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This study investigates the repetitive transformation of gaze in Women in Love of D. H. Lawrence. In recognition of the gap between the signifier and the signified, Lawrence believes that “all things flow and change, and even change is not absolute.” In this respect he argues that the novelist should balance “the trembling instability” between reality and representation in a text. Such fluidity of the instant is enacted in Women in Love, especially by transforming the characters’ gaze through the position of “looking at” or “being looked at.” Focusing on each gaze of Gerald, Gudrun, Birkin, Ursula, and Loerke in Women in Love, Lawrence visualizes and stages the scenes in the text theatrically. In staging each scene for readers, Lawrence makes the characters change their roles of “looking at” or “being looked at” in circulation. Moreover, the narrative in the text plays a role to perform it effectively with the construction of a system of self-conscious looking at its spectacle. This way one character’s gaze system is subverted, deconstructed by another one, and left as a signifier or a metamorphic trace. Lawrence intends to transform the text playfully, change the gaze capriciously, and pursue only the temporary living presence. The transformation of gaze in Women in Love is a kind of a device to fictionalize his text itself.