D.H.Lawrence劳伦斯

Appreciation of wrence’s Snake from the Perspective of ImagismI.Introduction of Imagism1.1Imagism MovementImagism movement is a literary movement launched by British and American poets early in the 20th century in reaction against V ictorian sentimentalism that advocated the use of free verse, common speech patterns, and clear concrete images,rather than through romanticism or symbolism.1.2Principles of ImagismEzra pound proposes the three principles of Imagism.1.Direct treatment of the thing whether it’s subjective or objective2.Touse absolutely no word that does not contribute to the presentation3.As to rhythm,the poem should be composed in the sequence of a regular meter1.3Brief Introduction of ImagismImagism,the doctine and poetic practice of a small calling themselves Imagists between 1912 and 1917,led at first by Ezra Pound,and then by Amy Lowell.The group rejected most 19th century poetry as cloudy verbiage,and aimed at a new and exactness in the short lyric poem.Influenced by the Japanese haiku and partly by ancient Greek lyrics.The Imagists cultivated concision and directness,building their short poems around single images.They also preferred looser cadences to traditional regular rhythms.Apart from Pound and Lowell,the group also included Richard Aldington,Hilda Doolittles,wreence,Ford Madox Ford,and William Carlos Williams.Imagist poems and manifestors appeared in the American magazine poetry and the Lordon journal The Egoist.II . Appreciation of Snake by wrence2.1Main Idea of the SnakeLawrence introduces the poem by getting straight to the point, also using a repetition to show that it is a really hot day. Lawrence wrote the poem, possibly because it was a true story, but most likely because he was trying to display man’s feelings about snakes and question it. He believes that the snake is a gentle creature, simply thirsty and grateful for there to be water nearby. To him it is a compliment. But to most, it is a natural instinct to dispose if the beautiful creature was in front of you.The poem indicates that even though his knowledge was telling him to end the snake right then and there, because he considered it a king, it shows that the snake had as much right to drink from the water trough as any man or beast did. Even though it was venomous, it was doing no harm.2.2 Appreciation of the poem from the Perspective of ImagismIn the beginning,D. H. Lawrence tells us his experience directly.On a hot day,a snake was drinking near the speaker’s pitcher without hiding it’s purpose and kept drinking when realized someone was not far from him. Lawrence obviously wants us to know that the reason he and the snake have come to the trough is because it is a very hot day. And the speaaker uses many “s” to describe how beautiful the snake is,su ch as “soft-bellied”,”softly drank through his straight gums into his slack long body”,”slightly”.And then, He describes the snake lifting his head like drinking cattle . He uses the drinking cattle reference twice, showing that the snake’s actions deepl y resemble those of cattle.At the same time,two voices was around him,the voice of education telling him that the snake was poinous and he should kill it,and the voice of traditional culture telling him that the snake should be killed if he is a man.The tw o voices pressed him.In fact,he was quite honored of the snake’s visit.The snake is quite,peaceful,pacified.But also,he was feared,for he dare he can’t kill it but not for it’s poinous.After a fierceful struggle in his mind,he decided to let it go,which short the distance between the speaker and nature.On the following,”cowardice?”,”perversity?”,”humility?”and “honoured?”show the shaken of his idea,while the snake was peaceful and enjoy itself pared with that,”the dark door of the secre t earth”and“A sort of horror overcame him”,the speaker was so rude that he threw a stick to it for he feared the dark door and the unknown things.Fortunately,the stick missed the snake.When describing this scene,the speaker applies the words like ”clumsy”,”clatter”,”convulse”,”undignified” and so on to reflect his fool.In that part,the speaker compares two images in order to show the difference between hunman beings and snakes,the conflicts between human beings and nature.Next,he says that he felt regert about his behavior.He says that”I despised myself and the voice of my accursed human education” and “For in Siciy the black,black snakes are innocent,the gold are venomous”.In that point, the speaker associates it with Rime of the Ancient Mariner in Samuel Taylor Coleridge,at which the speaker hint that human beings should listen to their nature instinct and feeling but not influenced by their lives,behaviors and the traditional cultures in society,otherwise,people will miss many fresh and exciting experien ces,as he says in the poem”And so,I missed my chance with one of the lords/of life”.People can benefit and learn a lot from small animals if he trys to know something about nature,but people always ignores it or belittles the power of nature which results to miss some chances which will do good to human beings.Through that experience,the speaker realizes some shine characters in the snake,which changes the attitude of the speaker on nature.2.3ConclusionSnake is a dramatic monolologue,which records a small but unforgettable experience of the speaker.And he suddenly found that,the education people received and the weakness of human beings often separated people from nature and confused people.He regretd about his mean act and felt ashamed of his narrow-minded idea.。

儿子与情人英文读后感读书笔记儿子与情人英文读后感读书笔记《儿子与情人》是劳伦斯早期写作生涯的成功典范,也是英国文学史上的一部极具代表性和经典性的`力作。

以下是店铺为大家提供的儿子与情人英文读后感,供大家参考借鉴!儿子与情人英文读后感(一)Sons and Lovers was D.H. Lawrence's first major novel. His only major novel, some would say; but even readers who are out of sympathy with him, or who feel that his gifts were not really those of a novelist, have usually been happy to make a wholehearted exception in this one case.It is a book that goes straight to the point, at the outset and at almost every subsequent stage. Between them his two methods leave us in no doubt where the heart of his story is to be located.Gertrude Morel is a woman of high principle, of character and refinement. Her husband is a miner who can barely read and write. Marrying him for passion, she is bitterly disappointed by his rough manners, his drinking, what she can only see as his weakness and irresponsibility. When the book opens, the marriage has already turned into a battlefield, and the love she has withdrawn from Morel is being redirected toward the first of her children. In the previous chapters, Gertrude Morel is most devoted to her eldest son William. But after he dies of a skin disease, she plunges into grief. Seeing William is gone, she rededicates her life to Paul, and this revives her. She teaches her son art, education, and social advancement. She lives for her sons and will do anything to see them make their way in the world.Mrs. Morel is terribly tired of her involvement in Paul andMiriam's relationship and decides to stop intervening. She knows that Paul is an adult now and that there is nothing she can do to stop Paul from seeing Miriam. She feels that she can never forgive her son for sacrificing himself to love Miriam. As it mentions above, Paul has begun to realize how much his mother affects his life. Her deep love for him has made her a part of himself that when he wants to break free from his mother, he is unable to get away from her. His mother is ingrained into his very soul.That’s to say, his mother influences Paul very much, and which proves to be for worse to him. When Paul finds girlfriend, he always find the girl who takes after his mother, not only the out look but also in mental. But in fact he could not find such girl. So it lead to that he never willing to be bound to Miriam in marriage or to Clara in physical love. At last Paul has begun to realize how much his mother affects his life. Her deep love for him has made her a part of himself that when he wants to break free from his mother, he is unable to get away from her. His mother is ingrained into his very soul.To sum up, Paul’s mother has some bad influence on him and to a large extent changes his life.儿子与情人英文读后感(二)eading Report of Sons and Lovers During my extracurricular time, I started reading Sons and Lovers, which was written by David Herbert Lawrence. He was an English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence. He was born on September 11, 1885 to a miner and his wife in the small village of Eastwood near Nottingham, England. Arthur and Lydia Lawrence, his parents, had a troublesome marriage from the start: his father, a miner, wascontent to stay on the mining grounds while his mother yearned to leave. So his childhood was dominated by poverty and friction between his parents. He was educated at Nottingham High School, and won a scholarship. He worked as a clerk in a surgical appliance factory, and then for four years as a pupil-teacher. He was died in Vence, France on March 2, 1930. Lawrence is now valued by many as a visionary thinker and significant representative of modernism in English literature. There is a background before the author wrote this book. Lawrence lived at a time when the Industrial Revolution was taking on the whole world, especially in Great Britain, which changed from agricultural society towards industrial society. And it brought all changes in national and personal lives. Lawrence?s novel Sons and Lovers deals with Lawrence?s personal experiences in the working-class environment in Nottinghamshire.Sons and Lovers is the third published novel of D. H. Lawrence, taken by many to be his earliest masterpiece. It tells the story of Paul Morel, a young man and a budding artist. This autobiographical novel is a brilliant evocation of life in a working class mining community. This novel is about the life of Movels. Mr.Morel, Mrs.Moel, Paul, Miriam and Clara are the main characters in this novel. The author develops the story by portraying the relationships between these characters. But the end of the relationship is a tragedy. I divided this book into two parts. Now I will introduce the first part of this book.The refined daughter of a “good old burgher family,” Gertrude Coppard meets a rough-hewn miner at a Christmas dance and falls into a whirlwind romance. But soon after her marriage to Walter Morel, she realizes the difficulties of living off his meager salary in a rented house. The couple fight and driftapart and Walter retreats to the pub after work each day. Gradually, Mrs.Morel?saffections shift to her sons, beginning with the oldest, William. As a boy, William is so attached to his mother that he doesn?t enjoy the fair without her. As he grows older, he defends her against his father?s occasional violence. Eventually, he leaves home for a job in London, where he begins to rise up into the middle class. He is engaged, but he detests the girl?s superficiality. He dies, and Mrs. Morel is heartbroken, but when William catches pneumonia, she rediscovers her love for her second son. Both repulsed by and drawn to his mother, Paul is afraid to leave her but wants to go out on his own, and needs to experience love. Gradually, he falls into a relation ship with Miriam, a farm girl who attends his church. The two take long walks and have intellectual conversations about books, but resists in, in part because his mother looks down on her.I want to introduce the three characters of this book: Mr. Morel, Mrs Morel and Miriam Leviers. Mr. Morel is Paul's rough, sensual, hard-drinking father. In many ways, he is his wife's opposite. Mr. Morel is from a lower-class mining family. He speaks the local dialect in contrast to his wife's refined English. He loves to drink and dance practices that Mrs. Morel, a strict Congregationalist, considers sinful. Mrs Morel is one of the most formidable mothers in all of Western literature. To the narrator, and perhaps to Paul Morel, she is both a giving, selfless nurturer of her children and a possessive tyrant. Miriam Leviers, Paul's teenage friend and sweetheart, was modeled after Lawrence's own young love, Miriam is Paul's devoted helpmate in his artistic and spiritual quests. Although beautiful, she takes no pleasure in her physical attributes. Her whole life is geared towards heavenand a mystical sense of nature.This is the most autobiographical of all Lawrence?s works as the author himself had a similar relationship with his own mother. The use of this oedipal theme is one of a number of Freudian concepts he used throughout his books. Like many of his works, Sons and Lovers was criticized when first published for obscenity and one publisher called it ”the dirtiest book he had ever read”, but compared to his later works it is quite constrained.There are three females that Paul had loved. The first person is his mother. Paul is afraid to leave her but wants to go out on his own, and experience love. Then, it is Miriam, whom is a farm girl. They have intellectual conversations about books in the nature. At last, Paul meets Clara Dawes, who has separated from her husband, Paul get physical satisfaction from her.I want to show my opinions about the love between Paul and Miriam.Miriam Leviers, Paul's teenage friend and sweetheart, was modeled after Lawrence's own young love. She is romantic in her soul but timid and sensitive in appearance. Miriam is Paul's devoted helpmate in his artistic and spiritual quests. Although beautiful, she takes no pleasure in her physical attributes. Her whole life is geared towards heaven and a mystical sense of nature. Miriam is Paul?s first lover. Miriam loves Paul, but she can?t admit to and has no courage to love. When she loves Paul, she only wants to dominate his mind, then to catch Paul?s whole soul. But Paul knows that Miriam only loves his soul and wants to posses him. In this book, there is a dialogue between them which Paul rejected Miriam. Miriam said:” You had said that we belong to each other.” “I was young. I did belong to my mother and now she is died. I don?t want to live again with you, not even with you. I?m sure I?ll never find one as good as you, But perhaps Iunderstand at last what the mean to live,” said Paul. For Paul, mother?s love makes him unhappy, while Miriam seems like his mother as both want to control his soul. Of course, he will against that form of love as he thinks that?s not love and wants to escape from this spiritual love. I think the love was failed because of Miriam?s possession.Then, I?d like to compare Lawrence as a combination of both William and Paul. As William, he was a man who grew in such family and had a strong will to break the shackles of his class. William was gifted, he was successful in both his academy work and interpersonal relational, and he escaped from his lamentable family to London. The mentality of William just like Lawrence purred his feel to this character subconsciously: the disgust of his father, admiration of mother, struggle to free himself from the mournful family. All these characteristics are based on author himself experience. Of course, these stuffs also connected with the society at that time, which class you came from can be the first to affect who you were or how you were, in order to change your social status, the post important was to change the class you belonged to. All these ideology created both Lawrence and his William.At the moment, it?s clear that Paul?s Oedipus complex and reasons. Actually Paul has not become a normal adult by getting over some problems likeother children. That is not only determined by his mother?s abnormal maternity. The reasons are in many ways, some comes from the parents; some comes from his sisters and brothers, some even from the society, the mechanical civilization, which leads to the family tragedy and distortion of personality.儿子与情人英文读后感(三)wrence and his Sons and Lovers Sons and Lovers was regarded as his autobiography, actually, I strongly agree with this view. I’d like to compare the novel with Lawrence in the following three aspects: family background, the shackle of class and Oedipus complex. First is the background. As to wrence, he was born in a family which his father was a miner who hardly received any education, instead of his mother with well education and her personal ideal of the politics or philosophy. Compared with Sons and Lovers, the hero’s family is similar with Lawrence’s-----vulgar father, well-educated mother. The father who works as a miner, nothing like to do but drinking, his words usually can be rude no matter what to his wife or his children;the mother, a well educated lady, fell in love with Mr. Morels accidently, but the reality finally defeated her romance, the humble and mediocre life struck her dream of being honorable. All in all, these situations are reflection of La wrence’s life, not only the characteristics of parents but also the surroundings, like working in the mine, living a strapped life and so on. Secondly, to a certain degree, I’d like to compare Lawrence as a combination of both William and Paul (the eldest son and younger son in the novel). As William, he was a man who grew in such family and had a strong will to break the shackles of his class. William was gifted, he was successful in both his academy work and interpersonal relationship, and he escaped from his lamentable family to London. The mentality of William just like Lawrence’s that a canary in the cage who tried to get away to the broad sky. So in this aspect, I think Lawrence purred his feel to this character subconsciously: the disgust of his father, admiration of his mother, struggle to free himself from themournful family. All these characteristics are based on author himself experience. Of course, these stuffs also connected with the society at that time, which class you came from can be the first to affect who you were or how you were, in order to change your social status, the most important was to change the class you belonged to. All these ideology created both Lawrence and his William. Last but not the least I want to point out is Oedipus complex which showing explicitly in the novel, peculiarly on Paul, the younger son who faced the difficulty when his love countered to Miss Miriam, the deeply love towards his mother----Mrs. Morel, which was clanged his tightly. He can find his true love until one he emancipated himself from his mother’s love. Paul would be entangled with dilemma every time when he stayed with Miriam;he could not love her from heart as his will and another hand, he can’t abandon his love to his mother. As a generally thought, Mrs. Morel was regarded as Lawrence’s mother----Lydia, Miss Miriam was recognized as Lawrence’s first girlfriend----Jessie. In this point, Lawrence endowed his Oedipus complex on his Paul, in the novel, the agonized and miserable love was showed incisively and vividly. From all above, we can see distinctly, the novel----- Sons and Lovers is an autobiography of Lawrence himself, not only on the background of the society, family, but also the personality of the leading character. From the novel, we can have a glimpse of Lawrence’s private life;a talent suffered from his anguished and miserable love, and shackle of class.【儿子与情人英文读后感读书笔记】。

对劳伦斯《儿子与情人》中象征意象的解读作者：靳爱心来源：《语文建设·下半月》2013年第08期摘要：劳伦斯在他小说《儿子与情人》中利用了大量的象征手法。

借助于隐蔽的意象与象征性的语句成功地赋予了整部小说的象征意象。

其以笔下的花、月亮、以及动物意象同人物的思想互为默契给该小说增添了无穷韵味及生态内涵。

这里我们诠释该小说的内在主旨与人物思想的繁杂隐蔽性。

试从花与主人公的一些联系来对该小说作品做分析解读。

关键词：劳伦斯小说《儿子和情人》象征意象劳伦斯（wrence，1885-1930）是二十世纪英国著名的小说家与诗人，于二十世纪世界文坛颇具盛名。

他在小说中反映了对自然的挚爱与工业化的反感，并且致力于人类心理方面的探究。

他善于利用各种心理描述手段，特别是象征手法发掘人物之“黑色”、潜或无等意识心理，向读者展示外在行为之下所隐蔽着的理念、思绪、情感以及无意识精神行为等，促使人物丰富多彩，很难形容的内心世界获得呈现，让读者能够纵深到人物无意识的精神境界里，直接体察到人物极为隐蔽的思想，以及两者关系中较复杂并且发生了改变的心理状态。

在劳伦斯创作的大批作品中，象征主义描述有着很大程度的篇幅。

[1]一、劳伦斯《儿子与情人》中的象征意象在小说《儿子与情人》（Sons and Lovers）中，“花”的意象融贯始终，不尽相同种类的花暗示着不一样的人物性格特点，由主人公在花的方面表现出来的姿态来暗示人物的内心世界，揭示小说的深刻主题。

其小说在象征方面的运用，可以归纳出细节性场景和意象以及神话等三类象征。

这里我们主要通过对小说《儿子与情人》中的象征意象进行解读，来展示小说深层的主题。

象征意象的运用，深刻而形象地揭示了人物比较复杂的隐蔽内心，并且为读者带来无尽美好的享受。

劳伦斯非常善于使用具有象征意味的象征物，同自然景物叠合构成具有象征意味的意象，揭示人物复杂的心理状况，包含有意识与无意识的精神行为。

此类意象有花、月亮等。

文学评论·外国文学工业文明引发的失衡——浅析劳伦斯短篇小说《请买票》吴慧群 福州大学外国语学院摘 要：德•赫•劳伦斯是二十世纪英国最著名的作家之一，在全国规模的工业化进程中，他看到了工业文明对大自然和人性的破坏与戕害。

他的短篇小说《请买票》则清晰地体现了他的中心思想。

笔者从自然社会的失衡、人性的失衡和两性关系的失衡这三个角度来浅析劳伦斯在这篇小说中所要表达的工业文明引发的失衡。

关键词：劳伦斯；请买票；工业文明；失衡[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139(2017)-12-129-01戴维•赫伯特•劳伦斯是20世纪英国著名的小说家，其创作的主题是人与社会、人与自然、人与人、男人与女人之间的关系，但泼墨最多的还是两性之间的关系。

劳伦斯擅长于直言不讳地描绘人类性爱、笔锋尖锐地刻画人物心理．从而对禁锢爱、压抑爱、扭曲爱、异化爱的西方工业文明进行了有力的抨击和挞伐。

他对工业文明的批判，更多地表现了他对自然乡村的怀念。

他对人性黑暗的揭露是一种对美好人性、和谐社会的呼唤。

现代的工业社会使得一切都失衡发展，现实生活偏离了以往的和谐轨道。

基于此，笔者以短篇小说《请买票》为例，试图分析其作品中工业文明引发失衡的主题。

一、自然社会的失衡小说开篇就描述了这样一个景象：英国中部的一路单轨车，跃身冲进黑色的工业近郊，穿过一个个长且丑陋的工人村，它经过死气沉沉、肮脏阴冷的小集市区，一个冲刺到达终点——工业区最后一个丑陋的小地方，一个倚在黑暗的荒野边不断颤抖的寒冷小镇。

作者使用了丑陋、肮脏、荒凉、阴冷等一系列形容词来描述小说中主人公们的丑陋家园，不仅显示了作品的时代背景特色，即战后西方疮痍满目的凄凉景象，同时也反映了被资本主义工业破坏的自然环境。

小说中写道，“在这大风呼号、冰冷漆黑的夜里……谁愿意就因为车子出了点毛病而冒险跑到外面幽黑的荒野中去等待？”这既鲜明地展示了阴冷萧瑟的荒芜景象，又揭露出人与自然的分离。

Dubious progress in D. H. Lawrence's "Tickets, Please"Bernard-Jean Ramadier1"Tickets, Please" is one of the short stories in the collection England My England, published in 1922. It is a simple anecdote told in deceptively simple language; a young inspector of the tramway system seduces all the conductresses on the Midlands line. One of them, Annie, eventually falls for him on a special occasion, but she wants more than a flirtation. As she becomes more and more possessive, the young man lets her down and picks up another girl: Annie then decides to take revenge. As all the other conductresses more or less consciously bear a grudge against the seducer, they set a trap for him; one evening they manage to attract him into their waiting-room at the depot where they molest him. The girls' pretext for harassing him is to make him choose one of them for his wife: eventually he spitefully chooses Annie who, far from being proud and contented, falls prey to conflicting feelings. Freed at last, the inspector walks away alone in the night while the girls leave the depot one by one "with mute, stupefied faces" (346)1• 2 Women's struggle for their rights and a real social status was at times very violent; in August an(...)2Yet, for all its apparent simplicity, the plot is as baffling for the reader as their newly-acquired identity is for the girls. There is more than meets the eye in the story: it was written during the First World War and it uses the moral and social upheaval brought about by the conflict, insisting on the psychological consequences of the change in women's status resulting from employment and following their fight to be given social recognition and the vote.2 At the time, that new social role of women was regarded as a form of progress by the male-dominated society and by some women, as Lawrence makes critically clear. The girl conductors benefit from their new status in the microcosm of the tram system before becoming aware of their real second-rate status when it comes to direct human relationship. Living under the delusion of being real actors recognised as fully responsible human beings, they are brutally shown by the chief inspector's offhand attitude how wrong they have been. Theirsubsequent violent reaction reveals their deep frustration and the ambiguous relationships between the sexes, marred and warped by progress.3Like the girls, the miners are both beneficiaries and victims of progress; they form the social background of the story, at the same time realistic and symbolical as the introduction of the short story shows. The miners' economic function is laden with an implicit symbolical value; extracting coal to fuel the industry is like raping the earth by plundering its riches, which has far-reaching consequences for human beings. German mythology provides a similar image of agression when dwarves wrest gold from the earth, turning the latter into a wasteland where spirituality and transcendentalism are dead. In "Tickets, Please",the incidental effects of progress on humanity are shown through the Lawrentian central theme of the relationship between men and women. Here, the weaker sex and the stronger sex are respectively and ironically embodied by Annie Stone and John Thomas Raynor.4The girl conductors are "fearless young hussies" (335) who bravely face the dangers of the tram journeys and the male passengers' advances; as such, they belong to a different class of women whose job is exceptional: "This, the most dangerous tram-service in England, as the authorities themselves declare, with pride, is entirely conducted by girls". (335) Such a positive and indirectly self-congratulatory statement is immediately tempered with the grimly humorous description of the girls, tranformed into hybrids:In their ugly blue uniform, skirts up to their knees, shapeless old peaked caps on their heads, they have all the sang-froid of an oldnon-commissioned officer. (335)• 3 In the description of Tavershall, "all went by ugly, ugly, ugly".Lady Chatterley's Love(...)5One of Lawrence's key-words—ugly3—is used here to describe the devalued official uniform worn by the girls, just as the word is repeated to stigmatise the industrial landscape crossed by the tram in alliterative phrases ("long ugly villages," "last little ugly place of industry," 334). Resembling transvestites in their ugly uniforms, the conductors retain only a bawdy sort of feminity with their "skirts up to their knees." They are the drivers' fit counterparts; the latter are "men unfit for active service: cripples and hunchbacks" (334) who compensate for their physical deficiencies by taking foolish risks while others, effeminate, "creep forward in terror." (335) Excessive prudence or rashness betrays their deep imbalance, a defect reinforced by the chaotic rhythm of the syntax in the long opening paragraphs of the short story. They lack the"sang-froid" which characterizes the girls, as if they might just as well swap jobs with them. A parallel can be drawn between the drivers' loss of manhood and the conductresses' loss of womanhood. Lawrence makes it clear that the price to pay for social progress is the loss of gender differentiation: the girls assume a new authority, which turns them into sham soldiers ("non-commisioned officer," 335) with a masculine,sailor-like behaviour:this roving life aboard the car gives them a sailor's dash and recklessness. What matter how they behave when the ship is in port? Tomorrow they will be aboard again. (336)6Annie Stone is one of them and her name, which is evocative of a hard, mineral substance, is in keeping with her inflexible, adamant way of asserting her brand new soldier-like authority. Lawrence ironically insists on the girl's commitment to her job through tapinosis, referring to the Greek battle of the "hot gates": "The step of that tram-car is her Thermopylae." (335) In order to show the ambiguity of the relationship between men and women, the young inspector John Thomas Raynor is introduced as a central device to the meaningful melodrama that gradually develops. "A fine cock-of-the-walk he was": the young man's numerous conquests make him an object for scandal; always on the lookout for "pastures new," he considers himself as the proprietor of the girl conductors ("his old flock," 340). This vocabulary aims at revealing his simplistic approach to his relationship with his subordinates; he is reduced to a shallow figure of a man, meant to embody a male-dominated system that gives women the outward attributes of authority within the limits of the tram car and under man's supervision. Annie's personality is more complex; she has two faces, a superficial one on board the tram and a deep, instinctive one outside the system. Impervious to one another in the first half of the short story, the two identities then begin to overlap. As a conductor she takes her job seriously, which increases her natural shrewishness and consequently she first adopts the same attitude with John Thomas Raynor as with the other male passengers: "Annie [...] was something of a Tartar, and her sharp tongue had kept John Thomas at arm's length for many months" (336), before allowing a gradual complicity, both intimate and distant to develop between them:In this subtle antagonism they knew each other like old friends, they were as shrewd with one another almost as man and wife. (337)• 4 See the use of "impudent", 336 and 341, which echoes "hussies", p. 3357Each of them knows the rules of the game and plays them on board the tram within the frame of a relationship superficially liberalised by their respective functions and their young age4; however, Annie's feminine instincts and impulse are still there, to be given full play on a fit occasion.• 5 Italics mine.8There is a drastic change of attitude between Annie-the-conductor and the girl who has a night off and goes alone to the November fun fair. Despite the "sad decline in brilliance and luxury," (337) many people are there for entertainment, and the general illusory, transient atmosphere of the event is indicated by the expression "artificial wartime substitutes" (337), describing ersatz coconuts. In an environment whose hostility is suggested by the expressions "drizzling ugly night" (337) and "black, drizzling darkness" (338) introducing and closing the fun fair scene, the place, for all its shabbiness, is a fit place for a love encounter; furthermore, "To be at the Statutes without a fellow was no fun." Lawrence explicitly links the change of place with the change of rules which at the fun fair define the status of men and women; the latter resume their traditional passive attitude, whereas men assert their long-established economic superiority. Annie is no longer the woman in charge; she has left her uniform to don her best clothes, more appropriate in this place where it is advisable to observe a ritualistic form of behaviour to be in "the right style" (337), which is in fact an intimation of submissiveness. The new quality of the relationship between Annie and John Thomas is emphasized by the repetition of "round"; like the world, "The roundabouts were veering round"5, and the fair, despite its sham, allows a re-enactment of the real positions of men and women in society:John Thomas made her stay on for the next round. And therefore she could hardly for shame repulse him when he put his arm round her and drew her a little nearer to him, in a very warm and cuddly manner. (337)• 6 J. Chevalier et A. Gheerbrant, Dictionnaire des symboles,Paris: Laffont, 1995, p. 962.9John Thomas's permissive attitude, accepted by Annie as a matter of course, is an implicit denial of the reality of the social progress giving women authority and autonomy. The conformist rules at the Statutes Fair are those of the society of that time: men pay for women, thus resuming in civil activities the domination temporarily handed over to women in the tram service. In their Dictionnaire des symboles, Chevalier and Gheerbrandt see the conductor as a figure of the impersonal self, both a judge and a sanction whose function evokes strictness and clockworkprecision, while the ticket suggests a give and take deal.6 In that symbolical reading, the title "Tickets, Please" announces the girls' deep desire for real reciprocity in their relationship with men; in the reality of their daily routine aboard the tram, because they embody regulation, the conductors' "peremptory" request is their "ticket" to respect and consideration. As a conductor, you are handed the ticket whereas as a merry-go-round rider you have to hand over the ticket or token. On the Dragons, Annie is completely passive because she has no direct part in the exchange; her partner pays for the round and hands the ticket over, thus buying the girl's complaisance: "John Thomas paid each time, so she could but be complaisant."•7 L'Eau et les rêves,Paris: José Corti, 1974, p. 159.10In this budding affair, both of them find what they were looking for in an egocentric way; their flirtation does not imply love as hinted by the use of "liked"; it remains foreplay, as superficial as the setting, the contacts remain shallow and go no further than kisses on the lips, that "terrain de la sensualité permise" as Bachelard has it.7Their attraction for one another is genuine and uncomplicated at first: "Annie liked John Thomas a good deal. She felt so rich and warm in herself whenever he was near", "And John Thomas really liked Annie, more than usual. The soft, melting way in which she could flow into a fellow, as if she melted into his very bones, was something rare and good," (339) but that sensual convergence, which seems to announce a future harmonious development, is only momentary. John Thomas and Annie, although momentarily brought together, remain poles apart; their affair is doomed as their symbolical positions on the wooden horses makes clear. That merry-go-round (open and lit, contrary to the dragons and the cinema) is a mechanistic representation of the world and society; on it each one instinctively finds his or her place: "she sat sideways, towards him, on the inner horse", "He [...] sat astride on the outer horse" (338); they share the same circular movement ("round" comes again twice), but while Annie sits near the centre, John Thomas chooses a horse on the outer edge of the platform, to perform eccentric antics on it:Round they spun and heaved, in the light. And round he swung on his wooden steed, flinging one leg across her mount, and perilously tipping up and down, across the space, half lying back, laughing at her. (338)11Spatial position and behaviour are directly linked: Annie's quiet side-saddle riding contrasts sharply with the man's eccentricity. The girl is concerned about her appearance, ("she was afraid her hat was on one side") and John Thomas plays his part as a perfect suitor, winning hat-pins for her, thus re-enacting primitive man's gift-giving to hisfemale companion. This is only, however, superficial behaviour, for he intends to preserve his marginality. He does not want to enter the circle of a complete sentimental relationship, characterised by possession and mechanical circularity: "he had no idea of becoming an all-round individual to her". (339)•8 Cf. Lady Chatterley's Lover, op. cit., ch. XIV, p. 219.•9 Women in Love, op. cit., chapitre III, p. 46.12The lovers are not mere anecdotal characters: they are given significance by Lawrence's irony and use of onomastics. Like Annie, the inspector's function and name mark him out; he has authority over the girl conductors, he has "clean hand[s]" (337) unlike the miners, and he is neither a cripple nor a hunchback, unlike the drivers, which makes him desirable. As for his name —John Thomas Raynor—the reader's attention is attracted by the first part of it with reference to Lady Chatterley's Lover,8where the same "John Thomas" is used by Mellors to designate his penis. Fully exploited in the novel, the sexual connotation of the name is used here to suggest that the young inspector is only a regressed predecessor of the game-keeper and his natural, blooming phallus, which is confirmed by the author's spelling out that the young man is "always called John Thomas, except sometimes, in malice, Coddy" (336). The explicit nickname given to the ladykiller is a diminishing alteration of "codpiece" in order to minimize the phallic identity of the character. Yet, John Thomas wants to keep his status of object of desire and as Annie becomes more and more possessive, he shies away from further involvment in a love story; after the parallelism of the first feelings ("Annie liked John Thomas," "John Thomas really liked Annie") comes divergence: "She did not want a mere nocturnal presence," "John Thomas intended to remain a nocturnal presence" (339). The girl wants to go beyond superficial sexual gratification to reach a complete relationship reconciling the diurnal and nocturnal phases of human personality: "Annie wanted to consider him a person, a man; she wanted to take an intelligent interest in him, and to have an intelligent response." To use Lawrentian terminology, Annie is then developing her "knowing-self," i.e., her conscious ego, and by developing the latter, she causes her instinct for possession to grow: "The possessive female was aroused in Annie". That desire is similar to that of Hermione in Women in Love, as Birkin has it: "You want to clutch things and have them in your power"9and it is linked with the repetition of the name of the fair in which the norm refused by John Thomas is inscribed; "The Statutes" connotes law, regulation, code, and more precisely marriage, which remains unspoken up to the dialogue between the man, Annie, and Muriel Baggaley:“Come on, John Thomas! Come on! Choose!” said Annie.“What are you after? Open the door,” he said.“We shan't—not till you've chosen!” said Muriel.“Chosen what?” he said.“Chosen the one you're going to marry,” she replied. (342)•10 Highwayman and horsestealer, Dick Turpin was born in 1706 in Essex and was hanged in York in 1739.(...)•11 In 1913-1914, the « Cat and Mouse » Act was promulgated, enabling the release of hunger-strikers s(...)•12 Lawrence was himself aggressed by women: at sixteen, he was working at a Nottingham artificial lim(...)13In the central scene at the Statutes, Lawrence gives John Thomas enough rope to hang himself: on the horses, the inspector's mount bears the name of "Black Bess," the mare that carried Dick Turpin10 to York, where he was hanged, and in English as in French, hanging evokes marriage. On the other hand, by entering the girls' room, he unconsciously walks into the lion's mouth and becomes the conductresses' plaything ("he was their sport," 343) and their prey: in that scene, the parts of the cat and the mouse, as portrayed in a famous poster of the time11 are reversed: first "at bay", the man is compared to an animal: "He lay [...] as an animal lies when it is defeated" / "he started to struggle as an animal might." (343) Their will for revenge sets free deep forces in the girls: "Wildfire", evoking the final burst of violence, was the name of Annie's horse. The adjective "wild" is repeated five times in the short sentences used to describe the physical assault against John Thomas ("wild creatures," "in a wild frenzy of fury," "wild blows," "their hair wild," "the wild faces of the girls," 343) to stress the young women's metamorphosis and to throw a different light on the scene. In the physical assault against John Thomas, staged like a hunt, a dream scene can be read between the lines, the Freudian Other Scene, in which the girls' unconscious desire to own the man, to "hold" him12, emerges. Annie's desire has been frustrated ("she had been so very sure of holding him," 339) and changed into manifest aggressivity. What the text shows us really is an aggravated date rape: an over-confident victim willingly walking into a self-set trap, a gang of aggressors, mounting tension in the dialogues and the final breaking loose of instincts.14Blinded by conceit, John Thomas behaves boorishly, declaring: “There's no place like home, girls” (341); his personal system of references is superficial and simplistic; he is unable to understand the change in the girls' attitude, motivated by frustration and anger. Still clinging to his position as a male and an inspector, he does not perceive that despite their uniforms marking them out as guardians of order and discipline, theconductors are about to yield to instinct and give vent to their animus. The words he uses reveal his misunderstanding of the real situation, as he first tries to place his gaolers back into the context of service and reality ("“We've got to be up in good time in the morning,” he said, in the benevolent official manner," (341) before assuming his inspector's status ("“get back to your senses.” He spoke with official authority." 343). Both attempts are ineffectual because by appealing to the girls' reason, he uses a system of references ("intelligent response," 339) which he has himself refused to endorse ("He hated intelligent interest," 339). Similarly, the huntresses no longer recognize his social identity and authority, inseparable as they are from his uniform: he has taken off his coat, his cap has been slapped away and his jacket and shirt have been torn. Progressively down-graded from his rank, held to the floor, John Thomas falls silent and his half-nakedness, his forced immobility and muteness eventually change the scene into a metonymy of impotence.•13 Representing six antinomic and complementary emotions, anger, joy, desire, pain, hatred, love. The(...)•14 This is implied by the narrator's commentary: "In this subtle antagonism they knew each other(...)15Symbolically, there are five girls13besides Annie (six is a number also evoking union and revolt) who outnumber the man inspector and relish their revenge; but they dominate John Thomas by force of numbers and paradoxically it is Annie who breaks the unity of their group --thus allowing their victim to regain control, to have the last word-- by forcing him to answer the obsessive question. Having regained his status as subject, the man chooses Annie and so marks her out as his favourite enemy, as if the relationship of a man and woman in a couple could only end in struggle, as if the only fit rhyme for wife were strife.14 Thus the dialogue between Annie, John Thomas and Laura Sharp finds a justification:“tha's got to take one of us!”“Nay [...] ” he said [...] “I don't want to make enemies.”“You'd only make one,” said Annie.“The chosen one,” added Laura. (342)•15 A. Beal's judgement on Lawrence's stories perfectly suits "Tickets, Please": "As in(...)16The brutal ending of the short story is the result of the combined effects of the environment and dubious progress: the conductors reenact the mechanical violence that surrounds them; John Thomas crystallises men's social domination and by aggressing him, the young women compensate for the frustration they experience from the passive role society confinesthem to in spite of the apparent emancipation it bestows on them by giving them jobs. In its excess, their violent assault against John Thomas is similar to the tram drivers' erratic behaviour; in Lawrence's symbol system,15it has the same significance as Gudrun's reaction before Gerald Crich's mare, opposing a violent movement with a similarly violent movement.17The war emphasizes the dubious quality of the technical and social progress that the story exposes; the first world war sets the background of the three main scenes, denouncing and amplifying man's inability to find an agreement in a pacific way and to use technical progress for the benefit of mankind. The backlash or after shock of the event is to give rights to the weak which had hitherto been refused to them; for Lawrence, this social progress is dubious: instead of promoting order and harmony, it causes degeneration and regression by altering natural relationships between people. The girl conductors have been contaminated by the superficial order of social progress and the disorder it finally brings about; socially promoted by their job, Annie and her likes are only able to play their part fully while on the tram; in the general outside movement of society, men remain in control, as the scene at the Statutes shows. Because she is more proud, more possessive and also harsher than the other girls, Annie Stone inspires them to revolt against John Thomas, both the emblem and instrument of alienating progress.18By allowing the obscure, unbridled forces that characterize the outside ("Outside was the darkness and lawlessness of wartime," 340) into their well-protected, "cosy" world, the women, who have already lost their natural specificity through their uniforms and function, lose it now through violence. Changing genders is a regression underlined by Lawrence through the use of "strange" (343) and "strangely" (343) to describe the girl conductors and the glare in their eyes, and the use of "unnatural" and "supernatural" to qualify the strength they derive from their number.•16 B. Brugière, "Lecture critique d'un passage de Women in Love", Les Langues Modernes, N°2(...)•17 The desperate exclamation is repeated in Lady Chatterley's Lover, op. cit., chapitre XI, p. 162.•18 Women in Love,op. cit., chapitre XIV, p. 187.•19 Psychoanalysis and the Unconscious, Melbourne, London, Toronto: William Heinemann Ltd., 1961, p. 24(...)19In his great novels, Lawrence "vise à établir une éthique à rebours du conditionnement socio-historique"16 and in "Tickets, Please" he clings to the cultural primitivism that informs his works, showing through the story of Annie and John Thomas Raynor the authentic sadness he deeply feltas he witnessed the disfigurement of his country—England my England17—and the perverted relationships between people as a consequence of misused progress. The unbridgeable gap between the protagonists is eventually described through their walking out in the night, one at a time, imprisoned in his or her egoism and oblivious to the rest. Before this final definitive divorce, two images give a palpable reality to the opposition between men and women's aspirations, reducing them to physical phenomena of attraction and repulsion caused by an excessive temperature ("Annie let go of [John Thomas] as if he had been a hot coal," 344) or by incompatible polarities ("The girls moved away from contact with him as if he had been an electric wire." 345). Coal and electricity thus reappear in the text to remind us that for Lawrence, life is aself-regenerating movement, as natural as Gudrun's love-dance18, and opposed to the "self exhaustive motion" of a society spiritually bled dry by mechanical progress. "Tickets, Please" reads like an illustration of the criticism in Psychoanalysis and the Unconscious,in which the novelist sharply judges the outcome of progress: "the whole of modern life is a shrieking failure. It is our own fault."19.Notes1 D. H. Lawrence, The Complete Short Stories, The Phoenix Edition, London: Heinemann, 1968, 3 vols, vol 2, pp. 334-346.2Women's struggle for their rights and a real social status was at times very violent; in August and November 1913, as he visited Scotland, Asquith was twice molested by suffragettes; arson developed: letters were set alight in pillar-boxes and buildings were burnt. The same year, Mrs Pankhurst was tried after a bomb attack on the Surrey home of chancellor David Lloyd George.3In the description of Tavershall, "all went by ugly, ugly, ugly". Lady Chatterley's Lover, Harmondsworth: Penguin Books, 1961, chapter xi, p. 158.4See the use of "impudent", 336 and 341, which echoes "hussies", p. 3355Italics mine.6J. Chevalier et A. Gheerbrant, Dictionnaire des symboles, Paris: Laffont, 1995, p. 962.7L'Eau et les rêves,Paris: José Corti, 1974, p. 159.8Cf. Lady Chatterley's Lover, op. cit., ch. XIV, p. 219.9Women in Love, op. cit., chapitre III, p. 46.10Highwayman and horsestealer, Dick Turpin was born in 1706 in Essex and was hanged in York in 1739. Cf. Chronicle of Britain, editor: Henrietta Heald, Farnborough, Hampshire: Chronicle Communications Ltd., 1992, p. 685.11In 1913-1914, the « Cat and Mouse » Act was promulgated, enabling the release of hunger-strikers so that they did not die in prison but leaving them liable to be rearrested later for the same offenses. A poster was issued, denouncing the cruelty of the Liberal government; it showed a huge Tom-cat holding in its fangs a tiny woman girt with a WSPU banner.12Lawrence was himself aggressed by women: at sixteen, he was working at a Nottingham artificial limb factory when his women fellow workers, excited by his feminine looks, physically assaulted him to check his sex. Cf. F. J. Temple, David Herbert Lawrence, Paris: Seghers, 1960, p. 37.13Representing six antinomic and complementary emotions, anger, joy, desire, pain, hatred, love. The girls' names, like Annie's (Muriel Baggaley, Nora Purdy, Laura Sharp, Polly Birkin and Emma Houselay) are not chosen at random by Lawrence. Another girl is mentioned, Cissy Meakin, but she has left the service.14This is implied by the narrator's commentary: "In this subtle antagonism they knew each other like old friends, they were as shrewd with one another almost as man and wife. p. 337.15 A. Beal's judgement on Lawrence's stories perfectly suits "Tickets, Please": "As in the novels, unconscious forces often motivate the characters." A. Beal, D. H. Lawrence, Edingurh and London: Oliver and Boyd, 1968, p. 100.16 B. Brugière, "Lecture critique d'un passage de Women in Love", Les Langues Modernes, N°2, mars-avril 1968, p. 63.17The desperate exclamation is repeated in Lady Chatterley's Lover, op. cit., chapitre XI, p. 162.18Women in Love,op. cit., chapitre XIV, p. 187.。

世界十大禁书书籍封面分别是1、儿子与情人2、洛丽塔3.情欲之网4.查太莱夫人的情人［英］戴.赫.劳伦斯5.金瓶梅传奇郭戈6.恋爱中的女人7.娜娜－左拉8.女人十日谈9.生命中不能承受之轻10.失乐园日渡边淳一世界十大禁书是世界上争议最大、遭禁最久的十部作品。

其作者有因写性爱小说扬名与世，有此成为世界三大禁书作家的性爱文学鼻祖劳伦斯；有在美国文坛因描写性欲大胆直露前无古人、后无来者，作品遭禁最多最久的亨利·米勒；也有俄国颓废派掌门纳博科夫，曾被公认为二战后最有贡献的小说家、但又因《洛丽塔》轰动文坛被批评为黄色小说作家；更有因玩弄女性、写淫秽小说而先后八次身陷囹圄，坐了30年监狱，三次被判死刑而未被执行的法国艳情文学开山鼻祖萨德；也有因写妓女生涯、性爱文学而闻名于世的日本作家渡边淳一、西班牙作家略萨等。

这十部禁书写得真实而肮脏，有对性爱直露狂放不堪入目的描写，也有充分暴露隐私的性忏悔，有被誉为最令人销魂的床上故事，也有描写妓女，提倡性解放的前卫文学。

1、《儿子与情人》这是性爱小说之父劳伦斯的第一部长篇小说。

1961年美国俄克拉荷马发起了禁书运动，在租用的一辆被称之为“淫秽书籍曝光车”所展示的不宜阅读的书籍中，《儿子与情人》被列在首当其冲的位置儿子与情人。

2、《洛丽塔》《洛丽塔》[美]弗拉基米尔·纳博科夫禁毁原因：恋童癖洛丽塔纳博科夫的扛鼎之作，为他赢得了世界声誉。

此书在美国尽人皆知，是把它当做一本“黄书”来读的。

从1955到1982年间，此书先后在法国、英国、阿根廷、南非等国家遭禁。

3.情欲之网[美]享利·米勒禁毁原因：原始的性爱方式享利·米勒的力作，被认为是卢梭以来最优秀的忏悔作品之一。

米勒试图以原始的性爱方式，寻回人在现代文明社会中失去的自由。

这部作品一出版即在美国等许多国家遭到封杀情欲之网。

4.查太莱夫人的情人［英］戴.赫.劳伦斯欧美文坛上最令人震惊、最引起争执的书，大概莫过于劳伦斯(D．H．Lawrence)的这本《查太莱夫人的情人》了。

浅析劳伦斯小说作品中的象征手法摘要：劳伦斯是运用象征手法的大师，本文拟从浅析劳伦斯作品中的象征手法及特色，阐述其是如何利用象征手法深入细致的表达他内心的感受和思想观点，成功的烘托作品主题，揭示工业文明破坏自然和谐，扭曲人性的社会问题，呼唤自然的回归和两性的和谐。

关键词：劳伦斯；象征；主题；创新；Shallow Analyses the symbolism Lawrence novels Abtract: Lawrence is using symbolism masters, this thesis analyses the symbolism and Lawrence works, this paper elaborates its characteristic is how to use symbolism detail to express his inner feelings and ideas, successful foil theme, revealing industrial civilization, distorted humanity to destroy the natural harmony of social issues, calling the regression and the natural harmonious sexes.Keywords: Lawrence; Symbol; Theme: Innovation;前言D·H劳伦斯（1883-1930）是20世纪英国文学史上最独特、最有争议的作家之一，他敢于打破传统的方式，以独特的视角，超人的想象力，揭示人性中的本能力量，期望通过对理想健康的两性关系的回归，召唤人们从资产阶级文明的灰烬中重建现代社会。

作为一名英国现代主义的文学巨匠，“劳伦斯跟亨利詹姆斯，康拉德，EM.福斯特等人一起丰富和发展了小说中象征这一艺术表现手法。

劳伦斯在《查泰莱夫人的情人》中的生态观作者：刘康桥来源：《海外文摘·学术版》 2020年第3期刘康桥（北京林业大学，北京 100083）摘要：劳伦斯（D.H. Lawrence）是20世纪英国文学界颇有争议的作家。

他的主要作品《查泰莱夫人的情人》将两性关系作为主题之一，很长时间内未被社会接受。

但不可否认这是一部对文学发展有着重要影响的优秀作品。

劳伦斯通过建立一个在生态环境和男女关系上平衡的理想的社会，对自然生态和精神生态表现出极大关注。

本文将从生态批评的角度探讨劳伦斯在这部小说中的生态观。

关键词：《查泰莱夫人的情人》；劳伦斯；生态批评；生态观中图分类号：I561.074 文献标识码：A 文章编号：1003-2177（2020）03-0041-02戴维·赫伯特·劳伦斯（wrence，1885—1930）是20世纪最重要和最具争议的英国作家之一。

他的名气和负面评价在他最后一部小说《查泰莱夫人的情人》出版后达到顶峰。

在文学生涯的后期，劳伦斯在作品中谴责了工业世界对自然关系的破坏，呼吁回归自然。

劳伦斯不仅是讲故事的人，还利用作品的人物来揭示机械化工业文明的问题并试图寻找解决方案，《查泰莱夫人的情人》就是最好的证明。

劳伦斯在文学事业的尽头，凭借批判性的思维和优秀的写作技巧，将他的信念和激情投入到这部作品中。

作品主要是关于康妮（Connie）和梅勒斯（Mellors）之间的恋爱关系。

康妮渴望爱情和激情，但丈夫克利夫（Clifford）在一战中受伤瘫痪，变得古怪而冷漠。

康妮在陷入绝望后遇到了守林人梅勒斯，她对爱情和生活的热情重新燃烧，他们在林中小屋享受着爱情，这让康妮感到重生。

1 研究的理论基础国内针对劳伦斯作品的研究始于1920年，中国著名作家郁达夫和林语堂翻译并介绍了劳伦斯的作品。

自1990年代，劳伦斯的小说、诗歌、散文和传记在中国陆续出版，引发了国内对劳伦斯的研究热潮。

国内对《查泰莱夫人的情人》的研究目前主要分为四类：女性形象、性别刻画、作品主题以及作家艺术技巧。