KEEPING UP WITH THE EASTWOODS

More on my favourite D.H. Lawrence characters, a couple who cross the limits of gender roles and social constraints without regretting it at all...

The Eastwoods. They are a couple who are not
married legally. The Jewish woman ran away from her husband and now loves a
younger poor man named Major Eastwood. They live together.

Major Eastwood has this tenderness.

Major Eastwood tells the importance of desire. He
thinks “that desire is the most wonderful thing in life. Anybody who can really feel
it, is a king, and I envy nobody else (GSNSL 1078).” He tells the difference between desire
and lust. Major Eastwood looks like Mellors in Lady Chatterley’s Lover in thought.

 Eastwoods who are dauntless to pursue their love life. 

 Lawrence's portrayal of Mrs. Eastwood, a woman whose positive flouting of conventional morality is countervened by her cosmopolitanism and materialism - qualities deemed antithetical to true Englishness...
"the little Jewess"... her own ironical alliance with society's prejudiced notions of race and class.
...she is blasted (Mrs. Eastwood) for being Jewish, for living in an unmarried state with a younger man, and for having left her children...
Mrs. Eastwood is a particularly unstable figure.
Although liberated sexually, economically, and socially,
she is implicitly faulted for her mobility: for buying the Major,
for moving out of her Jewish world, for taking control and exercising power.
Mrs. Eastwood is a sexually alluring and dangerous other.
Mrs. Eastwood, for example, is a very small woman with a rather large nose.

Characters like the Eastwoods are affected by social snobbery.

There is frozen water: Major Eastwood has been "resurrected" from being buried for
twenty hours under snow.

Un hombre y una mujer. Se acercan los dos al fuego (es febrero y amenaza nieve), y preguntan si se pueden calentar (su coche es descapotado). La mujer dice que están en su "luna de miel", mientras esperan la sentencia de divorcio de Mr. Fawcett, un conocido ingeniero de la localidad. Ella es hebrea, y madre de dos hijitos, cuya custodia se le concederá en cuanto "se case" con el hombre. Este es el comandante Charles Eastwood, rubio, atlético, y cinco o seis años más joven que ella, que tiene 37 años. 
Eastwood se entera que los dos sirvieron en el mismo regimiento en Flandes durante la guerra.

Se relata la animada y detallada descripción de los Eastwood.
El cottage de los Eastwood, donde viven juntos y hacen todas las faenas de la casa sin servidumbre. La hebrea se escandaliza. En cambio, el comandante muestra más comprensión.

 la medio divorciada Mrs. Fawcett y el maquereau Eastwood.
Son realmente muy agradables. Y se casarán dentro de un mes, más o menos.

Mrs. Fawcett (Honor Blackman) and Major Eastwood (Mark Burns), two people living in sin, much to the chagrin of the moralistic townsfolk. 

the sympathetic Eastwoods.

The subplot of the Eastwoods

Mrs Fawcett, who has left her rich husband to live with her boy-friend,
Major Eastwood, who is some years younger.
The Eastwoods are unusual and interesting people.

Major Eastwood, during the war.

The subplot of the Eastwoods will decisively help understanding
of love and sex. The Eastwoods represent an inversion of the rules of the society: 
she is a rich woman who has bribed a handsome, athletic man into becoming her husband. Recognition of Major Easwood as an object of female desire, and as a man economically dependant on a woman broadens our scope substantially and shows us an altemative to the conventional sexual behaviour, according to which women are only objects, and not subjects, of sexual desire.

the scandalously unmarried couple

the Eastwoods, a woman “in the coat of many dead little animals” whom the narrator decides is “probably a Jewess,” and a man she calls her husband, with fur gloves and a pipe (71).

Perhaps the othering of Mrs. Eastwood, and her alleged decadence, is meant to

contrast with or double the othering of the Gypsies; the Eastwoods exemplify

bourgeois materialism, and appear to be the embodiment of all that Lawrence disliked

about England in general and Eastwood, his home town, in particular.

the bourgeois decadence of the Eastwoods

the Eastwoods appear to emblematize the Modern - —with their open admission of adultery -

Oddly, their situation— in which “Mrs. Eastwood” admits to being a “Mrs. Fawcett” on the verge of

divorce, the “mother of two children,” on an adulterous “honeymoon” with the younger Major

Eastwood— parallels that of Lawrence and Frieda. Perhaps he saw their situation, mirrored by the Eastwoods,

as decadent and corrupt.

A couple who are very different; they are the Eastwoods. They aren’t married – yet – but plan to be as soon as the woman has completed her divorce. She is a wealthy Jewess, and he is a Nordic Adonis, and they are living together while the legal affairs are running their course. 

very interesting woman (whose situation is also partially autobiographical to the author and his wife), Jewess, who left her husband, well known engineer Simon Fawcett for young major Eastwood.
 this couple
 the couple 
 the Major Eastwood and her beloved Little Jewess

the shockingly living-in-sin pair Mrs Fawcett and Maj Eastwood 


Fawcett-Eastwood represent different aspects of the free, expressive life, and serve to increase the alternatives to conventional values concerning love and marriage.

Mrs. Fawcett (played delightfully by the fabulous Honor Blackman) enters with her charming and gorgeous boyfriend - Major Eastwood. (played by the late and extremely handsome Mark Burns).