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And while they seem to offer a respite from a marriage economy of exchange, attributes like good humor or quickness belong to the same system as things like really nice landscaping or £10,000 a year.

For instance, when Emma Bovary’s blood turns into milk, when she hears a call from somewhere in the forest, we are meant to read that her encounter with Rodolphe produces sexual climax.I want to make a slightly different point: that the respectable novel’s insistence on both the centrality of the marriage plot and on the worthwhileness of acquisitiveness of all kinds necessarily enforces the mystifying puzzle of metaphorical sex.More, that it is not until metaphor releases its hold on sexual description that the novel makes good on sex’s self-shattering power.Hermeneutic description depends on a limited array of images or concepts to work sexual description, and this is primarily how novelists, until very recently, evoke sex in their texts.Waves, oceans, blooms, and illuminations mark sexual act within the respectable novel, and allow a writer to refer to sexual action without realistically describing the act itself.The first—hermeneutic description—relies on interpretation to understand that what we are really talking about is sex.

This is by far the most dominant in literary fiction, especially in literary fiction before modernism.

For most of its short generic life, the novel has depended on marriage and childbirth as signs of sexual relationship, and has had a difficulty representing sexual life beyond marriage and childbirth without the assistance of figurative language. Lawrence and argue for the peculiarity of his particular representational strategies in the history of the novel.

In this paper, I want to discuss a few ways that novels can represent sex. One way Lawrence shifts the novel’s terms comes from the adjustments he makes to what I see as the capitalist regime of the marriage plot.

The novel exploits discourse’s referential fluidity, drawing together, via metaphor and allusion, divergent concepts, divergent ways of thinking about and categorizing the world.

Auerbach explains how the thickness of historicized life can find full flesh within the representational system of the novel: "..another passage from he says of Rastignac that he had give himself up to the lessons and the temptations of luxury "with the ardor which seizes [grasps] the calix of a female date-palm for the fecundating dusts of its nuptials.[1] It is needless to cite historical motifs, for the spirit of Historicism with its emphasis upon ambient and individual atmospheres is the spirit of his entire work" (Auerbach).

Under Lawrence’s hand, the rationale for marriage is no longer economic, nor does romantic love have to work to accommodate economic compatibility.