Pub Date : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0022
J. Long
Much may be learned about Lawrence’s aesthetics from his involvement and preferences in the design of dust jackets, boards, and illustrations in published editions of his own works. Many readers of Lawrence know his work from rather dull uniform editions, some published in England during his lifetime by Martin Secker. However, Lawrence’s main publisher in the USA, Thomas Seltzer, published much of his work in a variety of eye-catching dust jackets. In addition, a good number of Lawrence’s other works were published in expensive limited editions or privately published, some beautifully illustrated. This chapter traces how Lawrence, as an author of increasing standing, came to influence the appearance of his books, while often promoting the talents of artistic friends. It is beautifully illustrated by thirteen monochrome and twenty-one colour images from first and other editions of his books, some not reproduced in colour before
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Pub Date : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0026
L. Jenkins
This chapter explores the ways in which Lawrence and the ‘Lawrentian type’ is represented in biofiction from 1916 to 2018. The first sections assess pen portraits of Lawrence in the fiction of friends and contemporaries including Aldous Huxley and H. D. The chapter then considers biofictional representations of Lawrence which appeared after his death in 1930 by H. G. Wells and others, tracing intersections between these novels and biographies of Lawrence. In its concluding section, the chapter assesses Lawrence’s afterlife in recent biofiction by Helen Dunmore and others. Throughout, the chapter considers how early and more recent biofictional representations of Lawrence both reflect and reflect upon his own aesthetic and legacy.
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Pub Date : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0015
H. Laird
This chapter places Lawrence’s poetics, as developed in his poetry, in relation to his responses to other poets and poetic tendencies or movements, such as Pre-Raphaelitism, Symbolism and Aestheticism as well as contemporary free verse, Realism and Imagism. Lawrence knew and corresponded with many poets throughout his career, from Yeats and Pound to Amy Lowell and H. D. The extent to which he assimilated or resisted such diverse influences is the focus of this re-evaluation of Lawrence’s paradoxical status as an outsider inside. His poetics elude simple definition. So dissimilar are the kinds of verse to which Lawrence responded that his general openness to old and new voices, alike, helps account not only for this maverick status, but for the sheer variety of verse forms practiced in his poetry. Through the poetry of Whitman, Lawrence recovered the sense of ‘wonder’ that he had felt as a child hearing the Bible and listening to church hymns. Poetry also became a form of play. He soon discovered, too, how much work, or ‘groping’, was entailed in writing and resisted falsifying perfection. Double-edged, the ‘jagged’ edges perceived by Conrad Aiken became a signature trait. Dialectical and conflictual relationalism inflects his Whitmanesque style.
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Pub Date : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0005
P. Childs
This chapter examines the travels of D. H. Lawrence, particularly to Italy and Mexico, alongside his interest in ‘Primitivism’ and the idea of a ‘Spirit of Place’. The discussion considers Lawrence’s perceptions of national and racial variances resting on a set of attributes he describes as playing a formative role in a people’s (whether nation or race) distinctive cultural artefacts and aesthetic expression. The chapter argues that, largely in vain, Lawrence spent his mature life trying to connect with a persisting spirit of place linking a Paradisal culture to the artistic practices of people alive in the twentieth century, allowing a contemporary connection with a radical aesthetic he felt had vanished in his industrialised and over-civilised homeland.
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Pub Date : 2020-10-27DOI: 10.3366/edinburgh/9781474456623.003.0002
Michael E. Bell
Lawrence spoke readily of art and its relation to life but was suspicious of the word ‘aesthetic’, which had been inflected by the aestheticism of the preceding generation. It is nonetheless a necessary term which his thought and practice help to clarify. The idea of the aesthetic has been controversial since its emergence in the late eighteenth century partly in response to the movement of moral sentiment and the fashion of sensibility. Rather than simply reject the excesses of sensibility, the aesthetic condition sought to transmute the quality of the emotion, turning feeling into impersonal understanding. But the cultural war over the value of feeling continued into the modernist generation who sometimes identified as ‘classical’ or ‘romantic’ in their view of emotion. Lawrence mocked such ‘classiosity’ as fear of feeling. This chapter compares him with his major contemporaries and suggests his significance within a broader history of thinking on the aesthetic.
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