Abstract
The dialectics of desire and death is refracted through the different levels of D. H. Lawrence's novel. Desire and death form a recurrent theme, bringing into play the characters and underlying their relationships within the story. As a leitmotiv, it undergoes variations which contribute to the novel's contrapuntal structure ; as a thematics, it is modulated through the teeming richriess of the novels symbols, resurfacing in the lovers 'discourse as a syntax, becoming at moments musical phrasing. The dialectics of desire and death goes beyond textual frontiers, to a point where the author's desire to write proves to be the desire for the death of a certain form of the novel, to allow a new rise from its ashes. The ambivalence surrounding each of these terms, their relationship, conflicting or harmonious, pervade the novel. Lawrence is the concertmaster of a - sometimes disconcerting - double concerto, the composer, moreover, of a score which from its ideological slant, incites the reader to reconsider her/his own stance towards desire and death.
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