Lady Chatterley's Lover
A Propos of "Lady Chatterley's Lover"
(Sprache: Englisch)
Constance Chatterley feels trapped in her sexless marriage to the invalid Sir Clifford. Unable to fulfil his wife emotionally or physically, Clifford encourages her to have a liaison with a man of their own class. But Connie is attracted instead to her...
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Constance Chatterley feels trapped in her sexless marriage to the invalid Sir Clifford. Unable to fulfil his wife emotionally or physically, Clifford encourages her to have a liaison with a man of their own class. But Connie is attracted instead to her husband's gamekeeper and embarks on a passionate affair that brings new life to her stifled existence. Can she find a true equality with Mellors, despite the vast gulf between their positions in society? One of the most controversial novels in English literature, "Lady Chatterley's Lover" is an erotically charged and psychologically powerful depiction of adult relationships.
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One of the most extraordinary literary works of the twentieth century, Lady Chatterley's Lover was banned in England and the United States after its initial publication in 1928. The unexpurgated edition did not appear in America until 1959, after one of the most spectacular legal battles in publishing history. Part of Penguin's beautiful hardback Clothbound Classics series, designed by the award-winning Coralie Bickford-Smith, these delectable and collectible editions are bound in high-quality colourful, tactile cloth with foil stamped into the design. Constance Chatterley feels trapped in her sexless marriage to the invalid Sir Clifford. Unable to fulfil his wife emotionally or physically, Clifford encourages her to have a liaison with a man of their own class. But Connie is attracted instead to her husband's gamekeeper and embarks on a passionate affair that brings new life to her stifled existence. Can she find a true equality with Mellors, despite the vast gulf between their positions in society? One of the most controversial novels in English literature, Lady Chatterley's Lover is an erotically charged and psychologically powerful depiction of adult relationships.
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Chapter One Ours is essentially a tragic age, so we refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new little habits, to have new little hopes. It is rather hard work: there is now no smooth road into the future: but we go round, or scramble over the obstacles. We ve got to live, no matter how many skies have fallen.
This was more or less Constance Chatterley s position. The war had brought the roof down over her head. And she had realized that one must live and learn.
She married Clifford Chatterley in 1917, when he was home for a month on leave. They had a month s honeymoon. Then he went back to Flanders: to be shipped over to England again six months later, more or less in bits. Constance, his wife, was then twenty-three years old, and he was twenty-nine.
His hold on life was marvellous. He didn t die, and the bits seemed to grow together again. For two years he remained in the doctor s hands. Then he was pronounced a cure, and could return to life again, with the lower half of his body, from the hips down, paralyzed for ever.
This was in 1920. They returned, Clifford and Constance, to his home, Wragby Hall, the family seat. His father had died, Clifford was now a baronet, Sir Clifford, and Constance was Lady Chatterley. They came to start housekeeping and married life in the rather forlorn home of the Chatterleys on a rather inadequate income. Clifford had a sister, but she had departed. Otherwise there were no near relatives. The elder brother was dead in the war. Crippled for ever, knowing he could never have any children, Clifford came home to the smoky Midlands to keep the Chatterley name alive while he could.
He was not really downcast. He could wheel himself about in a wheeled chair, and he had a bath-chair with a small motor attachment, so he could drive himself slowly round the garden and into the fine melancholy park, of which he was really so proud, though he pretended to
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be flippant about it.
Having suffered so much, the capacity for suffering had to some extent left him. He remained strange and bright and cheerful, almost, one might say, chirpy, with his ruddy, healthy-looking face, and his pale-blue, challenging bright eyes. His shoulders were broad and strong, his hands were very strong. He was expensively dressed, and wore handsome neckties from Bond Street. Yet still in his face one saw the watchful look, the slight vacancy of a cripple.
He had so very nearly lost his life, that what remained was wonderfully precious to him. It was obvious in the anxious brightness of his eyes, how proud he was, after the great shock, of being alive. But he had been so much hurt that something inside him had perished, some of his feelings had gone. There was a blank of insentience.
Constance, his wife, was a ruddy, country-looking girl with soft brown hair and sturdy body, and slow movements, full of unused energy. She had big, wondering eyes, and a soft mild voice, and seemed just to have come from her native village. It was not so at all. Her father was the once well-known R.A., old Sir Malcolm Reid. Her mother had been one of the cultivated Fabians in the palmy, rather pre-Raphaelite days. Between artists and cultured socialists, Constance and her sister Hilda had had what might be called an aesthetically unconventional upbringing. They had been taken to Paris and Florence and Rome to breathe in art, and they had been taken also in the other direction, to the Hague and Berlin, to great Socialist conventions, where the speakers spoke in every civilized tongue, and no one was abashed.
The two girls, therefore, were from an early age not the least daunted by either art or ideal politics. It was their natural atmosphere. They were at once cosmopolitan and provincial, with the cosmopolitan provincialism of art that goes with pure social ideals.
Having suffered so much, the capacity for suffering had to some extent left him. He remained strange and bright and cheerful, almost, one might say, chirpy, with his ruddy, healthy-looking face, and his pale-blue, challenging bright eyes. His shoulders were broad and strong, his hands were very strong. He was expensively dressed, and wore handsome neckties from Bond Street. Yet still in his face one saw the watchful look, the slight vacancy of a cripple.
He had so very nearly lost his life, that what remained was wonderfully precious to him. It was obvious in the anxious brightness of his eyes, how proud he was, after the great shock, of being alive. But he had been so much hurt that something inside him had perished, some of his feelings had gone. There was a blank of insentience.
Constance, his wife, was a ruddy, country-looking girl with soft brown hair and sturdy body, and slow movements, full of unused energy. She had big, wondering eyes, and a soft mild voice, and seemed just to have come from her native village. It was not so at all. Her father was the once well-known R.A., old Sir Malcolm Reid. Her mother had been one of the cultivated Fabians in the palmy, rather pre-Raphaelite days. Between artists and cultured socialists, Constance and her sister Hilda had had what might be called an aesthetically unconventional upbringing. They had been taken to Paris and Florence and Rome to breathe in art, and they had been taken also in the other direction, to the Hague and Berlin, to great Socialist conventions, where the speakers spoke in every civilized tongue, and no one was abashed.
The two girls, therefore, were from an early age not the least daunted by either art or ideal politics. It was their natural atmosphere. They were at once cosmopolitan and provincial, with the cosmopolitan provincialism of art that goes with pure social ideals.
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Autoren-Porträt von D. H. Lawrence
The son of a miner, the prolific novelist, poet, and travel writer David Herbert Lawrence was born in Eastwood, Nottinghamshire, in 1885. He attended Nottingham University and found employment as a schoolteacher. His first novel, The White Peacock, was published in 1911, the same year his beloved mother died and he quit teaching after contracting pneumonia. The next year Lawrence published Sons and Lovers and ran off to Germany with Frieda Weekley, his former tutor’s wife. His masterpieces The Rainbow and Women in Love were completed in quick succession, but the first was suppressed as indecent and the second was not published until 1920. Lawrence’s lyrical writings challenged convention, promoting a return to an ideal of nature where sex is seen as a sacrament. In 1928 Lawrence’s final novel, Lady Chatterley’s Lover, was banned in England and the United States for indecency. He died of tuberculosis in 1930 in Venice.Doris Lessing, whose many writings include The Golden Notebook, has received numerous awards, including Spain's Prince of Asturias Prize.
Bibliographische Angaben
- Autor: D. H. Lawrence
- 2009, 400 Seiten, Maße: 13,9 x 20,8 cm, Leinen, Englisch
- Herausgegeben: Michael Squires
- Verlag: Penguin Books UK
- ISBN-10: 0141192488
- ISBN-13: 9780141192482
- Erscheinungsdatum: 10.10.2014
Sprache:
Englisch
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