Poe had experienced the ecstasies of extreme spiritual love. And he wanted those ecstasies and nothing but those ecstasies. He wanted that great gratification, the sense of flowing, the sense of unison, the sense of heightening of life. He had experienced this gratification. He was told on every hand that this ecstasy of spiritual, nervous love was the greatest thing in life, was life itself. And he had tried it for himself, he knew that for him it was life itself. So he wanted it. And he would have it. He set up his will against the whole of the limitations of nature.
Возьмите поэтичный и страстный стиль лучших романов Лоуренса, прибавьте к нему великолепное знание материала и огромную любовь к литературе, подсыпьте немного ироничной проницательности и пытливой любознательности гения Лоуренса, и вы получите этот шедевр, в котором даже самые серьезные литературные критики и преподаватели литературы видят на удивление много правды.
И именно в этом восхитительном исследовании классической американской литературы, Лоуренс произнес свое знаменитое:
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
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