ce fled England never to return and never to actually find a true land he could call home-though he lived in many.
Where influences on Lawrence are concerned, one must cite Nietzsche because of the deep compassion and conviction on behalf of the author that an artist is possessed by his work to the exclusion of all else-in other words an attempt to develop the “Superman” of Art by following the Dionysian impulse to the exclusion of the communal impulse. Lawrence was deeply conflicted internally as a result of the plurality of his character. He detested modern society but continued trying to create a better colony. He was torn between his pagan aspects and the Christian and Puritan ones so evident within him as well. His passion was intensely felt and, even though he was convinced that there is no real human connection, which is why the artist puts his energies and passion into his work, he was quite adept at forming social relationships. However, Lawrence knew of this plurality through his own existence, living the artistic life as fully as possible, “He knew by actual experience that the real writer is an essentially separate being, who must not desire to meet and mingle and who betrays himself when he hankers too yearningly after common human fulfillments…Lawrence certainly suffered his whole life from the essential solitude to which his gift condemned him… ‘What ails me,’ he wrote to the psychologists, Dr. Trigant Burrow, ‘is the absolute frustration of my primeval societal instinct…I think social instinct much deeper than sex instinct-and societal repression much more devastating. There is no repression of the sexual individual comparable to the repression of the societal man in me, by the individual ego, my own and everybody else’s,” (Aldington 20). This shows Lawrence’s struggle to achieve a whole persona, one that could reconcile his impulses for personal fulfillment (id, Dyonisian) with those f...