By D. H. Lawrence
Constance Chatterley se había casado con el adinerado sir Clifford en 1917. Pero su marido fue herido fatalmente en los angeles Primera Guerra Mundial y se vio confinado en una silla de ruedas para el resto de sus días, paralítico e imposibilitado para satisfacer a su mujer. Retirados en su mansión campestre, Constance ve cómo su vida y su juventud se escapan. Ama a su marido, pero tiene que responder a los angeles pulsión de los angeles naturaleza. Y allí, cerca del bosque, sus sentidos le exigen una reparación: Oliver Mellors, el callado guardabosques de las tierras de los Chatterley, un hombre fuerte, desinhibido, salvaje y apasionado, se encargará de proporcionar a Constance lo que su marido ya no puede darle. D. H. Lawrence, uno de los escritores más controvertidos de l. a. literatura británica, es autor de varias novelas de gran éxito en las que habla de las relaciones amorosas y los angeles sexualidad como fuente de conocimiento íntimo y own. En el bosque se escondía l. a. pasión...
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And Strindberg, like Shakespeare, takes up the mantle of national poet by writing a series of historical plays that, in Strindberg’s case, chart the course of the Swedish nation, a series Strindberg begins in his early twenties, and which are discussed elsewhere in this Companion. Clearly Strindberg put himself on the path to becoming the national poet, although in his later years, after he had returned from exile, he realized that that kind of ofﬁcial recognition from the establishment would never be his.
So Strindberg, unfortunately for the Swedes, is an uncomfortable and unruly national icon, not as invariably awe-inspiring as Shakespeare or as solidly respectable as Goethe or as avuncular as America’s Mark Twain. Even most English speakers, who remain unfamiliar with much of Strindberg’s œuvre, know that Strindberg was a difﬁcult character. So what do we know of Strindberg, or what do we think we know? Near the conclusion of Ingmar Bergman’s family epic, Fanny and Alexander, one of the characters proposes that the theatre she directs should stage a new play by August Strindberg: A Dream Play.
In his preface to A Dream Play Strindberg describes a model that could account for the authorial ﬁgure in all of his writing: ‘The characters divide, double, evaporate, condense, ﬂoat away, coalesce. 55University on Sun Apr 07 14:45:05 WEST 2013. 001 Cambridge Companions Online © Cambridge University Press, 2013 linda haverty rugg (SV46, p. 7; MJoP, p. 176). The many ﬁgures of his dream play, then, are indeed meant to be understood as emanations of a single consciousness, and Strindberg called To Damascus his earlier dream play, indicating that we can understand the Stranger as a representative of the dreamer, with the other characters in the drama acting as subﬁgures to the protagonist.