David. Herbert. Lawrence

D. H. Lawrence

From Wikipedia, the free encyclopedia

Jump to: navigation, search

For the 1932 biography, see D. H. Lawrence: An Unprofessional Study.

D. H. Lawrence

Lawrence, age 21 (1906)

Born 11 September 1885(1885-09-11)

Eastwood, Nottinghamshire, England

Died 2 March 1930 (aged 44)

Vence, France

Occupation Novelist

Writing period 1907–1930

Genres modernism

Subjects the sexual/social subject, Travel, Literary Criticism

Notable work(s) Novel: The White Peacock

Short Story: Odour of Chrysanthemums

Play: The Widowing of Mrs Holroyd

Influences[show]

Joseph Conrad, Herman Melville, Lev Shestov, Thomas Hardy, Walt Whitman, Schopenhauer

Influenced[show]

Aldous Huxley, Anthony Burgess, A. S. Byatt, Colm Tóibín, Tennessee Williams, Dylan Thomas, Octavio Paz, Charles Bukowski

David Herbert Richards Lawrence (11 September 1885 – 2 March 1930) was an English writer of the 20th century, whose prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, and literary criticism. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialization. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, human sexuality and instinct.

Lawrence's opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage."[1] At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as, "The greatest imaginative novelist of our generation."[2] Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. Lawrence is now generally valued as a visionary thinker and significant representative of modernism in English literature, although some feminists object to the attitudes toward women and sexuality found in his works.

Contents [hide]

1 Biography

1.1 Early life

1.2 Wider horizons

1.3 The savage pilgrimage begins

1.4 Later life and career

1.5 Death

1.6 Sexuality

1.7 Posthumous reputation

2 Works

2.1 Novels

2.2 Short stories

2.3 Poetry

2.4 Literary criticism

2.5 Philosophy

2.6 Paintings

3 Quotation

4 List of Lawrence's writings

4.1 Novels

4.2 Short stories

4.3 Poetry

4.4 Plays

4.5 Non-fiction

4.6 Travel books

4.7 Works translated by Lawrence

4.8 Manuscripts and early drafts of published novels and other works

4.9 Letters

5 Works about Lawrence

5.1 Bibliographic resources

5.2 Biographical studies

5.3 Drama

5.4 Musical Theatre

5.5 Literary criticism

6 References

7 External links

7.1 Biographies

7.2 Works

7.3 Criticism

7.4 Other

[edit] Biography

[edit] Early life

The fourth child of Arthur John Lawrence, a barely literate miner, and Lydia (née Beardsall), a former schoolmistress, ,[3] Lawrence spent his formative years in the coal mining town of Eastwood, Nottinghamshire. His birthplace, in Eastwood, 8a Victoria Street, is now a museum.[4] His working class background and the tensions between his parents provided the raw material for a number of his early works. Lawrence would return to this locality, which he was to call "the country of my heart,"[5] as a setting for much of his fiction.

The young Lawrence attended Beauvale Board School (now renamed Greasley Beauvale D. H. Lawrence Infant School in his honor) from 1891 until 1898, becoming the first local pupil to win a County Council scholarship to Nottingham High School in nearby Nottingham. There is a house in the Junior School named after him. He left in 1901, working for three months as a junior clerk at Haywood's surgical appliances factory before a severe bout of pneumonia ended this career. Whilst convalescing he often visited Haggs Farm, the home of the Chambers family and began a friendship with Jessie Chambers. An important aspect of this relationship with Jessie and other adolescent acquaintances was a shared love of books, an interest that lasted throughout Lawrence's life. In the years 1902 to 1906 Lawrence served as a pupil teacher at the British School, Eastwood. He went on to become a full-time student and received a teaching certificate from University College Nottingham in 1908. During these early years he was working on his first poems, some short stories, and a draft of a novel, Laetitia, that was eventually to become The White Peacock. At the end of 1907 he won a short story competition in the Nottingham Guardian, the first time that he had gained any wider recognition for his literary talents.

[edit] Wider horizons

In the autumn of 1908 the newly qualified Lawrence left his childhood home for London. While teaching in Davidson Road School, Croydon, he continued writing. Some of the early poetry, submitted by Jessie Chambers, came to the attention of Ford Madox Ford, editor of the influential The English Review. Hueffer then commissioned the story Odour of Chrysanthemums which, when published in that magazine, encouraged Heinemann, a London publisher, to ask Lawrence for more work. His career as a professional author now began in earnest, although he taught for a further year. Shortly after the final proofs of his first published novel The White Peacock appeared in 1910, Lawrence's mother died. She had been ill with cancer. The young man was devastated and he was to describe the next few months as his "sick year." It is clear that Lawrence had an extremely close relationship with his mother and his grief following her death became a major turning point in his life, just as the death of Mrs. Morel forms a major turning point in his autobiographical novel Sons and Lovers, a work that draws upon much of the writer's provincial upbringing.

In 1911 Lawrence was introduced to Edward Garnett, a publisher's reader, who acted as a mentor, provided further encouragement, and became a valued friend, as Garnett's son David was also. Throughout these months the young author revised Paul Morel, the first draft of what became Sons and Lovers. In addition, a teaching colleague, Helen Corke, gave him access to her intimate diaries about an unhappy love affair, which formed the basis of The Trespasser, his second novel. In November 1911, pneumonia struck once again. After recovering his health Lawrence decided to abandon teaching in order to become a full time author. He also broke off an engagement to Louie Burrows, an old friend from his days in Nottingham and Eastwood.

In March 1912 Lawrence met Frieda Weekley (nee von Richthofen), with whom he was to share the rest of his life. She was six years older than her new lover, married to Lawrence's former modern languages professor from Nottingham University, Ernest Weekley, and with three young children. She eloped with Lawrence to her parents' home in Metz, a garrison town in Germany near the disputed border with France. Their stay here included Lawrence's first brush with militarism, when he was arrested and accused of being a British spy, before being released following an intervention from Frieda Weekley's father. After this encounter Lawrence left for a small hamlet to the south of Munich, where he was joined by Weekley for their "honeymoon," later memorialized in the series of love poems entitled Look! We Have Come Through (1917).

From Germany they walked southwards across the Alps to Italy, a journey that was recorded in the first of his travel books, a collection of linked essays entitled Twilight in Italy and the unfinished novel, Mr Noon. During his stay in Italy, Lawrence completed the final version of Sons and Lovers that, when published in 1913, was acknowledged to represent a vivid portrait of the realities of working class provincial life. Lawrence though, had become so tired of the work that he allowed Edward Garnett to cut about a hundred pages from the text.

Lawrence and Frieda returned to England in 1913 for a short visit. At this time, he now encountered and befriended critic John Middleton Murry and New Zealand-born short story writer Katherine Mansfield. Lawrence and Weekley soon went back to Italy, staying in a cottage in Fiascherino on the Gulf of Spezia. Here he started writing the first draft of a work of fiction that was to be transformed into two of his better-known novels, The Rainbow and Women in Love. Eventually, Weekley obtained her divorce. The couple returned to England at the outbreak of World War I and were married on 13 July 1914.

Weekley's German parentage and Lawrence's open contempt for militarism meant that they were viewed with suspicion in wartime England and lived in near destitution. The Rainbow (1915) was suppressed after an investigation into its alleged obscenity in 1915. Later, they were even accused of spying and signaling to German submarines off of the coast of Cornwall where they lived at Zennor. During this period he finished Women in Love. In it Lawrence explores the destructive features of contemporary civilization through the evolving relationships of four major characters as they reflect upon the value of the arts, politics, economics, sexual experience, friendship and marriage. This book is a bleak, bitter vision of humanity and proved impossible to publish in wartime conditions. Not published until 1920, it is now widely recognised as an English novel of great dramatic force and intellectual subtlety.

In late 1917, after constant harassment by the military authorities, Lawrence was forced to leave Cornwall at three days' notice under the terms of the Defence of the Realm Act (DORA). This persecution was later described in an autobiographical chapter of his Australian novel Kangaroo, published in 1923. He spent some months in early 1918 in the small, rural village of Hermitage near Newbury, Berkshire. He then lived for just under a year (mid-1918 to early 1919) at Mountain Cottage, Middleton-by-Wirksworth, Derbyshire, where he wrote one of his most poetic short stories, The Wintry Peacock. Until 1919 he was compelled by poverty to shift from address to address and barely survived a severe attack of influenza.

[edit] The savage pilgrimage begins

After the traumatic experience of the war years, Lawrence began what he termed his 'savage pilgrimage', a time of voluntary exile. He escaped from England at the earliest practical opportunity, to return only twice for brief visits, and with his wife spent the remainder of his life travelling. This wanderlust took him to Australia, Italy, Ceylon (now called Sri Lanka), North America, Mexico and southern France.

Lawrence abandoned England in November 1919 and headed south; first to the Abruzzi region in central Italy and then onwards to Capri and the Fontana Vecchia in Taormina, Sicily. From Sicily he made brief excursions to Sardinia, Monte Cassino, Malta, Northern Italy, Austria and Southern Germany. Many of these places appeared in his writings. New novels included The Lost Girl (for which he won the James Tait Black Memorial Prize for fiction), Aaron's Rod and the fragment entitled Mr Noon (the first part of which was published in the Phoenix anthology of his works, and the entirety in 1984). He experimented with shorter novels or novellas, such as The Captain's Doll, The Fox and The Ladybird. In addition, some of his short stories were issued in the collection England, My England and Other Stories. During these years he produced a number of poems about the natural world in Birds, Beasts and Flowers. Lawrence is widely recognized as one of the finest travel writers in the English language. Sea and Sardinia, a book that describes a brief journey from Taormina undertaken in January 1921, is a recreation of the life of the inhabitants of this part of the Mediterranean. Less well known is the brilliant memoir of Maurice Magnus (Memoirs of the Foreign Legion), in which Lawrence recalls his visit to the monastery of Monte Cassino. Other non-fiction books include two studies of Freudian psychoanalysis and Movements in European History, a school textbook that was published under a pseudonym, a reflection of his blighted reputation in England.

[edit] Later life and career

In late February 1922 the Lawrences left Europe behind with the intention of migrating to the United States. They sailed in an easterly direction, first to Ceylon and then on to Australia. A short residence in Darlington, Western Australia, which included an encounter with local writer Mollie Skinner, was followed by a brief stop in the small coastal town of Thirroul, New South Wales, during which Lawrence completed Kangaroo, a novel about local fringe politics that also revealed a lot about his wartime experiences in Cornwall.

The Lawrences finally arrived in the U.S. in September 1922. Here they encountered Mabel Dodge Luhan, a prominent socialite, and considered establishing a utopian community on what was then known as the 160-acre (0.65 km2) Kiowa Ranch near Taos, New Mexico. They acquired the property, now called the D. H. Lawrence Ranch, in 1924 in exchange for the manuscript of Sons and Lovers. He stayed in New Mexico for two years, with extended visits to Lake Chapala and Oaxaca in Mexico.

While in the U.S., Lawrence rewrote and published Studies in Classic American Literature, a set of critical essays begun in 1917, and later described by Edmund Wilson as "one of the few first-rate books that have ever been written on the subject." These interpretations, with their insights into symbolism, New England Transcendentalism and the puritan sensibility, were a significant factor in the revival of the reputation of Herman Melville during the early 1920s. In addition, Lawrence completed a number of new fictional works, including The Boy in the Bush, The Plumed Serpent, St Mawr, The Woman who Rode Away, The Princess and assorted short stories. He also found time to produce some more travel writing, such as the collection of linked excursions that became Mornings in Mexico.

A brief voyage to England at the end of 1923 was a failure and he soon returned to Taos, convinced that his life as an author now lay in America. However, in March 1925 he suffered a near fatal attack of malaria and tuberculosis whilst on a third visit to Mexico. Although he eventually recovered, the diagnosis of his condition obliged him to return once again to Europe. He was dangerously ill and poor health limited his ability to travel for the remainder of his life.

The Lawrences made their home in a villa in Northern Italy, living near to Florence while he wrote The Virgin and the Gipsy and the various versions of Lady Chatterley's Lover (1928). The latter book, his last major novel, was initially published in private editions in Florence and Paris and reinforced his notoriety. Lawrence responded robustly to those who claimed to be offended, penning a large number of satirical poems, published under the title of "Pansies" and "Nettles", as well as a tract on Pornography and Obscenity.

The return to Italy allowed Lawrence to renew old friendships; during these years he was particularly close to Aldous Huxley, who was to edit the first collection of Lawrence's letters after his death, along with a memoir. With artist Earl Brewster, Lawrence visited a number of local archaeological sites in April 1927. The resulting essays describing these visits to old tombs were written up and collected together as Sketches of Etruscan Places, a beautiful book that contrasts the lively past with Mussolini's fascism.

Final resting place, near TaosLawrence continued to produce fiction, including short stories and The Escaped Cock (also published as The Man Who Died), an unorthodox reworking of the story of Christ's Resurrection. During these final years Lawrence renewed a serious interest in oil painting. Official harassment persisted and an exhibition of some of these pictures at the Warren Gallery in London was raided by the British police in mid 1929 and a number of works were confiscated. Nine of the Lawrence oils have been on permanent display in the La Fonda Hotel in Taos since shortly after his death. They hang in a small office behind the hotel's front desk and are available for viewing.

[edit] Death

Lawrence continued to write despite his failing health. In his last months he wrote numerous poems, reviews and essays, as well as a robust defence of his last novel against those who sought to suppress it. His last significant work was a reflection on the Book of Revelation, Apocalypse. After being discharged from a sanatorium, he died at the Villa Robermond in Vence, France due to complications from tuberculosis. Frieda Weekley returned to live on the ranch in Taos and later her third husband brought Lawrence's ashes to rest there in a small chapel set amid the mountains of New Mexico.

[edit] Sexuality

While writing Women in Love in Cornwall during 1916-17, Lawrence developed a strong and possibly romantic relationship with a Cornish farmer named William Henry Hocking.[6] Although it is not absolutely clear if their relationship was sexual, Freida Weekley said she believed it was. Lawrence's fascination with themes of homosexuality could also be related to his own sexual orientation. This theme is also overtly manifested in Women in Love. Indeed, in a letter written during 1913, he writes, "I should like to know why nearly every man that approaches greatness tends to homosexuality, whether he admits it or not…" [7] He is also quoted as saying, "I believe the nearest I've come to perfect love was with a young coal-miner when I was about 16."[8] However there are also suggestions that Lawrence was homophobic (though whether more so than most people at the time is debatable), "Catherine Carswell says, 'I have heard Lawrence say that sexual perversion was for him the sin against the Holy Ghost, the hopeless sin." [9]

[edit] Posthumous reputation

The obituaries following Lawrence's death were, with the notable exception of E. M. Forster, unsympathetic or hostile. However, there were those who articulated a more favourable recognition of the significance of this author's life and works. For example, his longtime friend Catherine Carswell summed up his life in a letter to the periodical Time and Tide published on 16 March 1930. In response to his critics, she claimed:

In the face of formidable initial disadvantages and life-long delicacy, poverty that lasted for three quarters of his life and hostility that survives his death, he did nothing that he did not really want to do, and all that he most wanted to do he did. He went all over the world, he owned a ranch, he lived in the most beautiful corners of Europe, and met whom he wanted to meet and told them that they were wrong and he was right. He painted and made things, and sang, and rode. He wrote something like three dozen books, of which even the worst page dances with life that could be mistaken for no other man's, while the best are admitted, even by those who hate him, to be unsurpassed. Without vices, with most human virtues, the husband of one wife, scrupulously honest, this estimable citizen yet managed to keep free from the shackles of civilization and the cant of literary cliques. He would have laughed lightly and cursed venomously in passing at the solemn owls–each one secretly chained by the leg–who now conduct his inquest. To do his work and lead his life in spite of them took some doing, but he did it, and long after they are forgotten, sensitive and innocent people–if any are left–will turn Lawrence's pages and will know from them what sort of a rare man Lawrence was.

Aldous Huxley also defended Lawrence in his introduction to a collection of letters published in 1932. However, the most influential advocate of Lawrence's contribution to literature was the Cambridge literary critic F. R. Leavis who asserted that the author had made an important contribution to the tradition of English fiction. Leavis stressed that The Rainbow, Women in Love, and the short stories and tales were major works of art. Later, the Lady Chatterley Trial of 1960, and subsequent publication of the book, ensured Lawrence's popularity (and notoriety) with a wider public, and his work began to be included on many school and university English literature syllabuses.

A number of feminist critics, notably Kate Millett, have questioned Lawrence's Sexual Politics, and this questioning has damaged his reputation in some quarters since then. On the other hand, Lawrence continues to find an audience, and the ongoing publication of a new scholarly edition of his letters and writings has demonstrated the range of his achievement.

The charge of male chauvinism has tended to be lacking in balance. He held (seemingly contradictory) views espousing feminism. The evidence of his written works does indicate an overwhelming commitment to representing women as strong, independent and complex. He produced major works in which young female characters were central.

[10] Harrison drew attention to the vein of sadism that runs through Lawrence's writing.

[edit] Works

[edit] Novels

Lawrence is perhaps best known for his novels Sons and Lovers, The Rainbow, Women in Love and Lady Chatterley's Lover. Within these Lawrence explores the possibilities for life and living within an Industrial setting. In particular Lawrence is concerned with the nature of relationships that can be had within such settings. Though often classed as a realist, Lawrence's use of his characters can be better understood with reference to his philosophy. His use of sexual activity, though shocking at the time, has its roots in this highly personal way of thinking and being. It is worth noting that Lawrence was very interested in human touch behaviour (see Haptics) and that his interest in physical intimacy has its roots in a desire to restore our emphasis on the body, and re-balance it with what he perceived to be western civilization's slow process of over-emphasis on the mind.

[edit] Short stories

Among the most praised, The Prussian Officer and Other Stories provides insight into Lawrence's attitudes during World War I. His American volume The Woman Who Rode Away and Other Stories develops his themes of leadership as explored in the novels Kangaroo, The Plumed Serpent and Fanny and Annie.

[edit] Poetry

Although best known for his novels, Lawrence wrote almost 800 poems, most of them relatively short. His first poems were written in 1904 and two of his poems, Dreams Old and Dreams Nascent, were among his earliest published works in The English Review. His early works clearly place him in the school of Georgian poets, a group not only named after the present monarch but also to the romantic poets of the previous Georgian period whose work they were trying to emulate. What typified the entire movement, and Lawrence's poems of the time, were well-worn poetic tropes and deliberately archaic language. Many of these poems displayed what John Ruskin referred to as the "pathetic fallacy," which is the tendency to ascribe human emotions to animals and even inanimate objects.

It was the flank of my wife

I touched with my hand, I clutched with my hand,

rising, new-awakened from the tomb!

It was the flank of my wife

whom I married years ago

at whose side I have lain for over a thousand nights

and all that previous while, she was I, she was I;

I touched her, it was I who touched and I who was touched.

-- excerpt, New Heaven and Earth

Just as World War I dramatically changed the work of many of the poets who saw service in the trenches, Lawrence's own work saw a dramatic change, during his years in Cornwall. During this time, he wrote free verse influenced by Walt Whitman. He set forth his manifesto for much of his later verse in the introduction to New Poems. "We can get rid of the stereotyped movements and the old hackneyed associations of sound or sense. We can break down those artificial conduits and canals through which we do so love to force our utterance. We can break the stiff neck of habit...But we cannot positively prescribe any motion, any rhythm." Many of his later works took the idea of free verse to the extremes of lacking all rhyme and metre so that they are little different from short ideas or memos, which could well have been written in prose.

Lawrence rewrote many of his novels several times to perfect them and similarly he returned to some of his early poems when they were collected in 1928. This was in part to fictionalise them, but also to remove some of the artifice of his first works. As he put in himself: "A young man is afraid of his demon and puts his hand over the demon's mouth sometimes and speaks for him." His best known poems are probably those dealing with nature such as those in Birds Beasts and Flowers and Tortoises. Snake, one of his most frequently anthologised, displays some of his most frequent concerns; those of man's modern distance from nature and subtle hints at religious themes.

In the deep, strange-scented shade of the great dark carob tree

I came down the steps with my pitcher

And must wait, must stand and wait, for there he was at the trough before me.

-- excerpt, Snake

Look! We have come through! is his other work from the period of the end of the war and it reveals another important element common to much of his writings; his inclination to lay himself bare in his writings. Although Lawrence could be regarded as a writer of love poems, his usually deal in the less romantic aspects of love such as sexual frustration or the sex act itself. Ezra Pound in his Literary Essays complained of Lawrence's interest in his own "disagreeable sensations" but praised him for his "low-life narrative." This is a reference to Lawrence's dialect poems akin to the Scots poems of Robert Burns, in which he reproduced the language and concerns of the people of Nottinghamshire from his youth.

Tha thought tha wanted ter be rid o' me.

'Appen tha did, an' a'.

Tha thought tha wanted ter marry an' se

If ter couldna be master an' th' woman's boss,

Tha'd need a woman different from me,

An' tha knowed it; ay, yet tha comes across

Ter say goodbye! an' a'.

-- excerpt, The Drained Cup

Pound was the chief proponent of modernist poetry and although Lawrence's works after his Georgian period are clearly in the Modernist tradition, they were often very different to many other modernist writers. Modernist works were often austere works in which every word was carefully worked on and hard-fought for. Lawrence felt all poems had to be personal sentiments and that spontaneity was vital for any work. He called one collection of poems Pansies partly for the simple ephemeral nature of the verse but also a pun on the French word panser, to dress or bandage a wound. His wounds still needed soothing for the reception he regularly received in England with The Noble Englishman and Don't Look at Me being removed from the official edition of Pansies on the grounds of obscenity. Even though he lived most of the last ten years of his life abroad, his thoughts were often still on England. His last work Nettles published in 1930 just eleven days after his death were a series of bitter, "nettling" but often amusing attacks on the moral climate of England.

O the stale old dogs who pretend to guard

the morals of the masses,

how smelly they make the great back-yard

wetting after everyone that passes.

-- excerpt, The Young and Their Moral Guardians

Two notebooks of Lawrence's unprinted verse were posthumously published as Last Poems and More Pansies.

[edit] Literary criticism

Lawrence's criticism of other authors often provides great insight into his own thinking and writing. Of particular note is his Study of Thomas Hardy and Other Essays and Studies in Classic American Literature. In the latter, Lawrence's responses to Whitman, Melville and Edgar Allan Poe shed particular light on the nature of Lawrence's craft.

[edit] Philosophy

Lawrence continued throughout his life to develop his highly personal philosophy, many aspects of which would prefigure the counterculture of the 1960s. His unpublished introduction to Sons and Lovers established the duality central to much of his fiction. This is done with reference to the Holy Trinity. As his philosophy develops, Lawrence moves away from more direct Christian analogies and instead touches upon Mysticism, Buddhism, and Pagan theologies. In some respects, Lawrence was a forerunner of the growing interest in the occult that occurred in the 20th century, though he himself would have identified as a Christian.