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How is this book unique? Font adjustments & biography included Unabridged (100% Original content) Illustrated About Women In Love by D. H. Lawrence Women in Love is a novel by British author D. H. Lawrence published in 1920. It is a sequel to his earlier novel The Rainbow (1915), and follows the continuing loves and lives of the Brangwen sisters, Gudrun and Ursula. Gudrun Brangwen, an artist, pursues a destructive relationship with Gerald Crich, an industrialist. Lawrence contrasts this pair with the love that develops between Ursula and Rupert Birkin, an alienated intellectual who articulates many opinions associated with the author. The emotional relationships thus established are given further depth and tension by an intense psychological and physical attraction between Gerald and Rupert. The novel ranges over the whole of British society before the time of the First World War and eventually ends high up in the snows of the Tyrolean Alps. Ursula's character draws on Lawrence's wife Frieda, and Gudrun on Katherine Mansfield, while Rupert Birkin has elements of Lawrence himself, and Gerald Crich of Mansfield's husband, John Middleton Murry.

David Herbert Lawrence (September 11, 1985 – March 2, 1930) was an English writer. Much of Lawrence’s work was based off his family life, which featured tension between his father, a coal mine worker, and his mother who was a schoolmistress.Lawrence’s opinions as well as the sexual content of some of his works made him a lot of enemies in his homeland and some of his novels were banned for many years. Lawrence and his wife left England after World War I and mostly traveled until Lawrence became ill and the couple finally settled in Florence, Italy. Lawrence’s best known works are Sons and Lovers, Women in Love, and Lady Chatterley’s Lover.Women in Love is a sequel to The Rainbow, and like much of Lawrence's work, Women in Love caused controversy over the sexual subject matter.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Ursula and Gudrun Brangwen sat one morning in the window-bay of their father's house in Beldover, working and talking. Ursula was stitching a piece of brightly-coloured embroidery, and Gudrun was drawing upon a board which she held on her knee. They were mostly silent, talking as their thoughts strayed through their minds. 'Ursula,' said Gudrun, 'don't you REALLY WANT to get married?' Ursula laid her embroidery in her lap and looked up. Her face was calm and considerate. 'I don't know,' she replied. 'It depends how you mean.' Gudrun was slightly taken aback. She watched her sister for some moments. 'Well,' she said, ironically, 'it usually means one thing! But don't you think anyhow, you'd be—' she darkened slightly—'in a better position than you are in now.' A shadow came over Ursula's face. 'I might,' she said. 'But I'm not sure.' Again Gudrun paused, slightly irritated. She wanted to be quite definite. 'You don't think one needs the EXPERIENCE of having been married?' she asked. 'Do you think it need BE an experience?' replied Ursula. 'Bound to be, in some way or other,' said Gudrun, coolly. 'Possibly undesirable, but bound to be an experience of some sort.' 'Not really,' said Ursula. 'More likely to be the end of experience.' Gudrun sat very still, to attend to this. 'Of course,' she said, 'there's THAT to consider.' This brought the conversation to a close. Gudrun, almost angrily, took up her rubber and began to rub out part of her drawing. Ursula stitched absorbedly. 'You wouldn't consider a good offer?' asked Gudrun. 'I think I've rejected several,' said Ursula. 'REALLY!' Gudrun flushed dark—'But anything really worth while? Have you REALLY?' 'A thousand a year, and an awfully nice man. I liked him awfully,' said Ursula. 'Really! But weren't you fearfully tempted?' 'In the abstract but not in the concrete,' said Ursula. 'When it comes to the point, one isn't even tempted—oh, if I were tempted, I'd marry like a shot. I'm only tempted NOT to.' The faces of both sisters suddenly lit up with amusement. 'Isn't it an amazing thing,' cried Gudrun, 'how strong the temptation is, not to!' They both laughed, looking at each other. In their hearts they were frightened.

Women in Love is a novel by British author D. H. Lawrence, published in 1920. It is a sequel to his earlier novel The Rainbow (1915), and follows the continuing loves and lives of the Brangwen sisters, Gudrun and Ursula. Gudrun Brangwen, an artist, pursues a destructive relationship with Gerald Crich, an industrialist. Lawrence contrasts this pair with the love that develops between Ursula Brangwen and Rupert Birkin, an alienated intellectual who articulates many opinions associated with the author.