The composition of Lady Chatterley’s Lover (published privately in Florence in 1928) involves the last years of Lawrence’s life. It is a very tormented time, when, far from England, he tries hardly to renew his artistic language, drawing on the visual arts, which influence him strongly. There is a clear evidence of this in his writings on the Etruscan tombs as well as in his paintings. After a break of many years he begins to paint independently and in a very creative way. It could be said that the long composition of the three versions of the novels goes hand in hand with a constant engagement in painting, destined to issue in many pictures, most of them dealing with nudes and erotic subjects, all of them destined to be condemned by a ruthless censorship as happened to the novel itself. The aim of this paper is to show how the last version of the novel involves the constant attempt to create a new, extremely visual (at times visionary) language, which finds its greatest expression in the last part of the novel, where the encounters between Constance and the gamekeeper take place. Where the fist chapters are characterized by a verbosity recalling the novel of talk, in the following ones there emerges new modes of communication which are linked to visual elements and their suggestiveness.
La dimensione visiva in Lady Chatterley's Lover
MICHELUCCI, STEFANIA
2010-01-01
Abstract
The composition of Lady Chatterley’s Lover (published privately in Florence in 1928) involves the last years of Lawrence’s life. It is a very tormented time, when, far from England, he tries hardly to renew his artistic language, drawing on the visual arts, which influence him strongly. There is a clear evidence of this in his writings on the Etruscan tombs as well as in his paintings. After a break of many years he begins to paint independently and in a very creative way. It could be said that the long composition of the three versions of the novels goes hand in hand with a constant engagement in painting, destined to issue in many pictures, most of them dealing with nudes and erotic subjects, all of them destined to be condemned by a ruthless censorship as happened to the novel itself. The aim of this paper is to show how the last version of the novel involves the constant attempt to create a new, extremely visual (at times visionary) language, which finds its greatest expression in the last part of the novel, where the encounters between Constance and the gamekeeper take place. Where the fist chapters are characterized by a verbosity recalling the novel of talk, in the following ones there emerges new modes of communication which are linked to visual elements and their suggestiveness.
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
