Adult scene of lady chatterleys lover
Sir Clifford is crippled in the War, and returns to his family estate, amid the decay and unemployment of the industrial towns.
At first, he occupies himself with literature, mixes with the London literary people, and publishes short stories, “clever, rather spiteful, and yet, in some mysterious way, meaningless”; then later, he applies himself feverishly to an attempt to retrieve his coal mines by the application of modern methods: “once you started a sort of research in the field of coal-mining, a study of methods and means, a study of by-products and the chemical possibilities of coal, it was astounding the ingenuity and the almost uncanny cleverness of the modem technical mind, as if really the devil himself had lent a fiend’s wits to the technical scientists of industry.
Yet the characters have a certain heroic dignity, a certain symbolical importance, which enable them to carry off all this.
Lawrence’s theme is a high one: the self-affirmation and triumph of life in the teeth of all the destructive and sterilizing forces—industrialism, physical depletion, dissipation, careerism and cynicism—of modern England; and in general, he has given a noble account of it.
Then Suzanne falls in love with the man hired to build the office. His confession is a long flashback to New Year's Eve, 1935, when he ...
This is a pity, because it is probably one of Lawrence’s best books.
Lawrence’s has been privately printed in Florence, and it is difficult and expensive to buy.
Poor Sir Clifford, after all, for example, no matter how disagreeable he may have become, was a man in a most unfortunate situation, for which he was in no way to blame.
And, on the other hand, Mellors, the gamekeeper, has his moments of romantic bathos.