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By N. Reeve

Interpreting past due Lawrence is a research of many of the missed fictional works of D. H. Lawrence's final interval: those comprise happy Ghosts , solar, the beautiful woman, The Blue Moccasins , and the 1st revisions of woman Chatterley's Lover . the actual concentration is upon Lawrence's revisions, and the insights they provide into the complexity of his writing techniques 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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Rhubarb, senna, that kind of moving. . In the rain, a soppy crowd, with soppy bare heads, soppy emotions, soppy chrysanthemums, and prickly laurestinus! A steam of wet mob-emotion! Ah no! ’ . . ’ came Lady Lathkill’s secretive voice across at me, as if a white ermine had barked. ’ My mind opened in amazement. ’ I put the question in all sincerity. ‘They would understand that the intention was to honour them,’ came her reply. I felt astounded. ‘If I were dead, would I be honoured if a great, steamy wet crowd came after me with soppy chrysanthemums and prickly laurestinus?

The concern filtering through into ‘Glad Ghosts’ with what a home might be, with the At Home, at Peace: ‘Glad Ghosts’ 21 conflicting merits of travelling and settling, was fuelled further by his journey to the Midlands that October to see the ‘big new house’ of his sister Ada in Ripley – ‘the new house: it is awfully nice’ – and the less opulent one of his other sister, Emily, in Nottingham; he could hardly not have spent some time reflecting on the huge gulfs, and the surviving connections, between himself and his family and the paths they had taken.

204). ”’ (192). Why not sever the bonds between you, instead of caressing them long after they have started to throttle you both? Why deprive her of her freedom to form new bonds, and to sever them in their turn? Let her At Home, at Peace: ‘Glad Ghosts’ 37 become another ladybird, or one of Morier’s fellow-wanderers through Hades (Blazes, after all), in the mood of the 1920 poem ‘Medlars and Sorb-Apples’, wanderers who purify themselves by turning their backs on all who might once have had a claim on them: Going down the strange lanes of hell, more and more intensely alone, The fibres of the heart parting one after the other And yet the soul continuing, naked-footed, ever more vividly embodied Like a flame blown whiter and whiter .

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