By N. Reeve
Interpreting overdue Lawrence is a learn of many of the overlooked fictional works of D. H. Lawrence's final interval: those comprise completely satisfied Ghosts , sunlight, the beautiful girl, The Blue Moccasins , and the 1st revisions of woman Chatterley's Lover . the actual concentration is upon Lawrence's revisions, and the insights they give into the complexity of his writing approaches and the intensity of his dedication to renewal and re-imagining. The research attracts commonly upon the manuscript and version fabric lately made to be had within the new scholarly variants of Lawrence's paintings.
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194) He makes that fascinating shoulder of hers sound like a faithful dog recognising its long-lost master. Touch reawakens the child in the adult: I was glad to have Carlotta again: to have that inexpressibly delicate and complete quiet of the two of us . . for this hour at least, it was whole, a soft, complete, physical flow, and a unison deeper even than childhood. (195) Lawrence originally wrote ‘as deep as childhood’ (346). I would guess that he had the climax of The Mill on the Floss at the back of his mind here – at the front of his mind when finishing The Virgin and the Gipsy a few days later: a profound, longstanding mutuality rediscovered in the middle of the flood (‘I felt as if I were resisting a rushing, cold dark current’ ), and breaking through everything that had conspired for so long to obscure it.
Where would one be most ‘at home’? In a secure and familiar place, where one can shelter from uneasiness? Or in a relationship which can accept uneasiness, allow it expression, even cherish it, have no need of shelter from it? Morier’s idea is a common one in Lawrence’s work, that a woman like Carlotta needs a rebellious male outsider – ‘sansculotte’ is Morier’s description of himself – a figure defined against the conventional notion of ‘home’, to provide her with another home, a home for that element in her which cannot be satisfied by the accommodations she has had to make with life.
The exquisite odour of leave-taking. Iamque vale! Orpheus, and the winding, leaf-clogged, silent lanes of hell. 32 Here, too, the underworld is a paradoxically revitalising place, where the soul is ‘embodied’, feeling the joyful sensation of contact between the feet and the ground, and where the words of final farewell, Eurydice’s iamque vale from Virgil’s fourth Georgic, are no longer tragic or grief-stricken, but thrilled and expectant, full of the promise of newness emerging from decay. 33 Lathkill may, of course, be saying all this cynically, to ensure that the Colonel is fully occupied so as to leave Dorothy free for himself, an interpretation which nothing in the story could conclusively 38 Reading Late Lawrence discount; but either way, even in their joint victory, the traveller and the settler continue to look in different directions.