D H Lawrence References

Aum Gung Ganapathaye Namah

Namo tassa bhagavato arahato samma-sambuddhassa

Homage to The Blessed One, Accomplished and Fully Enlightened

In the name of Allah, Most Gracious, Most Merciful

D H Lawrence

A Collection of Articles, Notes and References

References

(Revised: Wednesday, January 05, 2005)

References Edited by

An Indian Yogi

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By any other name would smell as sweet.

- William Shakespeare

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8 "... Freely you received, freely give”.

- Matthew 10:8 :: New American Standard Bible (NASB)

1 “But mark this: There will be terrible times in the last days.

2 People will be lovers of themselves, lovers of money, boastful, proud, abusive, disobedient to their parents, ungrateful, unholy,

3 without love, unforgiving, slanderous, without self-control, brutal, not lovers of the good,

4 treacherous, rash, conceited, lovers of pleasure rather than lovers of God—

5 having a form of godliness but denying its power. Have nothing to do with them.

6 They are the kind who worm their way into homes and gain control over weak-willed women, who are loaded down with sins and are swayed by all kinds of evil desires,

7 always learning but never able to acknowledge the truth.

8 Just as Jannes and Jambres opposed Moses, so also these men oppose the truth--men of depraved minds, who, as far as the faith is concerned, are rejected.

9 But they will not get very far because, as in the case of those men, their folly will be clear to everyone.”

- 2 Timothy 3:1-9 :: New International Version (NIV)

6 As he saith also in another place, Thou art a priest for ever after the order of Melchisedec.

- Hebrews 5:6 :: King James Version (KJV)

Therefore, I say:

Know your enemy and know yourself;

in a hundred battles, you will never be defeated.

When you are ignorant of the enemy but know yourself,

your chances of winning or losing are equal.

If ignorant both of your enemy and of yourself,

you are sure to be defeated in every battle.

-- Sun Tzu, The Art of War, c. 500bc

There are two ends not to be served by a wanderer. What are these two? The pursuit of desires and of the pleasure which springs from desire, which is base, common, leading to rebirth, ignoble, and unprofitable; and the pursuit of pain and hardship, which is grievous, ignoble, and unprofitable.

- The Blessed One, Lord Buddha

Contents

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A Brief Word on Copyright

References

Educational Copy of Some of the References

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A Brief Word on Copyright

Many of the articles whose educational copies are given below are copyrighted by their respective authors as well as the respective publishers. Some contain messages of warning, as follows:

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No commercial/business/political use of the following material.
Just like student notes for research purposes, the writings of the other children of the Lord, are given as it is, with student highlights and coloring. Proper respects and due referencing are attributed to the relevant authors/publishers.

I believe that satisfies the conditions for copyright and non-plagiarism.

Also, from observation, any material published on the internet naturally gets read/copied even if conditions are maintained. If somebody is too strict with copyright and hold on to knowledge, then it is better not to publish “openly” onto the internet or put the article under “pay to refer” scheme.
I came across the articles “freely”. So I publish them freely with added student notes and review with due referencing to the parent link, without any personal monetary gain. My purpose is only to educate other children of the Lord on certain concepts, which I believe are beneficial for “Oneness”.

References

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If the link is active, do cross-check/validate/confirm the educational copy of the article provided along.

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References

D H Lawrence (1885 - 1930)

(Refer Photo Source: D.H. Lawrence: Biography and Works.)

Cresmolawrescape

http://www.crescentmoon.org.uk/cresmolawrescape

D.H. Lawrence: Biography and Works

http://www.online-literature.com/dh_lawrence/

D(avid) H(erbert) Lawrence (1885-1930)

http://www.kirjasto.sci.fi/dhlawren.htm

Forum Hub - D.H.Lawrence...

http://forumhub.com/elit/16646.22.11.38.html

Britannica Store – D H Lawrence

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D. H. (David Herbert) Lawrence (1885-1930)

http://etext.library.adelaide.edu.au/aut/lawrence_dh.html Refer for Free Downloadable Books

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Educational Copy of Some of the References

FOR EDUCATIONAL PURPOSES ONLY

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Reference

Cresmolawrescape

http://www.crescentmoon.org.uk/cresmolawrescape

D.H. Lawrence's The Escaped Cock

by M.K. Pace

[Extract from D.H. Lawrence: Infinite Sensual Violence, Crescent Moon, 1994]

The whole drive of The Escaped Cock (also known as The Man Who Died) is towards the resurrection of the flesh. This is one of the messages of Lady Chatterley's Lover, which has many affinities with The Escaped Cock, and it was an enduring obsession of Lawrence's: in December 1914 he wrote 'we shall rise again in the flesh, you, I, as we are today, resurrected in the bodies'.[1] In the essay "The Risen Lord" (1929) Lawrence complained that the West had exalted the Crucifixion, not, as it should, the Resurrection. Easter, he said, is the beginning of the year, and it belongs to the joyous Resurrection. 'Christ risen in the flesh!... We must take the mystery in its fulness and in fact'.[2] The apotheosis of being in the flesh is for Lawrence love-making. So:

If Jesus rose as a full man, in full flesh and soul, then he rose to take a woman to himself, to live with her and to know the tenderness and blossoming of the twoness with her (ib., 558).

    This is the point of The Escaped Cock - the rebirth into life and love, the resurrection of the body and the senses: 'since I am risen, I love the beauty of life intensely' wrote Lawrence in "The Risen Lord" (ib., 560). A man is not whole without a woman, he said (Collected Letters, 115).
    Lawrence bound together many ideas in The Escaped Cock: Easter, sun, fire, blossoming, Spring, new life, the beginning of the year, dawn, the resurrected god (Christ, Osiris, Tammuz), eggs hatching, reawakening of sexuality, as well as the primal myths of the Western world. All the images are of (or relate to) rebirth.
    The tomb is the womb, the egg in which 'the germ sleeps' Lawrence wrote in Etruscan Places.[3] Christ is the phallus, dormant, waiting to rise. He is the seed, the germ, the bird waiting to hatch (birds and eggs are central to the scene where Mellors and Connie are first drawn together sexually). He is Osiris, needing the tenderness of the woman to bring him back to life, needing the nourishment of the womb.
    The first part of The Escaped Cock deals with the man's reawakening to 'the astonishing place the phenomenal world is', Lawrence wrote (Collected Letters, 975). 'It is for the Lord thus to rise' Lawrence wrote in an article "Resurrection".[4] The yearning is for a new touch, a new, tender touch to bring the soul and body back to life ('Ah, lay one little touch | To start my heart afresh' wrote Lawrence in the poem 'Resurrection of the Flesh'.[5]
    Christ is seen as a corn god, a fertility deity who must be sacrificed at Midsummer. Robert Briffault, Robert Graves and J.G. Frazer have written in detail of this myth. In Lawrence's hands, mythology becomes sexualized. The awakening in The Escaped Cock is sexualized. The crowning point of the story, just as the phallus is the crowning point in Lawrence's sexual mythopúia, is the moment when Christ/ Osiris makes love with the priestess/ Isis:

Himself bending over powerful and new like dawn.
He crouched to her, and he felt the blaze of his manhood, his power rise up in his loins, magnificent.
'I am risen!'
Magnificent, blazing indomitable in the depths of his loins, his own sun dawned and sent its fire running along his limbs, so that his face shone unconsciously.
He untied the string on the linen tunic, and slipped the garment down, till he saw the white glow of her white-gold breasts. And he touched them, and he felt his life go molten. - Father! he said, - why did you hide this from me? - And he touched her with the poignancy of wonder, he said. -This is beyond prayer. - It was deep, interfold warmth, warmth living and penetrable, the woman, the heart of the rose![6]

Lawrence's lucid, pared-down prose begins with a Biblical simplicity - deeply poetic yet direct. 'I was brought up on the Bible, and seem to have it in my bones' Lawrence wrote; 'language has a power of echoing and re-echoing in my unconscious mind'.[7]
The Escaped Cock's clear, lyrical style consciously evokes the Bible; for example, in this passage from John (20: 16-17):

Jesus saith unto her, Mary. She turneth herself, and saith unto him in Hebrew, Rabboni; which is to say, Master. Jesus saith unto her, Touch me not; for I am not yet ascended unto the Father...

    Occasionally, Lawrence departed from his simple, poetic, post-Biblical prose style, to produce phrases that appear nowhere in the Bible, such as 'the marvellous piercing transcendence of desire'. This is classic Lawrence poesie, a prose style of the Bible exaggerated and eroticized. But in certain incidents, such richness is justified.
    The Escaped Cock opens with a bird escaping. As he leaves and squawks, he embodies the surge of life. The black and orange cock is the last in a line of Lawrencean birds. In traditional symbolism the cock is solar, associated with courage, dawn, the Celtic underworld, fertility and the phallus.[8] The bird straining at the rope is one of the most potent images Lawrence created, expressing the need for a quickened, phallic sense of life.
    'What is actual living?' Lawrence asked in the article "Insouciance", composed about the time of The Escaped Cock; 'It is a question mostly of direct contact'.[9] The cock's crow and the sunlight reawaken the man who had died. Like the woman in the short story Sun, the man lies in the sun (561).
    The anonymous man is unusual among Lawrence's characters, because he lacks desires (560). This is very unlike the people in Women in Love or St Mawr, for example, who are a mass of conflicting desires and needs. Lawrence's Christ rises without desire. This is an important point, and over the next few pages Lawrence's narrator describes the desirelessness of the man. The state of non-desire is the being of the Buddha, of Oriental religion. But no Lawrencean character can exist indefinitely without desire, much as they might like to. Soon desire is awakened again in the man who died.
    Primary colours are invoked in the painterly narrative: the 'blue invisible', a black and orange cock, the green flame-tongues of the fig tree (562). The man who died has a white face and black eyes (558); the cock runs through the green of the olive and fig trees; the money is bright gold, like the sun (570); a 'black and white pigeon' flies out over the sea (a Lawrencean Holy Ghost [575]); the Temple of Isis is pink, white and blue (577); the priestess is dressed in yellow and white, like a narcissus flower (575). All these colours, which represent life in its bloom and flow, contrast with the deathly grey of the man's clothing. He realizes that life is more powerful than death (563).
Like the man who loved islands, the man who died wants to be utterly alone - '[f]or nothing is so marvellous as to be alone in the phenomenal world' (571). Cathcart too, in The Man Who Loved Islands, wanted 'to make it [an island] a world of his own'.[1] Christ/ Osiris in The Escaped Cock realizes that although there is the 'greater life' beyond the little individual life, he has risen for Woman (568). The struggle is between the desire for solitude and the yearning to be touched, the age-old conflict between connection and escape, the return to the centre, and flight.
    The dramatic thrust of The Escaped Cock pivots around the pure, tender touch (as in The Blind Man and Lady Chatterley's Lover) - yearned-for yet feared. Desire is like a flood - as it is described in The Virgin and the Gipsy (where it is a real flood). In The Rainbow it is a flood of horses:

They came forth, these things and creatures of spring, glowing with desire... They came like crests of foam, out of the blue flood of the invisible desire...[11]

Christ cannot escape the waves of desire, soon he too is taken up by the flood of human sexual identity. 'It is desire that makes the whole world living to me, keeps me in the flow connected'.[12] The priestess of the Moon-Goddess is waiting for the phallic sun, waiting for the last piece of the jigsaw puzzle that is the god Osiris - his phallus. The man is the phallus, the missing link, the final clue that will replenish the womb, the lotus, the body of the priestess (578). Lawrence is here trading in the symbolism and mythology of the J.G. Frazer, C.G. Jung, Erich Neumann and Mircea Eliade school. There are parallels between The Escaped Cock and the mythic hero's return and his sexual initiation into the world of the Goddess as described in Joseph Campbell's The Hero With a Thousand Faces.[13] The man who died brings Osiris's phallus, the 'transcendental signifier', as Lacan called it, and, as in the ritual of the lance being plunged into the Grail or lake of Arthurian romances, he will regenerate the waste land.
The Escaped Cock fuses the usual Lawrencean concerns, of sex and religion, flesh and spirit, where transformation is erotic. Kingsley Widmer wrote:

She [the priestess] searches rather for the mythical orgasms, the completion of and with an Osiris. For she is one of those 'rare women', a philosopher advised her, who waits 'for the re-born man'. In Lawrence's intentionally blasphemous transference of the Protestant conversion experience, and his outrageous punning on Christian sacramental language for eroticism, the virgin's lover can be no less than the scarred and sickly stranger, the post-crucifixion embittered Christ. Amoral sexual erection in place of spiritual resurrection is specifically based on his deceptively passing as the earlier dead-and-reborn deity. The eroticism may be summarised as piously slavish on the woman's part, anonymous, impersonal, religionist, overweening (images drawn from the ecstatic mystical tradition), a black-mass intercourse on an altar.[14]

Lawrence bound up many symbolisms and mythologies in The Escaped Cock - of India especially, and Egypt, Greece, Sumer and so on. For instance, there is the tomb and the temple - the second cave and the womb of the priestess and the Goddess. The new touch the priestess possesses is 'farther than death' and the tenderness the touch brings is 'more terrible and lovely than... death' (583). But Christ-Osiris loves the sun, and 'to touch her was like touching the sun' (591). The Moon-Goddess's priestess is like the sun, not the cool moon - she is with hot with life, exactly like the cock: '[h]ow hot she is with life!' (572).

NOTES

(In square brackets)

1. The Collected Letters of D.H. Lawrence, ed. Harry T. Moore, 2 vols, Heinemann, 1962, 303.
2. A Selection from Phoenix, ed. A.A.H. Inglis, Penguin, 1971, 557.
3. Mornings in Mexico and Etruscan Places, Penguin, 1960, 142.
4. Phoenix: The Posthumous Papers, ed. Edward Macdonald, Heinemann, 1956, 737.
5. The Complete Poems, eds. Vivian de Sola Pinto & Warren Roberts, 2 vols, Heinemann, 1972, 738.
6. References to The Escaped Cock are from The Complete Short Novels, eds. Keith Sagar & Melissa Partridge, Penguin, 1982/7, 596.
7. A Selection from Phoenix, op. cit., 550.
8. J.C. Cooper, An Illustrated Dictionary of Traditional Symbols, Thames & Hudson, 1978, 38.
9. Selected Essays, Penguin, 1950, 105.
10. Collected Short Stories, Heinemann, 1974, 671.
11. The Rainbow, ed. John Worthen, Penguin, 1986, 562.
12. Phoenix II: Uncollected, Unpublished and Other Prose Works, eds. Warren Roberts & Harry T. Moore, Heinemann, 1968 [P2]
13. Joseph Campbell, The Hero With a Thousand Faces, Paladin, 1988
14. K. Widmer, in C. Salgado & G.R. Das, eds. The Spirit of D.H. Lawrence: Centenary Studies, Macmillan, 1988, 130.

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Cross-reference on alternate viewpoints on Christ and His physical resurrection:

Jonathan Petre. (Monday, December 16, 2002) Jesus was asylum seeker, says bishop.

http://news.telegraph.co.uk/news/main.jhtml?xml=/news/2002/12/16/nlich16.xml&sSheet=/news/2002/12/16/ixhome.html&secureRefresh=true

Cross-reference on the criminal viewpoint:

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Reference

D.H. Lawrence: Biography and Works

http://www.online-literature.com/dh_lawrence/

English novelist, story writer, critic, poet and painter, one of the greatest figures in 20th-century English literature. Lawrence's doctrines of sexual freedom arose obscenity trials, which are still part of the relationship between literature and society. He saw sex and intuition as a key to undistorted perception of reality and a way unburden individual's frustrations and maladjustment to industrial culture. In 1912 he wrote: "What the blood feels, and believes, and says, is always true." The author's frankness in describing sexual relations between men and women upset a great many people. Lawrence's life after World War I was marked with continuous and restless wandering.

David Herbert Lawrence was born in Eastwood, Nottinghamshire, in central England. He was the fourth child of a struggling coal miner who was a heavy drinker. His mother was a former schoolteacher, greatly superior in education to her husband. Lawrence's childhood was dominated by poverty and friction between his parents. In a letter from 1910 to the poet Rachel Annand Taylor he later wrote: "Their marriage life has been one carnal, bloody fight. I was born hating my father: as early as ever I can remember, I shivered with horror when he touched me. He was very bad before I was born." Encouraged by his mother, with whom he had a deep emotional bond and who figures as Mrs Morel in his first masterpiece, Lawrence became interested in arts. He was educated at Nottingham High School, to which he had won a scholarship. He worked as a clerk in a surgical appliance factory and then four years as a pupil-teacher. After studies at Nottingham University, Lawrence matriculated at 22 and briefly pursued a teaching career at Davidson Road School in Croydon in South London (1908-1911). Lawrence's mother died in 1910 - he helped her die by giving her an overdose of sleeping medicine. This scene was re-created in his novel SONS AND LOVERS.

In 1909 a number of Lawrence's poems were submitted by Jessie Chambers, his childhood sweetheart, to Ford Madox Ford, who published them in English Review. The appearance of his first novel, THE WHITE PEACOCK, launched Lawrence as a writer at the age of 25. In 1912 he met Frieda von Richthofen, the professor Ernest Weekly's wife and fell in love with her. Frieda left her husband and three children, and they eloped to Bavaria and then continued to Austria, Germany and Italy. In 1913 appeared Lawrence's novel Sons and Lovers, which was based on his childhood and contains a portrayal of Jessie Chambers, the Miriam in the novel and called 'Muriel' in early stories. When the book was rejected by Heinemann, Lawrence wrote to his friend: "Curse the blasted, jelly-boned swines, the slimy, the belly-wriggling invertebrates, the miserable sodding rutters, the flaming sods, the sniveling, dribbling, dithering, palsied, pulse-less lot that make up England today."

In 1914 Lawrence married Frieda von Richthofen, and traveled with her in several countries in the final two decades of his life. Lawrence's fourth novel, THE RAINBOW (1915), was about two sisters growing up in the north of England. The character of Ursula Brangwem was partly based on Lawrence's teacher associate in Nottingham, Loui Burrows. She was Lawrence's first love. The novel was banned for its alleged obscenity - it used swearwords and talked openly about sex. Over 1000 copies of the novel were burned by the examining magistrate's order. The banning created further difficulties for him in getting anything published. Also his paintings were confiscated from an art gallery. John Middleton Mutty and Catherine Mansfield offered Lawrence their various 'little magazines' for his texts. An important patron was Lady Ottoline Morrell, wife of a Liberal Member of Parliament. Through her, Lawrence formed relationships with several cultural figures, among them Aldous Huxley, E.M. Forster, and Bertrand Russell, with whom he was later to quarrel bitterly.

Lawrence started to write THE LOST GIRL (1920) in Italy. He had settle with Frieda in Gargano. In those days they were so poor that they could not afford even a newspaper. The novel dealt with one of Lawrence's favorite subjects - a girl marries a man of a much lower social status, against the advice of friends, and finds compensation in his superior warmth and understanding. He dropped the novel for some years and rewrote the story in an old Sicilian farm-house near Taormina in 1920.

During the First World War Lawrence and his wife were unable to obtain passports and were target of constant harassment from the authorities. They were accused of spying for the Germans and officially expelled from Cornwall in 1917. The Lawrences were not permitted to emigrate until 1919, when their years of wandering began.

In the 1920s Aldous Huxley traveled with Lawrence in Italy and France. Between 1922 and 1926 he and Frieda left Italy to live intermittently in Ceylon, Australia, New Mexico and Mexico. These years provided settings for several of Lawrence's novels and stories. In 1924 the New York socialite Mabel Dodge Luhan gave to Lawrence and Frieda the Kiowa Ranch in Taos, receiving is return the original manuscript of Sons and Lovers. In an essay called 'New Mexico' (1928) he wrote that "New Mexico was the greatest experience from the outside world that I have ever had." He felt that it liberated him from the present era of civilization - "a new part of the sopul woke up suddenly, and the old world gave way to a new." After severe illness in Mexico, it was discovered that he was suffering from life-threatening tuberculosis. From 1925 the Lawrences confined their travels to Europe.

Lawrence's best known work is LADY CHATTERLEY'S LOVER, first published privately in Florens in 1928. It tells of the love affair between a wealthy, married woman, and a man who works on her husband's estate. The book was banned for a time in both UK and the US as pornographic. In UK it was published in unexpurgated form in 1960 after a obscenity trial, where defense witnesses included E.M. Forster, Helen Gardner and Richard Hoggart. Lawrence's other novels from the 1920s include WOMEN IN LOVE (1920), a sequel to Rainbow. The characters are probably partially based on Lawrence and his wife, and John Middleton Murray and his wife Katherine Mansfield. The friends shared a house in England in 1914-15. Lawrence used the English composer and songwriter Philip Heseltine as the basis for Julius Halliday, who never forgave it. When a manuscript of philosophical essays by Lawrence fell into Heseltine's hands - no other copies of the text existed - he used it as toilet tissue. According to an anecdote, Lawrence never trusted the opinions of Murray and when Murray told that he believed that there was no God, Lawrence replied, "Now I know there is."

AARON'S ROAD (1922) shows the influence of Nietzsche, and in KANGAROO (1923) Lawrence expressed his own idea of a 'superman'. THE PLUMED SERPENT (1926) was a vivid evocation of Mexico and its ancient Aztec religion. THE MAN WHO DIED (1929), first published under the title The Escaped Cock, was a bold version of the story of Christ's resurrection. Instead to have Christ to go to heaven, Lawrence has him mate with the priestess of Isis. Lawrence's non-fiction works include MOVEMENTS IN EUROPEAN HISTORY (1921), PSYCHOANALYSIS AND THE UNCONSCIOUS (1922), STUDIES IN CLASSIC AMERICAN LITERATURE (1923) and APOCALYPSE (1931).

D.H. Lawrence died in Vence, France on March 2, 1930. Frieda (d. 1956) moved to the Kiowa Ranch and built a small memorial chapel to Lawrence; his ashes lie there. In 1950 she married Angelino Ravagli, a former Italian infantry officer, with whom she had started an affair in 1925. Jake Zeitlin, a Los Angeles bookseller, who first took care of Lawrence's literary estate, summarized his feeling when he first saw the author's manuscripts: "That night when I first opened the trunk containing the manuscripts of Lawrence and as I looked through them, watched unfold the immense pattern of his vision and the tremendous product of his energy, there stirred in me an emotion similar to that I felt when first viewing the heavens with a telescope." Lawrence also gained posthumous renown for his expressionistic paintings completed in the 1920s.

The White Peacock (1910)
Sons and Lovers (1913)
The Rainbow (1915)
The Lost Girl (1920)
New Mexico (1928)
Lady Chatterley's Lover (1928)
Women In Love (1920) a sequel to Rainbow
Aaron's Rod (1922)
The Man Who Died (1929),
Kangaroo (1923)
Apocalypse (1931)

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Reference

D(avid) H(erbert) Lawrence (1885-1930)

http://www.kirjasto.sci.fi/dhlawren.htm

"The novel is the book of life. In this sense, the Bible is a great confused novel. You may say, it is about God. But it is really about man alive. Adam, Eve, Sarai, Abraham, Isaac, Jacob, Samuel, David, Bath-sheba, Ruth, Esther, Solomon, Job, Isaiah, Jesus, mark, Judas, Paul, Peter: what is it but man alive, from start to finish? Man alive, not mere bits. Even the Lord is another man alive, in a burning bush, throwing the tablets of stone at Moses's head." (from 'Why the Novel Matters' in D.H. Lawrence: Selected Criticism, 1956)

"But it needs a certain natural gift to become a loose woman or a prostitute. If you haven't got the qualities which attract loose men, what are you to do? Supposing it isn't in your nature to attract loose and promiscuous men! Why, then you can't be a prostitute, if you try your head off: nor even a loose woman. Since willing won't do it. It requires a second party to come to an agreement." (from The Lost Girl, 1920)

Lady Chatterley's Lover - Constance Chatterley is married to Sir Clifford, a mineowner in Derbyshire. A war wound has left him impotent and paralyzed. Constance has a brief affair with a young playwright and then enters into a passionate relationship with Sir Cliffords gamekeeper, Oliver Melloers. Connie becomes pregnant. Sir Clifford refuses to give a divorce and the lovers wait for better time when they could be united. - One of the models for the cuckolder-gamekeeper was Angelino Ravagli, who received half the Lawrence estate after Frieda's death. "Necessary, forever necessary, to burn out false shames and smelt the heaviest ore of the body into purity."

(Cross-reference: D.H. Lawrence died in Vence, France on March 2, 1930. Frieda (d. 1956) moved to the Kiowa Ranch and built a small memorial chapel to Lawrence; his ashes lie there. In 1950 she married Angelino Ravagli, a former Italian infantry officer, with whom she had started an affair in 1925.)

"When it comes to living, we live through our instincts and our intuitions. Instinct makes me run from little over-earnest ladies; instinct makes me sniff the lime blossom and reach for the darkest cherry. But it is intuition which makes me feel the uncanny glassiness of the lake this afternoon, the sulkiness of the mountains, the vividness of near green in thunder-sun, the young man in bright blue trousers lightly tossing the grass from the scythe, the elderly man in a boater stiffly shoving his scythe strokes, both of them sweating in the silence of the intense light." (from 'Insouciance', 1928)

For further reading: D.H. Lawrence: An Unprofessional Study by Anais Nin (1932); The Savage Pilgrimage by C. Carswell (1932); D.H. Lawrence: A Personal Record by J. Chambers (1935); D.H. Lawrence: A Composite Biography, ed. by E. Nehls (1957-59, 3 vols.); D.H. Lawrence by A Beal (1960); The Art of Perversity by K. Widmer (1962); The Deed of Life by J. Moynahan (1963); Double Measure by G. Ford (1965); The Art of D.H. Lawrence by K. Sagar (1966); D.H. Lawrence's American Journey by J. Cowan (1970); Acts of Attention: The Poems of D.H. Lawrence by S. Gilbert (1972); D.H. Lawrence: The World of the Major Novels by S. Sanders (1973); The Priest of Love by H. More (1974); D.H. Lawrence's Nightmare by P. Delany (1978); D.H. Lawrence: A Biography by J. Meyers (1990); D.H. Lawrence: The Early Years, 1885-1912 by John Worthen (1991); D.H. Lawrence: Aesthetics and Ideology by A. Fernihough (1993); D.H. Lawrence: A Study of the Shorter Fiction by W. Thornton (1993); D. H. Lawrence: The Story of a Marriage by Brenda Maddox (1996); D.H. Lawrence: A Reference Companion by P. Poplawski (1996); D.H. Lawrence: Triumph to Exile, 1912-1922 by Mark Kinkead-Weekes (1996); D.H. Lawrence: The Thinker as Poet by F. Becket (1997); D.H. Lawrence, Dying Game by D. Ellis (1998) - Other film adaptations: The Rocking Horse Winner, 1949, dir. Anthony Pelisser; The Fox, 1967, dir. Mark Rydell; The Virgin and the Gypsy, 1970, dir. Christopher Miles. - Suomeksi on julkaistu myös novellivalikoimat Leppäkerttu ja Novelleja. - See also: Olavi Paavolainen, Ezra Pound, Alan Sillitoe, Tennessee Williams

Selected works:

THE WHITE PEACOCK, 1911
THE TRESPASSER, 1912
SONS AND LOVERS, 1912 - Poikia ja rakastajia - film 1960, dir. Jack Cardiff, starring Dean Stockwell, Trevor Howard, Wendy Hiller, Mary Ure
LOVE POEMS AND OTHERS, 1913
THE PRUSSIAN OFFICER AND OTHER STORIES, 1914
THE RAINBOW, 1915 - film 1989, dir. by Ken Russell, starring Sammi Davis, Paul McGann, Amanda Donohoe, Christophr Gable
TWILIGHT IN ITALY, 1916
LOOK! WE HAVE COME THROUGH, 1917
NEW POEMS, 1918
WOMEN IN LOVE, 1920 - Rakastuneita naisia - film 1971, dir. by Ken Russell, starring Glenda Jackson, Jennie Linden, Alan Bates, Oliver Reed
THE LOST GIRL, 1920
SEA AND SARDINIA, 1921
AARON'S ROD, 1922
ENGLAND, MY ENGLAND, 1922
THE LADYBIRD, 1923
BIRDS, BEASTS AND FLOWERS, 1923 S
TUDIES IN CLASSIC AMERICAN LITERATURE, 1923
KANGAROO, 1923
ST. MAWR, 1925
THE PLUMED SERPENT, 1926 - Sulkakäärme
MORNINGS IN MEXICO, 1927
JOHN THOMAS AND LADY JANE, 1927 - John Thomas ja Lady Jane
LADY CHATTERLEY'S LOVER, 1928 - Lady Chatterleyn rakastaja - film 1955, L'amant de Lady Chatterley, dir. Marc Allégret, starring Danielle Darrieux, Leo Genn, Erno Crisa; film 1981, dir. Just Jaeckin, starring Sylvia Kristel, Nicholas Clay, Shane Briant; television film 1992, dir. Ken Russell
COLLECTED POEMS II, 1928
THE WOMAN WHO RODE AWAY, 1928
PANSIES, 1929
THE ESCAPED COCK, 1929
NETTLES, 1930
THE VIRGIN AND THE GIPSY, 1930
LOVE AMONG THE HAYSTACKS, 1930
A PROPOS OF LADY CHATTERLEY'S LOVER, 1930
APOCALYPSE, 1931
THE MAN WHO DIED, 1931 - Mies joka kuoli
ETRUSCAN PLACES, 1932
THE LOVELY LADY, 1933
BIRDS, BEASTS AND FLOWERS, 1933
LAST POEMS, 1933
THE PLAYS, 1933
WE NEED ONE ANOTHER, 1933
THE TALES, 1933
A COLLIER'S FRIDAY NIGHT, 1934
THE SPIRIT OF PLACE, 1935
PHOENIX, 1936
FOREWORD TO 'WOMEN IN LOVE', 1936
FIRE AND OTHER POEMS, 1940
THE FIRST LADY CHATTERLY, 1944
LETTERS TO BERTRAND RUSSELL, 1948
A PRELUDE, 1949
SELECTED ESSAYS, 1950
THE COMPLETE SHORT STORIES, 1955
SEX, LITERATURE AND CENSORSHIP, 1955
D.H. LAWRENCE: SELECTED CRITICISM, 1956
EIGHT LETTERS TO RACHEL ANNAND TAYLOR, 1956
THE COMPLETE POEMS, 1957
POSTHUMOUS PAPERS, 1961
THE COLLECTED LETTERS, 1962
THE SYMBOLIC MEANING, 1962
THE COMPLETE POEMS, 1964
THE PAINTINGS OF D.H. LAWRENCE, 1964
THE COMPLETE PLAYS, 1965
SELECTED LITERARY CRITICISM, 1967
PHOENIX II, 1968
LAWRENCE IN LOVE, 1968
THE QUEST FOR RANANIM, 1970
THE CENTAUR LETTERS, 1970
LETTERS TO MARTIN SECKER 1911-1930, 1970
THE FIRST LADY CHATTERLEY, 1971
THE ESCAPED COCK, 1973
LETTERS TO THOMAS AND ADELE SELZER, 1976
INTERVIEWS AND RECOLLECTIONS, 1981
MR. NOON, 1984
LETTERS (7 vol.), 1979-93

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Reference

Britannica Store – D H Lawrence

http://store.britannica.com/escalate/store/DetailPage?pls=britannica&bc=britannica&pc=KUL_AV_FALAWRENCE&pls0affiliatedid=adtracking&pls1adtracking=AI_SEARCH

Famous Authors Series - D.H. Lawrence

D.H. Lawrence (1885-1930)

"You love me so much, you want to put me in your pocket. And I should die there smothered.” Sons and Lovers

Despite what critics have deemed as a penchant for preaching and attacking people and institutions he perceived as his enemies, D.H. Lawrence is considered one of the greatest Modern English novelists. Poet, short story writer, and novelist, Lawrence's literary style is known for its idealistic theories concerning human relationships. His works also reveal his interests in primitive religions and mysticism.

Lady Chatterley's Lover, Sons and Lovers, and The Plumed Serpent, as well as his other works, are infused with his personal philosophy, life history, and extreme prejudices.

In this video, old maps, contemporary drawings, paintings, portraits, and other archival materials serve to set the story of Lawrence within a historical and social perspective. The viewer can appreciate his life and times and better understand the roots of his unique literary style.

Did you know?--In 1926, while living in Italy, Lawrence embarked on the first versions of Lady Chatterley's Lover. It was privately published in 1928 and led an underground life until legal decisions in New York (1959) and London (1960) made it freely available.

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Reference

Forum Hub - D.H.Lawrence...

http://forumhub.com/elit/16646.22.11.38.html

Topic started by Vishvesh Obla (@ nas-70-195.albany.navipath.net) on Sat Nov 18 22:11:38 .

All times in EST +10:30 for IST.

D.H.Lawrence is perhaps one of the most misunderstood writers of the literary world. A novelist he basically was, he was very un-conventional from the literary stream. This un-conventionality is seen in most of the great writers who had something original to say that their works become diverse complex forms of expression. But Lawrence is baffling, for he seems to have had some of the primordial modes of human perception that the human race has forgotten. He is, hence, either as a Savage, and is, condemnatory or a kind of seer or even visionary. Both of these estimates are very common with him which stand in our way to a proper understanding of him.

It cannot be denied that all through his works we find something at a level more than the normal level of human understanding and perception. Lawrence, for the first time in Literary History, starts talking about the issue of ‘human consciousness’ through the era of European history starting from the times of the great Greek Classicists. The consciousness in man has a comprehensive mode of experience that involves the fullest involvement of all the faculties that he is born with and which develops as he grows. The primary centers of consciousness shift at the different periods of one’s life but basically they all lead to a fulfillment of each other leading to an awareness which is not just mental but of the entire being itself. His novels are all portrayals of the stunted growth of such human consciousness found in our modern times. They find their culmination in his magnum opus, “Fantasia of the Unconscious”, where he discusses the various plexus and ganglions which are the seats of human consciousness, how they interact with each other leading to a fuller consciousness, how we jeopardize the natural harmony of them by our excessive emphasis on a few modes. Lawrence observes an altered pattern of the growth of human consciousness from the age of our reasoning, from the age of the great Greek philosophers, when man started becoming a sort of mental being. The Mind becomes the center of consciousness and all our conscience is MENTAL. We translate everything we come across into mental IDEAS that kill the kind of vital relation we could maintain earlier in our older civilizations. Even Sex, a great pre-mental force that is a vital source of life, is ‘mentalized’ so that it has lost its life and has become a matter of perversion in our modern times. (His “Lady Chatterley’s Lovers” is one of the sanest books written on men-women relations). Lawrence sees the Etruscans, the Chaldeans, the Aryans and many of the older civilizations having a kind of pre-mental knowledge of life which could offer them a better kind of life which was vitally related to all the things they were in touch with.

Now all this kind of stuff may sound abstract, but it is a question of attitudes one needs to take if one wants to read Lawrence. It is not a question of you believing him or not. It is a very serious question involving the very sanity of mankind and the basic convictions that something is seriously false with our lives. Lawrence will forever remain an enigma as long as we continue to produce more and more mental human beings that we all basically are. He gives us an opportunity to see through that veil that has kept us blind and to read him patiently and understand him rightly is only a question of one’s choice to remain sane or not...

From: Vishvesh Obla (@ alb-66-24-214-34.nycap.rr.com) on: Mon Mar 4 10:05:11

I read a wonderful work on D.H.Lawrence by F.R.Leavis titled D.H.Lawrence : Novelist . It is a sequel to his magnum opus The great tradition in which he(Leavis) traces out the traits that make a living tradition and a continuity of it among a few great English novelists, behind their technical originality that distinguishes them for their individual contributions. D.H.Lawrence has produced so much of bewildering criticism today that a reader gets lost as to what he essentially was. He was also the kind of writer susceptible to any kind of criticism and could be easily portrayed as a sexist, a mystic, a psycho-analyst, an ignoramus and even a neo-nazist. Even a critic as great as T.S.Eliot could be entirely wrong in his judgement of Lawrence and preferring the mentally sterile works of Joyce over his.

This book first tries to look at the forces that were against the recognition of Lawrence as the major creative source of the twentieth century (greater than that of Eliot himself). Leavis finds that it were the conditions created and nurtured by a few life negating interests unfortunately promoted by a creative writer as Eliot himself, which stood right in the way to a closer understanding of Lawrence. Art in its wholeness, is much beyond an attitude of distaste and disgust towards life which exemplified the works of Flaubert, and against whom Lawrence can be placed diagonally opposite. And Flaubert isn’t much different to the attitude of life T.S.Eliot displayed. It is a failure of intelligence as Henry James puts it aptly, on the character of Flaubert’s masterpiece Madame Bovary and it is precisely the presence of intelligence, an intelligence born of the whole integrated psyche that characterizes the works of Lawrence. For, his intelligence is the representative in consciousness of the complex need of the whole being, and is not thwarted or disabled by inner contradictions in him. Lawrence was very much against any life negating interests, for he had a magnificient perception of life in its fullness and lived from its sources than from the mind. Leavis goes on to prove how a smaller work of Lawrence’s like St Mawr could be a greater creative force than Eliot’s Waste Land. His criticism on the major works of Lawrence --The Rainbow and Women in Love-- dispels all the hitherto extraneous understanding of Lawrence.

One note of caution: just as the worst difficulty we have in coming to terms with his (Lawrence’s) art is that there is resistance in us to what it has to communicate – if only the kind of resistance represented by habit, as Leavis remarks, it is equally difficult to get into terms with criticism of this kind and that too when it has to go against such a major force as T.S.Eliot.

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Published on internet: Friday, August 08, 2003

Revised: Wednesday, January 05, 2005

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“Thou belongest to That Which Is Undying, and not merely to time alone,” murmured the Sphinx, breaking its muteness at last. “Thou art eternal, and not merely of the vanishing flesh. The soul in man cannot be killed, cannot die. It waits, shroud-wrapped, in thy heart, as I waited, sand-wrapped, in thy world. Know thyself, O mortal! For there is One within thee, as in all men, that comes and stands at the bar and bears witness that there IS a God!”

(Reference: Brunton, Paul. (1962) A Search in Secret Egypt. (17^th Impression) London, UK: Rider & Company. Page: 35.)

Amen