T H E S I S
T H E S I S T H E S I S
88 instinct of health to which I have just referred, as the spirit of Lawrence's genius(FRL 71) If it still is necessary to emphasize Lawrence's residual puritanism in his treatment of sex in Ladv Chatterlev's Loverf let's listen to Mr. Gardiner's closing speech for the defence at the London trials ISA1I the time, this book was the passionately sincere book of a moralist in the puritan tradition^ who believed he had a message for us and the society in which we live, whether we agree with this message or not.” (TTL 205)
Chapter ¥11 CONCLUSIONS Host of the really great works* the masterpieces of literature, become great because they dare to challenge the formulae9 the common-places, and the traditions of the community* These, books dare to say something new or something in a nextf manner«* These are the works of men like Aristophanes^ Copernicus, Newton, Rabelais, Voltaire, Whitman, Darwin, Nietzsche, Marx, Shaw, Freud, Joyce, and D.H.Lawrence. P.H.Lawrence dares to put sex 11 fully into the open11, to elevate the sexual act to a higher position in human relationships and to cleanse the “dirty secret"* P.J. Shepherd adds the point that "his art is the art of exposure and the agony of exposure."(SPS ^2) In his “agony of exposure" Lawrence, striving to finish with the "dirty secret" of sex, becomes a very contradictory person, a man of "double measure5*, as G*H„Ford states«, He insists on the "mystery of the phallus" and the "phallic consciousness" is expected to replace "mental consciousness"• The "phallic mystery" is really secret, because even for Lawrence it remains unknown and in the "darkness11« Neither Lawrence nor anybody knows exactly the secret of this mystery. As a matter of fact, the "phallic consciousness" in Lady Chatterley’s Lover finally becomes nothing more than "sex consciousness", that is, the main
- 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: 87 some kind of ’'arrest'** In al
- 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
Chapter ¥11<br />
CONCLUSIONS<br />
Host of the really great works* the masterpieces of literature,<br />
become great because they dare to challenge the formulae9<br />
the common-places, and the traditions of the community* These,<br />
books dare to say something new or something in a nextf manner«*<br />
These are the works of men like Aristophanes^ Copernicus, Newton,<br />
Rabelais, Voltaire, Whitman, Darwin, Nietzsche, Marx, Shaw, Freud,<br />
Joyce, and D.H.Lawrence. P.H.Lawrence dares to put sex 11 fully<br />
into the open11, to elevate the sexual act to a higher position<br />
in human relationships and to cleanse the “dirty secret"* P.J.<br />
Shepherd adds the point that "his art is the art of exposure and<br />
the agony of exposure."(SPS ^2)<br />
In his “agony of exposure" Lawrence, striving to finish<br />
with the "dirty secret" of sex, becomes a very contradictory person,<br />
a man of "double measure5*, as G*H„Ford states«, He insists<br />
on the "mystery of the phallus" and the "phallic consciousness"<br />
is expected to replace "mental consciousness"• The "phallic mystery"<br />
is really secret, because even for Lawrence it remains unknown<br />
and in the "darkness11« Neither Lawrence nor anybody knows<br />
exactly the secret of this mystery. As a matter of fact, the<br />
"phallic consciousness" in Lady Chatterley’s Lover finally becomes<br />
nothing more than "sex consciousness", that is, the main
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