This book traces D. H. Lawrence's devel­opment as a poet from his earliest to his latest poems. Focusing on the revision of poems in the Collected Poems, 1928, Mandell uncovers the implicit auto­biographical narrative that underlies the collection and that dictates its structure. Lawrence rearranged and rewrote the poems to conform to a chronologic, thematic, and mythic plan, a plan he hints at in the unpublished Foreword to Collected Poems. In its final form, the poetry tells the story of Lawrence's "demon," a figure of his essential self, by recounting the chronological development of the "new" from the "old" self. Comparing form and content of ver­sions of representative poems from the collection, Mandell analyzes the evalu­ation not only of Lawrence's poetic style but also of his ideas concerning human and physical nature. She contends that Lawrence was a mature poet with a de­veloped system of poetic and philosophi­cal thought by 1917, when he published Look! We Have Come Through! At that time he rewrote extensively. Through comparison of selected poems, several of which appear in print for the first time, we can reproduce Lawrence's emen­dations and thus depict the creative mind at work.

In the Preface to this second edition of her first book, Sandra M. Gilbert addresses the inevitable question: "How can you be a feminist and a Lawrentian?" The answer is intellectually satisfying and historically revealing as she traces an array of early twentieth-century women of letters, some of them proto-feminists, who revered Lawrence despite his countless statements that would today be condemned as "sexist." H.D. regarded him as one of her "initiators" whose words "flamed alive, blue serpents on the page." Anais Nin insisted that he "had a complete realization of the feelings of women." By focusing on Lawrence’s own definition of a poem as an "act of attention," Gilbert demonstrates how he developed the mature style of Birds, Beasts and Flowers, his finest collection of poetry. She discusses this volume at length, examines many of his later poems in detail, including the hymns from The Plumed Serpent, Pansies, Nettles, and More Pansies, and ends with a close look at Last Poems. Her detailed examination provides a clearer image of Lawrence as an artist—an artist whose poetry complements his novels and whose fiction enriches but does not outshine his poetry.

In the first book to take D. H. Lawrence's Last Poems as its starting point, Bethan Jones adopts a broadly intertextual approach to explore key aspects of Lawrence's late style. The evolution and meaning of the poems are considered in relation to Lawrence's prose works of this period, including Sketches of Etruscan Places, Lady Chatterley's Lover, and Apocalypse. More broadly, Jones shows that Lawrence's late works are products of a complex process of textual assimilation, as she uncovers the importance of Lawrence's reading in mythology, cosmology, primitivism, mysticism, astronomy, and astrology. The result is a book that highlights the richness and diversity of his poetic output, also prioritizing the masterpieces of Lawrence's mature style which are as accomplished as anything produced by his Modernist contemporaries.

This Is Probably The First Instance Of Lawrence`S Poetry Being Discussed In The Light Of Recent Theoretical Developments. It Is Also Certainly The First Time A Leading Postcolonial Writer Of His Generation Has Taken As His Subject A Major Canonical English Writer, And Through Him, Remapped The English Canon As A Site Of `Difference`.

"[The] third volume completes both the Cambridge Edition of D. H. Lawrence's Poems and the Cambridge Edition of the Works of D. H. Lawrence, in which it is the fortieth volume. The uncollected poems and early versions presented in the volume offer a new idea of the scope and scale of his verse-writing. The poems that Lawrence saw published in seven collections during his lifetime, and that appeared after his death in a further two collections, Nettles (1930) and Last Poems (1932), are assembled, edited and annotated in Volumes I and II of the Cambridge Edition of The Poems. Volume III gives access to more than 120 poems which Lawrence either chose not to collect or was, for various reasons, unable to collect during his lifetime, and which have therefore been largely neglected. The volume also includes more than 190 early and variant versions"--

This new collection of Keith Sagar's writings on the poetry of D H Lawrence includes many new interpretations of well-known poems. It ends with a year-by-year checklist of reviews and criticism of Lawrence's poems, from 1913 to the present. Though much has been written about Lawrence's poetry (as revealed by the several hundred entries in the book's checklist of criticism), there have been relatively few full length studies. This book deals with the whole range of his poetry from his earliest poems, such as 'To Campions' and 'To Guelder Roses', through the poems inspired by his elopement with and subsequent marriage to Frieda Weekley (Look! We Have Come Through!), to the mature achievement, in free verse forms inspired by Walt Whitman, of Birds, Beasts and Flowers, Pansies and Last Poems. The genesis of the poems in Lawrence's life is explored; and there are new interpretations of his most memorable poems, such as 'The Wild Common', 'Piano', 'Song of a Man Who Has Come Through', Tortoises, 'Peach', 'Pomegranate', 'Snake', 'Bavarian Gentians' and 'The Ship of Death'.

The Rainbow by D. H. Lawrence follows three generations of the Brangwen family, focusing on the sexual dynamics of, and relations between, the characters. Lawrence's frank treatment of sexual desire and the power plays within relationships as a natural and even spiritual force of life caused The Rainbow to be prosecuted in an obscenity trial in late 1915, as a result of which all copies were seized and burnt. After this ban it was unavailable in Britain for 11 years. Women in Love is a sequel to The Rainbow. Ursula and Gudrun Brangwen are two sisters living in the Midlands of England in the 1910s. Ursula is a teacher, Gudrun an artist. They meet two men who live nearby, Rupert Birkin and Gerald Crich. The four become friends. Ursula and Birkin become involved and Gudrun eventually begins a love affair with Gerald. All four are deeply concerned with questions of society, politics, and the relationship between men and women. Birkin asks Ursula to marry him, and she agrees. Gerald and Gudrun's relationship, however, becomes stormy.

D. H. Lawrence's 'Study of Thomas Hardy', written in the early months of World War I, was originally intended to be a short critical work on Hardy's characters, but developed into a major statement of Lawrence's philosophy of art. The introduction to this work shows its relation to Lawrence's final rewriting of The Rainbow and its place among his continual attempts to express his philosophy in a definitive form. Previously published posthumously from a corrupt typescript, the 'Study' is now more firmly based on Koteliansky's typescript - Lawrence having destroyed the manuscript. The other essays in this volume span virtually the whole of Lawrence's writing career, from 'Art and the Individual' (1908) to his last essay 'John Galsworthy', written in 1927. The introduction sets these essays in the context of Lawrence's life and work. The textual apparatus gives variant readings, and explanatory notes identify references and quotations, and offer background information.