D.H. Lawrence


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D.H. Lawrence (1885-1930), English novelist, storywriter, critic, poet and painter, one of the greatest figures in 20th-century English literature. "Snake" and "How Beastly the Bourgeoisie is" are probably his most anthologized poems.

David Herbert Lawrence was born on September 11, 1885, in Eastwood, Nottinghamshire, 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. 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 for four years as a pupil-teacher. After studies at Nottingham University, Lawrence matriculated at 22 and briefly pursued a teaching career. Lawrence's mother died in 1910; he helped her die by giving her an overdose of sleeping medicine.

In 1909, a number of Lawrence's poems were published by Ford Max Ford in the English Review. The appearance of his first novel, The White Peacock (1911), launched Lawrence into a writing career. 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. Lawrence's novel Sons and Lovers appeared in 1913 and was based on his childhood . In 1914 Lawrence married Frieda von Richthofen, and traveled with her in several countries. Lawrence's fourth novel, The Rainbow (1915), was about two sisters growing up in the north of England. Lawrence started to write The Lost Girl in Italy. He dropped the novel for some years and rewrote the story in an old Sicilian farmhouse near Taormina in 1920.

During the First World War Lawrence and his wife were unable to obtain passports and were targets 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.


Lawrence's best known work is Lady Chatterly's Lover, first published privately in Florence 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. Lawrence's other novels from the 1920s include Women In Love (1920), a sequel to The Rainbow.

Aaron's Rod (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), is a bold story of Christ's Resurrection. Lawrence's non-fiction works include Movements In European History(1921), Psychoanalysis And The Unconscious (1922) and Studies In Classic American Literature (1923).

D.H. Lawrence died in Vence, France on March 2, 1930. He also gained posthumous renown for his expressionistic paintings completed in the 1920s.
 

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Recent Forum Posts on D.H. Lawrence

D.H Lawrence

What's a good novel to start with? Or a collection of short stories if he wrote any? I read some of his poetry.


Was DH Lawrence gay/bisexual?

I believe he made a cryptic reference to it once. There's also that scene from Women in Love.


Homosexuality and D.H. Lawrence

Just a quick question on eveyone's opinons how much of a feature everyone thinks homosexuality or homoeroticism is in Lawrence's novels? Obviously there are plenty of male/male relationships in the novels, but it's a concept that always seems to get overlooked and that no one really discusses (at least on this forum, anyway!) I'm writing a paper on the subject and any ideas would be greatly appreciated, thanks!


Tickets, Please by DH Lawrence- Free indirect discourse or not?

Hi! I am having some trouble with this text as I can't figure out if it is in indirect discourse, free indirect discourse or a mixture of both. Please could someone help me out? Here is a quote which I think could be free indirect discourse: f course, during these performances, pitch darkness falls from time to time, when the machine goes wrong. Then there is a wild whooping, and a loud smacking of simulated kisses. In these moments John Joseph drew Annie towards him. After all, he had a wonderfully warm, cosy way of holding a girl with his arm, he seemed to make such a nice fit. And, after all, it was pleasant to be so held; so very comforting and cosy and nice. He leaned over her and she felt his breath on her hair. She knew he wanted to kiss her on the lips. And, after all, he was so warm and she fitted in to him so softly. After all, she wanted him to touch her lips. But the light sprang up, she also started electrically, and put her hat straight. He left his arm lying nonchalant behind her. Well, it was fun, it was exciting to be at the Statutes with John Joseph. When the cinema was over they went for a walk across the dark, damp fields. He had all the arts of love-making. He was especially good at holding a girl, when he sat with her on a stile in the black, drizzling darkness. He seemed to be holding her in space, against his own warmth and gratification. And his kisses were soft and slow and searching. I think that the middle section is free indirect discourse but I'm not sure. Any help on this section or others would be greatly appreciated! Thankyou Caz


What do you think the central themes are of Lawrence's work?

And what do you make of the psychoanalysis? Was he a precursor of Freud or do Freudian interpretations mar the real subject of his works?


Marxism in D.H Lawerence, Women In Love extract. Any thoughts?

Hello. This is one of my first posts in forums at all, let alone this particular one, so go easy(ish) on me. I have a university assignment that requires me to chose two extracts from a set provided for us and analyse it using appropriate theoretical perspective. We have only been given a few common ones: feminism, Marxism, psychoanalytic and formalist seem to be the key players. There's an extract from Lawerence's Women In Love and I'm pretty sure they've set it up for a Marxist reading. The extract is below I was just wondering if anyone had any thoughts on the best way to go about it? There is loads of Marxist literary criticism out there and I would like a bit of guidance on where to start, would really appreciate it. Gradually Gerald got hold of everything. And then began the great reform. Expert engineers were introduced in every department. An enormous electric plant was installed, both for lighting and for haulage underground, and for power. The electricity was carried into every mine. New machinery was brought from America, such as the miners had never seen before, great iron men, as the cutting machines were called, and unusual appliances. The working of the pits was thoroughly changed, all the control was taken out of the hands of the miners, the butty system was abolished. Everything was run on the most accurate and delicate scientific method, educated and expert men were in control everywhere, the miners were reduced to mere mechanical instruments. They had to work hard, much harder than before, the work was terrible and heart-breaking in its mechanicalness. But they submitted to it all. The joy went out of their lives, the hope seemed to perish as they became more and more mechanised. And yet they accepted the new conditions. They even got a further satisfaction out of them. At first they hated Gerald Crich, they swore to do something to him, to murder him. But as time went on, they accepted everything with some fatal satisfaction. Gerald was their high priest, he represented the religion they really felt. His father was forgotten already. There was a new world, a new order, strict, terrible, inhuman, but satisfying in its very destructiveness. The men were satisfied to belong to the great and wonderful machine, even whilst it destroyed them. It was what they wanted. It was the highest that man had produced, the most wonderful and superhuman. They were exalted by belonging to this great and superhuman system which was beyond feeling or reason, something really godlike. Their hearts died within them, but their souls were satisfied. It was what they wanted. Otherwise Gerald could never have done what he did. He was just ahead of them in giving them what they wanted, this participation in a great and perfect system that subjected life to pure mathematical principles. This was a sort of freedom, the sort they really wanted. It was the first great step in undoing, the first great phase of chaos, the substitution of the mechanical principle for the organic, the destruction of the organic purpose, the organic unity, and the subordination of every organic unit to the great mechanical purpose. It was pure organic disintegration and pure mechanical organisation. This is the first and finest state of chaos. Thanks in advance.


Best/favourite Lawrence novel?

Which is your favourite of his novels?


Help me figure out this quote by DH Lawrence!

Hey guys, I'm new to this place but I'm hoping someone is willing to take a few moments to think about something that's been troubling me for some time now. I'm into quotations and reading up on old litterature and what not and I happend to stumble upon this quote by DH Lawrence: "There's always the hyena of morality at the garden gate, and the real wolf at the end of the street." Now I can't really figure out the symbolism or meaning.. I take it "garden gate" is literally the porch to someone's home.. but that's really as far as I've got it. An hyena is (from wiki): "Many cultures, including those in Africa, have historically viewed the hyena negatively, associating them with gluttony, uncleanliness and cowardice." And of course it's a scavenger.. not very intellectual but very "program", so to speak. Now it's an "hyena of morality"... Lawrence lived a long time ago and morality at the time was probably synonymous with religious dogma meaning "morality" would follow you around like an hyena, not necessarily dangerous but definitely annoying and a nuisance.. Anyway the point is I'm stuck and I would very much like if someone could help me out? :)


The Elephant is slow to mate Meaning?

The elephant, the huge old beast, is slow to mate; he finds a female, they show no haste they wait for the sympathy in their vast shy hearts slowly, slowly to rouse as they loiter along the river-beds and drink and browse and dash in panic through the brake of forest with the herd, and sleep in massive silence, and wake together, without a word. So slowly the great hot elephant hearts grow full of desire, and the great beasts mate in secret at last, hiding their fire. Oldest they are and the wisest of beasts so they know at last how to wait for the loneliest of feasts for the full repast. They do not snatch, they do not tear; their massive blood moves as the moon-tides, near, more near till they touch in flood. i was assign to write a 350 word analysis/meaning of this poems by D.H Lawrence but im not that good with poetry so i need some help ;[


violence in D.H.Lawrence's poetry

hi i am a new member. i have found this site by accident as i was searching for some information about violence in D.H.Lawrence's poems. In fact i need to write an essay about his reworkings and intertexuality. I found people who know a lot about him and his work. I was wondering if somebody could give me some useful advice. I am not sure if what i do is against the rules of this forum. if so i am sorry since i have never been to this site i am not accustomed to the rules. Besides english is not my first language thus i fear to have misundertood some points about the forum.


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