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38 anticipates the kind of problems his later, open references to sex would cause the author. Of course, he met a public quite unprepared at this time. Thomas Hardy's Tess of the D'Urbervilles (I89D was still branded “immoral and obscene1'. For generations sex in English Literature (in contrast to say, French) had been represented by a "faded symbolism" according to Aldington.(PGB105) I have already referred to a separate episode in The White Peacock? a story inside another story, that of the gamekeeper Annable, who is "an embodiment of the suppressed natural violence in the world of the novel", as Pritchard remarks.(BOD 27) With his brutal, direct voice, that of a natural man who is set against the evils of civilization^ Annable is just the opposite of Cyril, the "alternative to euphemism", the "dark figure" that comes "to fascinate Cyril", as G.H.Ford points out.(DDM 51) But most of all, he is the anti-puritanical prototype for Kellors, the gamekeeper in Lady Chatterley's Lover. "Be a good animal, true to your animal instinct, was his motto."(TWP 173) So Annable also anticipates the importance of the physical being over the spiritual being that Lawrence makes Mellors stand for in Lady Chatterley's Lover. However, it seems to me that Lawrence could not handle Annable very well, and he is suppressed (he dies in a not very clear accident in a quarry), because he could not live in the new structure of civilization which he did not accept, as Mellors could in Lady Chatterley's Lover. Furthermore, his death is representative of father-killing and male rejection in opposition to mother-favouring, a strong element of the Oedipus complex, which appears not only in The White Peacock but also in Sons and Lovers.
39 So far, Lawrence’s early views on sex examined through The White Peacock, show a conservative youth, a puritan, shyly and euphemistically trying to deal with sex in the open, but still not completely aware of this "mysterious force*', because he himself did not have a normal development of the sexual life. The White Peacock is the work of a younger, more reticent author, groping toward sexual themes. Nevertheless, despite his proved deficiencies Lawrence displays a keen observation of the problems which are going to be the central themes of his writings, from The White Peacock to Lady Chatterley’s Lover* And we may anticipate that the "insurgent tenderness'1 (TWP k-5) that we feel in Lettie's voice is the basic clue to understand Lady Chatterley«s Lover and its author.
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 and 28: 17 presents the Freudian imbroglio
Page 29 and 30: 19 it is perhaps worth noticing tha
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: 37 frustrated: Mr, and Mrs. Beardsa
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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