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30:3, Reviews wisely sees Movements in European History as considerably more than the fatuous racialism with which it is often unfairly associated today. He eloquently relates it to the religious matrix of Lawrence's vision, as the work depicts "the psychic conflict arising from the frustration of man's deepest urges" (141). Schneider's concluding chapters comprise the weakest section of an otherwise admirable study; Lawrence's increasingly centralized focus on sexual transcendence as the prime mode of the "rehgious impulse" appears to deprive Schneider of consistent connections to his earlier, more probing discussions of William James and metaphysical realities. Still, Schneider does demonstrate how aspects of Lawrencian doctrine do anticipate many of today's existential psychologists , and he suggests how Lawrence's essentially conservative psychology of the unconscious does not provide sanction for foolish action or impulsive whim. Schneider is excellent on "The Princess" and its joined themes of money and sexual subjection, but in another tale, "The Woman Who Rode Away," he profoundly misses any sense of Lawrence's criticism of the murderous Indians. As his study ends with the Chatterley period, Schneider's distinction between blood and phallic consciousness seems undeveloped and unhelpful. While his treatment of Lady Chatterley's Lover is superficial, he is poignant on the relation of Lawrence's final paintings to his religious striving for the "beyond" in his art and in his life. Schneider also includes an interesting interconnection between Lawrence, Wordsworth and their quest for transcendence; yet I am perplexed over Schneider's inability to take his following fine perception into the woods near Wragby Hall, and maybe into the cottage where two lovers update the significance of pastoral decoration: "There is a kinship to Wordsworth in Lawrence's idea that the soul is built up by contact with the surrounding world, that it grows and unfolds by assimilating the energies of the world and finds at last its truest identity in recognition that it is part of 'something far more deeply interfused'" (193). My summary judgment of Schneider's study remains distinctly positive. It manages to be both confident in tone and respectfully integrative in its approach to relevant scholarship. The Consciousness of D. H. Lawrence is an important analysis of Lawrence's visionary imagination and the chaos and consistencies of his Ufe. Peter Balbert ____________________________________Wells College_____________________ FEELING AND VICTORIAN FICTION Barbara Hardy. Forms of Feeling in Victorian Fiction. Athens, OH: Ohio University Press, 1985. $21.95 Barbara Hardy provides an economic analysis of feeling in Victorian fiction. In her concise study, she mentions neoclassic and romantic influences on Vic372 30:3, Reviews torian fiction, analyzes major Victorians from Dickens to Hardy, and outhnes the influence of Victorian forms of feeling on the modem novel. On the one hand, readers may appreciate Hardy's attempt to grapple with complex issues without becoming complex herself; on the other hand, readers may wonder if she leaves herself open to the charge that she overgeneralizes. Perhaps she must overgeneraUze because she tries to cover so much material: "At its best, the novel uses emotion to investigate emotion, in many forms" (19); and "The classic Victorian novel is never a simpüstic mimetic representation of feeling and passion, but conducts its analysis in discontinuity as well as continuity, through discursive as weU as dramatic and narrative means" (43). Each statement reveals a form of circular reasoning; novelists portray feelings and these feelings—whether desire, anguish, pity, or terror—are the main ingredients of fiction. Few readers would dispute Hardy's general observations on feeling in fiction; but some might wonder how nineteenth-century writers differ from the eighteenth- or twentieth-century writers she includes in her study. Hardy introduces two helpful concepts that control her chapters on nineteenthcentury novelists, including two transitional figures: Thomas Hardy and Henry James. These concepts are "the figure of personification," which serves to define and explain feelings, and "the figure of incapacity, or what Emst Robert Curtius called 'the topos of inexpressibility,'" which serves to identify the feeUngs that are impossible to put into words (12). The "figure of personification" Uluminates a character's contradictory feelings and enables a novelist to manipulate readers by presenting conflicts through "the...

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