechanic to practice his will, it could be argued that this image
reflects the danger of the new industries on the society.
"Under the bridge, they came to a standstill, and he lifted her
upon his breast. His body vibrated taut and powerful as he
closed upon her and crushed her, breathless and dazed and
destroyed…Under this bridge, the collier pressed their lovers
to their breast. And now, under the bridge, the master of them
all pressed her to himself! And how much more powerful and
terrible was his embrace, was how much more concentrated
and supreme his love was…"(Lawrence, 2007, p. 330)
Gerald has power over everyone and everything. His will even moves
to a higher level of domination to reach Gudrun. In this aspect, he could be
reflecting Nietzsche’s notion which stated that:
"The fundamental drive of all living things is the Will to
Power, the impulse to dominate one's environment and extend
one's influence. In humans, the Will to Power sometimes
manifests itself as brute force, but more frequently requires
creativity, boldness, and innovation. Nietzsche claims that the
typical catalog of human desires was for love, friendship,
respect, procreation, and biological nourishment” (Balliotti,
1998, p. 82)
Gudrun, who is Gerald’s lover, is an artist who has a strong
personality. Thus, she is not a common woman. She has a will of domination
and power in herself. All by herself, she tries to do things in her own way.
She is like Gerald in term of her Will to Power. Thus, they all belong to same
categories of characters. However, “Gudrun belongs to the same group with
Gerald” (Zheng, 2010, 126). Despite the power they have, they are both
using it destructively. As for Gudrun, when it comes to her own interest, she
gives up her lover to fulfill her will. Furthermore, she could have possibly
killed Gerald by her will. As stated, “Gudrun pits her will against Gerald.
She is on the way of becoming a Hermione. Moreover, since she is the death-
seeking, not the life-seeking antagonist…, she kills him” (Schorer, 1963, p.
56). In this term, Lawrence’s presentation of Gerald and Gudrun might
embrace Nietzsche’s thought. Thus, Nietzsche stated that, “Every

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animal…strives instinctively after an optimum favorable condition. Under

this condition, he can play with his own whole strength, and achieves his
maximum consciousness of power” (Nietzsche, 2003, p. 75).

Conclusion
Based on our analysis, we can arrive at the conclusion that Lawrence
finds philosophy as a suitable window. Through this window, he can show
his thoughts and beliefs about the changes of the modern age. This is based
on the fact that the modern age is clearly influenced by Nietzsche’s
philosophy. Lawrence reflects the era of the modern world through his
writing in a very proficient and skilled manner. Thus, he is even praised
highly by other contemporary writers for his creativity and great responses to
the modern era. For example, Ezra Pound praises him highly for his thoughts
and ideas about modern age, “Yet even when Pound afterwards referred to
Lawrence as a ‘detestable person’, he continued to acknowledge that
Lawrence had discovered, before he had, the ‘proper treatment of modern
subject’. Hence, this was probably the highest compliment Pound would
have made to anyone” (Bell, 2001, p. 179). As it is stated in the above lines
that Lawrence is well aware of his age and all the new changes, Michel Bell
(2001, p.178) says that, “… Lawrence, who when he first arrived in London
astonished Ford Madox Hueffer with his knowledge of the nineteenth-
century literature. He understood the philosophical and psychological power,
as well as the problems, of the Romantic tradition from within”. Due to these
realities, when it comes to reading Lawrence’s work, there should also be a
special focus on his philosophical messages.
As Lawrence argues the theme of The Will to Power and embodies
them in his characters, it could be argued that he could be against Will to
Power in terms of dominations. Based on the discussions outcome that
shows that Gudrun is becoming Hermione, she has The Will to Power as
domination. Also, she and Gerald share the same character traits.
Subsequently, it can be argued that all the three characters that have will of
domination, are falling under the category of the characters that represent
death in the novel. As it was concluded in Women in Love, Lawrence
expresses his rejection of The Will to Power as domination. Thus, he sees it
as a destructive will which ends up the society in a black destiny and death.
On the other hand, Birkin who reflects Lawrence himself in the story, falls
within the same characters category with Ursula who represents the sensual
side of the story world. However, “Ursula is sensitive and protective, and
believes in true love” (Zheng 2010, p. 126). They reject the will as
domination. As a result of this, it could be said that Lawrence is against will
as domination. Thus, he believes more in the sensual side of human being.
Furthermore, “Birkin, in a real sense, is a self-portrait of Lawrence, who

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fights against the cramping pressures of mechanized industrialism and the

domination of any kind of dead formulas. He was presented as a symbolic
figure of human warmth, standing for the spontaneous Life Force.” (Zheng,
2010, p. 127). Therefore, he believes that the new developments of the
modern age will bring more destruction and death to the society rather than
improvement. This is based on the fact that it leads to a negligence of the
sensual and passionate sides of man, and it just depends on intellect.

References:
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Belliotti (1998), “Stalking Nietzsche” Greenwood Press Westport,
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Black (2001), “Lawrence’s England, The Major Fiction” 1913-20”, Palgrave
Macmillan, United Kingdom
Deleuze (2006), “Nietzsche and philosophy” Colombia University Press:
USA
D. H. Lawrence (2007), “Women in love” Penguin classics: England
Habib (2011), “Literary Criticism from Plato to the Present, an
introduction” Wiley-Blackwell
Heidegger (1987), “Nietzsche: Vols. 3 and 4 (Vol. 3: The Will to Power as
Knowledge and as Metaphysics”; Vol. 4: Nihilism). San Francisco: Harper
and Rowe, Publishers Inc.
Hyde (2010), “Concepts of power in Kierkegaard and Nietzsche (New
Critical Thinking in religion, Theology and Biblical Studies”Ashgate
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Kaufmann (ed.) (1963), “Fredrick Nietzsche: Will to Power” New York: A
Vintage Giant
Nietzsche (2003), “The Genealogy of Morals” Mineola, N.Y.: Dover
Publications
O’Hara (1992), “The Power of Nothing in Women in Love” in Widdowson,
P. (ed.), D. H. Lawrence: Harlow, Longman, UK
Schorer (1963), “Women in Love and Death” in Spilka, M. (ed.), D. H.
Lawrence: A Collection of Critical essays: Englewood Cliffs, N.J.: Prentice-
Hall, Pp. 50.60
Steven (2007), “D. H. Lawrence: Organicism and the Modernist Novel” in
Shiach, M. (ed.) The Cambridge Companion to Modernist Novel: Cambridge
University Press, UK, Pp. 137.150

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Zheng (2010), "The Reinvention of Love and Death in Women in Love ",
Asia Social Science, Vol. 6, No. 3, Pp. 125-127

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