By N. Reeve

Interpreting past due Lawrence is a research of some of the ignored fictional works of D. H. Lawrence's final interval: those contain completely happy Ghosts , solar, the beautiful girl, The Blue Moccasins , and the 1st revisions of girl Chatterley's Lover . the actual concentration is upon Lawrence's revisions, and the insights they give into the complexity of his writing tactics and the intensity of his dedication to renewal and re-imagining. The research attracts generally upon the manuscript and variation fabric lately made to be had within the new scholarly variations of Lawrence's paintings.

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179). This comment seems to be pitched somewhere between delicacy and self-regard, as if it were more important for him to consider the calibre of the thing said at such a moment than to make a simple commiserative gesture. 19 What could have made him want to be so aloof and guarded? In his recoil from the Armistice Day crowd, he seems not to regard them as ‘real’ mourners at all, but as wrapped in Freudian melancholia, incapable of disinvestment from the lost object; his remark, ‘Ah no! 20 And in imagining this crowd in relentless pursuit of its quarry, Morier, rather like Freud again, sees such excessive displays of grief betraying an unacknowledgeable, repressed hostility towards whatever is being mourned – ‘soppy emotions on top, and nasty ones underneath’ (185) – and that, as ‘Smile’ more goodhumouredly suggested, successful therapy would have to begin by exposing this.

Only now, a certain rigidity of the will had left her, so that she looked even younger than when I first knew her, having now a virginal, flower-like stillness which she had not then had’ (204; emphasis in text). What the son claims for himself in the poem is transferred across to and between the men in the story, the visionary capacity to see back through the woman to the girl behind her, with all the potential still intact that has been stifled in her subsequent life. And the recurrent emphasis on ‘virgin’, with that characteristic sliding effect which Fiona Becket has called the ‘productive liminal space between the metaphorical and the literal’,40 invests this vision with a curious variant of oedipal desire: to stand in the father’s place, by tracking the mother back to an explicitly prematernal state when only the father could have known her; to imagine her as she could have been before the insentient father clouded her life with his.

Carlotta gazed at her children steadily. (344) Lawrence changed the last sentence, writing instead ‘Carlotta glanced at her children, but more helplessly, she gazed at him’ (179). Everything which a gaze creates the time to brood over, whether it be love, hope, or anxiety, is redirected towards the husband, and away from the children; they are now given a mere glance, as if nothing is to be allowed to distract from or dilute the primacy of the adult relationship. The half-implication in the original passage, that the children might one day offer Carlotta some compensation for the difficulties of being married to a man whom the war has clearly left emotionally damaged, is eradicated, or made into the most fleeting of hints, changing the atmosphere of this moment completely.

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