Psychological novel, work of fiction in which the thoughts, feelings, and motivations

of the characters are of equal or greater interest than is the external action of the
narrative.

The id is the part of the personality that contains our primitive impulses—such as
thirst, anger, hunger—and the desire for instant gratification or release. 

Ego- it is referred to a fictional character who represents the author's personality or

different perspective of their character.

the superego is the part of a person's mind that helps keep the id in check, guiding
the person to follow learned rules rather than impulses.

The personal unconscious is made up essentially of contents which have at one time

been conscious but have disappeared from consciousness through having been
forgotten or repressed.

 Collective unconscious refers to the part of the human psyche that contains

information that has been inherited from our ancestors and is commonly shared
among all humans.

an archetype is a typical character, an action, or a situation that seems to represent

universal patterns of human nature. An archetype, also known as “universal symbol,”
may be a character, a theme, a symbol, or even a setting.

Mrs. Morel came of an old burgher family, famous independents who had fought
with Colonel Hutchinson, and who remained stout Congregationalists. Her
grandfather had gone bankrupt in the lace-market at a time when so many lace-
manufacturers were ruined in Nottingham. (1.62)
This early passage describes Mrs. Morel's family history, and provides some context
for her self-pride. It's this pride that gives rise to her frustrated ambitions, which she
later forces onto her sons William and Paul. It's all related, see? And everything made
sense forever.

While the baby was still tiny, the father's temper had become so irritable that it was
not to be trusted. The child had only to give a little trouble when the man began to
bully. A little more, and the hard hands of the collier hit the baby. (1.167)
Even this early on in the story, we can already see how Walter's anger and meanness
will end up destroying him. Not to mention the rest of his family. The fact that the
dude can't keep his patience with a crying baby suggests he's a bit babyish himself—
he wants the world to do whatever he wants it to do. The end.

He was shut out from all family affairs. No one told him anything. The children,
alone with the mother, told her all about the day's happenings, everything […] But
as soon as the father came in, everything stopped. (4.62)
Walter eventually isn't welcome in his house at all. He's smart enough to realize this,
but that doesn't stop him from coming home every day, eating his supper, and going
to bed. It's a shame that he can't just apologize for all the stuff he's done, because
dude ends up going his whole life without reconnecting with his wife and children. At
this point, he's almost more pathetic than he is horrible. Almost.

Тhey were not badly off whilst Morel was in the hospital. There were fourteen
shillings a week from the pit, then shillings from the sick club, and five shillings from
the Disability Fund; and then every week the butties had something for Mrs. Morel
—five or seven shillings—so that she was quite well to do. (5.58)
When Walter gets injured in the mine, the Morel family enjoys a period of
peacefulness. They're even better off financially, because Walter's not around
spending all of the family income on booze and gambling. We think it's a pretty bad
sign if your family does a lot better when you're not around.

Where upon he got up and went out of the house, returning presently and crossing
the kitchen with averted face, hurrying upstairs. As Mrs. Morel saw him slink quickly
through the inner doorway, holding his bundle, she laughed to herself: but her heart
was bitter, because she had loved him. (2.247)

The mother and son walked down Station Street, feeling the excitement of lovers
having an adventure together. (5.92)
If Lawrence only compared Paul and Mrs. Morel to lovers one time, we could write it
off as a clumsy oversight. But when Lawrence does this sort of thing over and over,
we have no choice as readers but to accept the fact that he is obviously trying to make
a deeper point. We think the point is: maybe mothers and sons can sometimes
be too close.

Paul looked into Miriam's eyes. She was pale and expectant with wonder, her lips
were parted, and her dark eyes lay open to him. His look seemed to travel down into
her. Her soul quivered. It was the communion she wanted. He turned aside, as if
pained. (7.244)
Paul loves Miriam, and Miriam loves Paul. There's no doubt about that. The problem
is that Paul wants to love Miriam while remaining his own man, while Miriam wants
the two of them to basically merge into a single person. And Paul's mother has taught
him that he must be independent to achieve great things in the world. Conundrum.

"Yes," wrote Mrs. Morel to her son, "the photograph of Louie is very striking, and I
can see she must be attractive. But do you think, my boy, it was very good taste of a
girl to give her young man that photo to send to his mother—the first?"
 Miriam also refused to be approached. She was afraid of being set at nought, as by
her own brothers. The girl was romantic in her soul. Everywhere was a Walter Scott
heroine being loved by men with helmets or with plumes in their caps. She herself
was something of a princess turned into a swine-girl in her own imagination. (7.1) 
Miriam's greatly influenced by the novels she's read, especially by the models of ideal
womanliness that these works demonstrate in their heroines. So, Miriam wants to be a
passive object for men to admire. And this passivity proves to be Big Trouble in her
relationship with Paul.

Meanwhile William grew bigger and stronger and more active, while Paul, always
rather delicate and quiet, got slimmer, and trotted after his mother like her shadow.
He was usually active and interested, but sometimes he would have fits of
depression. Then the mother would find the boy of three or four crying on the sofa.
(3.27)
Paul and William Morel are two very different models of masculinity. Paul's delicate
and quiet, following his mother around all the time. William, on the other hand, is a
much more "typical" male; he only gets stronger and more active as he ages.

Moreover, his mother suspected him of an unrecognized leaning towards Clara, and,
since the latter was a married woman, she wished he would fall in love with one of
the girls in a better station of life. But he was stupid, and would refuse to love or
even to admire a girl much, just because she was his social superior.