摘要: In the first chapter, I intend to illustrate that D. H. Lawrence was a mood-oriented painter of soul in three parts: focus on the mind within; Lawrence's free indirect style; time in the mind. This chapter is the longest, for I ... 展开 In the first chapter, I intend to illustrate that D. H. Lawrence was a mood-oriented painter of soul in three parts: focus on the mind within; Lawrence's free indirect style; time in the mind. This chapter is the longest, for I design it on purpose. I reckon the advantages and disadvantages, the understanding and misunderstanding of Lawrence's novels derive from his unique painging of human souls. In Chapter II, I've used many examples to analyse why D. H. Lawrence is a mood oriented painter of nature. The symbolic relationships between his fictional characters display, from another aspect,D. H. Lawrence's understanding of love. As I see it, Lawrence really presented before us the deepest understanding about humanspirit, symbolic nature and harmonic love. Chinese literature would be more poignant if itabsorbed some of Lawrentian ideas. 收起