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Lady Chatterley's Lover

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 Lady Chatterley's Lover is the last novel by English author D. H. Lawrence, which was first published privately in 1928, in Italy, and in 1929, in France.[2] An unexpurgated edition was not published openly in the United Kingdom until 1960, when it was the subject of a watershed obscenity trial against the publisher Penguin Books, which won the case and quickly sold three million copies.[2] The book was also banned for obscenity in the United States, Canada, Australia, India and Japan. The book soon became notorious for its story of the physical (and emotional) relationship between a working-class man and an upper-class woman, its explicit descriptions of sex and its use of then-unprintable profane words.
Background[edit]

Lawrence's life, including his wife, Frieda, and his childhood in Nottinghamshire, influenced the novel.[3] According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story.[4] Lawrence, who had once considered calling the novel John Thomas and Lady Jane in reference to the male and the female sex organs, made significant alterations to the text and story in the process of its composition.[5]

Lawrence allegedly read the manuscript of Maurice by E. M. Forster, which was published posthumously in 1971. That novel, although it is about a homosexual couple, also involves a gamekeeper becoming the lover of a member of the upper classes and influenced Lady Chatterley's Lover.[6][7]
Plot[edit]

The story concerns a young married woman, the former Constance Reid (Lady Chatterley), whose upper-class baronet husband, Sir Clifford Chatterley, described as a handsome, well-built man, is paralysed from the waist down because of a Great War injury. Constance has an affair with the gamekeeper, Oliver Mellors. The class difference between the couple highlights a major motif of the novel. The central theme is Constance's realisation that she cannot live with the mind alone. That realisation stems from a heightened sexual experience that Constance has felt only with Mellors, suggesting that love requires the elements of both body and mind.
Themes[edit]
Mind and body[edit]

Richard Hoggart argues that the main subject of Lady Chatterley's Lover is not the explicit sexuality, which was the subject of much debate, but the search for integrity and wholeness.[8] Key to this integrity is cohesion between the mind and the body, for "body without mind is brutish; mind without body... is a running away from our double being".[9] Lady Chatterley's Lover focuses on the incoherence of living a life that is "all mind", which Lawrence found to be particularly true among the young members of the aristocratic classes, as in his description of Constance's and her sister Hilda's "tentative love-affairs" in their youth:


So they had given the gift of themselves, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing: the love-making and connection were only sort of primitive reversion and a bit of an anti-climax.[10]

The contrast between mind and body can be seen in the dissatisfaction each character experiences in their previous relationships, such as Constance's lack of intimacy with her husband, who is "all mind", and Mellors's choice to live apart from his wife because of her "brutish" sexual nature.[11] The dissatisfactions lead them into a relationship that develops very slowly and is based upon tenderness, physical passion, and mutual respect. As the relationship between Lady Chatterley and Mellors builds, they learn more about the interrelation of the mind and the body. She learns that sex is more than a shameful and disappointing act, and he learns about the spiritual challenges that come from physical love.

Jenny Turner maintained in The Sexual Imagination from Acker to Zola: A Feminist Companion (1993) that the publication of Lady Chatterley's Lover broke "the taboo on explicit representations of sexual acts in British and North American literature". She described the novel as "a book of great libertarian energy and heteroerotic beauty".[12]