Babbitt (1919: 168) thus concludes that the rationalism of the 18th century, in whatever other period it might appear, precisely because it unduly reduces the role played by the imagination and perception, will always be rejected as a "mechanical" and "unvital
She was still tiny, and like a dignified, scentless flower," with her face described as "apple-blossom" (165) rather than appley; she stays just as unvital
as the beautiful but dormant still-lifes that Lawrence criticizes in "Introduction to These Paintings," with Dollie "modeled with an arched nose like a proud old Florentine portrait" (165), the kind of art that provokes only "cerebral excitation," for the "deeper responses, down in the intuitive and instinctive body, are not touched" ("Introduction TT Paintings" 556).
Daleski, it represents a "childish perversity" (301); for Julian Moynahan, a "monstrous, unvital
embrace" (77); for John Haegert, a "horrid infantilism" (217).
The main conceptual function is to make readers aware of the destructive and deadening features of their sexual consciousness and action and to induce them to repudiate these unvital
modes of knowing and relating.