"The Woman Who Rode Away" by D.H. Lawrence

Widmer finds that unmatchable of the most forceful uses of the uninstructed in Lawrence's work is to be found in "The Woman Who Rode forth" in which the main character longs for a different environment, one that is mysterious and that she believes lies behind the mountains, and above whole one that will take her from her present life. It is the character who yearns for the nostalgia of an before age and who has elevated her sense of this primordial people in her mind to a high state so that they atomic number 18 held out as an ideal:

In "The Woman Who Rode Away" there is a total opposition of the primitive and genteel, and a consequent destruction of the civilized. But this antithesis operates only on one level. The American woman is non so much civilized as the "dead" product of a failure of civilization. As a person she is only cursorily developed in the fiction, but the way of life, society, and nature of the primitive common people is not very fully developed either. The technique of the story, that is, insists that the reader is not to posit any choice between two societies, primitive and civilized, nor to see one as resolving the ills of the other (Widmer 348).

gibe Balbert finds that the story has been largely ignored for some time and that it was not treated well when it was addressed. What critical comment it has ge

Widmer, Kingsley. "The Primitivistic Aesthetic: D.H. Lawrence." Journal of Aesthetics and Art disapproval (March 1959), 344-353.

Thus from the first, Lawrence creates a mystery around the Indians and around whether or not they actually exist as the ancient tribe they are said to be.

B. They stadn as types, representing blank cutlrue to the Indians.

C. Balbert shows how Lawrence creates a mystery.

She was beat by a foolish romanticism more vain than a girl's. She felt it was her destiny to wander into the secret haunts of these timeless, mysterious, grand Indians of the mountains (Lawrence 209-210).

B. Lawrence achieves this by creating a msytery and by keeping the characters vague.

A.

Balbert offers character analyses.

He was a man of principles, and a good husband. In a way, he doted on her. He never quite got everyplace his dazzled admiration of her. But essentially, he was still a bachelor (Lawrence 209).

Moore, Harry T. The Life and Works of D.H. Lawrence. New York: Twayne, 1951.

C. He describes the primitivism in "The Woman Who Rode Away."

The importance of the sun is emphasized by William M. Jones, who finds that Lawrence has celebrated the power of the sun elsewhere as well (Jones 69-70). The woman acquiesces in her sacrifice--she has ridden away, away from the world of the white man, away from the modern world, and back to the ancient world of these evenly ancient Indians.

The reader is asked to approve the Woman's acquiescence to the act of her take in sacrificial slaughter in order to appease primitive gods. More audaciously, the reader is asked to approve the notion that the primitive gods should be restored to their spiritual supremacy, so that the white man's moral order may be overturned (Mittleman 2681).

IV. Lawrence is vague about the nature of the characters.

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