In the following essay, Stoehr examines D. H. Lawrence's thoughts on sexuality in literature as they are expressed in his fiction as opposed to the opinions of his public statements and essays.

In the following essay, Poole attempts to defend Lawrence as a major poet fully in control of poetic technique.

In the following essay, Gilbert agrees with T. S. Eliot's assessment of Lawrence as a hater of orthodoxy, but disagrees with Eliot when he negatively evaluates Lawrence's moral canon.

In the following essay, Balbert maintains that “The Princess” is an impressive achievement “for the seamless way that it connects Lawrence's developing stylistic notions on writing and painting with his doctrinal beliefs about Pan mythology during the last six years of his life.”

In the following essay, Bowlby discusses the British 1960 censorship trial of Lady Chatterley's Lover by D. H. Lawrence, along with its literary reception, in the context of a history of British censorship.

In the following essay, Thornton urges greater attention to three of Lawrence's neglected stories—“Monkey Nuts,” “The Primrose Path,” and “Fanny and Annie”—as subtle and effective character studies.

In the following essay, Findlay considers Lawrence's Studies in Classic American Literature in light of deconstructionist critical methodology, emphasizing his belief in multiple textual meanings.

In the following essay, Rubin discusses resemblances between the poetry of Lawrence and Percy Bysshe Shelley.

In the following essay, Rubin discusses parallels between the poetry of D. H. Lawrence and the works of English Romantic poet Percy Bysshe Shelley (1792-1822).

In the following excerpt, Lockwood focuses attention on the poems written between 1905 and 1908 by D. H. Lawrence.

In the following essay, Kirkham examines Lawrence's Last Poems as a poetic sequence with consistent themes and execution.

In the following essay, Williams perceives “Glad Ghosts” to be an exploration of Lawrence's psychoanalytic theories.

In the following essay, Granofsky asserts that the metaphor of illness and wellness and the focus on parent-child relationships in “The Ladybird” tend to overpower Lawrence's interest in the themes of dependency and power.

In the following essay, Osborn offers a compositional history of “The Fox” and asserts that “as Lawrence uses an actual fable of the Aesopian kind to give form to elements borrowed from his own life, the result is a fiction rich in ambivalence about sexual roles and played out by characters luminous as mythic beings.”

In the following essay, Shakir examines Lawrence's early poems for evidence of his sexual preoccupations.

In the following introduction to Lawrence's Selected Poems, Rexroth believes that, rather than being a major poet like Thomas Hardy, Lawrence was a minor prophet like William Blake and William Butler Yeats.

In the following essay, Ebbatson asserts that “England, My England” provides insights into English cultural identities at the time of World War I and examines Lawrence's revision of the story.

In the following essay, Draper offers a critical overview of the range of Lawrence's poetry and its evolution in subject matter, structure, and tone.

In the following essay, Farr examines the recurring motif of the “Sleeping Beauty” in Lawrence's works from the perspective of the poet's intense affection for his mother.

In the following essay, first published as the introduction to a 1947 volume of Selected Poems by D. H. Lawrence, Rexroth notes the faults of the poet's many volumes but concludes that Lawrence's poetry is successful art.

In the following essay, Auden echoes Richard Aldington's assessment that readers should not read Lawrence to reinforce ideologies—which are better expressed elsewhere by other writers—and that his genius lay in his ability to articulate humankind's aggressive and hateful natures.

In the following essay, Stoltzfus offers a Lacanian interpretation of “The Man Who Loved Islands.”

In the following essay, Janik considers the posthumously-published Last Poems of Lawrence, asserting that they are among the finest of the poet's works.

In the following essay, Janik explicates Lawrence's posthumously published poems 'Bavarian Gentians" and "The Ship of Death" among others to support claims that Lawrence is among the major poets of the twentieth century.

In the following essay, Glicksberg examines Lawrence's poetry to support his thesis that Lawrence was engaged in creating his own religion that eschewed science and materialism.

In the following essay, Doherty elucidates Lawrence's depiction of contemporary courtship rituals in his short fiction.

In the following essay, Williams proposes that the body of Lawrence 's poetical works must be read in order to give a full understanding of the author's philosophical and sociological intent.

In the following essay, Murfin finds similarities and differences between Lawrence's "Hymn to Priapus" and works by Charles Algernon Swinburne and Thomas Hardy.

In the following essay, Stewart discusses the fox in “The Fox” and the stallion in “St. Mawr” as totemic images.

In the following essay, Contreras assesses the significance of indigenous culture within the broader tradition of modern primitivism in “The Woman Who Rode Away.”

In the following essay, Blackmur argues that Lawrence's poetry is too often marred by the author's unchecked inclusion of biographical detail and personal feelings.

In the following excerpt, Clark traces the influence of D. H. Lawrence's “rootless” years on the subject matter and evolution of his poetry.

In the following essay, McCollum applies René Girard's theories of cultural anthropology, particularly the practice of ritual sacrifice, to Lawrence's “The Woman Who Rode Away.”

In the following essay, Solomon discusses the role of self-knowledge in the development of poetic depth, and suggests that a certain unevenness of quality and tone in Lawrence's poetry may be due to the poet's fear of self-knowledge.

In the following essay, Diez-Medrano examines the function of the narrative voice and point of view in “Samson and Delilah,” which she perceives to be a story about male violence against women.

In the following essay, Bartlett examines the nature and breadth of Lawrence's revisions of his earlier poems for the 1928 Collected Poems.

In the following essay, Cavitch explores Lawrence's representation of a retreat from the alienation and division of modern society into an "isolation of personal identity" and into death in his late fiction.

In the following essay, Ellman explores the “healing” elements of Lawrence's poetry and the development of poetic voice through revision.

In the following essay, Doherty elucidates Lawrence's inventive narrative strategies in “The Man Who Loved Islands.”

In the following essay, Ramadier maintains that in “Tickets, Please,” the “incidental effects of progress on humanity are shown through the Lawrentian central theme of the relationship between men and women.”

In the following essay, Trail employs Freudian psychology to explicate Lawrence's poem "The Snake."

In the following essay, Presley examines Lawrence's deployment of free verse and its relationship to the themes of his poetry.

In the following essay, Scherr reads “The Prussian Officer” as an allegory for Lawrence's metaphysical concerns-specifically, the balance between the concepts of mental consciousness and blood consciousness.

In the following essay, Smith argues that the stories comprising England, My England, and Other Stories possess a thematic unity and that the volume should be read as a fragmentary novel.

In the following essay, Michelucci traces Lawrence's development as a short story writer through an analysis of the pieces in The Prussian Officer, and Other Stories and contrasts the differences between these stories and his novel The White Peacock.

In the following essay, Gregory examines the works of D. H. Lawrence that appeared or were written between 1909 and 1919.

In the following essay, Siegel analyzes Lawrence's relationship to feminism and contends that “St. Mawr” reveals some commonality between Lawrence's beliefs and cultural feminism.

In the following essay, McCabe traces the concept of Otherness in Lawrence's work, finding “Odour of Chrysanthemums” to be the earliest examination of the issue.

In the following essay, Janik asserts that two of Lawrence's essays focusing on the paintings of Paul Cézanne can also be read as descriptions of Lawrence's poetic development.

In the following essay, Fisher examines what he believes is the paradoxical nature of Lawrence's poetry.

In the following essay, Schulz interprets “Odour of Chrysanthemums” as a story about human isolation and life renewal.

In the following essay, Wright traces the appearance of Scripture phrases in Lawrence's Last Poems, and discusses Biblical influences on the poet's works throughout his career.

In the following review of The Complete Poems of D. H. Lawrence, Rich suggests that this collection is essential to understanding the depth and breadth of Lawrence's significance as a major poet.

In the following review of The Complete Poems of D.H. Lawrence, Rich assesses Lawrence as a major poet, finding evidence that Lawrence deliberately reduced many poems to doggerel for effect, and arguing that Lawrence is the English language's best love poet since William Shakespeare.

In the following essay on Lawrence's Look! We Have Come Through! Aiken argues that the poem reads more like a novel, and that Lawrence's grasp of poetic techniques are limited.

In the following essay, Meyers finds allusions to mythology, literature, and Lawrence's earlier work in “The Horse Dealer's Daughter.”

In the following essay, Kearney contends that ‘The Man Who Loved Islands’ “is a tour de force of Lawrence's ability to integrate landscape, character, and pollyanalytics into a single thematic statement.”

In the following excerpt, Deutsch characterizes Lawrence's poetry as generally undisciplined and subjective, yet not totally without merit or fine moments of imagery and drama.

In the following review of The Complete Poems of D. H. Lawrence, Salgado briefly traces the general tenor of critical assessment of Lawrence's poetry.

In the following essay, Waugh assesses Lawrence's poetry as lacking in unifying ideas and the poetic skills necessary to espouse them.

In the following essay, Zanger focuses attention on a cycle of three poems found in Look! We Have Come Through!, Lawrence's third volume of poetry.

In the following essay, Thomas provides a line-by-line explication of Lawrence's poem, “After the Opera.”

In the following overview of Lawrence 's poetry, including Birds, Beasts, and Flowers, Aldington attempts to cast aside the poet's ideology and sexual subject matter in order to isolate the poetry he writes, which Aldington believes to be representative of its author's genius.

In the following review of Look! We Have Come Through! Fletcher praises Lawrence's poetry as uncompromising and original, and finds similarities with the poetry of Walt Whitman.

In the following essay, Schaefer offers an explication of Lawrence's poem, “Mystic.”

In the following review, poet Pound offers a brief review of Lawrence's first book of verse.

In the following review of Love Poems and Others, Pound concludes that Lawrence poetry succeeds in realistically detailing everyday lives whereas the poetry of John Masefield does not.