The first Lady Chatterley
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The First Lady Chatterley ( English original title: The First Lady Chatterley ) is the title of the first version of the three Lady Chatterley novels that DH Lawrence left behind. He wrote this first version in 1926 within a few weeks and then revised it twice. The third and final version - Lady Chatterley's Lovers - published in 1928 is the best known.
The first version differs from the two later versions in terms of subject, plot, style and characterization of the characters. As a stage in the making of the novel Lady Chatterley , it is of literary historical interest; In addition, it forms an independent novel that many critics and readers - including the author's wife, Frieda von Richthofen - considered the most successful of the three "Lady Chatterleys". The First Lady Chatterley was first published in the USA in 1944, 14 years after the author's death; in Great Britain it did not appear until 1972. The German translation has been available since 1946.
Theme and style
The First Lady Chatterley is a novel about man's longing for closeness and the difficulty of establishing and maintaining such closeness. It is not just about the longing for closeness to any other individual, but also the longing to overcome the strangeness of a social class with which one lives in a small space without personal contact. The First Lady Chatterley is far more powerful than the two later versions of a study of class barriers.
The style is realistic . The sexual representations, which take up a lot of space in the third version, are limited in the first version to a few and short passages and the use of obscene words that are not even spelled out. The descriptions of nature are much more concise than in the third version.
A high degree of intertextuality is characteristic of the work ; There are references to the book Kohelet , the Bible , Greek mythology (the robbery of Persephone ) , Aesop's fables (The Dog in the Manger) , Plato's myth of the chariot , Voltaire , Racine ( Phèdre ) , the Scottish folk song The Keel Row , on William Cowper (There is a fountain filled with blood) , Morier's picaresque novel Hadschi Baba , Swinburnes poem The Garden of Proserpine and HG Wells ' novel A Modern Utopia . Barry J. Scherr has pointed out references to Shakespeare's Hamlet .
action
In the plot of First Lady Chatterley , the plot of the third version is already hinted at, but in some parts it deviates from it:
Lady Constance Chatterley (Connie) loves ranger Oliver Parkin, a class conscious worker. He can't stand it for long to be content with the role of the co-sleeper of a woman who may be secretly looking down on him and who under no circumstances would ever live with him.
Connie is married with Sir Clifford Chatterley, a baronet , who since being wounded in World War paraplegic is. Lawrence makes it clear that the war trauma has ruined not only the lower half of his body (including genitals) but also his emotional capacities:
"And he had been so much hurt, that something inside had hardened and could feel no more."
"And he had been hurt so badly that something in him was hardened and could no longer feel."
Connie does feel indissolubly connected to her husband; after becoming Parkin's lover and discovering the power of physical sexuality, however, she no longer knows how to maintain a relationship with the deeply hostile Clifford. The fact that Clifford is a sensitive man who does not want to force Connie to physical loyalty and who grants her sexual freedom makes it easier for her to cheat, but makes her relationship with Clifford more difficult rather than easier for her.
Since both the husband and the lover confront them with insoluble problems, a long-planned stay on the mainland is proving to be a welcome temporary escape. Connie's father is a painter, so Connie travels to France with him and her sister Hilda. When she learns that Parkin's separated wife is again claiming to live together, she moves back to Wragby. After a physical attack on Parkin, the still-wife ends up in prison; later Parkin will file for divorce.
Connie is now pregnant. With this in mind, Connie and Parkin stop having sex in the second half of the novel. As a result, a moment disappears for both of them that had previously brought them together irresistibly:
“It is the sex warmth alone that makes men and women possible to one another. Reduce them to simple individuality, to the assertive personal egoism of the modern individual, and each sees in the other the enemy. "
“It is only the warmth of sex that makes men and women possible for one another. Reduce it to simple individuality, to the personal egoism of modern individuals accustomed to assertion, and everyone sees the enemy in the other. "
Even during Connie's stay in France, Parkin could no longer stand in the service of his lover's husband and had given up his position as a gamekeeper. Connie and Parkin's last intimate get-together is a chaste night in the forest cabin where they first met; like Adam and Eve, they frolic naked in the moonlight. After a short transition period during which he trained the new ranger, Parkin went to Sheffield to work as a worker in the steel mill. Connie visits him in Sheffield and meets the friends he lives with: the worker Bill Tewson and his family. Connie, who had initially believed that Parkin had no social fine-tuning, discovered over afternoon tea how cultivated the workers' way of life really is and how little she understands about it. However, this does not bring them closer to Parkin, but only fills them with new frustration.
Clifford invites friends to go hunting in Wragby. Among the guests is Connie's childhood friend Duncan Forbes, the only person she confides in about her love affair with Parkin. Duncan agrees to lie that he is the father of Connie's child.
Connie and Duncan take the opportunity for a drive for two. When they happen to meet Parkin in Tevershall, they take him with them. While Duncan is touring Southwell Minster, Connie and Parkin have one last talk and split up. Duncan tries to mediate, but fails because of Connie's resistance.
Connie confesses to Clifford that she is pregnant and that Duncan is not the father. Clifford, who is still deeply repressed by Connie's actual sexuality, revels in metaphors of an impending virgin birth and sees himself as Joseph . Connie believes he must have gone insane and decides to leave him and go to Scotland with her sister Hilda.
people
Connie
Connie comes from a relatively simple middle-class background. Her father is a member of the Royal Academy of Arts and owes his elevation to the gentry only to the fact that he painted "historical" pictures.
The first version of Connie is an active and confident woman; if she is mistakenly sometimes mistaken for shy, it is because she is very withdrawn because she is deeply good and dutiful, which ultimately makes her a bit boring. In Germany she got to know abstract philosophical discourses (= discourses of liberation) and is a distinctly intellectual person. However, she lacks the sharp cynicism and sophistication that are characteristic of her social class (the only cynic in First Lady Chatterley is Connie's sister Hilda); Connie thinks in symbols and images rather than words. Furthermore, under the impression of Clifford's personal misfortune and in the isolation of Wragby, she becomes quiet and brooding. The central question that concerns her is that of the perfect contact between man and woman. Connie will discover that there is no such thing as perfection, and it will fail her.
Like her husband, Connie keeps his distance from the neighboring mining town of Tevershall. The Russian October Revolution was only a few years ago, and the idea that Bolshevism could spread to England terrifies them.
Lawrence associates Connie Chatterley with Persephone, the Greek goddess of fertility, and thus contrasts her with Plato (Clifford):
“He was one of the hounds of spring: a Plutonic hound. Pluto, not Plato. And she was an escaping Persephone, Proserpine. Well, she'd rather be married to Pluto than Plato. She'd rather be caught by the wild hound of Pluto than by the speculative spaniel of Plato. "
“He [= Parkin] was one of the dogs of spring: a Plutonic dog. Pluto, not Plato. And she was the fleeing Persephone, Proserpina. Well, she would rather be caught by the wild dogs of Pluto than by the speculative spaniel of Plato. "
The background to this recourse to Greek mythology was Lawrence's reception of James Frazer's anthropological classic The Golden Branch (1890), the author of which portrayed ancient mythology as a world that, unlike modernity, had not yet known a dichotomy of body and mind.
Clifford
The first version's Clifford is a deep, multi-faceted, personable figure that the reader can empathize with. He is a man who is admirably brave in the face of his fate. In spite of his handicap, Clifford is not piqued or depressed, but immensely glad - triumphant indeed - to be alive. The near-death experience also rules his modest intellectual life: more than any other philosophical problem, he has been interested in the question of immortality since his wounding .
Clifford received his intellectual imprint in Cambridge and shares with Connie a love of German culture and philosophy. He hated fighting Germans in the World War . Enjoying art and reading Plato are distractions that help him to forget his corporeality. Plato really stands for Clifford's thinking:
“His view was the old-fashioned Platonist view: the soul of the earnest seeker after truth, after that which is essence, pure and enduring, would reach the upper levels where absolute truth, absolute justice shines in the great eternal gleam that at last satisfies the hurt heart of man. "
“His point of view was the old-fashioned Platonic point of view: the soul of those who sincerely seek truth, for what the essence is, pure and lasting, will reach the highest heights, where absolute truth, absolute justice shines in great eternal splendor who finally pacifies the damaged heart of man. "
As with Connie, Clifford's intellect is also lacking in point and refinement, it is a bit limited. He paints a little, but soon loses interest in it; he listens to the radio. During Connie's trip to France, he made an attempt, through management efforts in the Tevershall coal mine, to revive the responsibility to which his baronetship traditionally obliges him. He is a shareholder. Clifford is unsociable and has no personal friends; He limited his hosting duties to a minimum: welcoming relatives and occasional hunting parties. Even more alien to him than the members of his own class, although he sees them every day in Tevershall, the workers. They worry him, he fears that they will pity him. The only means he has to put his unresolved relationship with them in order is to pay them. But he cannot put all of Tevershall into his service.
Connie and Clifford
Connie and Clifford began their marriage in sexual inexperience. At the time of their marriage and far beyond, they were real comrades, their affection for one another is deep and genuine and mutual. Both feel their marriage - in accordance with the spirit of the time - as indissoluble. However, due to his disability, Clifford cannot provide Connie with sexual fulfillment.
Clifford is a considerate husband who is often in pain, but wants to stress his wife as little as possible with his molest. He has empathy with Connie and understands that she is a sensual person who - so as not to be bitter - needs a sex life. Since she is also declining physically, it is very obvious to him that she is not doing well. He permits and grants her a lover; For him, however, sex is such a nullity that the love life he encourages Connie to remain completely abstract for him and does not concern him at all. He imagines her lover as the Holy Spirit .
Although she always has his goodwill and friendliness in view, Connie becomes estranged from Clifford in the course of the plot. He is sensitive and feels it. Your world perception and the questions that preoccupy you are drifting apart and Connie has the feeling that the conversation is still only about Clifford's topics, that for you, Connie, there is less and less room in his spiritual world is. She develops idiosyncrasies : she feels that Clifford's sensitivity and consideration are artificial; she believes that he is secretly constantly trying to impose his will and feelings on her. In particular his pride in victory over his survival repels them; As the partner of a paraplegic, she is not a proud survivor herself, but the one who has to deal with the consequences. Even Clifford's tenderness - for example when he holds her hand - no longer reaches her. All attempts to find and maintain closeness to one another fail. Connie secretly feels aggression and even cruelty towards Clifford.
Despite all the alienation, Clifford often does better than the lover for Connie in a direct comparison with Parkin: unlike Parkin (whose political work Connie knows nothing about and would not want to know), Clifford has verve, idealism and one goal in life, namely immortality . Connie believes Clifford is a representation of the best that humanity has achieved as a collective. With him she also finds protection if the workers frighten her with their latent proximity to Bolshevism.
Parkin
The first version of Oliver Parkin is a worker of the purest water. In the world war he was a simple soldier. The irony and sarcasm with which Lawrence equips the figure in the third version is missing. Parkin is a very straight forward person. He has no education and seems poorly articulated. At first he and Connie hardly speak to each other, and the letters he later writes to her are the absurd, pathetic letters from a person who is not used to writing. It was not until late that Connie discovered the wealth of nuances in linguistic means of expression that Parkin actually had. He is very class-conscious and speaks his dialect with pride , although his language is close to King's English . He would love to emigrate to Canada, which promises a free life, but is then stuck in the Sheffield slum. He can only endure this because he belongs to an anarchist-socialist workers' organization, even in a leading position. Connie doesn't know anything about his political involvement.
In private life, Parkin is a loner. One of his duties as a gamekeeper is tracking down poachers . Parkin loves this duty and is not afraid of physical confrontations. He is a passionate man, even in hatred. The village community, from which the poachers are recruited, resents this. He is considered a child fright. Parkin has a hard time with women too. The mother was loveless and made him averse to women early on, with the result that his marriage did not work either. The wife was unfaithful to him and eventually left him to live with her lover Marsden. The misogynous tirades that Lawrence Lady Chatterley's lover put in the mouth in the third version are missing in the first version.
Lawrence designed Parkin as a Hades character. The kidnapper of Persephone not only rules the underworld in Greek mythology, but is also worshiped as the god of fertility. At the same time, Lawrence brings Parkin into connection with Hephaestus : in Tevershall he worked temporarily as a blacksmith . Just as Hephaestus is betrayed by his wife Aphrodite with Ares (Roman: Mars ), Parkin's wife has a lover Marsden .
Connie and Parkin
Connie's turn to Parkin is to be understood in the light of the fact that the relationship with Clifford has become difficult for her since his wounding. In the process, she comes from bad to worse: Parkin is just as ambivalent for her as Clifford. Throughout the plot, Connie wavers in the feelings she has for Parkin. Lawrence makes it very easy for the reader to understand that Connie is attracted and repelled by her lover at the same time. Unlike Clifford, Parkin is not handsome: he has a shaggy, wild, disfiguring mustache and a harsh, hostile expression. He loses two teeth in a fight he had with Marsden while Connie was in France. The work at the Sheffield steel mill eventually shapes his hands as well. However, Connie is intoxicated by the beauty of his body . In the forest, where she sees him as a lonely wolf, he seems romantic to her. She is fascinated by its loneliness, seclusion and remote people. However, this magic vanishes as soon as she sees him in urban clothing; almost against her will it then seems ridiculous to her.
Just as Clifford has been filled with thoughts about the immortality of the soul since his paralysis, Connie comes to the idea of the immortality of the flesh through the encounter with Parkin . She is convinced that Parkin - in the delicacy and purity of his flesh - is very close to God physically. She is deeply preoccupied with small, everyday, trivial observations that have to do with human physicality (such as the blushing of Miss Bentley, who is in love with Clifford).
Connie and Parkin are not only denied a future together because Connie feels their marriage to Clifford is indissoluble. Connie and Parkin are also aware that because of the class antagonism they could never agree on a form of coexistence. Parkin does not want to live on Connie's money, nor does Connie want to transform Parkin into a member of the cultured upper class. Likewise, Parkin does not want to expect Connie to deny her origins and fit into a working-class household, nor is Connie ready to give up her usual lifestyle of piano playing, painting and books. The first Lady Chatterley has a lot more humor than is usually found in Lawrence's work, for example in the passage in which Connie imagines the intellectually empty life that she would lead as Parkin's partner:
'The meal times! The inability to converse! '
“'The meals! The impossibility of conversing! '"
Since Parkin can't stand in the long run playing the humiliating role of a mere "fucker" with Connie, the pressure increases to either bring the love affair into order or to end it.
As a conceivable compromise, Lawrence brings up the possibility that Parkin will go to Canada with Connie: a young country where class contradictions do not seem to exist. But this also repels Connie.
Connie can't make up his mind on an emotional level either. The radical claim with which Parkin confronts her - he wants her full passion (deeper desire) - at the same time irresistibly attracts her and is decidedly too much for her as an imposition. It feels like a volcano about to erupt; although she longs for passion, it scares her too. She is not up to the great responsibility that the newly discovered heart imposes on her. The highly neurotic traits with which Lawrence endows Connie the third version, missing in the first version but still complete: Connie has no inhibitions to her lover to surrender , nor is it driven by destructive impulses with which they half-close reached against repeatedly destroys their own will.
In contrast to the third version, Connie hardly pays attention to her pregnancy in the first version. She is not a woman to whom a child would mean a lot. The scene in which Connie visits Mrs. Flint, a young mother, and is strongly stimulated in her desire to have children is missing in the first version. At no point does Connie consider giving the child a father other than Clifford. The idea of raising a child in Wragby, however, scares her that the passion that Parkin has gained her life will revert to the blandness of her previous life. Parkin remains completely indifferent to Connie's pregnancy.
Mrs. Bolton
The figure of the nurse Ivy Bolton is much less detailed than in the third version. Mrs. Bolton holds an insurmountable grudge against the gentry for being abandoned by the mine management after her husband's death. For her, Wragby is enemy territory, which she only enters to study her opponent one more time before she finally ends it. She never gives up the professional distance she has from Clifford during the course of the plot.
Because of her love affair with a worker, Connie quickly wins Mrs. Bolton's sympathy. The two women have warm, friendly conversations with each other. For Connie, Mrs. Bolton is a source of inspiration because although she has been a widow for 23 years, she still seems to have resources from which to draw life energy.
Duncan Forbes
The figure of Duncan is more prominent in the first version and also drawn much more positively than in the third version. Duncan is a childhood friend of Connie's from Scotland and was engaged to her for a short time. Since the friends were too close, the plan to marry was rejected again.
Like Connie, Duncan, a modern painter, comes from an art-loving but comparatively simple middle-class background. Because he knew Connie before she was a lady, he hopes to convince Parkin that the status difference between him and Connie might not be that big after all.
Duncan is a keen psychologist who appears to have empathy towards Clifford, but is actually completely on Connie's side. He is entertaining, "scandalous" in his views and makes fun of everything.
The namesake and inspiration for the figure of Duncan was the Scottish painter Duncan Grant (1885–1978), whose London studio Lawrence had visited once in 1915.
Origin, publication and reception
The novel, like the story The Virgin and the Gypsy, was written in Scandicci , Italy, on the outskirts of Florence , where Frieda and D. H. Lawrence had rented the Villa Mirenda since May 1926.
Lawrence began work on the novel on October 22, 1926; At the end of November - probably between November 25th and 30th - he completed a first draft. However, Lawrence soon realized that the text wasn't working. He found the use of the words fuck and cunt ineffective, and feared that audiences would disapprove of his unflattering portrayal of a British war invalid. At the same time, the portrayal of Clifford still seemed far too positive; he wanted to characterize him much more clearly as someone who is emotionally completely cut off from the living world. He therefore immediately began writing a second version.
The first publication, commissioned by Frieda Lawrence, was published on April 10, 1944 in the United States by Dial Press. On May 29, an American court ruled the book obscene ; in the second instance this judgment was overturned on November 1, 1944. The first version appeared in Great Britain in August 1972.
Most reviewers considered the first version to be decidedly stronger than the better-known third version, for "richer", "more brilliant", "denser", "more precise", "healthier" and "more plausible". Diana Trilling wrote: “In several ways, the first version is 'artistically' superior to the third version: it is more economical, more visual, and funnier; it is also considerably less cruel. But it clearly not only deferred Lawrence's sexual message, it also distorted it, and therefore had to be discarded. ” The third version repelled many critics, not because of its explicitly sexual representations, but because of the“ violent ”and“ hysterical ” Inventions that Lawrence went for in it.
Just Jaeckin's Lady Chatterley's Lover (1981) is considered of all the film adaptations of the material as the one that borrowed the most from the First Lady Chatterley .
expenditure
English original editions
- The First Lady Chatterley . Dial Press, New York 1944.
- The First Lady Chatterley . William Heineman, London 1972.
- The First Lady Chatterley . 1st edition. Penguin, Harmondsworth 1973, ISBN 0-14-003731-4 .
- DH Lawrence: The First and Second Lady Chatterley Novels . Cambridge University Press, Cambridge 2001, ISBN 0-521-00715-1 ( limited preview in Google Book Search - USA ).
German editions
- The first Lady Chatterley . Scherz, Bern 1946. (Translation: Ursula von Wiese)
- The first Lady Chatterley . Toth Verlag, Hamburg 1949. (Translation: Ursula von Wiese)
Individual evidence
- ↑ Dieter Mehl , Christa Jansohn: Introduction . In: Dieter Mehl, Christa Jansohn (eds.): DH Lawrence: The First and Second Lady Chatterley Novels . Cambridge University Press, Cambridge 2001, ISBN 0-521-47116-8 , pp. xixff, here: p. xxxii .
- ^ John Worthen: DH Lawrence: The Life of an Outsider . Counterpoint, New York 2005, ISBN 978-1-58243-341-7 , pp. 351 ( limited preview in Google Book Search).
- ^ Robert Burden: Radicalizing Lawrence: Critical Interventions in the Reading and Reception of DH Lawrence's Narrative Fiction . Rodopi, Amsterdam, Atlanta 2000, ISBN 90-420-1303-6 , pp. 311 ( limited preview in Google Book search).
- ↑ Keith Sagar: The Art of DH Lawrence . Cambridge University Press, Cambridge u. a. 1981, ISBN 0-521-06181-4 , pp. 197 ( limited preview in Google Book search).
- ^ A b Tony Pinkney: DH Lawrence and Modernism . University of Iowa Press, Iowa City 1990, ISBN 0-87745-294-6 , pp. 140 ( limited preview in Google Book search).
- ↑ Rebecca Lemon, Emma Mason, Jonathan Roberts, Christopher Rowland (Eds.): The Blackwell Companion to The Bible in English Literature . Wiley-Blackwell, 2009, ISBN 978-1-4051-3160-5 , pp. 935 ( limited preview in Google Book search).
- ^ Margot Kathleen Louis: Persephone Rises, 1860-1927: Mythography, Gender, and the Creation of a New a New Spirituality . Ashgate, Farnham 2009, ISBN 978-0-7546-6455-0 , pp. 195 ( limited preview in Google Book search).
- ↑ Dennis Jackson: Literary Allusions in Lady Chatterley's Lover . In: Michael Squires, Dennis Jackson (Eds.): DH Lawrence's “Lady”: A New Look at “Lady Chatterley's Lover” . University of Georgia Press, Athens 1985, ISBN 978-0-8203-0724-4 , pp. 170-1196 .
- ↑ Barry Jeffrey Scherr: Shakespeare's Hamlet and Lawrence Agonistes: The Early Phase . Cambridge Scholars Publishing, Newcastle upon Tyne 2018, ISBN 978-1-5275-1113-2 , pp. 52 ( limited preview in Google Book search).
- ↑ It was named after George Chatterley, who was once the mayor of the author's birthplace and whom Lawrence knew personally. The Lady Chatterley. Retrieved September 7, 2018 .
- ^ Petra Rau: English Modernism, National Identity and the Germans, 1890–1950 . Ashgate, Farnham 2009, ISBN 978-0-7546-5672-2 , pp. 136 ( limited preview in Google Book search).
- ^ Andrew D. Radford: The Lost Girls: Demeter-Persephone and the Literary Imagination, 1850-1930 . Rodopi (Textxet), Amsterdam, New York 2007, ISBN 978-90-420-2235-5 , pp. 254 ( limited preview in Google Book search).
- ↑ Tomoko Nakada: Returning to the Roots: Lawrence and Lady Chatterley, p. 73. (PDF) Retrieved August 24, 2018 .
- ^ Margot Kathleen Louis: Persephone Rises, 1860-1927: Mythography, Gender, and the Creation of a New a New Spirituality . Ashgate, Farnham 2009, ISBN 978-0-7546-6455-0 , pp. 119 ( limited preview in Google Book search).
- ↑ Kirsty Martin: Modernism and the Rhythms of Sympathy: Vernon Lee, Virginia Woolf, DH Lawrence . Oxford University Press, Oxford 2013, ISBN 978-0-19-967408-4 , pp. 183 ( limited preview in Google Book search).
- ↑ MC Rintoul: Dictionary of Real People and Places in Fiction . Routledge, London, New York 1993, ISBN 0-415-05999-2 , pp. 457 ( limited preview in Google Book search).
- ↑ Charles Ferrall, Dougal McNeill: Writing the 1926 General Strike: Literature, Culture, Politics . Cambridge University Press, New York 2015, ISBN 978-1-107-10003-9 , pp. 85 ( limited preview in Google Book search).
- ↑ Lady Chatterley's Lover - A Study Guide ( Memento of the original from September 29, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ JM Coetzee : Giving Offense: Essays on Censorship . The University of Chicago Press, Chicago, London 1996, ISBN 0-226-11174-1 , pp. 242 ( limited preview in Google Book search).
- ^ Richard Owen: Lady Chatterley's Villa: DH Lawrence on the Italian Riviera . Haus Publishing, 2014, ISBN 978-1-907973-98-7 , pp. 81 f . ( limited preview in Google Book search).
- ^ David Ellis, John Worthen: DH Lawrence: Dying Game 1922–1930: The Cambridge Biography of DH Lawrence . Cambridge University Press, Cambridge 1998, ISBN 0-521-25421-3 , pp. 327 ( limited preview in Google Book search).
- ^ Margot Kathleen Louis: Persephone Rises, 1860-1927: Mythography, Gender, and the Creation of a New Spirituality . Ashgate, Farnham 2009, ISBN 978-0-7546-6455-0 , pp. 119 ( limited preview in Google Book search).
- ^ The Cambridge Edition of the Works of DH Lawrence . Lady Chatterley's Lover and A Propos of “Lady Chatterley's Lover”. Cambridge University Press, Cambridge 2002, ISBN 0-521-00717-8 , pp. xiv .
- ^ The First Lady Chatterley, by DH Lawrence in: The Nation (New York), April 22, 1944, pp. 490-493
- ↑ Charles Ferrall, Dougal McNeill: Writing the 1926 General Strike: Literature, Culture, Politics . Cambridge University Press, New York 2015, ISBN 978-1-107-10003-9 , pp. 103 ( limited preview in Google Book search).
- ^ Louis K. Greiff: DH Lawrence. Fifty Years On Film . Southern Illinois University Press, Carbondale, Edwardsville 2001, ISBN 0-8093-2387-7 , pp. 144 ( limited preview in Google Book search).
