This paper attempts to shed new light on boredom and melancholy in D. H. Lawrence`s Women in Love. As recent studies have shown. Boredom and melancholy are not so much ahistorical, subjective malaises as at once individual and historical experiences: they are both collective and highly individualized experiences of sociocultural conditions. Indeed, doredom and melancholy in Women in Love cannot be confined to the prevailing mood of the society or the author`s mental state at the time of composition. They play an important role in representing and criticizing Western modernization. Boredom in the novel takes many different forms: it is repressed in inauthentic everydayness, obsessively poured out, or newly awakened to. Melancholy, evoked in a rather indirect way, is another fundamental mood of modern subjects attentive to their socio-historical specificity of boredom and melancholy. The novel demonstrates that boredom and melancholy may also obscure their own historicityand lose their critical distance when they are universalized and naturalized as timeless human conditions. Boredom and melancholy in the novel often lead to "contemplative paralyusis" or aesthetic practices willfully alienated from historical reality, all of which may eliminate the hope for and imagination of a better world. Thus they preclude the dialectics between the individual and society, and participate in the process of Weberian Intellectualization. Through its relentless fight against the potential dangers of boredom and melancholy combined with its acute awareness of their paradoxes and ambiguities, Women in Love seeks to offer a new mode of knowledge-knowledge which has the potential to transform the world in which boredom and melancholy emerged.