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By Christopher Heywood (eds.)

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The poetry, however, with its greater lyrical independence, is more able to withdraw into itself. On occasion it moves so deep into its vision world that, like the poetry of Baudelaire, to which the rhetoric of 'The North Country' is heavily indebted, it becomes absorbed in its own sonorous music. It then runs the risk of losing that balance between the ordinary and the exotic which is of peculiar importance to Lawrence. As a critic, Lawrence recognised this danger, and his recognition led him to value the achievement of poetry below that of the novel.

People were standing about in groups, some women were sitting in the shade of the walnut tree, with cups of tea in their hands, a waiter in evening dress was hurrying round, some girls were simpering with parasols, some young men, who had just come in from rowing, were sitting cross-legged on the grass, coatless, their shirt-sleeves rolled up Lawrence's Tragic Lovers 39 in manly fashion, their hands resting on their white flannel trousers, their gaudy ties floating about, as they laughed and tried to be witty with the young damsels.

The typically contrasted voices are unusually marked here. The middle section, on the sensuous qualities of the peach, is a highly elaborate piece of rhetorical parallelism: Why so velvety, why so voluptuous heavy? Why hanging with such inordinate weight? Why so indented? Why Why Why Why the the the the groove? lovely, bivalve roundnesses? ripple down the sphere? suggestion of incision? while other lines drop to a deliberately off-hand, prosaic flatness: 'I am thinking, of course, of the peach before I ate it' and' And because I say so, you would like to throw something at me' (CP, p.

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