The Madonna-Whore Complex in D.H. Lawrence’s Sons and Lovers

Published in 1913, D.H. Lawrence’s Sons and Lovers is one of the classics of English Literature. It narrates the struggles and economic problems of the Morel family, particularly focusing on the complex relationships among the members. Several critical analyses and theses have extensively examined the influence of Freudian psychoanalytical theories, particularly the Oedipus Complex, on the novel. However, not much critical attention has been directed towards the Madonna-whore complex, a conceptual framework articulated by Sigmund Freud and further elaborated upon by feminist scholars. The dichotomous portrayal of women characters in fictional texts by the dominant discourses has been a longstanding concern since ancient times. As the sufferer from mother-complex, the protagonist, Paul cannot feel free himself to find a healthy mutual relationship with the opposite sex due to childhood frustrations in his family. Throughout the novel, Paul vacillates between Miriam and Clara; however, neither can satisfy his “affectionate” and “emotional” needs fully, so he cannot get intimacy with a girl who is either entirely a virginal Madonna or a sinful whore. In the novel, Miriam is portrayed as the embodiment of Mary-like figure, representing purity and affection; on the other hand, Clara assumes the role of a whore figure that satisfies the sensual feelings of the protagonist. This study aims to examine how the Madonna-whore dichotomy has been prevalent during the protagonist’s intimate relationship with the two female characters in Sons and Lovers (1913).