“Lady Chatterley's Lover”, written by David Herbert Lawrence Analysis
Lawrence began to work on the novel "Lady Chatterley's Lover" in Florence in October 1926, after another trip to the UK. The first version of the novel was first published in the US in 1944, and in his homeland - only in 1972. After finishing its work by December 1926, the writer began to work on a second version of the novel, entitled "John Thomas and Lady Jane," the first publication of which took place in 1954, in one of the Italian publishing houses. In December 1927 Lawrence begins to work on the third - and final - version of the novel, which was initially planned to be called "Tenderness» (Tenderness). Writer was in the negotiations with London and New York publishers. They demanded to mitigate the most sensual descriptions and withdrawal of some not too familiar to the public words. The author has prepared a "softened" version of the novel, but the publishers refuse to publish it. As a result, the full text of the book comes out in a small printing house of the Italian publisher Giuseppe Orioli in March of 1928 in edition of one thousand copies. Lawrence’s creativity was persecuted: in mid-1929 police of London prohibits the exhibition of his paintings at the subscribers of England and with the US decision of the judicial authorities all the copies of his new novel were confiscated. Only three years later, after his death, edition of "Lady Chatterley's Lover" was released to the public, with the participation of Frieda Lawrence, and it raised great interest among readers. It is enough to say that the edition in his homeland until 1960 was reprinted more than thirty times. Only in 1960, a judgment was finally allowed to publish the full text of the long-suffering novel. Lawrence's literary prose has detailed focus on character, and psychological exploration. "Romance" seems like an obvious genre choice for Lady Chatterley's Love. Connie and Oliver are almost nauseatingly in love, although sometimes that love is very poetically expressed: "But the little forked flame between me and you: there you are! That's what I abide by, and will abide by" (19.167). This "little forked flame" of love—but also of sex—is at the heart of the novel. The novel fits into the context of literature of the “lost generation” on many aspects. Already in the first lines of the novel expressed the thoughts and sentiments of those who survived the catastrophe of war. War smashed happiness of Constance Chatterley to the nines, made her husband Clifford an invalid and broke the destiny of Sir Clifford’s huntsman, a former soldier Oliver Mellors. The life-story of these three people, their relationships in an atmosphere of post-war life in England poured into establishing new principles of relations between man and woman, became the subject of artistic research in the novel. Like the other writers of the "lost generation" Lawrence refers to the fate of the young man. Clifford Chatterley, who inherited the baronetcy after his father and older brother died in the war, was twenty-nine years old when he returned home on leave from the front. He married Constance (Connie) Reed. The novel develops three years after this event, in 1920, when the couple settled in Chatterley Manor Rugby Hall. Clifford after the wedding with his young wife spent a month's leave, and then returned to Flanders, to the front, where he was badly wounded and then sent to England. Within two years he was under the supervision of doctors, and then he was acknowledged recovered and was able to return to normal life, but the lower part of his body, starting with the hips, was permanently paralyzed. Because of that accident Clifford was forever deprived of the happiness of physical love. Clifford could not move without a wheelchair, he even started another chair with a motor. In it he could drive around his beautiful melancholy park, of which was very proud. He's been through so much, that the capacity for...
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