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The strange potency and beauty of these Etruscan things arise, it seems to me, from the profundity of the symbolic meaning the artist was more or less aware of. The Etruscan religion, surely, was never anthropomorphic: that is, whatever gods it contained were not beings, but symbols of elemental powers, just symbols: as was the case earlier in Egypt. The undivided Godhead, if we can call it such, was symbolised by the mundum, the plasm cell, with its nucleus…. To the Etruscan all was alive; the whole universe lived; and the business of man was himself to live amid it all. He had to draw life into himself, out of all the wandering huge vitalities of the world.
—Lawrence27
Every man as long as he remains alive is in himself a multitude of conflicting men.
—Lawrence*
The purpose of this paper is to learn something about D. H. Lawrence's creative processes by establishing his predilection for composite symbols, by showing how these symbols are profoundly interrelated, and by associating them with phenomena grouped together in psychoanalytic literature as the Primal Scene.
When Freud first introduced this concept in 1918, it referred to the child's witnessing of parental intercourse and later to his fantasies concerning it; more recently it has often been employed to encompass the total emotional life of the parents as well as questions about