The relation between men and women This is such a complex book that extends beyond relations between

women and men. Still it is a major theme. Women in Love starts with two sisters, Ursula and Gudrun. Both of them are extremely modern ladies, but with really old-fashioned names. Gudrun especially has that contrast. I didn't even know Gudrun was a name, it's that archaic, but she herself is an artist. She makes her living at it, even. Ursula is a little more tame; she is a teacher. There sre the men, too. Gerald Crich and Rupert Birkin reveal themselves as the love interests for the two women in love. All these four are strained to the breaking point with their sensitivity. They are constantly in rapturous heights, or seriously believe that they will die of their disappointments. It seemed comical to me, after the first time, how overcome they are by their feelings. Check out the source link below for more of this.

The title is misleaded ,love is the sentiment , the feeling of marriage . they are seen in opposition . love in the title has nothing to do with the marriage and the friendship. Love in assoctiation with woman has to do with vital energy , the concept of feminity . love is not the opposite of hate., there is no difference bet, love and hate,both are pasiions and instincts.
Background The transitional shift in the Modern epoch away from knowing into a realm of unknowing occurred on multiple frontssocially, philosophically, culturally, and religiously. Modern writers and philosophers served as the wobbly bridge between rational realism, concrete ideals, and parametrically designed boundaries of thought and perception on one side, and on the other, notions of formless, spiritual transcendence in a godless universe, breakdowns in moral systems, and ideologies that suggested that existenceand therefore, individual perceptionwas not only metaphorically meaningless, but more importantly, missing the point. While Freud and Darwin both deduced theories suggesting animalistic tendencies in human beings, Nietzsche (left) went one step further in dictating that human beings are consumed by the primal irrationalthat is, human beings are not driven by rational, cognitive processes, but rather are more or less reduced and defined by natural drives and instincts in a universe devoid of any meaning or purpose other than for life struggle (Asher 4). Moreover, modernists were essentially disillusioned by a train of chaos, which carried the death and dying of World War I and the rising machine of industry and innovation. Therefore, they were conditioned to resort to existentialism, or submerge themselves in the absurdity of life and death, a realization of

a perceived nothingness or dread in themselves and the freedom with which to live as they chose, casting any spiritual association or reverence for a higher being aside. The Novel D.H. Lawrences Women in Love expounds on all the aforementioned themes of Modernism through a conceptualization of erotic and homoerotic love, the relation with which human beings have to animals and machines, the horrific and stoical confrontation with the accident of life and death, and most importantly, the role of godless subjects in a universe all to their own and beyond antiquated boundaries. Lawrences (right) Women in Love survives to remind humanity of its only empowermentto exploit its own senselessness in a world gone mad, or more succinctly put, to conceive a world without the proclaimed virtues of the past and seek the natural self buried within the shadows of tradition and behaviorism. Existentialism, war, death Perhaps, the most important theme in Lawrences Women in Love is existentialisma new wave movement and philosophy pervading Modernists consciousness and unconsciousness. Existentialism ties in a myriad of Modern motifs. One of the main characters, Ursula, repeatedly expresses the nauseating feeling that torments her, and perhaps, her feelings sum up the rudiments of existential ideology best: She seemed to have passed into a kind of dream world, absolved from the conditions of actuality. She watched the sordid streets of the town go by beneath her, as if she were a spirit disconnected from the material universe.She had fallen strange and dimas a berry falls from the only world it has ever known, down out of the sheath on to the real unknown (143). The metaphor of the berry falling from the tree in this passage is appropriate on multiple levels. First, the passage conveys one of the primary tenants of existentialism in that humanity has transitioned out of a reality conditioned by faith and solidified belief systems into an underworld of looming nothingness and uncertainty. The entire sphere of life seems unreal, not just because of war, industry, and innovation, but because systems of knowing and understanding purpose and direction have dissolved or vanished. Second, the berry metaphor resolves that material valuethat is, the having of a thing and the retention of itseems not only absurd, but also downright trivial. Where death, destruction, and sordid conditions reign supreme, possession of things or people in life seems more and more meaningless. Hope & Love

Still though, there is hope to be gleaned from the novel, especially in the matching of Ursula and Rupert Birkin. Whereas Birkin represents a contemplative death-eater, muddling forward in search of an idealized love that brings meaning to his own individuality, Ursula symbolized Lawrences romanticized vision of woman. Lawrence describes Ursula, She had the perfect candor of creation, something translucent and simple, like a radiant, shining flower that moment unfolded in blessedness. She was so new, so wonder-clear, so undimmed (371). Next, Lawrence describes Birkins reaction to her: "But the passion of gratitude with which he received her into his soul, the extreme, unthinkable gladness of knowing himself living and fit to unite with her, he, who was so nearly dead, who was so near to being gone with the rest of his race down the slope of mechanical death, could never be understood by her. He worshipped her as age worships youth, he gloried in her, because, in his one grain of faith, he was young as she, he was her proper mate. This marriage with her was his resurrection and his life" (371).

In essence, the pairing of Ursula and Birkin, while not detracting from one anothers individuality, underscores Lawrences hope that humanity can successfully dichotomize itself from antiquated traditions and themes. Moreover, Lawrence perceives that an ultimate vision for the future of man and woman is dangling helplessly in the whirlwind of Modern change that at first glance seems altogether corrupt and even megalomaniacal. Summation For Lawrence, who found himself subdued by godlessness and relativity lending themselves to a widening abyss of nothingness, his novel, Women in Love, is a quest to forego everincreasing misanthropic tendencies (and maybe even misogynistic ones) to arrive at last at some kind of tangible meaning in the existence and perseverance of the individual through a firmly close attachment with the otherthe diametrically opposed sexual opposite symbolizing the convergence of one epoch and one era that meant a copasetic kind of chaos.