The thematically conservative, but methodologically radical. The easiest

The greatness of Lady Chatterley's Lover lies in a paradox: it is simultaneously progressive and reactionary, modern and Victorian. It looks backwards towards a Victorian stylistic formality, and it seems to anticipate the social morality of the late 20th century in its frank engagement with explicit subject matter and profanity.

One might say of the novel that it is formally and thematically conservative, but methodologically radical. The easiest of these assertions to prove is that Lady Chatterley's Lover is "formally conservative." By this I mean that there are few evident differences between the form of Lady Chatterley's Lover and the form of the high-Victorian novels written fifty years earlier: in terms of structure; in terms of narrative voice; in terms of diction, with the exception of a very few "profane" words.

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It is important to remember that Lady Chatterley's Lover was written towards the end of the 1920s, a decade which had seen extensive literary experimentation. The 1920s opened with the publishing of the formally radical novel Ulysses, which set the stage for important technical innovations in literary art: it made extensive use of the stream-of-consciousness form; it condensed all of its action into a single 24-hour span; it employed any number of voices and narrative perspectives. Lady Chatterley's Lover acts in many ways as if the 1920s, and indeed the entire modernist literary movement, had never happened. The structure of the novel is conventional, tracing a small group of characters over an extended period of time in a single place.

The rather preachy narrator usually speaks with the familiar third-person omniscience of the Victorian novel. And the characters tend towards flatness, towards representing a type, rather than speaking in their own voices and developing real three-dimensional personalities. But surely, if Lady Chatterley's Lover is "formally conservative," it can hardly be called "thematically conservative"! After all, this is a novel that raised censorious hackles across the English-speaking world. It is a novel that liberally employs profanity, that more-or-less graphically–graphically, that is, for the 1920s: it is important not to evaluate the novel by the standards of profanity and graphic sexuality that have become prevalent at the turn of the 21st century–describes sex and orgasm, and whose central message is the idea that sexual freedom and sensuality are far more important, more authentic and meaningful, than the intellectual life. So what can I mean by calling Lady Chatterley's Lover, a famously controversial novel, "thematically conservative"? Well, it is important to remember not only precisely what this novel seems to advocate, but also the purpose of that advocacy.

Lady Chatterley's Lover is not propaganda for sexual license and free love. As D.H. Lawrence himself made clear in his essay "A Propos of Lady Chatterley's Lover," he was no advocate of sex or profanity for their own sake.

The reader should note that the ultimate goal of the novel's protagonists, Mellors and Connie, is a quite conventional marriage, and a sex life in which it is clear that Mellors is the aggressor and the dominant partner, in which Connie plays the receptive part; all who would argue that Lady Chatterley's Lover is a radical novel would do well to remember the vilification that the novel heaps upon Mellors' first wife, a sexually aggressive woman. Rather than mere sexual radicalism, this novel's chief concern–although it is also concerned, to a far greater extent than most modernist fiction, with the pitfalls of technology and the.

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