Lady Chatterley Research Articles

A descriptive bibliography of Lady Chatterley's lover: with essays toward a publishing history of the novel

Preface First and Its Impressions Piracies, 1928-50 Third Edition Abridged Edition, 1932-68 Continental Editions in English, 1933-60 Post-Censorship U.S. Editions, 1959-88 Post-Censorship British Editions, 1960-88 First Lady Chatterley, 1944-88 John Thomas and Lady Jane, 1972-88 Appendix I: Dramatizations, Parodies, and Sequels, 1931-86 Appendix II: Chronological Table of Dates of Publication Appendix III: Some Well-Known Editions and their Reference Numbers Appendix IV: William Faro Imprint Appendix V: A Collation of The Samuel Roth Edition and the Authorized Edition with the Orioli Edition: Ch 10 Works Cited Index(To the Introductory Essays)

Power, objectivity and the other: The creation of sexual species in modernist discourse

'You love fucking all right," Mellors the gamekeeper, tells Lady Chatterley in D.H. Lawrence's chronicle of tneir affair?hut you want it to be called something grand and mysterious, just to flatter your own self-importance."1 The voice is distinctly twentieth-century, not just in its obscenity but in what we might call its ontological anxiety. Lawrence, like his hero, turns violently on the "grand and mysterious," high words that circumvent brute reality. He longs to find the firm truth under that tired terminology, and in the case of sex?his lifelong obsession?to see (and experience) the object exactly as it is, in its nakedness and purity, without flinchings or circumlocutions. In intellectual, as well as artistic, expression, the same desire has distinguished the whole century's attitude toward sex; and, like Lawrence, "modernism" as a whole has claimed success in uncovering the new and unspoken beneath the old and outworn. It seems, in fact, to have found in sex the only sure truth, the only secure basis for existence in an uncertain world?perhaps precisely because the moderns believed they found it silent and unsullied, ready to be remade. But how legitimate is that success? Has it found and consecrated an uncoded reality of sexual life, or has it recoded that life in the same motion by which it discovered it? And what are the terms of that discovery itself? Is it objective or subjective: what deployments of the observer's knowledge, what configuration of mind and self, has it required? Historians generally agree with the thesis first put forward by Foucault (1976) that toward the latter part of the nineteenth century in the West there occurred a proliferation of "sexualities," not, as has been assumed, a repression of them. But this proliferation was more a structuring than a liberation. Under the guise of revealing and decoding the "sex" waiting to be brought to intelligibility, the sexual subject was elevated over other subjectivities. The "homosexual," the "lesbian," the "invert," were first given ontological status, after which these statuses were used to create a

Behind the Scenes: How Ulysses Was Finally Published in the Soviet Union

Mikhail Gorbachev's policy of glasnost has resulted in an astounding flood of hitherto forbidden foreign classics. Aldous Huxley's Brave New World, George Orwell's 1984 and Animal Farm, Arthur Koestler's Darkness at Noon, Isaac Bashevis Singer's short stories, and James Joyce's Ulysses were all published during 1988-1989, and D. H. Lawrence's Lady Chatterley's Lover, Saul Bellow's Herzog, and the poetry of Ezra Pound, Chaim Nachum Bialik, and Czeslaw Milosz have all been promised for 1990.' It is as if permission were given, a list of forbidden books were consulted, translations were commissioned, and the books were published. In the case of Joyce, for example, Gorbachev came to power in 1985 and Ulysses was published in 1989. Surely, it would seem, the Russian Ulysses was a child of glasnost.

D. H. Lawrence's Non-Fiction: Art, Thought and Genre , and: Lady Chatterley: The Making of the Novel (review)

Reviewed by: D. H. Lawrence's Non-Fiction: Art, Thought and Genre, and: Lady Chatterley: The Making of the Novel Kingsley Widmer David Ellis and Howard Mills. D. H. Lawrence's Non-Fiction: Art, Thought and Genre. Cambridge: Cambridge UP, 1988. 193 pp. $39.50. Derek Britton . Lady Chatterley: The Making of the Novel. London: Unwin Hyman, 1988. No price given. Rather dubious aggrandizing labels claiming large scope and purpose seem, as with the volumes under review, all too common these days in critical-scholarly studies. The Ellis and Mills book consists of three essays by each, and a very brief introduction, on an arbitrary selection of Lawrence's varied "non-fictional" writings. The critics intermittently make large claims about going beyond genres, certainly appropriate to Lawrence, but they do not sustain the issues, nor examine much of the crucial "non-fiction." In effect, concern with "non-fiction" seems an excuse for making a book out of miscellaneous pieces. Mills presents rather crabbed essays on a few of the matters in the "Study of Thomas Hardy," Twilight in Italy, and "Introduction to Memoirs of the Foreign Legion by M[aurice] M[agnus]." On the latter, for example, the claim is made that this lively novella-length-and-styled work got little attention because of its lack of genre place, and even what little it did get was not available until its reprinting in Phoenix II (Moore and Roberts, 1970). But it was, of course, enthusiastically reprinted by Alexander Woollcott in a popular anthology (1937), praised by a number of writers (such as, repeatedly, Henry Miller, who also partly imitated it with his Devil in Paradise, 1956), and analyzed as one of Lawrence's better literary works (in a book of mine on Lawrence's fiction, 1962). Mills ignores such material. Certainly Lawrence's lively portrait deserves more literary attention, but Mills uses his stylistic concerns mostly to redo the Lawrence-Norman Douglas contention that surrounded its publication, sensitively siding with Lawrence, instead of exploring its theme of the repulsive-fascinating marginal character and what he tells us about Lawrence and ourselves. In somewhat more open ways, Ellis sketchily discusses several genre problems of Lawrence's late poetry, briefly defending some of the unusual efforts. [End Page 332] He also does a responsive commentary (the best essay in the volume) on some of Lawrence's travel writings with their distinctive intensity and ambivalence. And he belabors a couple of issues of the continuity with the rest of Lawrence of the "psychological" excursions (Psychoanalysis and the Unconscious and Fantasia of the Unconscious). He sensibly indicates that much in these writings is "rubbish," but, unfortunately, he has a patently insufficient perspective because of countering the callow science/myth distinction (Evelyn Heinz, 1972) instead of the larger ideological concerns (such, for example, as that neoconservatively argued by Philip Reiff, 1966—not mentioned). I suggest that, instead, such writings have to be considered in the context of Lawrence's role as prophet against "industrial civilization" and its denuded consciousness. These earnest and sometimes sensitive essays by Mills and Ellis are rather Leavisite in manner, spotty in scholarship, and inadequate in intellectual awareness. They also do not meet much of the claim of dealing with the issues of Lawrence's "non-fiction." Better in scholarship and writing, Britton's book on the background for Lady Chatterley's Lover is biographically informative, both in researched detail and psychological analysis. Some of the research is unique, such as exactly working out where Lawrence went on a motor tour and on a walk in the Midlands prior to writing the novel. Some of the material, such as elaborating previous writers' arguments that Lawrence indirectly drew on the Sitwells for source material for the Chatterleys, seems even more overdone. But the relentless assumption of this long book is that the "making" consists mostly of biographical relationships and motives. However acutely done, that is deeply reductive of the artistic, the social, and the intellectual. Not that Britton is reluctant to toss off literary judgments. Of the long novella The Virgin and the Gipsy, drafted but never finally revised during the same period, he pronounces that it is "inconsequential and ill constructed...

Tramping the Woodland Paths?

Journal Article Tramping the Woodland Paths? Get access Lady Chatterley, The Making of the Novel. BY DEREK BRITTON. Unwin Hyman. £30.00. Roy Booth Roy Booth Search for other works by this author on: Oxford Academic Google Scholar English: Journal of the English Association, Volume 38, Issue 160, Spring 1989, Pages 87–92, https://doi.org/10.1093/english/38.160.87 Published: 01 March 1989

Lady Chatterley: the making of the novel

Lady Chatterley: the making of the novel

Patrick White and D. H. Lawrence: Sexuality and the Wilderness in a "Fringe of Leaves" and "Lady Chatterley's Lover"

Most reviewers and critics of A Fringe of Leaves have noted that the novel possesses a number of analogues with other literary works. The most fundamental, of course, is its historical parallel with the story of Eliza Frazer; other important analogues that have been identified include the story of Tristram and Isolde, Virgil's Eclogues, and Ibsen's last plays.1' This paper explores another analogue of A Fringe of Leaves, D. H. Lawrence's Lady Chatterley's Lover. Although the parallel with Lawrence's novel is not announced and may not even be intended, comparison of the two works remains illuminating. Separated by time-the almost fifty years between A Fringe of Leaves and Lady Chatterley's Lover-and location-the thousands of miles between England and Australia-these novels explore the most basic questions about human nature. Both posit a fundamentally dialectical vision of existence: the constant shift and play between those opposite poles of life-spiritual and sensual, mind and body, human and animal. Both novels symbolize that dialectic through a further contrast between civilization and the wilderness. And both novels examine the meaning of that dialectical vision through remarkably similar plots and narrative structure, each one centering on a very complex woman who must choose between two men and, by implication, two ways of life. Through the choices of these women, White and Lawrence pose very similar questions about what it means to be human.

The Word and the Deed in Lady Chatterley's Lover

Journal Article THE WORD AND THE DEED IN LADY CHATTERLEY'S LOVER Get access JOAN RAMON RESINA JOAN RAMON RESINA Williams College Search for other works by this author on: Oxford Academic Google Scholar Forum for Modern Language Studies, Volume XXIII, Issue 4, October 1987, Pages 351–365, https://doi.org/10.1093/fmls/XXIII.4.351 Published: 01 October 1987

D. H. Lawrence's Lady: A New Look at Lady Chatterley's Lover

D. H. Lawrence's Lady: A New Look at Lady Chatterley's Lover

Reviews

Reviews Get access The Creation of Lady Chatterley's Lover . By MICHAEL SQUIRES . Pp. xv + 237Baltimore and London : The Johns Hopkins University Press , 1984 . $22.50. JOHN WORTHEN JOHN WORTHEN Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 32, Issue 4, December 1985, Page 544, https://doi.org/10.1093/nq/32-4-544 Published: 01 December 1985

Friedrich Schlegel's Lucinde: A Case Study in the Relation of Religion to Romanticism

In 1799 a small book called Lucinde was published in Berlin. Written by the brilliant young literary critic Friedrich Schlegel it celebrated his (adulterous) affair with Dorothea Veit, daughter of the eminent Jewish philosopher Moses Mendelssohn. Though not widely read and still less widely understood the book provoked a considerable, and largely hostile, reaction among the reading public. It became to its generation what Lady Chatterley's Lover was to a more recent age: the quintessential embodiment of an obscene book. The author's mother gave utterance to the popular consensus when she wrote that ‘through his novel Fritz has shown himself to me as one who has no religion and no good principles’.

The Semantics of Desire: Changing Models of Identity from Dickens to Joyce (review)

Reviewed by: The Semantics of Desire: Changing Models of Identity from Dickens to Joyce Daniel R. Schwarz Philip M. Weinstein . The Semantics of Desire: Changing Models of Identity from Dickens to Joyce. Princeton: Princeton UP, 1984. 310 pp. $32.50. The unifying premise of Weinstein's ambitious and thoughtful exploration of six major British novelists—Dickens, Eliot, Hardy, Conrad, Lawrence, and Joyce—is that as we move from Victorianism to modernism, the body and its desires increasingly become a larger factor in human identity at the expense of the mind: "To move from Dickens to Joyce is to encounter a virtual revolution in which the body's propensity and the mind's restraint exchange roles as primary indices of identity." Weinstein's strengths are his insightful discussions of individual novels, his frequently subtle understanding of the imagination of the writers he discusses, and, notwithstanding a somewhat confused Introduction, a readable and often elegant prose style. But, because he does not sustain his method, concepts, and arguments from chapter to chapter, his book tends to become a series of discrete essays. Furthermore, in his reliance on Nietzsche and Freud, he does not adequately define the specific cultural contexts that pertain to the development of the modernist movement in England. Finally, often he both disregards the evolving form of a novel as a temporal reading event and fails to discuss what a novel's rhetoric does to its readers and why. Weinstein is trying to create a dialogue between traditional formal criticism and recent movements in criticism. He is properly skeptical of what he calls the "hermeneutics of suspicion" (read: deconstruction) that urges that, as he puts it, "The critic's job is not to cooperate with the text but to expose it." But he chooses to place his methodological emphasis on phenomenology that had its heyday in the early 1970s when he began this study. Although its major practitioners in America, such as Hillis Miller, Geoffrey Hartman, and Edward Said, have moved on to supposedly less subjective modes of criticism, Weinstein and a few others have remained behind to cultivate the intellectual territory. We might recall that in the feisty days of the late 1960s and early 1970s, when it seemed in some major literature departments as if intellectual and political revolution was never more that a few insights away, phenomenology became an appealing course on the critical menu. It was perceived as an antidote to the logical positivism and pretenses to objectivity of the New Criticism and Chicago [End Page 331] Neo-Aristotelianism. It urged that we understand both the author's encounter with his experience and the reader's encounter with the text in terms of an epiphanic revelation that dissolves the distinction between "I know" and "I have seen." In terms that readers of Georges Poulet, the European patriarch of Anglo-American phenomenology, and the Hillis Miller that permeates The Disappearance of God and Poets of Reality will recognize, Weinstein speaks of "approach[ing] the self- understanding of the novelistic universe in question, to identify its nodal and enabling assumptions, those creative premises that have generated its characteristic shape and concerns and that intimate what can and cannot be achieved within its contours." In between the Introduction and a brief Afterword, Weinstein's book has a tripartite structure; all three parts contain two chapters, each of which is devoted to a major author. Under the subtitle "Mid-Victorian: Constraints and Masquerades," the first and most successful part discusses Dickens (David Copperfield and Little Dorritt) and Eliot (The Mill on the Floss and Daniel Deronda). In a splendid chapter, Weinstein captures the essential spirit of Dickens' imagination. The second part, "Late Victorian: Tragic Encounters," discusses Hardy's Tess of the d'Urbervilles and Jude the Obscure and Conrad's Lord Jim and Nostromo. Notwithstanding an interesting discussion of the ineffectuality of the spoken word in Jude, neither the perceptive Hardy chapter nor the capable, if not strikingly original, Conrad chapter will change the way that we read these writers. The final part is entitled, "Modernist: Beginning the Revaluation," and includes a fine chapter on Lawrence (Women in Love and Lady Chatterley's Lover) and one on Joyce that Weinstein...

D. H. Lawrence's "Lady": A New Look at "Lady Chatterley's Lover , and: The Letters of D. H. Lawrence. Volume 3: October 1916-June 1921 (review)

D. H. Lawrence's "Lady": A New Look at "Lady Chatterley's Lover , and: The Letters of D. H. Lawrence. Volume 3: October 1916-June 1921 (review)

The Realistic Imagination: English Fiction from 'Frankenstein' to 'Lady Chatterley'

The Realistic Imagination: English Fiction from 'Frankenstein' to 'Lady Chatterley'

APOLLO AND LADY CHATTERLEY

APOLLO AND LADY CHATTERLEY Get access P. T. WHELAN, P. T. WHELAN Kenyon College Search for other works by this author on: Oxford Academic Google Scholar MARY HERRON, MARY HERRON Kenyon College Search for other works by this author on: Oxford Academic Google Scholar JULIA MARLOWE, JULIA MARLOWE Kenyon College Search for other works by this author on: Oxford Academic Google Scholar CALVIN TROWBRIDGE CALVIN TROWBRIDGE Kenyon College Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 31, Issue 4, December 1984, Pages 518–519, https://doi.org/10.1093/nq/31-4-518 Published: 01 December 1984

The Interpenetrating Metaphor: Nature and Myth in Lady Chatterley's Lover

Critics generally dismiss Lady Chatterley's Lover as a polemic, preferring to consider its content and ignore its form. Yet Lawrence meticulously shaped his strategy to reinforce his meanings. When we compare Lady Chatterley with earlier Lawrence novels and with the second of the novel's three versions, we discover the novelist using imagery in a way that is new for him. Similes and metaphors from plant, animal, mineral, and human sexual realms blend, or interpenetrate, to give depth and add texture to the novel's central action, Mellors' sexual awakening of Connie. Moreover, Lawrence strategically reshapes scenes from the second version, published as John Thomas and Lady Jane, to enrich the mythic dimensions of the novel. Lawrence's careful orchestrations of the novel's images and of the details of Mellors' character as Green Man produce, finally, a satisfying organic unity.

Choosing between the Quick and the Dead Three Versions of Lady Chatterley's Lóver

Choosing between the Quick and the Dead Three Versions of <i>Lady Chatterley's Lóver</i>

The Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley. George Levine

Previous articleNext article No AccessBook ReviewsThe Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley. George Levine Juliet McMasterJuliet McMaster Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Modern Philology Volume 80, Number 1Aug., 1982 Article DOIhttps://doi.org/10.1086/391188 Views: 4Total views on this site Copyright 1982 The University of ChicagoPDF download Crossref reports no articles citing this article.

The Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley. George Levine.

Previous articleNext article No AccessThe Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley. George Levine.L. J. SwingleL. J. Swingle Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Wordsworth Circle Volume 13, Number 3Summer 1982 Article DOIhttps://doi.org/10.1086/TWC24040946 Views: 2Total views on this site © 1982 by The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.

: The Romantic Impulse in Victorian Fiction. . Donald D. Stone. ; The Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley. . George Levine.

: The Romantic Impulse in Victorian Fiction. . Donald D. Stone. ; The Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley. . George Levine.