I have to tell. Plus, the title of Lawrence is 1923 Poetry Collection, and maybe it's to children flowers, not because we.
You'd like everyone in the world to be destroyed, so I should indeed and the world empty of people.
Yes. Treating you yourself, do you find it's a beautiful clean thought?
The world's empty of people, just uninterrupted, uninterrupted grass and hair sitting up, but projected you'd be dead yourself.
So what would you do? I would die like a shocked to know that the earth would really be cleaned.
Of all the people, it is the most beautiful and freeing thought.
Then it would never be another humanity created for a universal default.
No suggestion that there would be nothing worse, nothing just because humanity is wiped out.
You flatter yourself that the everything but how.
If there were no people, do you think that creation depends on man in many dozens of trees on the grass and goats?
I much prefer to think of the mark rising up in the morning of the Human with World Business Day.
He must go, that is the grass, and has spent hours of the unseen hosts, actual angels that go about freely when the dirty humanity doesn't interact.
So very nice. If only that was swept off the face of the earth.
Creation would go on so marvellously with a new start. Non-human man is one of the mistakes of creation like that is Sauri.
That man will never be gone, she said. Be seduced by diabolical knowledge of the horrors of the systems.
The world will go with him. Oh no, we have not. So I believe in the power of angels and demons that are our forerunners.
They will destroy us because we don't know about the issue of Sauri.
We're not proud. They've crawled out from the earth as we do.
And besides, look at the earth simply BlueBell's they are a sign that's pure creation takes place, even the butterfly.
But humanity never gets beyond the caterpillar stage. It rots in the chrysalis.
It will never have wings. It is a. creation like monkeys and baboons.
I mentioned intellectual in relation to a retreat that Lawrence in some respects resembles left tell story.
The views expressed here by Birken and particularly the comments about the issue of Sauri mandatory insurance QUICA.
In the late 1980s, Tolstoyan was turning sixty so many times against sex altogether.
He thought it best if people did not marry and if they did, to have sexual relations only at distant intervals.
These views are voiced by Share the central character about a sonata for crisis.
Not to critics of this, without much doubt to the commission's recommendations would be followed.
Humanity would die out since debts would exceed births, tostadas, spouses.
What will die out is man the animal. What a terrible misfortune that would be, just as the animals of prehistoric times died out.
So probably will the human animal let it die out.
I am no more sorry for this two legged animal that I am for the exclusive source, etc.
What I care about is that true life should not die out the love of creatures that are able to love.
It's remarkable how interaction this passage sounds, and it is in fact far more characteristic of Lawrence than it is of Tolstoy.
These two passages that I just read approve of humanity's existence only in proportion to its worth.
Both men clearly were shocked and conscious of Darwin's theories.
And rather than conflating them with romantic nationalism and producing such theories as
stated as fascism and Nazism three times Darwin's characterisation in terms of species,
let's be Tolstoy's comment. There is a contradiction.
By following closely shifts proscriptions, humanity will die out precisely by virtue of becoming more true in its way of living and loving.
Verkin, on the other hand, implies that the survival of the fittest works out not, as Darwin argued,
in terms of environmental factors and sexual selection, but in terms of spiritual selection, the spiritual.
Will die out.
Lawrence did not respond to the age of nuclear weaponry and did not conceive of a sudden active suicide of humanity, but a slow, passive one.
There is something of human rights campaigner in Birkins picture of the post human world with a hasset.
You know, not that Lawrence was a campaign for the rights of animals or any other being,
but it was because he had such high standards of humanity that he had such contempt for it during the First World War on the whole,
has been doing a far better job of being has than people of being caught out of
the more shame because people have failed to be those cells has been inhuman.
They might be succeeded by first human or non-human world.
But this linguistic dichotomy is complicated by the fact that Lawrence did not think that being human
was sufficient for mankind to be fully human was also to be open to and to incorporate the non-human.
It is not clear to me if he thought that this was true of other species, whether to be o'haire, to be fully alive.
One must also embrace, not have reality. But he certainly demands to pass.
The word inhuman in his usage is therefore one of those words which can go either way.
Mechanisation, these inhuman goodrum perceives that the matter falls over latenight, strong, dangerous world, unquote.
Mindless, inhuman, but also sounds like strange machines, heavy oil.
When Jerrold's takes over as manager of his father's mines, he has a will to, quote, accomplish the purpose irresistibly, inhumanly.
It was this inhuman principle and the mechanism he wants to construct that inspired Jerrems with an almost religious exhortation.
The world of ice and snow in which he dies is inhuman suicides himself and broken by fleeing from it.
But as I say, inhuman also. It denotes that which humanity must embrace in order to survive and to develop.
Bertke conceives of the plane on which he wants himself and Ursula to meet.
There could be no obligation because that is not a standard for action,
that because the understanding has been ripped from that plane, it is quite inhuman.
So there can be no calling to book in any form whatsoever because one is outside of all that
is accepted and nothing known applies correspondingly when they have that ecstatic experience.
In the chapter called Excuse US, who feels that this was released at last?
This is not a lot more passion. It was the daughters of men coming back to the Sons of God,
the strange danger of sons of God who are in the beginning of humanity that is bordered by two kinds of inhumanity,
one of which you should be able to, which represents its consummation, but just spoken.
And Australia do not spend all that time in ecstasy, nor should this kind of inhumanity overwhelm an individual's being.
Two weeks ago, I mentioned that Lawrence saw the two two Italian split as one of the fundamental
values of European history and as the Italians as overwhelmingly human.
Million people all react with their personalities. The Germans, on the other hand, worshipped faceless trees.
The German is a tree, so as his gods are not human, neither extreme represents full human potentiality.
As I suggested last week, one should combine the Italian and the German,
the human and the inhuman as it follows that contact with animals is good for humans.
Tom Franklin realises that he must marry later. Well, starting with the use loving time.
A few years later, he only manages to calm down the five year old Anna,
who was screaming for her mother to take her, to go take her to see the house being given their supper.
Melissa, the tranquilly first meeting to Pheasant Creek and have sex after she has handled one of the chicks.
But I was all just soporific Caracas's. Yet they can valuably humble man by setting themselves against what would nowadays be called speciesism,
the human failure to recognise the intrinsic value of Hubbert's.
We see this in Lawrences most anthologised poem, The Snake, the first person speakerphones finds a poisonous snake drinking from his water trough in.
Tell me narcissistically, was it humility to feel so honest?
I felt so honoured that the power kibbitz,
even though the voice of my education said to me he must be killed when the snake then goes back into a crack in the wall.
When he came, the speaker finally throws a lot at him as me deeply regrets it.
I despise myself and the verses, the voices of my costume and education.
And I thought of the albatross I had to risk my chance with one of the lords of life.
There is a less famous but funny a poem in which the Speaker is also humbled by an animal, in this case a fact.
He comes into his Florentin room morning and thinks about flying around in circles.
He opens the window and flicks his way to achieve that.
But he will not leave the room because it is powered by the sun lights outside.
After a long battle, he finally does manage to get the bass to the outside.
But that evening he ruminates. I believe he chucks Pipistrelle, see me here on this terrace rising and then it's nice that he sets the loud, long one.
The time breaks the ice skating on both occasions.
The Speaker is to the specs and Axel Aristocrat's the long sounds like the spirit
of the aristocracy of living things is suggested in of Thomas Hardy of 1914.
The title might lead one to expect a study of Thomas Hardy, but on the first page tumbles headlong into Florence's ontology.
To wit, the prime function of a living thing is to be itself and to reach into the unknown.
Beings may be rax according to how close they are to the growing tick amongst
that kind Lawrences human and animal characters often close to the ground.
And in this respect they are equals. In 1921, Lawrence published an extraordinary collection of poems called Tortoise's.
All six poems are about choices and the last two or about their sex love.
The poem talks shout muses on sounds,
the man to watch his face at broadcast and reflects to him to become whole again after long speaking through what is lost.
The same cry for the tortoise as from Christ, the Cyrus cry of the notes,
that which is called torn asunder, that which is in part finding its hole again throughout the universe.
Christ and the Cyrus. Of course, those two came together in that lake story cock, as we saw in third place in the Cyrus and the tortoise,
are all the in being ruptured and seeking wholeness as we might expect.
The novel, which has as much contempt for the majority of the humankind as women in law,
it shows a great interest in animals that generates two chapter titles, rabbits and frequently suddenly filled the narrative consciousness.
Minor goodness cats, both in Australia and the novel are distracted from that conversation.
When the minority goes out into the garden, the young cats trotted laundry down the path, waving his tail.
He was an ordinary tabby with white paws, a slender young gentleman approaching fluffy, brownish grey connexions, speeding up the side of the fence.
The lino walked straight up to her with manly nonchalance.
She crouched beforehand and pressed herself on the ground. In a few minutes he got instinctively on his slim legs, walked up to her.
Then suddenly, so pure excess might come with his fall on the side of her face.
He does this sometimes, I suppose watching this subject's book defends him.
Well, I don't mind. I must assert himself as the face of this lovely female.
The passage uses the language of aristocracy persistently,
as though emphasising that the terms of being wrested away from their usual positions and in doubt become more deserving.
Tomcats a couple of chapters earlier.
We have another example of the male exerting his will over a female to us.
This disapproval. This man is Homosapien Jolivet and.
Female based in that the sisters of white teens, and that, of course,
in general starts up and forces this term like to remain by the level crossing whilst a long freight train passes by.
He sat listening and obstinate, forcing the wheeling there, which spun and swerved like the wind, yet could not get out of the grasp of his will.
Both men and of course, were sweating with violence. I, on the other hand, reverses these gender roles.
When she sees the minor quote, she lifted the caps head with her long, slow white fingers, not letting him drink, holding him in her power.
It was always the same, this joy in how she manifested particularly power for any male being.
She had to think of all the softly planted paw of the cat, and her voice had the same whimsical, humorous note.
But Jones is also being a bully, although he was successful in dominating manner,
whereas the minor blinked forbearing with a male board expression licking his whiskers.
What is noteworthy in both cases is that the humans and animals are pitted against each other in the contest of souls,
and that is continuity between them.
And yes, at times the novel's not questions of human understanding of animals, although the question is raised by and in relation to the characters.
Since the novel is written by a human, it necessarily reflects on the novel itself.
Halfway through the novel version of the show struggle to control the frenzied and very strong rabbit out of it.
Put it down in a garden. It flies round and round several times, then suddenly stops and starts moving some grass, Gourgeon observes.
Her arm is bleeding. It's not its most in that general response.
The question is what is madness? I don't suppose it's rabbit that doesn't.
It is just know that's what it is to be a rabbit.
Joe, sure. Yes, Bismarck is repeatedly described as I wonder if the staff and the announcer hesitates to make any judgement as to the sanity
or otherwise of this rabid distrust of anthropomorphism is finally made explicit and incidents between the two sisters.
One day as they're walking along the line, they see a a singing, shrill and self-important plea.
Gudrun grins and comments. Isn't he a little boy, George at the summer breeze right then.
Today is a sort of persistent, obtrusive,
but has stopped short politicians lifting up their voices from the platform level that he must make themselves heard at any cost.
But even from this kind of revulsion, some yellow submarine suddenly shock along the road in front of her.
And they look so uncanny and inhuman, like flaring yellow darts, shooting through some weird sniffing around that she said to herself,
After all these impudence to call the little boy Jorges, they are really unknown to us.
They are unknown forces. It is important to look at them as though they were the same as human beings.
They are from another world. How stupid anthropomorphism is Gujral is really important is to those making her the measure of everything,
making everything come down to human standards. Rupert is quite right.
Human beings are born painting the universe with their own image.
The universe is not human, thank God.
Yet many of the novel's representations that most notably the aristocratic Mindo have done precisely this painting with the image of human beings.
In this respect, the novel has different modes.
I am intrigued in the first week's lecture on consciousness that the novel's characterisation has two aspects how realistic and non realistic mode,
in the latter of which speech and action partake of the same nature.
Ursula's objections to anthropomorphism, like her objections to Birkins preaching, belong to the realistic aspects of the novel.
But we do not know really slowly, each can describe the miner as a young lord without hypocrisy.
My hope is not a real part, but the novel's construction.
The time Lord is being used as a metaphor, and that's caused by what Art asserts the liberty to employ.
Nonetheless, the novel points towards real tomcats and purports to describe what such attacks are like.
Contrast this with the artistry displayed by Lovecraft in his bronze statue.
Of course, the girl sitting on it is naked, squirming, trying to hide her nakedness.
But there was no point in the whole stood stock still stretched and kind of stopped.
It was a massive, magnificent stallion, reduced with pent up power.
Its neck was arched and terrible like a cycle. Its lights were pressed back, rigid with power.
Gujrat pays homage to it, but Ursula challenges. Why did you make the hall so stick it as stiff as a block sit.
He repeated it all at once. Yes.
Look how stuck and stupid and brutalises horses are sensitive and sensitive.
Really. This is he, he said, with an insulting patience and condescension in his voice.
That force is a certain form, half of a whole form.
It is part of the work of art, a piece of art form. It is not a picture of a friendly horse to which you give a sugar.
Do you see that is angry, but it is a picture of a horse.
Nevertheless, as you know, it is not a picture of a cow.
Certainly encouraging for a flash of brilliance.
Anxious to avoid any more of this, any more of us see this foolish persistence in giving herself away.
What do you mean by this is the picture, of course, she cries. That's her sister.
What do you mean by a horse? You mean an idea you have in your head and which you want to see represented.
There is another idea altogether points another idea.
Call into force, if you like, will say it is not a horse. I'm just as much right to say that your horse isn't a horse.
That is the falsity of your own makeup. Ursula Waygood baffled that the words came.
But why does he have this idea? Of course, she said, I notice this idea.
I know this is a picture of himself. We look at Smelted with a picture of myself.
He repeated interation. This is the big problem. That is a concept, a work of art.
It is a work of art. This is a picture of nothing, absolutely nothing.
It has nothing to do with anything but itself. It has no relation with the everyday world.
There is no connexion between them. Absolutely not. That's translates one to the other is worse than foolish.
It is a darkening of all, a making of confusion everywhere.
Did you see? You must not confuse the relative lack of action with the absolute world of art that you must not do.
Goochland supports this demonic restatement of Oscar Wilde with reference to her own
tiny sculptures of birds and animals bursting into silence after this outburst.
She was furious. It isn't a word of it. True. All of this harangue you have made to me, she replied flatly.
The horse is a picture of your own. Stop stupid brutality on the girl was a girl you loved and tortured and then ignored.
Gudrun is furious that her sister rushes in where angels would fear to tread.
But the rhetoric of the scene favours Ursula, who likes the category of the aesthetic over the aesthetes themselves.
The novel across most of the animals, which it sculpts a certain subjectivity even whilst describing them in human terms.
It is consistent with this attitude that, conversely, animals can be used as symbols for human characteristics.
Lawrence's short works in particular, use them in this way in the natural Christianity.
I mentioned the man who dies. I summarise the plot that Christ comes back to life after his crucifixion, has an affair with the princess of ISIS,
and then on his own in the world, I discuss the source of the story's alternative title, The Escaped Cock.
The story opens with a peasant couple who live near Jerusalem.
They owned the car, which is proud and strong, so much so that they fear it will fly away from them.
So they try to find a piece of string. The cop is distraught.
He could only have the hands he wants when they choose to walk within his own words.
But one day he breaks the string and escapes. At the very same moment.
The man who dies wakes up in his tomb, which is nearby.
Once he's got the stone away way that to a peasant family,
he helps the peasants to catch the cold and the shouts of in that house until he is clearly better recovered from his wounds.
And then he pays to take the cop with him. So they venture into the world together.
Soon afterwards, the man who dies leaves the cockpit in he's state where it has moved over a goodly number of hands.
And then she goes on to find the equipment for himself. When was negotiated.
This story's publication, the publisher, Charles Law, asks for the title to be changed from the escaped car to the man who died.
And Lawrence eventually agrees, insisting, though, that the original title should be retained as the subtitle.
This project to the day should fail to appear on the next month. Lawrence died.
The first English edition was published by Seka in nineteen thirty one as the man who died a title the only time it was never approved by Lawrence.
What is interesting is that Lawrence insisted that the animal was quite complex and familiar should carry the title rather than he himself.
The title of the man who died. The man, not the God, is already iconoclastic in precisely the way that the recent Christ himself is.
But the escaped cop pushes the point a step further.
So far from being God, this man now once more to resemble a cop as he leads the priestess behind,
we can almost see him shake his proud cross, come and hear him cry over his conquest.
Animal analogies also played a part in some of Lawrence's earlier fictions.
The news that the Lady Bird was finished in nineteen twenty one.
A young married couple. So young married woman Daphne Kushi not.
A couple visits, a Hungarian pounds who is lying wounded in an army hospital in England.
Eventually, he awakens to what this is about, a cold night living, which is a dog that's pure sexuality,
which contrasts sharply with that which she has with a loving blonde husband.
This has got a nice face. Like his Greek namesake repeatedly likens to animals,
she finds it so full of life in his own little animal way that I'm ready to accept
his fine black hat cuts over his small is his family crest as the lady bird,
which is associated with paternity through its connexion to our lady,
but which he also considers to be a descendant of the Egyptian people once he and Daphne have started an affair.
He tells you on the night what you want to know.
Why don't you do it? The connexion of an animal with an object of Egyptian warship and the Hungarian approach comes first.
The story itself in a long tradition of characterising animals in terms of spiritual principles.
This story was published in the same collection as another book called The Fox in 1923.
In this story, two young women can't form together, but they get along with each other.
But they find the charming difficult and their chickens are coached by baseball.
A contact context.
This is the First World War when a lot of young women from cells without men to begin with and set up together so they can to women who set up a farm.
But they are not very good athletes and they find that chickens are being crushed by force.
One day the woman, the one who is called Marsh, sees the false face to face that always meat.
Right. And he knew she was spellbound.
She knew because of that.
As she goes, she saw his craft while she held smooth like a feather.
She saw his white buttocks twinkle. Given that this is a long story, you know better than to ignore any reference to twinkling buttocks.
It is a sign of good things to come.
Sure enough, some days later, a young soldier returning from the First World War turns up at that farmhouse and ends up lodging with the two women.
When March 1st sees them, she freezes to March.
He was pithos, whether it was the thrusting forward of his head or the Glikson of fine line whiteish
hairs on the cheekbones or the bright keen eyes that can that can never be said.
But the boy must have a fox and she could not see him otherwise.
Harry proposes to march, and she accepted the fact that the other woman is wholly opposed to the march
in one of the least realistic plot twists in the whole of science fiction.
He kills Banford whilst cutting down a tree, the treaty on top of her,
which leaves Marsh free to marry her fox, which she does Marsh's spiritual life.
This is implied, saved by leaving her purely human, purely female household and relaxing an adult at this stage.
I just want to step back a few moments to Lawrence's life and see how these attitudes to nature was shaped by its.
He grew up in a coal mining town just outside Nottingham.
It was small enough that the open country was a short walk for any of the houses he lived in,
but large enough that Lawrence felt that this countryside was threatened.
He is, in fact, one of the most ecologically minded writers of the early 20th century, and it's just one source of much current interest in his work.
Those who knew him noticed his love of nature. A university, botany was the only subject he enjoys studying.
One of the things which the 2008 French Lady Chatterley on the boil does right is to concentrate its lens on trees, leaves, sunlight and flowers.
Jesse Chambers recalls in her memoir that the flowers in their seasons were exciting events.
We used to gather armfuls that lay heavy like sheets of corn that seems no flower nor even
weeds whose names and qualities Lawrence did not know when he was growing the teaching post.
Quote, He told me that he was responsible for art and nature study.
Occasionally, he asked me to sentence specimens for his nature.
Lessons, once he asked for tweaks,
looks hollow without giving me the most precise directions as to where the word I used to get them from when spring came,
he wrote with delight about the glowing almonds and sent me a box of the blossom
because we we've not seen the miracle of flowering romance in our countryside.
House Dialyse is appendage of the flowers, which definitely brings him in hospital.
He likes to see them grow and he does not like to see them cos he tells her, please do not bring flowers into this great even indulgence.
I do not like them when they are the upholstery to human life.
Use as a symbol, however, does not count. Has upholstery point reverse because rather than adorning something, it points to its essence.
Daphne herself is repeatedly goes to a hothouse flower.
Her hair, the complexion was so perfectly fair for us to be almost artificial, like hothouse flower.
Whenever you encounter a New Orleans character always looking out for whether they are like to flora and fauna, both can be positive.
Although Hothouse is a warning sign of someone in an artificial silence in need of rescue intellectual humour.
We saw that the scene from the nineteen sixty nine when love film in which Birken expands the
meaning of space in a script which quotes directly from Lawrence's poem Space Crucially,
Not On Your Face explains in terms of female genitals. But women are described in terms of this in the very entrenchments,
blue flowers on strike in terms of the settlement, which itself explains class in terms of people which rejection.
Give me the torch.
Let me guide myself with the blue forked torch of this flower down the door from Dahlquist says wear blue is dark and long blueness,
even where the Stephanie goes just now from the frost frosted September to the cyclist where darkness is awake at once.
And for Stephanie herself, this buxom voice.
But since flowers like animals could have their own integrity of being, they can also like the snake Lawrences water drop puts humans to shame.
Lawrence explicitly pens the shame of socialist's in the poem Hibiscus and celery of flowers.
Lawrence objects less to what the socialists are and themselves, which he calls this,
than to the fact that they were cylvia and sophisticates grouse who want their breasts put salvia as the basis a rosy,
rosy, scarlet and flying great golden throated. Who said they might assume these blossoms?
What God did they consult? Come now.
Speaking of rights, what right have you to this flower?
The exquisite and ageless aristocracy wants to see the carriage as the biggest hibiscus tree as equals.
What was to say? The Loucks, along with Corzo in yellow sticks and sun suits and yellow shoes,
are mine because I am their superior selecting the biggest flower and not that.
And still I cannot bear it that they take the business on the salary of the Communists
then or more to resemble the flowers which they bear gets in the social respect.
We all resemble families and could do better to acknowledge this.
Laurice makes this explicit in the introduction to the collection in which he compares Pansy's the first thing in nature.
A flower still has its roots in a new ad in the perfume that holds still Frank the faint,
strange scent of the undergrowth in all its humidity and darkness.
So it is. We all have our roots in the earth and it is our roots that now needs a little attention.
Najd the hard soil is away from them and softens that.
A little fresh air can come to them and they can breathe for by pretending to have no roots.
We have children the so called over them that they are starving and slightly below the soil.
We have roots and our roots are in the sense of instinctive and intuitive quality.
And it is here that we need the fresh air of open consciousness.
The pansies are not just themselves then, but they are all thoughts about man.
The comments all of the time makes this clear.
This is about shipwright of his pocket is a bunch of plastic, only six houses, a handful of thoughts, or if you will,
have the other derivation from policy to dress or soothe the wounds that he and as they all might,
tender administrations for mental and emotional wounds we suffer from.
In the last part of this lecture, I want to come on as promised to children like most coal miners children, he have seven siblings.
He was born on the fourth out of five since he was almost the youngest.
He was not obliged to look after younger ones, but he was sure to be good with children and they liked him.
He was a highly gifted teacher as the school inspectors who observed his teaching recognised in his fiction.
You pay special attention to children at a younger age than can be found in most other fiction.
He does this particularly in his early metalworks sons and daughters and the writing programmes.
Him and interestingly, his children are usually girls.
There were seven families made entirely of daughters. It is possible that we fall out at the end of the rainbow.
She has six sisters and one brother. The only major boy child character is Polara.
But Panopto women involved in this, as in other aspects that comes to change John's character characters not only fade into the background,
but the subject of children is specifically resisted. Then he tells Aaron in Paris, Robert could be hands on the hands.
If I can see anything high and holy about Children and Daughters Minutes, Margery all nine that strike your opinion.
We remember the principally for squabbling over a Christmas tree.
Although this can be correlated with losses.
New conception of masculinity in the twenties novels which separates itself from children,
Lawrence was also reacting still against free, despite being separated from her own children in the final novels, The Child.
Appears, but only as a symbol of rebirth, both Japanese lover and the escaped cop, and with pregnancy just before Lawrence died,
his attitude towards children contrasts with most of the prevailing views of his own and the preceding century.
First off, he was not with the Romantic's who saw or works with all the kids involved who conceived of
children as possessing original innocence and being gradually corrupted by and by becoming adults.
William was the chief instructor of Ursulines class during her first teaching job contradicts.
So she knew when Ursula has finally beaten this child into submission,
she saw his face beneath white with eyes like the eyes of a fish stung me, yet full of hate and horrible fear.
He was a beast thing. No, a Catholic with a sense of the original sin of children,
which may be alleviated by strict discipline and piety in some suburbs, has a partly Freudian understanding of the child's psyche.
But even that he is feeling his way towards something new. The pretext is fantasy of the unconscious as his essay on child consciousness.
And this is appropriate because it is just the touchstone for all his thought about the human psyche he locates in the child.
The child's unconscious is black, but not innocent. Child not only must but should develop.
Great childhood is a Christmas for which he must extricate himself.
And the struggling youth from age cannot emerge Panopto by the energy of all its powers.
Health insurance entails balanced development in the four primary areas.
So we're back again with this virtuous of physiology the solar plexus, the long background, the cardiac Texas and the thoracic.
As far as this legislation is concerned, he considers exercise with the arts,
without the elements of the game to be mechanical and as bad as most of the sports masturbation.
One of the few comments that Lawrence made on the subject of masturbation, positive or negative, that they are always negative.
Crucially, he believes that a certain roughness with children is necessary to make them independent and proud from bitter experience.
He argues that mother can spoil their children by cleaving to them as children who cling to their mothers should be smacked.
Tom and plenty of Brangwyn in the Rainbow implicitly follow most of these precepts.
They do not educate and they do not cling to power or allow her to cling to that.
She is the beneficiary of that successful marriage.
She also has an independent existence to which to now to place to place capital and close attention after her step stepbrother, Tom Adams, quote,
became more childish,
not so abnormal and charged with because she could not understand the charge of the mother is satisfied of the mother has to elsewhere.
She became an independent Forgacs, being so loving from her own centre run by her stepfather, teaches her city tales which of comic relief,
quite after the poignant folktales she got from her mother, which always troubled and mystified as so.
She's cleaning and dwelling on her because I think she is one of the best representations of children in science fiction.
She likes the neighbours to acknowledge and quote how a touch me, not way lighting the inane enquiries of grown up people.
We see this extraordinarily realistic five year olds growing into adulthood and we see it the child, the mother to the woman.
But better access to her soul is limited.
She tends to be described from the outside in terms of her behaviour as signalled by the woolly blonde hair and dark eyes,
which you mentioned almost every time that she is, there is a difference in the representation of her daughter.
Thus her soul is more transparent. It it's described directly.
These descriptions correlate with the greater extent to which this soul is troubled and will
go through far greater pain before I can reach satisfaction in delicate balance with Birkins.
Women in Los Winifred's, who is 13 or 14, is a more troubling child.
Certainly she is a growing tech. That's why your novel is for attention based, not more than any other place.
No attention to those who are not practise Burketown Intelsat.
Robert shows that Winnifred has got a special nature.
And if you could put her into the what means of being self-sufficient, that is the best thing possible so that it gets on with your ordinary life.
You find it difficult enough for yourself. And she is seven instead of a mule.
But in the novel she's associated with Goodrum, not Ursula, and this does not bode well.
She's not just modern in a sense in which the ground sisters are as their 19th century parents are not.
She is a fantastic postmodern, actually unstable, detached as I write, the narrator tells us she was an old,
sensitive, inflammable child, having her father's quiet bearing that being quite detached.
Montaigne is she was like a changeling indeed, as if her feelings did not matter to her, really.
She was full of the warmest, most delightful affection for a few things, but her animals in particular.
But if she hurt have lot of kids, Leo could be run over by the motorcar.
She puts her head on one side and replied with a thank contraption like presentments on her face.
I see that she took no notice.
She loves people who would make life the game for her when if they did not
notice human beings unless they were by herself playful and slightly mocking,
she would accept nothing but a world of amusement and the serious people of her life with the animals
she had with pets on these she loved lavished almost ironic with her affection and her companionship.
When she responds to Grugeon suggestion that they paint the aforementioned Robert Bismark, she says, Oh yes, I will rest awfully to do this.
Not so Splendens at this morning. So because he is almost as big as a lion and the child chuckled, I don't think that's hyperbole.
What is most disturbing about this representation is that she remembers that it was in fact, not so much as look,
the cat is in his turn, is described as an odd creature, like a child and intellectual, quite detached control.
He's a child. As one of the points are illuminating stuff about children in Lawrence,
he is the end point of Lawrence's exploration of the modern spirits, spiritual childhood and its perversion.
Even animals can be corrupted within modernity. The only drawing which we witness Winnifred produce is of her pet, his niece Lily,
when she shows up to go to and it turns out to be a grotesque little diagram of the grotesque little animal so wicked and so comical.
A slow smile came over his face unconsciously. And that's what a of chuckle quickly and said he doesn't like to visit.
He's much larger than that. He's so beautiful, my sweet darling.
As she flew off to embrace the shock around his little dog, he looked up at her with reproachful,
saturnine eyes back, which is extreme anxiousness of being.
Then she flew back to the drawing board with satisfaction.
He's extremely aged because these are the Chinese breed and therefore of an ancient race within modernity.
He is klaxons into caricature. He is a lap dog right into a human race.
Hardly real at all. The equivalence amongst beasts of a hothouse flower and city therefore has no remedy against his character.
To most of in class, however, are not like this.
Even in an age in which childhood is represented by Winifred's most flora and fauna retains its human integrity,
its capacity to dilute humanity by its essence, to enrich writers spiritual vocabulary, both symbols and strong new civilisation.
By its example, Lawrence's criticisms of humanity and his interest in non-human life are connected but are not locked in mutual support.
Humans, at their best, are far better than Massaponax or stallion's tomcats for mathematics at their best.
But they are at their best when they recognise what they have in common.