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18 that Lawrence, the artist, tried to be free from this influence, from this wrong idea of “purity1* through the composition of Sons and Lovers. There is an interesting passage about "purity11 in that novel, when Paul is talking to Miriam: “ ’And I don't know1, he repeated. ’Don't you think we have been too fierce in our what they call purity? Don't you think that to be so much afraid and averse is a sort of dirtiness?» “(SAL 3*+3) As Aldington says, “complete purity meant complete ignorance“ (PGB 80), and Lawrence certainly began to understand that at the same time he wrote Sons and Lovers and was seemingly released from his mother’s “ingrained puritanism“. H.M» Daleski also remarks that “viewed in the light of Lawrence's future development, however, the ultimate significance of Sons and Lovers is that it was a catharsis.“(TFF 73) So Lawrence’s incestuous love for his mother, which certainly provoked in him many “repressions“, made him psychologically aware of his mother’s puritanism, that kind of puritanism he would blame later on as “perverse“ and dirty in A Propos of Lady Chatterley’s Lover: “Keep your perversions if you like them - your perversion of Puritanism, your perversion of smart licentiousness, your perversion of a dirty mind*“(SLC 87) #o#’ “Like a real prude and Puritan, I have to look the other way*“(SLC 65) Contradictory as these passages may seem, they are not. The “real“ puritan that Lawrence became killed the old dirty puritan Lawrence, after the release from his mother, who died in 1910, the year he wrote the first draft of Sons and Lovers. And
19 it is perhaps worth noticing that Paul himself kills his mother (Mrs, Morel) by giving her an overdose of morphia, to end her misery, in the chapter titled by Lawrence "The Release".
Page 1 and 2: Mo ï»e THESIS D. H0 IAWBENGE: SEX
Page 3 and 4: Esta Tese foi julgada adequada para
Page 5 and 6: TABLE OF CONTENTS Abbreviations Mbs
Page 7 and 8: vil PGB - Portrait of a Genius« Bu
Page 9 and 10: R E S U M O D« H. Lawrence fez do
Page 11 and 12: Chapter I INTRODUCTION A, A, Victor
Page 13 and 14: 3 misunderstood sexual theme, is go
Page 15 and 16: 5 identical reasoning: nThere can s
Page 17 and 18: 7 attitudes. In this respect, it is
Page 19 and 20: 9 rence ’s works in his book The
Page 21 and 22: Chapter II PURITANISM DEFINED Histo
Page 23 and 24: 33 The actual meaning we find in di
Page 25 and 26: 15 and lie alone right. Having run
Page 27: 17 presents the Freudian imbroglio
Page 31 and 32: 21 but in many other parts of the b
Page 33 and 34: or inhibited action we are tempted
Page 35 and 36: 25 And about Cyril (himself) he sai
Page 37 and 38: 27 The tall meadow-sweet was in bud
Page 39 and 40: 29 genitals. Certainly Lawrence's p
Page 41 and 42: 31 Of course, one can imagine how i
Page 43 and 44: 33 'Good Lord, Emily! But he is dea
Page 45 and 46: 35 cock just quoted in the two prev
Page 47 and 48: 37 frustrated: Mr, and Mrs. Beardsa
Page 49 and 50: 39 So far, Lawrence’s early views
Page 51 and 52: hi rainbow arch; it is the “toget
Page 53 and 54: ^3 Lawrence said in his defence: "T
Page 55 and 56: ubbing passage of The White Peacock
Page 57 and 58: eautiful."(TRB 238) Why afraid? Bec
Page 59 and 60: Chapter V LAURENCE AND PORNOGRAPHY
Page 61 and 62: 51 sions then is Freud’s theory o
Page 63 and 64: 53 male, in a negative or sundering
Page 65 and 66: 55 he directly faced the censors an
Page 67 and 68: 57 "the whole question of pornograp
Page 69 and 70: 59 Girordias, (11) famous editor an
Page 71 and 72: 61 secret".; Neither can be of any
Page 73 and 74: 63 by January 1928 and is now widel
Page 75 and 76: 65 So the general subject matter of
Page 77 and 78: 67 The real theme, which recurs in
Page 79 and 80:
69 built of rusticated sandstone an
Page 81 and 82:
71 who want to dominate them, Mello
Page 83 and 84:
73 question Lawrence puts to himsel
Page 85 and 86:
75 the mechanical images are deflec
Page 87 and 88:
77 lies, navels, and breasts* (It h
Page 89 and 90:
79 Maybe they are the truth some cr
Page 91 and 92:
81 heave her loins, and throw the m
Page 93 and 94:
83 ’'darkness” is present in M
Page 95 and 96:
85 11ty shook her to her foundation
Page 97 and 98:
87 some kind of ’'arrest'** In al
Page 99 and 100:
Chapter ¥11 CONCLUSIONS Host of th
Page 101 and 102:
91 in a passionate love affair and
Page 103 and 104:
93 distinguished from normal conduc
Page 105 and 106:
95 presentative of most people's ex
Page 107 and 108:
97 easy to say* I think that he has
Page 109 and 110:
APPENDIX NOTES 1 Title of the work
Page 111 and 112:
BIBLIOGRAPHY •* Aldington^ Richar
Page 113 and 114:
103 Lawrence, D«E., (cont.) -"SunJ
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